st. louis symphony extra - december 6, 2014

8/10/2019 St. Louis Symphony Extra - December 6, 2014

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CONCERT PROGRAMDecember 5-7, 2014

Steven Jarvi, conductorKiera Duffy, soprano Jessica Cheng, violinAngie Smart, violin Jooyeon Kong, violinAlison Harney, violin

VIVALDI La primavera (Spring) from Le quattro stagioni(1678-1741) (The Four Seasons), op. 8, no. 1 (1725)

Allegro Largo e pianissimo

Allegro (Danza pastorale) Jessica Cheng, violin

BARBER Knoxville: Summer of 1915, op. 24 (1947) (1910-1981)

Kiera Duffy, soprano

VIVALDI Lestate (Summer) from Le quattro stagioni(The Four Seasons), op. 8, no. 2 (1725)

Allegro m non molto Adagio Presto Angie Smart, violin

INTERMISSION

VIVALDI Lautunno (Autumn) from Le quattro stagioni(The Four Seasons), op. 8, no. 3 (1725)

Allegro Adagio molto Allegro

Jooyeon Kong, violin

WAGNER Siegfried Idyll (1870) (1813-1883)

continued on next page


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ACKNOWLEDGMENTS

These concerts are part of the Wells Fargo Advisors series.

These concerts are sponsored by the Thomas A. Kooyumjian Family Foundation.

Steven Jarvi is the Laura and Bill Orthwein Guest Artist.

Kiera Duffy is the Ann and Paul Lux Guest Artist.

The concert of Friday, December 5, at 10:30 a.m., is underwritten in part by a

generous gift from Mr. and Mrs. Walter J. Galvin.

The concert of Friday, December 5, at 8 p.m., is underwritten in part by agenerous gift from Mr. and Mrs. Barry H. Beracha.

The concert of Saturday, December 6, is underwritten in part by a generous giftfrom Mr. and Mrs. John W. Bachmann.

The concert of Sunday, December 7, is underwritten in part by a generous giftfrom Dr. William H. Danforth.

The concert of Friday, December 5, at 10:30 a.m., includes coffee anddoughnuts provided through the generosity of Krispy Kreme.

Pre-Concert Conversations are sponsored by Washington University Physicians.

Large print program notes are available through the generosity of the Delmar

Gardens Family and are located at the Customer Service table in the foyer.

VIVALDI Linverno (Winter) from Le quattro stagioni(The Four Seasons), op. 8, no. 4 (1725)

Allegro non molto-- Largo Allegro

Alison Harney, violin


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FROM THE STAGESteven Jarvi, St. Louis Symphony Resident Conductor, on this weekends program:

Were using The Four Seasons as an adventure into different musical sound-scapes from season to season. Spring leads to summer through Knoxville:Summer of 1915. James Agees incredible text brings this work to life, similarto the poems that inspired The Four Seasons, which may or may not have been written by Vivaldi. Knoxville also happens to be one of my favorite pieces ofall time.

Soprano Kiera Duffy is a great friend of mine, and weve performedeverything from John Zorn to Messiah together. Knoxville is the perfect workfor her, and its especially meaningful to be performing it with the St. LouisSymphony, which has such a storied history with the music of Samuel Barber.With Wagner we move from autumn to winter. At rst we were looking atsomething symbolic of wintersomething representative of lateness, the endof life. Then we thought of how Siegfried Idyll was one of the most wonderfulmusical Christmas gifts ever given.

Steven Jarvi

DILIP VISHWANAT


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Vivaldis The Four Seasons, which makes up thegreater part of tonights program, is one of themost popular classical music pieces extant. Eventhose who dont consider themselves classicalmusic fans know it, thanks to its frequent use inmovies, TV shows, commercials, wedding music,and cellphone ringtones. There have even beennon-classical versions, in genres ranging fromsurf rock to heavy metal to jazz to electronica.

Vivaldis Baroque masterpieceor moreproperly, collection of masterpieces, being a quar-tet of violin concertos that are often performedtogether, but need not bedeserves its wild popu-larity, though perhaps not the ignominy of beingused to sell garage doors, bathroom xtures, andonline bingo. And those are only recent instances.

The Four Seasons continued popularity out-side the classical world is due, rst and foremost,

to its evergreen freshness. Whenever you hear it,either intentionally or from an unbidden source,its opening notes are always a welcome sound.

