st. louis symphony program - dec. 1, 2012

7/30/2019 St. Louis Symphony Program - Dec. 1, 2012

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CONCERT PROGRAMNovember 30-December 1, 2012

David Robertson, conductorKirill Gerstein, piano

R. STRAUSS Don Juan, op. 20 (1888-89) (1864-1949)

THOMAS ADS In Seven Days (2008)(b. 1971)

ChaosLightDarkSeparation o the waters into sea and skyLandGrassTreesStarsSunMoonFugue: Creatures o the Sea and Sky

Creatures o the Land

Contemplation

Kirill Gerstein, piano

INTERMISSION

R. STRAUSS Till Eulenspiegels lustige Streiche (Till Eulenspiegels MerryPranks), op. 28 (1894-95)

HINDEMITH Symphonie Mathis der Maler (Matthias the Painter) (1933-34)(1895-1963)

Engelkonzert (Angelic Concert)Grablegung (Entombment)Versuchung des heiligen Antonius (Temptation o St. Anthony)


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ACKNOWLEDGMENTS

David Robertson is the Beofor Music Director and Conductor.

Kirill Gerstein is the Robert R. Imse Guest Artist.

The concert of Friday, November 30, is underwritten in part by a generousgift from Mrs. E. Desmond Lee.

The concert of Saturday, December 1, is underwritten in part by a generousgift from Dr. and Mrs. Nicholas T. Kouchoukos.

Pre-Concert Conversations are presented by Washington University

Physicians.

These concerts are part of the Wells Fargo Advisors Series.

Large print program notes are available through the generosity of MosbyBuilding Arts and are located at the Customer Service table in the foyer.


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TIMELINKS

1888-89R. STRAUSSDon Juan, op. 20Friedrich Nietzschewrites Twilight of the

Idols, which includesthe phrase What doesnot kill me makes mestronger.

1894-95R. STRAUSSTill Eulenspiegelslustige Streiche (TillEulenspiegels Merry

Pranks)Debussys Prelude to theAfternoon of a Faunpremieres

1933-34HINDEMITHSymphonie Mathis derMaler (Matthias thePainter)

Hitler appointed GermanChancellor

2008THOMAS ADSIn Seven DaysIllinois Sen. BarackObama achievessurprising victories in U.S.presidential primaries

The four compositions that comprise our concert

entail more than just music. Rather, each tellsa story. Richard Strauss conveys abandon andecstasy in his tone poem Don Juan, and impishhumor in Till Eulenspiegels lustige Streiche (TillEulenspiegels Merry Pranks). Thomas Ads relatesthe biblical account of creation through his pianoconcerto In Seven Days. And Paul HindemithsSymphonie Mathis der Maler (Matthias thePainter) gives a musical picture of three crucial

events in an opera based on the life of the 16th-century artist Matthias Grnewald.

Matthias Grnewalds Isenheim Altarpiece

STORYVILLEBY PAUL SCHIAVO


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RICHARD STRAUSSDon Juan, op. 20

THE LOVER AS ROMANTIC HERO Richard Straussinitially gained widespread attention in the 1880s

with a series of remarkable tone poems, orchestralpieces based on dramatic or literary ideas. Therst to achieve unqualied success was Don Juan.Strauss found his inspiration for the piece in averse fragment by the Austrian writer NikolausLenau. In that work, which Lenau left unnishedat his death in 1851, the poet transforms theDon Juan legend as the story of an archetypalRomantic hero. Instead of the cruel seducer wend in other versions of his story, Lenaus Donis a dreamer driven on an impossible pursuit ofideal beauty. That magical circle, immeasurablywide, of beautiful femininity, he declares inLenaus verses, I want to traverse in a storm ofpleasure, and die of a kiss upon the lips of thelast woman.

Lenaus text inspired Strauss to a bold and

original ight of musical fantasy. The composeroffered no specic program, no written narrative,for Don Juan, though it is doubtful that anyverbal explication could enhance the experienceof the composition. It is impossible to miss thesuggestions of sensuality, bravado, and deliriousight that ow from the music, and a listenerneeds no more than that. Don Juan is a greatshowpiece, a chance for any orchestra to show its

virtuosity. But Strauss can be lyrical also, as in thepoetic oboe solo that forms the focal point of thetone poems central episode.

