st. louis symphony program - nov. 9-11, 2012

7/30/2019 St. Louis Symphony Program - Nov. 9-11, 2012

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CONCERT PROGRAMNovember 9-11, 2012

Jun Mrkl, conductor

Daniel Lee, cello

Dominique Labelle, soprano

Kai Rtel, mezzo-soprano

Christoph Genz, tenor

Stephen Powell, baritone

St. Louis Symphony Chorus

Amy Kaiser, director

SCHOENBERG Friede auf Erden (Peace on Earth), op. 13 (1907) (1874-1951)

St. Louis Symphony Chorus


HAYDN Cello Concerto in D major, Hob. VIIb:2 (1783)(1732-1809)

Allegro moderatoAdagioRondo: Allegro

Daniel Lee, cello

INTERMISSION

MOZART Requiem Mass in D minor, K. 626 (Sssmayr completion) (1791)(1756-1791)

Introitus: RequiemKyrieSequenz

Dies iraeTuba mirum

Rex tremendaeRecordareConutatisLacrimosa

OertoriumDomine JesuHostias

SanctusBenedictusAgnus DeiCommunio: Lux aeterna

Dominque Labelle, sopranoKai Rtel, mezzo-sopranoChristoph Genz, tenorStephen Powell, baritoneSt. Louis Symphony Chorus



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ACKNOWLEDGMENTS

Jun Mrkl is the Jean L. and Charles V. Rainwater Guest Artist.

Daniel Lee is the Sarah E. Rainwater Ward and Charles S. Rainwater

Guest Artist.

Amy Kaiser is the AT&T Foundation Chair.

The St. Louis Symphony Chorus is supported in part by a grant from theEdward Chase Garvey Memorial Foundation.

The concert of Friday, November 9, is the Dr. and Mrs. Richard G. Sisson

Concert.

The concert of Sunday, November 11, is the Thomas M. Peck MemorialConcert.

The concert of Friday, November 9, is underwritten in part by a generous giftfrom Mr. and Mrs. David C. Farrell.

The concert of Saturday, November 10, is underwritten in part by a generous

gift from Ms. Lesley A. Waldheim.

The concert of Sunday, November 11, is underwritten in part by a generousgift from Mrs. Ernest A. Eddy.

Pre-Concert Conversations are presented by Washington UniversityPhysicians.

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

1783HAYDNCello Concerto in D majorTreaty o Paris ofciallyends Americas

Revolutionary War

1791MOZARTRequiem Mass in D minor,K. 626In revolutionary France,Louis XVI swearsallegiance to constitution

1907SCHOENBERGFriede auf Erden (Peaceon Earth), op. 13Gustav Klimt paintsAdele Bloch-Bauer I

The consolation music offers in times of sorrow

is one of its most remarkable properties, andone of the most valued. Musical elegies arenumerous, of course, and date to ancient timesand probably to pre-history. But the most highlydeveloped species of musical threnody is singingof the Requiem, the Latin mass for the deceased.Settings of the Requiem text have been madeby innumerable composers over the centuries.One of the most beautiful and moving is that

of Wolfgang Amadeus Mozart, which forms thesecond half of our concert. Lending poignancyto this already affecting music--Mozart wrote theRequiem during the last weeks of his life.

The Requiem verses beseech eternal rest forthe departed and peace to those who survive.There are, of course, other texts and otherkinds of compositions that make similar pleas.

Our concert begins with one of them, ArnoldSchoenbergs Friede auf Erden, or Peace on Earth,a choral setting of a poem written for Christmas.

Between these works we hear the D-majorCello Concerto of Franz Joseph Haydn. Haydnenjoyed a warm and mutually admiringrelationship with Mozart, who could be a harshcritic of other musicians. The fact that Mozartconsidered Haydn a dear friend attests not only

to Haydns ne character but also the quality ofhis music.