Second, there is its tunefulness. Chances are you will leave the concert hall tonight humming amelody from one or another of Vivaldis concertos.

Then, too, there is the rigid structure of eachseasonal section, with three movements apieceand plenty of variety among them. In that sense,

The Four Seasons possesses, dare we say it, anaccessibility that approaches that of contempo-rary pop music.

Which is not to say it is not a serious piece.Le quattro stagioni were published in 1725 as

part of a series of 12 concertos titled Il cimentodellarmonia e dellinventione (The Contest BetweenHarmony and Invention). The actual time of itscomposition is lost, as few of Vivaldis works aredated. Spring , Summer , Fall, and Winter were eachaccompanied by a sonnet, possibly written by thecomposer himself, that point to speci c imagesplaying out in the music. And while Vivaldi had speci c scenes inmind, which we will discuss below, feel free to let your mind wander as the music plays and create your own version of each seasons passing.

TO EVERYTHING THERE IS A SEASONBY DANIEL DURCHHOLZ

TIMELINKS

1725VIVALDILe quattro stagioni (The

Four Seasons), op. 8,no. 1-4Handel premieres twooperas and composes athird in London

1870WAGNER Siegfried IdyllWagners Die Walkre

premieres in Munich1947BARBER Knoxville: Summer of1915,op. 24Secretary of State GeorgeMarshall outlines MarshallPlan to relieve war-tornEurope


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BornMarch 4, 1678, in Venice

Died July 27 or 28, 1741, in Vienna

First PerformanceUnknown

STL Symphony PremiereFebruary 20, 1953, HarryFarbman was soloist withVladimir Golschmannconducting

Most Recent STL SymphonyPerformanceDecember 4, 2011, JenniferKoh was soloist, with WardStare conducting

Scoringsolo violincontinuostrings

Performance TimeLa primavera (Spring)approximately 11 minutes

ANTONIO VIVALDILe quattro stagioni (The Four Seasons)op. 8, no. 1-4 La primavera (Spring)

Birds sing, soft breezes blow, and brooks murmur

in the opening concerto of the quartet, offeringopportunities for the narrative of the piece to playout in a dialogue between the soloist and ensem-ble. (Vivaldi was a virtuoso violinist himself, andin The Four Seasons he offers the soloist numer-ous opportunities to shine.) Sudden storms ariseand the birds are silenced, only to reappear whencalm returns. A goatherd and his dog sleep in thesun, while nymphs and shepherds dance to thesound of rustic bagpipes.

SAMUEL BARBER Knoxville: Summer of 1915, op. 24

A CHILDS FEELING Samuel Barber took the textfor his 1947 lyric rhapsody, Knoxville: Summerof 1915, from a short prose piece written by James Agee, who later used the work as the preambleto his Pulitzer Prize-winning autobiographicalnovel, A Death in the Family. It has become that time of evening whenpeople sit on their porches, rocking gently andtalking gently and watching the street beginsBarbers adaptation, hewing closely to Ageesrichly descriptive, deeply nostalgic reverie of his

growing up in the American South just after theturn of the 20th century.Barber was drawn to Agees words, which

struck a chord in him regarding his own child-hood, which unfolded several states to the north,but not without signi cant similarities.

I had always admired Mr. Agees writing,and this prose poem particularly struck mebecause the summer evening he describes in his

native southern town reminded me so much ofsimilar evenings when I was a child at home [in West Chester, Pennsylvania], Barber told a CBSradio interviewer in 1949.

I found out after setting this that Mr. Ageeand I are the same age. And the year he described was 1915, when we were both ve. You see, itexpresses a childs feeling of loneliness, wonder,


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and lack of identity in that marginal worldbetween twilight and sleep.

There were additional parallels. Agees fatherdied in an automobile accident in 1916, makinghis reminiscence of his familys idyllic life beforethat tragedy all the more powerful and poignant.Barbers father was in failing health and diedaround the time Knoxville was composed. It wasdedicated to his memory.

A nal similarity is that both pieces were written in such powerful ts of nostalgia thatthey were completed quickly and without muchrevision, yet neither shows any negative effectsof their rapid composition. Instead, both displaya degree of technical mastery only occasionally visited upon works conceived and executed withsuch spontaneity.

A LULLABY Composed at the request of sopranoEleanor Steber, who sought a new work to perform with the Boston Symphony Orchestra, Knoxville:Summer of 1915 begins with the gently rocking

melodyas if it is almost a lullabyaccompany-ing lyrics describing the warm summer eveningin vivid word paintings rich with alliteration. It isdif cult to tell where the adult narrator and theboy from the text begin and end, increasing thepieces dreamlike quality.

