st. louis symphony program - march 23, 2013

7/29/2019 St. Louis Symphony Program - March 23, 2013

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CONCERT PROGRAMMarch 23-24, 2013

David Robertson, conductorMark Sparks, fute

David Halen, violin

COPLAND Quiet City (1939-40) (1900-1990)

Cally Banham, English hornThomas Drake, trumpet

CHRISTOPHER ROUSE Flute Concerto (1993) (b. 1949)

AmhrnAlla MarciaElegiaScherzo

Amhrn

Mark Sparks, ute

INTERMISSION

BERNSTEIN Serenade (ater Platos Symposium) (1954)

(1918-1990) Phaedrus; Pausanias: Lento; Allegro marcatoAristophanes: AllegrettoEryximachus: PrestoAgathon: AdagioSocrates; Alcibiades: Molto tenuto; Allegro molto vivace

David Halen, violin

COPLAND Four Dance Episodes rom Rodeo (1942)

Buckaroo HolidayCorral NocturneSaturday Night WaltzHoe Down


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ACKNOWLEDGMENTS

David Robertson is the Beofor Music Director and Conductor.

Mark Sparks is the Helen E. Nash, M.D. Guest Artist.

David Halen is the Sanford N. and Priscilla R. McDonnell Guest Artist.

The concert of Saturday, March 23, is the Joanne and Joel Iskiwitch Concert.

The concert of Saturday, March 23, is underwritten in part by a generous giftfrom Mr. and Mrs. William C. Rusnack.

The concert of Sunday, March 24, is underwritten in part by a generous gift fromJo Ann Taylor Kindle.

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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FROM THE STAGEMark Sparks on Christopher Rouses Flute Concerto: Its a work I seem to be

returning to. Its a piece that is written on a larger scale than utists are usedto playing. It offers a larger and wider range of possibilities. Perhaps morethan any other concerto for ute, the solo instrument is given materials thatare on a level of the great violin and piano concertos. It may be the mostimportant concerto written for ute in the 20th century.

Im fortunate in that I have a nice friendship with the composer. Havingaccess to the composer is a really great thing. I can ask questions and getanswers right from the person who wrote it. Thats awesome.

Chris places the soloist in an almost novelistic role. Its a very dramatic

piece and you change characters, you change points of view. You can go fromelation to utter horror. Formally its cyclical, meaning you end up where youstarted. I think of it as beginning at a fair, and you go into the haunted houseon a sunny day. You witness various things there. You go through differentpsychological states. You return to where you started, but maybe you noticethis sunny day isnt so sunny after all.

Its also Chriss most likeable and approachable work. He takesinspiration from British music, from dances and processionals. The mostmelodic music comes from Irish tradition, Irish song. He evokes those kindsof imagesthink ofHow Green Was My Valley.

Mark Sparks


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TIMELINKS

1939-42COPLANDQuiet CityFour Dance Episodes romRodeo

World War II expandsacross the globe

1954BERNSTEINSerenade (ater PlatosSymposium)Army-McCarthy hearingshelp to bring downSen. Joseph McCarthy

and McCarthyism

1993CHRISTOPHER ROUSEFlute ConcertoGreat Flood devastatesthe Midwest

During the early years of the 20th century, the

United States emerged as a dominant power onthe world stage. Coincidentally or not, the sameperiod saw the creation of the rst Americanconcert music of international importance,and throughout the last century our nationscomposers have solidied their standing as artistsof the highest caliber. Whereas England, France,Germany, Russia, and many other nations haveproduced outstanding creative musicians during

the past hundred years, no country has seen morelively or original musical activity than ours. Muchof that activity has been in the elds of jazz andother styles of popular music, but those idiomshave enriched the character and complexionof American concert works, which also havecaptured the worlds attention.

Our concert presents American music

from the last century. It features two reveredcomposersAaron Copland and LeonardBernsteinwhose place in our nations culturalhistory is assured, as well as a younger manwhose work attests to the continued vitality ofour still relatively young musical tradition.

AMERICAN MASTERSBY PAUL SCHIAVO


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AARON COPLANDQuiet City

FROM THEATER TO CONCERT MUSIC In the springof 1939, Aaron Copland received a commission

to write incidental music for a new play by theAmerican dramatist Irwin Shaw. Entitled QuietCity, Shaws work imagined nocturnal scenesand the night thoughts of various characters ina modern urban setting. Copland was becomingquite accustomed to producing music ondramatic themes. Already he had demonstrateda theatrical air with his highly successful balletsEl Saln Mxico and Billy the Kid. The sameyear, 1939, also saw the creation of lm scoresfor The City and Of Mice and Men, as well asincidental music for another play, Five Kings, aShakespearean potpourri starring and directedby Orson Welles.