PEACE ON EARTH AND HEAVENLY PEACEBY PAUL SCHIAVO


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ARNOLD SCHOENBERGFriede auf Erden (Peace on Earth), op. 13

PEACE ON EARTH Composed in 1907, ArnoldSchoenbergs Friede auf Erden is a setting for

large chorus of a Christmas poem by the Swisswriter Conrad Meyer (1825-1898). These versesbegin by evoking the nativity scene of shepherdscarrying to the Madonna and infant Jesus theangelic salute of the works title, Peace on Earth.The text goes on to acknowledge mankindsviolent history, but it returns to the theme of theopening stanza, envisioning a future when peacenally will prevail on earth. Schoenberg initiallyscored the music for unaccompanied choir, but itproved exceptionally difcult to sing in this form.(A projected performance, scheduled for Viennain 1907, had to be cancelled because the choruscould not cope with the harmonically densewriting.) Several years later Schoenberg addedan instrumental accompaniment as an aid tothe singers, but he instructed that it should not

sound prominent. On the contrary ... it [should]disappear in the sound of the chorus.Schoenberg is remembered chiey in

connection with the dissolution of traditionalharmony about a hundred years ago, and theeventual replacement of that harmony with akind of tonally abstract music that led composersinto some arcane and hermetic compositionalbyways during the middle decades of the 20th

century. But the Austrian musician was not borna revolutionary, and he did not come to his radical break with key-centeredharmony suddenly. Rather, Schoenberg moved gradually from a late-Romanticmusical ethos indebted to Wagner, Strauss, and Mahlerthe starting point forhis artistic journeythrough a kind of harmonic twilight in his middle years tothe atonal work of his maturity.

Friede auf Erden stands at the cusp of this second phase of Schoenbergsdevelopment. The works harmonic language seems to press the boundaries of

conventional possibilities, and for brief periods to spill beyond them. But thecomposer still uses dissonance as an expressive inection within an overallcontext of tonal harmonies, rather than as a means to efface such harmoniesaltogether, as he would in his later work. Whenever the music threatens tolose its way altogether, Schoenberg pulls it back to more familiar ground, andin the nal moments all the straining harmonic tensions resolve to a brightD-major chord.

BornVienna, September 13, 1874

DiedLos Angeles, July 13, 1951

First PerformanceDecember 9, 1911, in Vienna,Franz Schreker conductedthe combined orces othe Vienna PhilharmonicChorus, the ViennaLehrergesang Society

Chorus, and the ViennaTonknstler Orchestra

STL Symphony PremiereThis week

Scoringmixed chorus

Performance Timeapproximately 8 minutes

Man

Ray


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FRANZ JOSEPH HAYDNCello Concerto in D major, Hob.VIIb:2

A CONCERTO RESTORED Although his CelloConcerto in D major has long been among

Haydns most familiar works in concerto form,its origins remain somewhat obscure. We donot know with certainty when or for whom thecomposer wrote this music, though it seemslikely that it dates from the 1780s and wasintended for Anton Kraft, an accomplishedcellist with the Esterhzy court orchestra, whichHaydn directed for some thirty years.

The concerto unfolds in the customarythree movements. The rst, whose durationcomprises more than half of the entire work,begins with an extended orchestral exposition,the usual opening in a Classical-period concerto.Only with this accomplished does the soloinstrument join in exploring the thematic ideasset forth by the orchestra. The music doesntconvey the robust and often brilliant character

we generally nd in the initial movements ofHaydns symphonies. Rather, its melodiesexpress more a relaxed elegancea rened, onemight even say courtly, lyricism.

In the slow central movement, the musingsof the soloist establish a relaxed atmosphere,which occasional interjections from theorchestra fail to dispel. Haydn then concludesthe work with a brief rondo-form nale. Its

principal theme, which returns repeatedlybetween episodes of contrasting material in theclassic rondo manner, is stated by the cello inthe opening measures. This melody is simplicityitself, but Haydn nevertheless manages todiscover in it considerable interest. Each re-appearance nds the theme slightly varied:decorated with new instrumental guration or,

at one point, colored with somber minorkeyharmonies. The intervening episodes offervigorous passagework for the soloist. Theconcerto closes in high spirits.