The middle section, with the brief, chaoticpassage of a streetcarraising into iron moan,stopping, belling and starting, stentorousinter-

rupts the reverie, but it, too, fades, melting intothe coming night, described as one blue dew.The narrator pictures himself and his family,

lying on quilts over the rough wet grass andquietly talking of nothing in particular or noth-ing at all. He recounts his family members, oneby one, and stares up at the vastness of space.Here the soprano voice takes ight, hitting someof the highest notes of the piece, still tethered,though, to the calm support of the orchestra. As the piece draws to a close, the narratorturns serious, asking God to bless his people andremember them in their time of trouble; andin the hour of their taking awayhinting hereof not only the personal travails of any normalfamily, but of the hard challenges of the years tocome that would be faced by all Americans.

BornMarch 9, 1910, in WestChester, Pennsylvania

Died January 23, 1981, in New YorkCity

First PerformanceApril 9, 1948, Eleanor Steber,who commissioned thework, was soloist, with SergeKoussevitzky conducting theBoston Symphony Orchestra

STL Symphony PremiereOctober 28, 1950, JudithDoniger was soloist, withVladimir Golschmannconducting

Most Recent STL SymphonyPerformanceDecember 31, 2009, ChristineBrewer was soloist, withDavid Robertson conducting

ScoringutepiccolooboeEnglish hornclarinetbassoon2 hornstrumpettimpani

triangleharpstrings

Performance Timeapproximately 16 minutes

C A R L

V A N

V E C H T E N


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But such dreadful contemplations, too, even-tually cease, and the narrator is carried to bed,and Barber, with a repetition of the opening themeand then notes rising to the heavens above, bringsthe piece to an appropriately dreamlike end.

VIVALDILestate (Summer)Performance Timeapproximately 10 minutes As we rejoin Vivaldis narrative, the oppressivesun beats down, and while a few birds sing,the prevailing mood is one of dread, due to anoncoming storm. The shepherd weeps for fearand lack of rest as he is attacked by a swarm of

ying insects. At last, the storm strikes, with light -ning and hail that destroys the crop in the eld.

VIVALDI

Lautunno (Autumn)Performance Timeapproximately 9 minutes Apparently, all was not lost in the tempest ofSummer , because Autumn depicts a joyous cele-bration of a rich harvest, with drinking, dancing,and singing among the peasants. The celebrationgives way to sleep just as the warmth of summer

slips away into the cool of the autumn. A huntensues, ending with the killing of an animal.

RICHARD WAGNER Siegfried Idyll

A CHRISTMAS STORY On Christmas morn-ing, 1870, Richard Wagners wife Cosima wasawakened by the sound of a 15-piece orchestraperforming on the stairs of the familys homeTribschen, on Lake Lucerne, Switzerlandunderthe baton of Wagner himself. It was the day afterCosimas 33rd birthday, which she chose to cel-ebrate on Christmas, and the piece she heard wasa present from her husband.

When I woke up, I heard a sound, Cosima wrote in her diary that day. It grew even louder.

BornMay 22, 1813, in Leipzig

DiedFebruary 13, 1883, in Venice

First PerformanceChristmas Day, 1870, atthe composers villa nearLucerne, Switzerland; Wagnerconducted a small orchestraassembled for the occasion

STL Symphony PremiereOctober 5, 1894, conductorunknown

Most Recent STL SymphonyPerformanceFebruary 24, 2008, Mark Elderconducting

Scoringuteoboe2 clarinetsbassoon

2 hornstrumpetstrings

Performance Timeapproximately 18 minutes


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I could no longer imagine myself in a dream. Music was sounding, and whatmusic! After it had died away, R. came in to me with the ve children and put intomy hands the score of his Symphonic Birthday Greeting. I was in tears, but so,too, was the whole household. R. had set up his orchestra on the stairs and thusconsecrated our Tribschen forever! The Tribschen Idyllthus the work is called.

In fact, the pieces title is much more long-winded. But this is Wagner, afterall. It was called Tribschen Idyll with Fidis Birdsong and the Orange Sunrise, aSymphonic Birthday Greeting. Presented to His Cosima by Her Richard, 1870. Being a gift, it was never intended for public performance, and there wasobviously no need to footnote the title for his wife. But for our purposes, itshould be understood that Fidi was the Wagnerss nickname for their sonSiegfried, born in June 1869. The birdsong was inspired by a bird that sangoutside their home just prior to Siegfrieds birth, while the orange sunriserefers to the magical play of light off the bedroom wall that morning, whichbrought the composer to tears.