Copland produced the music for Shawsdrama as requested, but the play was withdrawnafter two trial performances. In the summer of

1940, the composer reworked the scores mainmusical ideas into a piece for small orchestra,and in this form Quiet City was played for the rsttime in January 1941.

The work is scored for a small ensemble ofstrings, English horn, and trumpet, the lattertreated essentially as a solo instrument. (In theplay, the main protagonist plays the trumpet,his music serving, as Copland stated, to arouse

the conscience of his fellow players and of theaudience.) The opening measures have thestring choir and English horn outlining widelyspaced chords, creating an impression of greatstillness, and a three-note motif that proves thethematic germ for the entire piece. Soon thetrumpet counters with nervous repeated notesand more rhapsodic phrases. The music slowly

builds in intensity, at last reaching a stirringclimax. From here it returns to its original moodand material, closing quietly and pensively.

BornNovember 14, 1900, Brooklyn,

New YorkDiedDecember 2, 1990, Tarrytown,New York

First PerformanceJanuary 28, 1941, at NewYorks Town Hall, DanielSaidenberg conducted theSaidenberg Little Symphony

STL Symphony PremiereDecember 26, 1942, VladimirGolschmann conducting

Most Recent STL SymphonyPerformanceDecember 12, 2008, DavidRobertson conducting

ScoringEnglish horn

trumpetstrings

Peformance Timeapproximately 10 minutes


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CHRISTOPHER ROUSEFlute Concerto

A ROMANTIC AT HEART Christopher Rouse hasachieved a remarkable dual success, writing

music that is highly respected within hisprofession and deeply appreciated by concertaudiences. Although he is well schooled in themodern techniques of his craft, communicationhas always been Rouses principal concern.Indeed, Rouse has said that compositionaltechnique is always less important than my needto express, which must mean that Ive always beena Romantic at heart. A neo-Romantic, perhaps,but by any description, the beauty and intenseexpressiveness of Rouses music has won acclaimfrom critics and music-lovers alike. In 1993 hisTrombone Concerto received the Pulitzer Prize.Rouse now holds a faculty position at the JuilliardSchool and serves as composer-in-residence withthe New York Philharmonic Orchestra.

Rouse composed his Flute Concerto in

1993 for the stellar utist Carol Wincenc. Thecomposer explains that the work was inspiredlargely by the rich musical tradition of theBritish Isles. Although both of my parentsfamilies immigrated to America well before theRevolutionary War, the composer observes in apreface to his concerto, I nonetheless still feel adeep ancestral tug of recognition whenever I amexposed to arts and traditions of the British Isles,

particularly those of Celtic origin. He goes onto say that the kinship I feel with this heritagereected in musical sources as distinct as Irishfolk songs, Scottish bagpipe music and Englishcoronation marchesnever fails to summon forthfrom me a profoundly intense reaction of bothrecognition and homesickness.

SONG, DANCE, MARCH, ELEGY The concertosve movements form an arch design. At each endare very similar movements titled Amhrn, theGaelic word for song. True to that meaning,these opening and closing portions of thecomposition have the solo instrument singingalmost in the manner of an Irish folk song overeloquent, slow moving harmonies.

BornFebruary 15, 1949, Baltimore,

MarylandNow residesBaltimore

First performanceOctober 27, 1994, in Detroit,Carol Wincenc played theeatured ute part with theDetroit Symphony Orchestra;Hans Vonk, who later becameMusic Director o the St.Louis Symphony, conducted

STL Symphony PremiereApril 8, 2005, Mark Sparkswas soloist, with DavidRobertson conducting

Most Recent STL SymphonyPerformanceMarch 20, 2013, Sparks andRobertson combining again

on the just completedCaliornia tour

Scoringsolo ute3 utes2 oboes2 clarinets2 bassoonscontrabassoon4 horns2 trumpets3 trombonestubaharptimpanipercussionstrings

Performance Timeapproximately 28 minutes


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The heart of the concerto, in every sense,is the third movement. Rouse conceived it as arequiem for James Bulger, a child whose abductionand murder by a pair of 10-year-old English boysshocked all of Britain and the composer, who

responded with this great elegiac outpouring.On each side of that centerpiece comes lively

music: a march as the second portion of thework, and, as the fourth, a scherzo with rhythmssuggesting a jig. Although clearly referring totraditional kinds of music, Rouse refracts thecharacteristic sound of his models through theprism of his own sensibility.