BornRohrau, Austria, March 31, 1732

DiedVienna, May 31, 1809

First PerformanceUnknown, but undoubtedlygiven by the cellist AntonKrat and the Esterhzycourt orchestra underthe composers direction,probably in the 1780s

STL Symphony PremiereFebruary 16, 1912, BorisHambourg was soloist, withMax Zach conducting

Most Recent STL SymphonyPerformanceSeptember 12, 2002, Yo-YoMa was soloist, with KeithLockhart conducting

Scoringsolo cello2 oboes2 hornsStrings

Peformance Timeapproximately 25 minutes

ThoMas

haRdy


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WOLFGANG AMADEUS MOZARTRequiem Mass in D minor, K. 626

HISTORY AND LEGEND No work of Mozarts hasacquired so heavy a gloss of legend and romantic

ction as has his nal composition, the RequiemMass. The composer was scarcely in his grave,the unnished Requiem still on his desk, beforevarious persons began to speculate on thecoincidence of his writing a setting of the LatinMissa pro Defunctis while he himself was fatallyill, and to embellish, in light of this, what theyknew about his nal days. Since the 19th century,the Requiem legend has grown so familiar and,to those sentimentally inclined, so appealing,that it now requires some effort to considerobjectively the work and the circumstances inwhich it was composed.

The facts concerning those circumstancesare as follows. By 1791 Mozarts fortuneswere at low ebb. He was heavily in debt andreduced to accepting what were for him

second-rate assignments: writing dance musicand orchestrating old music. Two operacommissions he received that year failed to easehis burdens. La clemenza di Tito, performedin September in Prague, was not a success. Amonth later, The Magic Flutewas produced inVienna. Though it was well received, Mozartproted little from its success.

Several months earlier, Mozart had received

another commission. In July, an anonymousgentleman requested composition of a Requiemmass, stipulating somewhat peculiarly thatthe composer attempt to discover neither theoccasion for its performance nor his patronsidentity. Mozart accepted the assignment and inOctober, with the two operas and several otherpieces nally behind him, began concentrated

work on the Requiem. But by November 20 hehad fallen seriously ill and took to bed. Twoweeks later, on December 5, he died, his work onthe mass only partly done.

Not wishing to forfeit the fee that hadaccompanied the Requiem commission,Constanze Mozart, the composers widow, askedone of her husbands students, Franz XaverSssmayr, to complete the score. Thanks to his

BornSalzburg, January 27, 1756

DiedVienna, December 5, 1791

First performanceAt the estate o Count FranzGeorg Walsegg, near Vienna,under the Counts direction,December 14, 1793

STL Symphony PremiereDecember 12, 1958, with

soprano Irene Jordan;contralto Jean Madeira; tenorLesley Chabay; baritone,Mack Harrell; WashingtonUniversity Choir Mens GleeClub; Washington UniversityWomens Glee Club; andEdouard van Remoortelconducting

Most Recent STL SymphonyPerformanceFebruary 27, 2010, with sopranoCelena Shaer; mezzo-sopranoMarianna Pizzolato; tenor AlekShrader; bass Luca Pisaroni;St. Louis Symphony Chorus,Amy Kaiser, director; RobertoAbbado conducting

Scoring

our solo voices and chorus2 bassett horns2 bassoons2 trumpets3 trombonestimpaniorganstrings

Performance Timeapproximately 48 minutes


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efforts, she was able to deliver the mass as promised. Mozarts anonymousbenefactor was one Count Franz Georg Walsegg, a dilettante musician whoindulged in the dubious practice of commissioning works from competentcomposers and passing them off as his own. He had lost his wife, and theRequiem he purchased from Mozart was to be performed in her memory at

his estate, the Count taking credit for its composition. Mozart knew nothingof his intentions.

The web of lore surrounding the Requiem had assumed substantialform as early as 1798, when the rst account of Mozarts life was published.It stated that the composer was beset with presentiments of his death evenbefore he began writing the Requiem and became convinced that in doing sohe was actually composing his own funeral music. Other writers proceeded toelaborate the story. Otto Jahn, the eminent 19th-century Mozart biographer,

described Count Walseggs messenger as a tall, thin, grave-looking man,dressed from head to foot in grey and calculated from his very appearanceto make a striking and weird impression. So weird, in fact, that Mozart issupposed to have believed that he was actually a spectral emissary fromthe next world. Other chroniclers had the composer working feverishly atthe Requiem on his death bed, dictating passages with his dying breath, orhaving the pen with which he was writing fall from his hand as he sank intoa nal coma.