BornJune 11, 1864, in Munich

DiedSeptember 8, 1949, inGarmish-Partenkirchen,Bavaria

First PerformanceNovember 11, 1889, in Weimar,conducted by the composer

STL Symphony PremiereJanuary 20, 1911, Max Zach

conducting

Most RecentSTL SymphonyPerformanceFebruary 3, 2009, WardStare conducting at BedellPerormance Hall, SoutheastMissouri State University,Cape Girardeau, Missouri

Scoring3 futespiccolo2 oboesEnglish horn2 clarinets2 bassoonscontrabassoon4 horns3 trumpets

3 trombonestubatimpanipercussionharpstrings

Performance Timeapproximately 17 minutes


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THOMAS ADSIn Seven Days

MUSIC OF CREATION Strauss based Don Juanon a poetic retelling of a secular legend. But

sacred stories also have inspired composers.In particular, the creation story recounted inthe Book of Genesis formed the basis for FranzJoseph Haydns oratorio The Creation, completedin 1798, and also for Thomas Adss 2008 pianoconcerto In Seven Days.

Ads is widely regarded as the outstandingEnglish composer of his generation. Hiscompositions for instruments, as well astwo operas, show a remarkable mastery of acontemporary yet personal musical idiom.Ads has held several composer-in-residenceposts and has appeared in major venues as apianist and conductor. In 2000 he became theyoungest composer ever to receive the prestigiousGrawemeyer Award.

In Seven Days is an unusual concerto, and

not only for its reection of the biblical creationstory. The work is cast in seven connectedmovements, conforming to the seven days duringwhich, Genesis tells us, God labored to make theheavens, the earth and its creatures. The rstmovement, ChaosLightDark, traces a longarc from simplicity and formlessness to evermore complex and organized musical textures.The combination of several musical lines moving

at different speeds bespeaks the inuence of theextraordinary Studies for Player Piano composedin the middle of the last century by the Americancomposer Conlon Nancarrow, pieces that Adshas studied deeply, arranged, and performed.

The second day of creation brings theseparation of sea and sky. Ads suggests thiswith violent chords and other sounds that imply

wrenching forces and cataclysmic energies, asocean and rmament take their distinct shapes.By contrast, the emergence of land, grass,and trees brings music of calm, organic andinexorable growth, leading to magnicently richand complex colors and textures. The creation ofthe sun, stars, and moon on the fth day beginsas a seamless extension of that process, thoughhere the timbres are bright, shining, and airy.

BornMarch 1, 1971, in London

Now residesLondon

First performanceApril 28, 2008, in London;Nicolas Hodges was thepiano soloist, and thecomposer conducted theLondon Sinonietta

STL Symphony Premiere

This weekScoringsolo piano3 futesalto fute2 piccolos3 oboes3 clarinets3 bassoonscontrabassoon4 horns3 trumpets3 trombonestubatimpanipercussionstrings


Maurice

Foxall


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But Ads reserves the works mostspectacular display of musical proliferation forthe creation of birds and sea and land creatures.Beginning with jaunty contrapuntal music for thehigh woodwinds, this quickly evolves into what

seems a teeming sonic biosphere. There followsa coda that Ads has titled Contemplation,since, as Genesis tells us, on the seventh dayGod ended his work which he had made; andhe rested .... Yet the music does not concludein stillness. Rather, brief stirrings conrm theBiblical narrative that the process of creationwill soon recommenceleading to, among other

things, the making of man.

RICHARD STRAUSSTill Eulenspiegels lustige Streiche (Till Eulenspiegels

Merry Pranks), op. 28

A LEGENDARY PRANKSTER Since the 16thcentury, accounts have circulated of the deeds

and misdeeds of Till Eulenspiegel, one of themost colorful gures in German folklore. Till wasa rogue, a prankster and, above all, an impudentmocker of authority. Confusion and disorderfollowed him everywhere. He overturned stallsin the marketplace, caricatured priests andpoliticians, seduced young girls and deceivedold maids. His tricks usually were at the expenseof the most staid members of societythe rich,the pious, the dull, and the prudishand thusprovided both entertainment and social satire.