While were at it, the ve children from Cosimas diary entry above, werethe two shed had with her previous husbandpianist, conductor, and com-poser Hans von Blowand the three shed had with WagnerIsolde, Eva, andthe newborn Siegfried.

The Idyllwhich was accompanied by a love poem in which Wagnerdescribed the couples bliss after several years of turmoil and scandalis strik-ingly tender and intimate, especially for Wagner, who is known for his blusterand excess. Several of the themes heard in the piece later found their way intohis opera Siegfried.

But the piece did not become known as Siegfried Idyll until later. Wagnerexpanded the orchestration to make it more salable, and the score was sold in1878 to help satisfy his ever-present debts. For her part, Cosima was inconsolable over the loss. She wrote in herdiary, The Idyll is sent off today; the secret treasure is to become public prop-ertymay the pleasure others take in it match the sacri ce I am making!

That is a wish that appears to have come true. The Siegfried Idyll remains

the most oft-played of Wagners purely instrumental works and is beloved for itsbeauty, emotion, andagain, this is Wagner were talking aboutrelative brevity.

VIVALDILinverno (Winter)Performance Timeapproximately 7 minutes Vivaldis depiction of the seasons ends with the chill of winter setting in, the wind blowing mercilessly, causing teeth to chatter and feet to stamp in aneffort to keep warm. A sharp contrast is drawn with the pleasure of sitting bya warm re while outside there is the peril of slipping and falling down, or worse, break through the ice on a frozen lake. This is winter, Vivaldi says inhis accompanying poem, but it brings joy.

Program notes 2014 by Daniel Durchholz


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STEVEN JARVILAURA AND BILL ORTHWEIN GUEST ARTIST

Steven Jarvi is the Resident Conductor of the St.Louis Symphony and Music Director of both

Winter Opera Saint Louis and the St. LouisSymphony Youth Orchestra. He won the Bruno Walter Memorial Foundation Award while serv-ing as Associate Conductor of the Kansas CitySymphony. He spent several years as the Con-ducting Fellow with Michael Tilson Thomas andthe New World Symphony, as Associate Conduc-tor for New York City Opera, and as ApprenticeConductor with the Washington National Opera.

At the age of 21, Jarvi traveled to Austria at theinvitation of Claudio Abbado for study with themaestro and the Berlin Philharmonic at the Salz-burg Easter Festival. In 2005, as the Seiji OzawaConducting Fellow at the Tanglewood MusicCenter, Jarvi was one of two conductors selectedto study under then Boston Symphony and Met-ropolitan Opera Music Director James Levine,along with Masur, Stefan Asbury, and RafaelFrhbeck de Burgos. While at Tanglewood, Jarviconducted critically praised performances withthe Tanglewood Music Center Orchestra and theMark Morris Dance Group.

As the Resident Conductor of the St. LouisSymphony, Jarvi leads the Live at Powell Hall con-cert series, Family and Education concerts, andother musical events throughout the season. As a

guest conductor, recent engagements include theDetroit Symphony, Washington National Opera,Edmonton Symphony, Rochester Philharmonic,Charleston Symphony, and Ensemble Modern inFrankfurt, Germany.

Steven Jarvi was personally selected by Pl-cido Domingo to be the rst conductor everinvited to join the Domingo-Cafritz Young ArtistProgram at the Kennedy Centers Washing-

ton National Opera and is now Music Directorof Winter Opera Saint Louis. Recent operaticengagements include the world premiere of An American Soldier and Approaching Ali with Wash-ington National Opera, Philip Glasss Orphe with Virginia Opera, and La traviata , The Balladof Baby Doe , Tosca, Falstaff , and Lucia di Lammer- moor with Winter Opera Saint Louis.

Steven Jarvi makes hisSt. Louis Symphonysubscription concert debut

this weekend.


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KIERA DUFFY ANN AND PAUL LUX GUEST ARTIST

American soprano Kiera Duffy is recognized forboth her gleaming high soprano and insightful

musicianship in repertoire that encompassesHandel, Bach, and Mozart, as well as the modernsounds of Berg, Philip Glass, and John Zorn.