LEONARD BERNSTEINSerenade (ater Platos Symposium)

IN PRAISE OF LOVE Leonard Bernsteins Serenadefor solo violin with strings and percussionis widely regarded as the late composer andconductors nest concert piece. Bernstein wrote

it, in 1954, after re-reading Platos Symposium,one of the Greek thinkers famous philosophicaldialogues. In that work, Plato recounts aconversation among a group of inquiring mindsthat has gathered over dinner in ancient Athensto consider the nature of love. Although the titlesof the ve movements that comprise Serenadeclearly refer tothe Symposium, Bernstein denied aliteral correspondence between Platos work andhis own. He admitted only that the music, likethe dialogue, is a series of related statements inpraise of love, and generally follows the Platonicform through the succession of speakers at thebanquet. Each movement grows out of musicalideas presented in the previous one, and each isdominated by the solo violin.

SOBER DIALOGUE, HEDONISTIC REVEL Bernsteinidentied Platos speakers in the headings ofeach movement. The opening presents Phaedrus,who begins the proceedings with a lyrical ode toEros, and then Pausanias, whose description ofthe dualistic quality of loveearthly and celestial,physical and spiritualis mirrored in a movementbased on two contrasting themes. In the second

BornAugust 25, 1918,Lawrence, Massachusetts

DiedOctober 14, 1990,New York City

First PerformanceSeptember 12, 1954, in Venice,

Isaac Stern was the eaturedviolinist, the composerconducted

STL Symphony PremiereFebruary 20, 1982, JacquesIsraelievitch was soloist, withLeonard Slatkin conducting

Most Recent STL SymphonyPerformanceMay 6, 2007, James Ehnes was

soloist, with Michael Christieconducting

Scoringsolo violinharppercussionstrings



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movement, the playwright Aristophanes invokesthe mythology of love.

Next comes the physician Eryximachus,who proposes bodily harmony as a model forlovers compatibilities. Bernstein described the

music for this third movement as an extremelyshort fugato scherzo, born of a blend of mysteryand humor. By contrast, the ensuing movement,inspired by Agathons speech praising lovescharms, is a simple aria in slow tempo.

The nale begins with a weighty prologue,representing Socratess speech on the demonicpower of love. This is interrupted, however, by

the entrance of Alcibiades, who leads a band ofdrunken followers. They turn the gathering intoa hedonistic revel that Plato seems to suggest isas true to the spirit of love as any of the soberdiscourses that have gone before. If there is ahint of jazz in the celebration, Bernstein wroteof this nal part of his score, I hope it will notbe taken as anachronistic Greek party music, butrather the natural expression of a contemporary

American composer imbued with the spirit ofthat timeless dinner party.

AARON COPLANDFour Dance Episodes romRodeo

A FRONTIER BALLET Aaron Copland is probablybest known for three ballet scores he composedfrom 1938 to 1946. The rst was Billy the Kid,the last the justly famous Appalachian Spring.The central portion of this ballet triptychoriginated in 1942 when Agnes de Mille, theAmerican dancer and choreographer, askedCopland to write music for a new ballet set ona western ranch. Having already composed onecowboy ballet, Copland was reluctant to acceptthe assignment. But de Mille persuaded him by

promising that her work would be unlike Billythe Kid: no legendary outlaws, no high drama,just a simple and universal story in a pastoralAmerican setting.

That story could hardly have been moreelemental. A cowgirl raised at Burnt Ranchcompetes for the attention of the young ranchhands. Her search for romance culminates ata Saturday night barn dance, where she nally

First performanceMay 28, 1943, in Boston,Arthur Fiedler conducted theBoston Pops Orchestra

STL Symphony PremiereAugust 18, 1973, the completeFour Dance Episodes wasfrst conducted by AaronCopland

Most Recent STL SymphonyPerformanceOctober 26, 2000, DavidAmado conducted a KinderKonzert

Scoring

3 utes2 piccolos2 oboesEnglish horn2 clarinetsbass clarinet2 bassoons4 horns3 trumpets3 trombones

tubatimpanipercussionharppianocelestastrings



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gains a suitor. Rodeo, originally subtitled The Courting at Burnt Ranch,debuted in October 1942 and enjoyed an immediate success. The freshnessof de Milles choreography certainly accounted for some of the works appeal,but Coplands music was no less important. Among other things, Rodeo gavefurther evidence of the fertility of the composers use of American folk music,

from which he also drew for his celebrated scores for Billy the Kid, LincolnPortrait,Appalachian Spring,and other works.