Tills fame has spread beyond Germanylargely by way of the musical portrait of himcreated by Richard Strauss in Till Eulenspiegelslustige Streiche, a title usually translated as TillEulenspiegels Merry Pranks. Completed in1895, this tone poem is unusual among Strausss

works in this form for its brevity, humor, and lackof a detailed programthat is, an outline of thedramatic ideas embodied in the music. On thislast matter, the composer wrote: It is impossiblefor me to furnish a program for Till Eulenspiegel;were I to put into words the thoughts whichits several incidents suggest to me, they wouldnot sufce for the listener and might even giveoffense. Let me therefore leave it to my hearers to

First PerformanceNovember 1895, in Cologne,conducted by Franz Wllner

STL Symphony PremiereMarch 8, 1912, Max Zachconducting

Most RecentSTL SymphonyPerformanceNovember 29, 2008, MarcAlbrecht conducting

Scoring3 futespiccolo3 oboesEnglish horn

2 clarinetsbass clarinetE-fat clarinet3 bassoonscontrabassoon4 horns3 trumpets3 trombonestubatimpani

percussionstrings



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crack the nut the rogue has presented them. He went on to admit only thatthe nal scene of the tone poem represents Tills capture, trial, and hanging.

A MUSICAL ROMPTill Eulenspiegel opens with ve measures of prologue whosegentle musing seems to say: Once upon a time .... Immediately the horn

intrudes with the rst of two thematic ideas associated with the title character.The second, a sly motif announced by a solo clarinet, follows shortly. Thesetwo subjects appear repeatedly and in a variety of guises in the episodes thatfollow, as the orchestra romps with Till through his riotous adventures.

But just as the proceedings reach a height of exuberance, they are haltedby a chilling drum roll. Loud chords now thunder accusations at Till, which heanswers with the insolent clarinet motif. This gure persists even as the ropeis tightened around his neck, at last ending in a squeal as the gallows claim

the prankster. Now the mild music of the prologue returns, as if to assure usthat all this has been only a story. But Till may yet have the last laugh: the nalmoments suggest his spirit still alive and at large in the world.

PAUL HINDEMITHSymphonie Mathis der Maler(Matthias the Painter)

A COMPOSER UNDER FIRE Paul Hindemiths opera Mathis der Maler(Matthias

the Painter) was born of a collision between artistic ideals and political reality,which describes both the works subject and the conditions surrounding itscreation. Hindemith rst considered composing a work on the life of MatthiasGrnewald, the 16th-century painter, in 1932. At rst, he found insufcientdrama in the subject and turned to other projects. But historic events soonchanged his mind. In January 1933, Hitler became Chancellor of Germany,and ofcial denunciation of decadent modern artists began to issue from hisMinistry of Culture. Hindemith was a prime target.

In these changed circumstances, the subject of Matthias the Painter tookon entirely new meaning. In June 1933, Hindemith began writing an operalibretto that told an allegorical drama of an artist, Matthias, caught in a politicalmaelstrom, the Peasants War of 1524. He is gripped by the subject, a friendreported, the atmosphere in which he is steeped, the overall parallels betweenthose former times and our own, and above all by the theme of the artistslonely fate.

Hindemith was still in the early stage of his work on Mathis der Malerwhen he received a request from Wilhelm Furtwngler, conductor of the Berlin

Philharmonic, for a new orchestral piece. The composer had already decidedto preface each of the operas acts with an instrumental prelude that would be akind of musical representation of one of the panels of the Isenheim Altarpiece,Grnewalds most famous work. Not wishing to disrupt his concentration onthe opera, he adapted three of these preludes to create a symphonic score.