In the 2014-15 season, Duffy will be seen atCarnegie Hall in Schoenbergs Pierrot lunaire with James Levine and the Met Chamber Ensemble.She will also be seen as Le Feu/La Princesse inthe Laurent Pelly production of Ravels LEnfantet les sortilges at the Seiji Ozawa Music Academyin Japan under the leadership of Ozawa. Sherecently returned to the Collaborative Arts Insti-tute of Chicago.

Duffys 2013-14 season included perfor-mances of Carmina burana with the AtlantaSymphony under Robert Spano and her debut with the Detroit Symphony under LeonardSlatkin in the same work. She made her St.Paul Chamber Orchestra and Boston Baroquedebuts as soprano soloist in Handels Messiah,and appeared with the Charlotte Symphony inBachs St. Matthew Passion. She performed withEnsemble ACJW in Schoenbergs String QuartetNo. 2 at the Juilliard Schools Paul Hall. She madeher Australian debut touring with the AustralianChamber Orchestra in performances of MahlersSymphony No. 4. An active chamber musician,

Duffy performed Schoenbergs Pierrot lunaire atthe Bard SummerScape Festival as well as at theCharlottesville Chamber Music Festival in Vir-ginia. She also appeared with the Collaborative Arts Institute of Chicago in programs of Brittenand Beethoven.

Kiera Duffy was an accomplished pianistbefore pursuing singing and holds a Bachelorsand Masters Degree in Vocal Performance and

Pedagogy from Westminster Choir College. Duffyis the recipient of numerous awards and recogni-tion from such esteemed organizations as the Met-ropolitan Opera National Council, the Philadel-phia Orchestra Green eld Competition, and the Young Concert Artists International Competition.

Kiera Duffy performedthe role of Ghita inVicente Martn y Solers

rarely performed operaUna cosa rara at OperaTheatre of St. Louis.

S T E V E N

L A X T O N


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Jessica Cheng makesher solo debut with theSymphony performing La

primavera (Spring).

Angie Smart most recentlyperformed as a soloistwith the Symphony in January 2008.

D I L I P

V I S H W A N A T

D I L I P

V I S H W A N A T

JESSICA CHENG Jessica Cheng was born and raised in Arlington,Texas and moved to Los Angeles to earn her Bach-elor of Music degree at the University of SouthernCalifornia Thornton School of Music, where she

studied with Alice Schoenfeld. After receivingher bachelors in 2004, she earned her Master ofMusic from USC and was named OutstandingGraduate-Class of 2006. As a masters student,Cheng was Concertmaster of the USC Symphonyand Chamber Orchestra.

In addition to being a regular substitute withthe Paci c Symphony Orchestra, Cheng was the Assistant Concertmaster of the Santa BarbaraSymphony. She was also a member of Germanysprestigious Schleswig-Holstein Musik Festival for

ve summers, where she served as Concertmas -ter and Principal. Other music festivals attendedinclude New York Strings Seminar, Encore Schoolfor Strings, and Mimir Chamber Music Festival.

Jessica Cheng began her rst season with theSt. Louis Symphonys First Violin section in 2009.She plays on an 1825 Jean-Baptiste Vuillame.

ANGIE SMART Angie Smart has been a First Violinist with theSt. Louis Symphony since 1998. Originally fromEngland, she began violin lessons at the age ofsix and won a scholarship to study at ChethamsSchool of Music at the age of 13. She contin-ued her studies in the U.S. in 1990 where she

attended the University of Miami, Lamar Univer-sity in Texas, and completed her masters degreeat Rice University in Houston.

Smart has performed extensively in Europeand the U.S. with representation by Encore Con-certs, and has appeared as soloist with the Alham-bra Chamber Orchestra, Gorton Philharmonic,Lamar Chamber Orchestra, and both ChethamsChamber and Classical Orchestras. Her television

appearances have included master classes with Yehudi Menuhin and as the subject of the docu -mentary A Day in the Life of a Young Musician atChethams School of Music. Among other masterclasses, she has played for Midori and Zachar Bron.

Angie Smart has competed in the 10thInternational Tchaikovsky Competition and the Yehudi Menuhin Competition, and has beena prizewinner in many other competitions,


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including the British Violin Recital Prize, Eliza-beth Harper Vaughn Concerto Competition, andthe William C. Byrd Young Artists Competition.