DANCE AND FOLK MUSIC Shortly after Rodeo opened, Copland adapted aconcert suite of four dances from his ballet score. The rst of these dances,Buckaroo Holiday, uses two authentic folk melodies: If he be a Buckaroo byHis Trade (an old cowboy song that Copland introduces by way of a trombonesolo); and Sis Joe. Rhythmic dislocations, sudden pauses, and unprepared

shifts of harmony impart a comic touch to the music. After treating each tuneseparately, Copland combines them in complex counterpoint.The ensuing Corral Nocturne is a tender interlude in an asymmetrical

5/4 meter and marked by evocative woodwind solos. Copland stated that hewanted this music to convey the sense of loneliness felt by the ballets youngheroine. Saturday Night Waltz, the third movement, hints at the sound ofcountry ddlers tuning up, as well as at the cowboy tune Old Paint. Thenal dance, Hoe Down, has long been the most popular portion ofRodeo.Here Copland quotes two squaredance tunes, Bonypart and McLeods

Reel, using the sound of country ddling to impart a lively rural atmosphere.

Program notes 2013 by Paul Schiavo


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DAVID ROBERTSONBEOFOR MUSIC DIRECTOR AND CONDUCTOR

David Robertson has established himself asone of todays most sought-after American

conductors, and has forged close relationshipswith major orchestras around the world throughhis exhilarating music-making and stimulatingideas. In fall 2012, Robertson launched hiseighth season as Music Director of the 133-year-old St. Louis Symphony. In January 2014, whilecontinuing as St. Louis Symphony music director,Robertson also will assume the post of ChiefConductor and Artistic Director of the SydneySymphony 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 returnedto California for their second tour of the

season, which included an intensive three-dayresidency at the University of California-Davisand performance at the Mondavi Center for thePerforming Arts, with violinist James Ehnes assoloist. The orchestra also performed at venuesin Costa Mesa, Palm Desert, and Santa Barbara,with St. Louis Symphony Principal Flute, MarkSparks, as soloist.

In addition to his current position with the

St. Louis Symphony, Robertson is a frequentguest conductor with major orchestras andopera houses around the world. During the2012-13 season he appears with prestigious U.S.orchestras such as the New York Philharmonic,Los Angeles Philharmonic, and San FranciscoSymphony, as well as internationally with theRoyal Concertgebouw Orchestra, Vienna Radio

Symphony Orchestra, Israel Philharmonic, andEnsemble Intercontemporain.Born in Santa Monica, California, David

Robertson was educated at Londons RoyalAcademy of Music, where he studied hornand composition before turning to orchestralconducting.

David Robertson and theSt. Louis Symphony just

completed their Caliorniatour.

MichaelTaMMaro


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MARK SPARKSHELEN E. NASH, M.D. GUEST ARTIST

Mark Sparks was appointed Principal Flute ofthe St. Louis Symphony by the late Hans Vonk in

2000. He is a frequent soloist with the Symphonyand other orchestras and has performed inthe United States, Europe, Scandinavia, SouthAmerica, and Asia. He has appeared as GuestPrincipal Flutist with many ensembles, includingthe New York Philharmonic, Chicago Symphony,Pittsburgh Symphony, Detroit Symphony, andthe Bergen (Norway) Philharmonic. In additionto these performances of the Rouse Concertowith the St. Louis Symphony, Sparks has recentlyperformed the piece in Singapore and Taiwan,with plans underway for both the Chinese andKorean premieres.

Prior to his appointment in St. Louis, Sparkswas Associate Principal Flute with the BaltimoreSymphony under David Zinman, and PrincipalFlute of the San Antonio Symphony and the

Memphis Symphony.This summer Sparks returns to the AspenMusic Festival and School where he is an artist-faculty member and Principal Flute of the AspenChamber Symphony. He also will be teachinghis fourth annual master class at MissourisInnsbrook Institute, and will join the faculty ofthe Pacic Music Festival in Sapporo, Japan.

Sparks is an enthusiastic teacher and

maintains a private studio in St. Louis. Sparkshas recorded two solo albums, appearing on theSummit and AAM labels, and a new recording ofFrench repertoire for ute and piano is plannedfor release in 2013.

Born in 1960 and raised in Cleveland andSt. Louis, Sparks graduated Pi Kappa Lambdafrom the Oberlin Conservatory as a student of

Robert Willoughby, winning the 1982 OberlinConcerto Prize.Prior to attending Oberlin, Sparks studied

with former St. Louis Principal Flute JacobBerg and trained in the St. Louis SymphonyYouth Orchestra.

Mark Sparks most recently performed as asoloist with the St. Louis Symphony in April 2012.