The success of the resulting Symphonie Mathis der Malerit was loudlyapplauded and favorably reviewedpersuaded Hindemith that performanceof the opera would proceed routinely. This was not to be. In June 1934, theNazis banned Hindemiths music from radio broadcast. Permission to produce


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BornNovember 16, 1895, in Hanau,

near FrankurtDiedDecember 28, 1963, inFrankurt

First PerformanceMarch 12, 1934, in Berlin;Wilhelm Furtwnglerconducted the BerlinPhilharmonic

STL Symphony PremiereJanuary 22, 1943, VladimirGolschmann conducting

Most RecentSTL SymphonyPerformanceMarch 15, 1998, Hans Graconducting

Scoring

2 futespiccolo2 oboes2 clarinets2 bassoons4 horns2 trumpets3 trombonestubatimpani

percussionstrings


Mathis was denied soon thereafter. The operawas nally staged in 1938 in Switzerland, whereHindemith would soon be living as a refugee.

MUSIC ANGELIC AND HUMAN The rst of

the symphonys three movements opens withcelestial chords and a melody, announced bythe trombone, based on a folk tune whose titletranslates Three Angels Sang a Sweet Song. Withthis prelude concluded, Hindemith proceeds tothe main portion of the movement, whose climaxis marked by a return of the folk tune.

The tone of the second movement is subdued

and reverent. In the nale, Matthias relives thetemptations of St. Anthony, as various charactersfrom the opera appear in a vision and tempthim with pleasure and power. Matthias resists,and the symphony closes with a great hymn ofthanksgiving.

Program notes 2012 by Paul Schiavo


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DAVID ROBERTSONBEOFOR MUSIC DIRECTOR AND CONDUCTOR

A consummate musician, masterful programmerand dynamic presence, David Robertson hasestablished himself as one of todays most

sought-after American conductors. A passionateand compelling communicator with an extensiveorchestral and operatic repertoire, he has forgedclose relationships with major orchestrasaround the world through his exhilaratingmusic-making and stimulating ideas. In fall2012, Robertson launched his eighth seasonas Music Director of the 133-year-old St. LouisSymphony. In January 2014, Robertson willassume the post of Chief Conductor and ArtisticDirector of the Sydney Symphony in Australia.

In September 2012, the St. Louis Symphonyand Robertson embarked on a European tour,which included appearances at Londons BBCProms, at the Berlin and Lucerne festivals, andculminated at Pariss Salle Pleyel. In March2013 Robertson and his orchestra return

to California for their second tour of theseason, which includes an intensive three-dayresidency at the University of California-Davisand performance at the Mondavi Center forthe Performing Arts, with violinist James Ehnesas soloist. The orchestra will also perform atvenues in Costa Mesa, Palm Desert, and SantaBarbara, with St. Louis Symphony PrincipalFlute, Mark Sparks, as soloist.

In addition to his current positionwith the St. Louis Symphony, Robertsonis a frequent guest conductor with majororchestras and opera houses around theworld. During the 2012-13 season he appearswith prestigious U.S. orchestras such asthe New York Philharmonic, Los AngelesPhilharmonic, and San Francisco Symphony,as well as internationally with the Royal

Concertgebouw Orchestra, Symphonieorchesterdes Bayerischen Rundfunks, Vienna RadioSymphony Orchestra, Israel Philharmonic, andEnsemble Intercontemporain.

Born in Santa Monica, California, DavidRobertson was educated at Londons RoyalAcademy of Music, where he studied hornand composition before turning to orchestralconducting.

David Robertson next leadsthe St. Louis Symphony inthe BMO Bank New Years

Eve Celebration.

MichaelTaMMaro


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KIRILL GERSTEINROBERT R. IMSE GUEST ARTIST

In January 2010, Kirill Gerstein was named therecipient of the 2010 Gilmore Artist Award. Onlythe sixth pianist to have been so honored, the

Gilmore Award is given to an exceptional pianistwho possesses broad and profound musicianshipand charisma, and who desires and can sustaina career as a major international concert artist.He has since shared his Gilmore prize bycommissioning boundary-crossing new worksby Brad Mehldau and Chick Corea. Gerstein wasalso awarded an Avery Fisher Career Grant inApril 2010, and received a 2002 Gilmore YoungArtist Award as well as rst prize at the 2001Arthur Rubinstein Piano Competition in Tel Aviv.