JOOYEON KONG Jooyeon Kong was born in Seoul, Korea, whereshe began playing the violin at the age of seven.She continued violin studies at the Yewon School,the Seoul High School for the Arts, and the prepa-ratory division of the Peabody Institute of JohnsHopkins University. She earned her bachelorsdegree in music performance from the ShepherdSchool of Music at Rice University where shestudied with Kathleen Winkler, and her mastersdegree and Artist Diploma from the Yale Schoolof Music under the tutelage of Peter Oundjian.

A member of the St. Louis Symphony since2006, Jooyeon Kong has also been active as achamber musician and performer of new music,and has performed on numerous occasions inthe collaborative concert series presented by thePulitzer Foundation for the Arts and the St. LouisSymphony. Her festival appearances includeBanff, Bellingham, Yellow Barn, and Academiade Santander in Spain.

ALISON HARNEY Alison Harney began violin studies at the age ofseven in Lancaster, California, making her debut with the Los Angeles Philharmonic when she was13. Harney continued her studies at the Eastman

School of Music and the New England Conservatory.Harney was a coach for the National YouthOrchestra of the United States of America lastsummer. Other summer activities have includedthe Portland Chamber Music Festival in Maine,and the Cactus Pear Chamber Music Festival inSan Antonio.

Harney is the Principal Second Violin of theSt. Louis Symphony. Various solo performances with the orchestra include Bachs Double ViolinConcerto and Vivaldis Triple Concerto with Jaime Laredo, and Mozarts Concerto No. 3 with Alan Gilbert conducting. She performed the Bran-denburg Concerto No. 4 with fellow Symphonymusicians Mark Sparks and Jennifer Nitchman,Nicholas McGegan conducting; and, again underthe baton of McGegan, Alison Harney performedMozarts Violin Concerto No. 5.

Jooyeon Kong makesher solo debut with theSymphony performing

Lautunno (Autumn).

Alison Harney most recentlyperformed as soloist with theSymphony in November 2008.

D I L I P

V I S H W A N A T

J E R R Y

N A U N H E I M


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CONDUCTING SOLOISTS:STEVEN JARVI, RESIDENT CONDUCTOR

The most important thing to under-stand is that its a collaboration. Its not

just a matter of saying Slow down here.These are people I know as individuals.These are ve personalities. The idea ofcollaborative spirit is something that is very exciting to bring.

A BRIEF EXPLANATION You dont need to know what andante means or what a glockenspiel is to enjoya St. Louis Symphony concert, but its always fun to know stuff. For example,

what are The Four Seasons poems Steven Jarvi refers to in From the Stage?The Four Seasons Sonnets: there is considerable conjecture as to whether thefour concertos that make up the Seasons cycle were written to accompany foursonnets or vice versa; its also uncertain as to who wrote these sonnets, althoughsome believe Vivaldi wrote them himself; a sample from Winter : Frozen andshivering in the icy snow./ In the strong blasts of a terrible wind/ To runstamping ones feet at every step/ With ones teeth chattering through the cold.

Steven Jarvi


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YOU TAKE IT FROM HEREIf these concerts have inspired you to learn more, here are suggested sourcematerials with which to continue your explorations.

Alan Alda, director, The Four SeasonsDVDPerhaps no lm takes its cues from Vivaldiso explicitly as this mid-life saga, both funnyand sad, with Alda and Carol Burnett as thecentral couple

James Agee, A Death in the Family Penguin Classics Agees posthumously publishedautobiographical novel, an American original

Bryan Magee, Aspects of Wagner Oxford University PressFirst published in 1988, Magees slim volumeconveys the Wagner conundrum: a brilliant

artist and a horrible human being

Read the program notes online. Go to stlsymphony.org. Click Connect, then Program Notes. Also learn moreabout this season of anniversaries with videos and podcasts. Click Connect,then 10-50-135.

Keep up with the backstage life of the St. Louis Symphony, as chronicled by

Symphony staffer Eddie Silva, via stlsymphony.org/blog

Download our NEW APP! Buy tickets to concerts anywhere, anytime. Exploreupcoming performances, listen to podcasts, watch video, and share up-to-the-minute information about concerts, programs, and promotions.The new STLSymphony app is available for iPhone and Android. Search STL Symphony in your app store.

The St. Louis Symphony is on


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Select elegant Powell Hall for your nextspecial occasion. Visit: stlsymphony.org.Click About Us, then Hall Rental formore information.


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st. louis symphony extra - december 6, 2014

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