SACRED POLYPHONY About the music itself: the major church compositions ofMozarts maturityMass in C minor, K. 427, is the other work in this categoryhark back to the contrapuntal idiom of the Baroque period. It is well knownthat Mozart developed a strong interest in the music of J. S. Bach shortly afterhis arrival in Vienna in 1781, and how deeply this inuenced him. Imitativecounterpoint became an increasingly important element in his instrumentalworks, culminating in the great fugal passages of the last symphonies. Andsince fugue was traditionally a province of liturgical music, Mozart would havefelt even more inclined to exercise his skill as a contrapuntist in composing theRequiem. It is not surprising, then, that the opening phrases of the Introit aregiven out in imitative counterpoint, or that the Kyrie is set as a double fugueof great brilliance and power. More contrapuntal writing is heard elsewhere inthe work.

But Mozart did not intend the Requiem only to revive the polyphonic styleof the past, and his score offers more than contrapuntal artice. The Dies irae,traditionally the most dramatic section of the Requiem, here takes the form of athundering chorus; Rex tremendae and DomineJesu, also choral movements,

are in their own way scarcely less urgent. In the Tuba mirum, a trombone isdeputized for the trumpet of the Last Judgement, and there is highly expressivewriting for the solo vocal quartet in this movement, as well as in the Recordareand Agnus Dei.

Program notes 2012 by Paul Schiavo


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JUN MRKLJEAN L. AND CHARLES V. RAINWATER GUEST ARTIST

Jun Mrkl has long been known as a highlyrespected interpreter of the core Germanic

repertoire from both the symphonic andoperatic traditions, and more recently for hisrened and idiomatic Debussy, Ravel, andMessiaen. His long-standing relationships atthe state operas of Vienna, Berlin, Munich, andSemperoper Dresden have in recent years beencomplemented by his Music Directorships of theOrchestre National de Lyon (2005-11) and MDR

Symphony Orchestra Leipzig (to 2012). He guestswith the worlds leading orchestras, including:Cleveland Orchestra, Philadelphia Orchestra,NHK Symphony Orchestra, Czech Philharmonic,Munich Philharmonic, Oslo Philharmonic,Tonhalle Orchester Zrich.

Jun Mrkl most recentlyconducted the St. Louis

Symphony in November 2011.

Jean-BapTisTeMilloT

DANIEL LEESARAH E. RAINWATER WARD AND CHARLES S. RAINWATER

GUEST ARTIST

Korean-American cellist Daniel Lee continues togain recognition as one of his generations most

signicant artists. Concerto appearances withthe St. Louis Symphony have included StrausssDon Quixote and Esa-Pekka Salonens Mania.In February 2009, following his performanceof Elgars Cello Concerto with the St. LouisSymphony, the St. Louis Post-Dispatch proclaimedthat Lee made the concerto his own in a beautifuland deeply touching display of interpretive and

musical virtuosity. Lee opened the 2009-10 St.Louis Symphony season performing the St. Louispremiere of Osvaldo GolijovsAzul for Cello andOrchestra with David Robertson conducting.Most recently, Daniel Lee performed DvoksCello Concert, with Peter Oundjian conducting,in April 2012.Daniel Lee received the

prestigious Avery FisherCareer Grant in 2001.


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DOMINIQUE LABELLEDominique Labelle has fearlessly plumbed thetechnical and emotional depths of music, turningin performances possessed of conviction withoutexhibitionism (De Telegraf), that have the

audience hanging on every note (Boston Globe).Recent engagements included Stravinskys LesNoces with the St. Louis Symphony and DavidRobertson; Handels Messiah with Kent Naganoand the Orchestre Symphonique de Montreal;Yehudi Wyners Fragments from Antiquity withthe Lexington Symphony; and performanceswith conductor Nicholas McGegan with thePhilharmonia Baroque Orchestra, Gttingen

Handel Festival, and the National Arts CentreOrchestra. Another favorite collaborator isHungarian conductor Ivn Fischer, with whomshe performed the Countess Almaviva in MozartsThe Marriage of Figaro at Teatro Perez Galdos inLas Palmas and in Budapest, Bachs B-minor Massin Washington, D.C., St. Matthew Passionwith theRoyal Concertgebouw Orchestra in Amsterdam,and a Mozart Requiem with the Orchestra ofSt. Lukes at Carnegie Hall. Her most recentrecording is in the title role of HandelsAtalanta,with McGegan and the Philharmonia BaroqueOrchestra. Visit Labelle at dominiquelabelle.com

KAI RTELEstonian mezzo-soprano Kai Rtel studied atthe Georg Ots Music School in Tallinn and then at

the Koninklijk Conservatorium in The Hague andthe Dutch National Opera Academy, graduatingfrom the masters program with Special Honors.While studying in the Netherlands she wassupported by Eesti Kultuurkapital. Rtel wonFirst Prize in the National Competition for YoungClassical Singers in Estonia three years in a rowin 2001, 2002, and 2003.