Highlights of Gersteins 2012-13 seasoninclude subscription debuts with the PhiladelphiaOrchestra and the Boston, Toronto, and Montrealsymphonies and with the Czech Philharmonic,NDR Hamburg, RSB Berlin, and TonknstlerSymphony Vienna; re-engagement with the

Philharmonia Orchestra in London at the Promsand in recital at Queen Elizabeth Hall; and arst appearance at the Santa Fe Chamber MusicFestival and a return to the Bravo! Vail ValleyMusic Festival with the Philadelphia Orchestra.

Born in 1979 in Voronezh, Russia, Gersteinattended one of the countrys special musicschools for gifted children and taught himselfto play jazz by listening to his parents extensive

record collection. He came to the U.S. at 14 tostudy jazz piano as the youngest student ever toattend Bostons Berklee College of Music, but alsocontinued his classical studies. At the age of 16 hedecided to focus on classical music and moved toNew York City to attend the Manhattan Schoolof Music.

Kirill Gerstein became an American citizenin 2003 and is currently a professor of piano at

the Musikhochschule in Stuttgart. For furtherinformation visit www.kirillgerstein.com.

Kirill Gerstein most recentlyperormed with the St. LouisSymphony in January 2011.

Marco

Borggreve


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

instance, what is a motif?

Motif: In Paul Schiavos notes toTill Eulenspiegels lustige Streiche (Till EulenspiegelsMerry Pranks) he describes: a sly motif announced by a solo clarinet. What theclarinet announces is a melodic idea. This is not a vague idea. Rather, it is well-dened enough that as it is elaborated upon, and transformed and combinedwith other materials, it retains its identity. Youll recognize that sly clarinetwherever or whenever it reappears. A motif (or motive) holds up.

MY INSTRUMENTS:FLUTE, ALTO FLUTE, AND PICCOLOJENNIFER NITCHMANI play all three of these instruments in theThomas Ads piano concerto.

The alto ute is a lot bigger and heavierthan the regular ute. The one Im playingfor In Seven Days I borrowed from AndreaKaplan (Associate Principal Flute). It hasa curved head joint, which makes it easierto play. You can hold it closer to your bodyso your arm isnt stretched out carrying the

weight of it. The curved head makes it look alittle funny though.You need to be more relaxed when

playing the alto, be more open for a goodsound. Its a pretty sound. Its mellow. I like it.

And I switch to piccolo. Its a workoutplaying all three: from super-low alto toreally high and really soft. Im having muscleconfusion in my embouchure. Its a challenge

to play all three parts. There is more than alittle bit of timing involved.

Flutists Jennier Nitchman (let)

and Andrea Kaplan


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

Search Richard Strauss ConductingYouTubeRare lm of Strauss conducting TillEulenspiegels lustige Streiche, with oftenhumorous commentary by George Szelland others

Thomas Ads: Full of Noises: Conversations

with Tom ServiceFarrar, Straus and GirouxInterviews with the composer by anexcellent British music journalist

Paul Hindemith,A Composers World:Horizons and LimitationsSchottThe composer talks about his art in termsmusicians and non-musicians can readilycomprehend

Read the program notes online atstlsymphony.org/planyourvisit/programnotes

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

Symphony staffer Eddie Silva, via stlsymphony.org/blog

The St. Louis Symphony is on


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CORPORATE DONOR SPOTLIGHTMACYS, INC.

Macys, Inc. is one of the nations premier retailers. With approximately

166,000 employees, the company operates about 850 department stores in45 states, the District of Columbia, Guam, and Puerto Rico under the namesof Macys and Bloomingdales, as well as the macys.com and bloomingdales.com websites. The companys roots stretch back to 1858 when R.H. Macy &Co. opened in New York City.

Who are your customers?Our stores offer merchandise for theentire familymen, women, teens andchildrenplus an extensive collectionof merchandise for the home.

What does Macys, Inc. look for whenchoosing organizations to support?Our primary objective is to give back tothe communities where our employeeswork and live. Its part of our heritage

to be a responsible neighbor and towork toward making our hometownsstronger and more vibrant. In fact,give back is one of our brand valuesand it is a legacy we honor every day.We also have ve focus areas for ourphilanthropic support and the arts isone of those areas.