Mark Sparks will givethe Chinese and Korean

premieres o Rouses FluteConcerto.


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DAVID HALENSANFORD N. AND PRISCILLA R. MCDONNELL GUEST ARTIST

David Halen is living a dream that began asa youth the rst time he saw the St. Louis

Symphony perform in Warrensburg, Missouri.Halen began playing the violin at the age of six,and earned his bachelors degree at the age of19. In that same year, he won the Music TeachersNational Association Competition and wasgranted a Fulbright scholarship for study at theFreiburg Hochschule fr Musik in Germany, theyoungest recipient ever to have been honoredwith this prestigious award. In addition, Halenholds a masters degree from the University ofIllinois at Champaign-Urbana.

Halen was named Concertmaster inSeptember 1995, without audition, by theorchestra, and with the endorsement of thenMusic Directors Leonard Slatkin and Hans Vonk.During the summer he teaches and performsextensively, including his role as Concertmaster

at the Aspen Music Festival and School. In 2007he was appointed Distinguished Visiting Artist atYale University, and at the new Robert McDufeCenter for Strings at Mercer University in Macon,Georgia. In the fall of 2012, Halen joined thefaculty of the University of Michigan, where he isProfessor of Violin.

As co-founder and artistic director ofthe Innsbrook Institute, Halen coordinates a

weeklong festival, in June, of exciting musicalperformances and an enclave for aspiringartists. In August, he is artistic director of theMissouri River Festival of the Arts in Boonville,Missouri. His numerous accolades include the2002 St. Louis Arts and Entertainment Awardfor Excellence, and honorary doctorates fromCentral Missouri State University and the

University of Missouri-St. Louis.David Halen plays on a 1753 GiovanniBattista Guadagnini violin, made in Milan, Italy.He is married to Korean-born soprano MiranCha Halen and has a 16-year-old son. He wasmost recently a soloist with the Symphony inFebruary 2012.

David Halen joined theaculty o the University o

Michigan in the all o 2012.


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

what does it mean for composer Christopher Rouse to be neo-Romantic,as program notes author Paul Schiavo suggests?

Neo-Romantic: Lets look again at Rouses comment about compositionaltechnique being less important than my need to express. To put this intocontext, compare Igor Stravinskys oft-quoted declaration music is, by itsvery nature, essentially powerless to express anything at all. Stravinksy,modernist, neo-classicist, puts a distance between himself and theRomantics. Think of all that is expressed, or that we perceive to be expressed

by Beethoven, who kicks off the Romantic era. We dont get that so muchfrom Classicists such as Mozart, Haydn, or Stravinsky. Theyre more aboutthe purity of the composition, music as music. But the composers on thisprogram, Copland, Bernstein, and Rouse, all are expressing ideas and moodsand feelings in their music. Theyve gone back to Romantic inclinations, butwithout ignoring how music and life have changed. They are Romantics oftheir time, Romantics in an un-Romantic age.

PRACTICING:DAVID HALEN, CONCERTMASTER

If I know the piece, I know the problem areas, so its my job to isolate thedifculties. Once isolated, I begin nding answers to the challenges that existthere. For example, determining what patterns of ngering will work best and

most efciently with the left hand while at the same time developing bowingthat will be most convenient for the righthand. You practice to best perform theseindependent functions of your two hands.Think of patting your head and rubbingyour stomach. Its a little bit like that.

Every piece is like learning somethingnew. Although with some individual

composers, Beethoven for instance, you cannd similar solutions in different pieces.One thing only years of experience will teachyou is a method to nd answers. You are ableto re-visit problems on multiple occasions.Having a fresh mind is important, as islooking for inspiration. Its music, after all,not a mathematical equation. Youre seekinga beauty that is unique. David Halen


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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.

Aaron Copland and Vivian Perlis, Copland:1900 through 1942 and Copland: Since 1943St. Martins PressA lively, fascinating, and eminentlyreadable autobiography by Americasiconic composer

christopherrouse.com

Christopher Rouses website offers a wealthof information about the composersmusic and activities

Thomas Wolfe, Radical Chic & Mau-Mauingthe Flak CatchersPicadorRadical Chic has become a classic of

New Journalism, in which the white-suitedscribe attends Leonard Bernsteins at-home fundraiser for the Black Panthers in1970. What emerges is a satiric portrait ofBernstein and the times in which he lived.

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

Keep up with the backstage life of the St. Louis Symphony, as chronicled bySymphony staffer Eddie Silva, via stlsymphony.org/blog

The St. Louis Symphony is on


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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

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

MET BAR

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st. louis symphony program - march 23, 2013

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