In the 2012-13 season Rtel returns to

Royal Opera House as Wellgunde in Der Ringdes Nibelungen. Other highlights include a worldpremiere for Vlaamse Opera and her City ofBirmingham Symphony Orchestra debut withBeethovens Mass in C. In upcoming seasonsshe will make debuts with Nederlandse Opera,Tehtre du Capitole Toulouse, Dallas Opera, andwith Netherlands Radio Philharmonic Orchestraat the Royal Concertgebouw in Amsterdam.

Dominique Labelle mostrecently perormed with

the St. Louis Symphony inSeptember 2011.

Kai Rtel makes her UnitedStates debut in these concertswith the St. Louis Symphony.

MiRJaMR

ausBeRg


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CHRISTOPH GENZBorn in Erfurt, Germany, tenor Christoph Genzreceived his rst musical training as a memberof the St. Thomas Boys Choir in Leipzig.He continued his studies in musicology at

Kings College Cambridge where he wasalso a member of Kings College Choir. Hestudied voice under Hans-Joachim Beyer at theHochschule fr Musik und Theater in Leipzigand with Elisabeth Schwarzkopf.

He won rst prize at the InternationalSinging Competition in Grimsby, England andthe rst prize at the International J.S.Bach-Competition in Leipzig.

Plans for 2012 include a tour withThomanerchor Leipzig/Gewandhausorchestrato South Korea, Japan, and England (St. MatthewPassion), a tour with La Petite Bande under thedirection of Sigiswald Kuijken (St. MatthewPassion), an opera production at the SchwetzingenFestival as well as concerts and recitals atMusikverein Vienna, Leipzig Gewandhaus, and

in Cologne, Paris, and Amsterdam.

STEPHEN POWELLStephen Powells engagements for the 2012-13season currently include singing as FrancescoFoscari in I due Foscari in a return to Los AngelesOpera; Iago in a fully-staged production ofOtellowith the Jacksonville Symphony Orchestra, underFabio Mechetti; in Carmina Burana in his debut

with Cleveland Orchestra; and in Bachs Mass in Bminor with the Atlanta Symphony, under RobertSpano. He debuts with the Nashville SymphonyOrchestra in Carmina Burana, with Atlanta Operaas Enrico in Lucia di Lammermoor, and with theFort Worth Symphony in Beethovens SymphonyNo. 9. He also sings as soloist with the AmericanSymphony Orchestra at Carnegie Hall in Franz

Schmidts The Hunchback of Notre Dame.

Christoph Genz debuts withthe St. Louis Symphony this

week.

nancyhoRowiTz

Stephen Powell mostrecently sang with the St.Louis Symphony and Chorusin April 2012.

chRisTian

pollaRd


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AMY KAISERAT&T FOUNDATION CHAIR

One of the countrys leading choral directors,Amy Kaiser has conducted the St. Louis

Symphony in Handels Messiah, Schuberts Massin E-at, Vivaldis Gloria, and sacred works byHaydn and Mozart as well as Young PeoplesConcerts. She has made eight appearances asguest conductor for the Berkshire Choral Festivalin Shefeld, Massachusetts, Santa Fe, and atCanterbury Cathedral. As Music Director of theDessoff Choirs in New York for 12 seasons, sheconducted many performances of major works atLincoln Center. Other conducting engagementsinclude concerts at Chicagos Grant Park MusicFestival and more than fty performances with theMetropolitan Opera Guild. Principal Conductorof the New York Chamber Symphonys SchoolConcert Series for seven seasons, Kaiser also ledmany programs for the 92nd Street Ys acclaimedSchubertiade. She has conducted over twenty-ve

operas, including eight contemporary premieres.

Amy Kaiser, an alumna oSmith College, was awarded

the Smith College Medalor outstanding proessionalachievement.