Why does Macys, Inc. support the St. Louis Symphony?Macys, Inc. believes that a strong arts culture can inspire widely diverseaudiences in our communities, touching each individual in deeply meaningfulways. The St. Louis Symphony is a prime example. Its a jewel in the culturallife of St. Louis, and we are proud that our support will help continue to makeit accessible to everyone.

What value does Macys, Inc. receive by supporting the St. Louis Symphony?

A renowned orchestra such as the St. Louis Symphony and the otherexceptional arts organizations in this city contribute mightily to enriching theenergy and quality of life herefor our customers and associates.

Why should other organizations support the St. Louis Symphony?To help keep the St. Louis metropolitan region attractive as a place to work andlive, we need to ensure the community is vibrant, energetic and stimulating.Support for the excellence that is the St. Louis Symphony is an important steptoward that achievement.

Macys, Inc. presents the St. Louis SymphonyHoliday Celebration, December 21-23.


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AUDIENCE INFORMATION

BOX OFFICE HOURS

Monday-Saturday, 10am-6pm; Weekdayand Saturday concert evenings through

intermission; Sunday concert days12:30pm through intermission.

TO PURCHASE TICKETS

Box Ofce: 314-534-1700Toll Free: 1-800-232-1880Online: stlsymphony.org

Fax: 314-286-4111A service charge is added to alltelephone and online orders.

SEASON TICKET EXCHANGE POLICIES

If you cant use your season tickets,simply exchange them for another

Wells Fargo Advisors subscriptionconcert up to one hour prior to yourconcert date. To exchange your tickets,please call the Box Ofce at 314-534-1700 and be sure to have your tickets

with you when calling.

GROUP AND DISCOUNT TICKETS

314-286-4155 or 1-800-232-1880 Anygroup of 20 is eligible for a discount ontickets for select Orchestral, Holiday,or Live at Powell Hall concerts. Callfor pricing.

Special discount ticket programs areavailable for students, seniors, andpolice and public-safety employees.

Visit stlsymphony.org for moreinformation.

POLICIES

You may store your personalbelongings in lockers located on the

Orchestra and Grand Tier Levels at acost of 25 cents.

Infrared listening headsets are availableat Customer Service.

Cameras and recording devices aredistracting for the performers andaudience members. Audio and videorecording and photography are strictly

prohibited during the concert. Patronsare welcome to take photos before theconcert, during intermission, and afterthe concert.

Please turn off all watch alarms, cellphones, pagers, and other electronicdevices before the start of the concert.

All those arriving after the start of the

concert will be seated at the discretionof the House Manager.

Age for admission to STL Symphonyand Live at Powell Hall concerts

vary, however, for most events therecommended age is ve or older. Allpatrons, regardless of age, must havetheir own tickets and be seated for all

concerts. All children must be seatedwith an adult. Admission to concerts isat the discretion of the House Manager.

Outside food and drink are notpermitted in Powell Hall. No food ordrink is allowed inside the auditorium,except for select concerts.

Powell Hall is not responsible for

the loss or theft of personal property.To inquire about lost items, call314-286-4166.

POWELL HALL RENTALS

Select elegant Powell Hall for your nextspecial occasion.

Visit stlsymphony.org/rentalsfor more information.


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BOUTIQUE

WHEELCHAIR LIFT

BALCONY LEVEL(TERRACE CIRCLE, GRAND CIRCLE)

GRAND TIER LEVEL

(DRESS CIRCLE, DRESS CIRCLE BOXES,GRAND TIER BOXES & LOGE)

MET BAR

TAXI PICK UPDELMAR

ORCHESTRA LEVEL(PARQUET, ORCHESTRA RIGHT & LEFT)

WIGHTMAN

GRAND

FOYERTICKET LOBBY

CUSTOMER

SERVICE

LOCKERS

WOMENS RESTROOM

MENS RESTROOM

ELEVATOR

BAR SERVICES

HANDICAPPED-ACCESSIBLE

FAMILY RESTROOM

POWELL HALL

st. louis symphony program - dec. 1, 2012

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