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Amy KaiserDirector

Leon Burke, IIIAssistant Director

Gail HintzAccompanist

Susan PattersonManager

Nancy Davenport AllisonRev. Fr. Stephan BaljianStephanie A. BallNick BearyRudi J. BertrandAnnemarie Bethel-PeltonPaula N. BittleJerry BolainMichael Bouman

Richard F. BoydKeith BoyerPamela A. BransonBonnie BrayshawMarella BrionesDaniel BrodskyBuron F. Buffkin, Jr.Leon Burke, IIICherstin Byers

Leslie CaplanMaureen A. CarlsonVictoria CarmichaelMark CereghinoJessica Klingler CissellRhonda Collins CoatesTimothy A. ColeDerek DahlkeLaurel Ellison DantasDeborah DawsonMary C. DonaldLadd FaszoldJasmine FazzariHeather FehlRobin Fish, Jr.Alan Freed

Mark FreimanAmy Telford GarcsLara Gerassi

Megan E. GlassSusan GorisKaren S. GottschalkJacqueline GrossCole GutmannSusan H. HagenAriel HaltCliff HardyNancy Helmich

Ellen HenschenJeffrey HeylLori HoffmanMatthew S. HoltAllison HoppeHeather HumphreyKerry JenkinsStephanie Jones-

Engelmeyer

Madeline KaufmanPaul V. KunnathKendra LeeDebby LennonGregory C. LundbergGina MaloneJamie Lynn MarbleKellen MarkovichJan Marra

Lee MartinAlicia MatkovichDan MayoRachael McCreeryElizabeth Casey McKinneyScott MeidrothClaire MinnisBrian MulderJohanna NordhornDuane L. OlsonNicole OrrHeather McKenzie PattersonSusan PattersonMatt PentecostBrian PezzaShelly Ragan Pickard

Sarah PriceValerie Christy ReichertKate Reimann

David ResslerGregory J. RiddlePatti Ruff RiggleStephanie Diane RobertsonTerree RowbottomPaul N. RunnionJennifer RyrieSusan SampsonPatricia A. Scanlon

Mark V. ScharffSamantha Nicole SchmidPaula K. SchweitzerLisa SienkiewiczJanice Simmons-JohnsonJohn William SimonCharles G. SmithShirley Bynum SmithJoshua Stanton

Samuel StenglerDavid StephensBenna D. StokesDenise M. StookesberryGreg StorkanMaureen TaylorMichelle D. TaylorJustin ThomasNatanja Tomich

Pamela M. TriplettDavid R. TrumanGreg UpchurchRobert ValentineKevin VondrakSamantha WagnerNancy M. WaltherKeith WehmeierNicole WeissPaul A. WilliamsDennis WillhoitChristopher WiseMary WissingerSusan Donahue YatesElena ZaringCarl S. Zimmerman

ST. LOUIS SYMPHONY CHORUS 2012-2013


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A BRIEF EXPLANATION

You 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

example, what does Hob. VIIb:2 mean?Hob. VIIb:2: Hob is the abbreviation for the Hoboken catalogue, which is notkept in New Jersey; rather, Dutch musicologist Anthony van Hoboken compiledthe denitive catalogue of Haydns works into two volumes, so Haydn works aregiven Hob. numbers, followed by Roman numerals and then an Arabic gure.

MY INSTRUMENT:JAMES MEYER ON THE BASSET HORNThe basset horn produces a veiled sound. Its dark, and absorbs dissonancesvery well. Mozart uses it that way in many exposed sectionsthese arevery poignant moments in the Requiem. You couldnt do it with any otherinstrument. Its not a prominent sound, but Mozart orchestrates very well forit. He gets the other instruments out of the way so you can hear it.

Technically speaking, it is a tenor clarinet, with an extended low register

not unlike the modern bass clarinet. Its difcult to control, acousticallyunstable. It needs to be approached with great care.It works beautifully in the Requiem. It couldnt have a better home for its

fundamental qualities.

Basset Horn


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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.

Allen Shawn,Arnold Schoenbergs JourneyHarvard University PressHumanizes a man famous forobsessiveness, and places music incontext of life and times

Esterhzy Castle in FertodHaydn Room @ Esterhaza

Search youtubeA handsome video tour of where Haydnlived and worked, as well as the concerthall where the Cello Concerto in D majorpremiered

H. C. Robbins Landon, 1791: MozartsLast YearSchirmer BooksAn in-depth account of the period inwhich Requiem was composed

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

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st. louis symphony program - nov. 9-11, 2012

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