st. louis symphony program - sept. 20-22, 2013

7/29/2019 St. Louis Symphony Program - Sept. 20-22, 2013

1/16

23

CONCERT PROGRAMSeptember 20-22, 2013

David Robertson, conductorWintley Phipps, narrator

Kirill Gerstein, piano

SMITH The Star-Spangled Bannerarr. Sousa/Damrosch

IVES Three Places in New England(1874-1954) (Orchestral Set No. 1) (c. 1903-30)

The St. Gaudens in Boston CommonPutnams Camp, Redding, ConnecticutThe Housatonic at Stockbridge

COPLAND Lincoln Portrait (1942) (1900-1990)Wintley Phipps, narrator

INTERMISSION

TCHAIKOVSKY Piano Concerto No. 1 in B-fat minor, op. 23 (1874-75)

(1840-1893)Allegro non troppo e molto maestoso; Allegro con spiritoAndantino sempliceAllegro con uoco

Kirill Gerstein, piano


2/16

24

ACKNOWLEDGMENTS

David Robertson is the Beofor Music Director and Conductor.

Kirill Gerstein is the Ellen Atwood Armstrong Guest Artist.

The concert of Friday, September 20, is underwritten in part by a generous giftfrom Mr. and Mrs. Barry H. Beracha.

The concert of Saturday, September 21, is underwritten in part by a generous giftfrom Dr. and Mrs. Timothy J. Eberlein.

The concert of Sunday, September 22, is underwritten in part by a generous gift

from the Edison Family Foundation.

Pre-Concert Conversations are presented by Washington University Physicians.

These concerts are sponsored by Thompson Coburn LLP.

These concerts are part of the Wells Fargo Advisors Series.

Large print program notes are available through the generosity of Delmar

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


3/16

25

FROM THE STAGETimothy Myers, Principal Trombone, on Ives Three Places in New England: Its a

work that really speaks to methe atmosphere it creates. The rst movementis really kind of somber, threaded together with quoted or half-quoted or half-remembered tunes. You hear them and you think, Ive heard that. What is that?

Impressionistic might not be the term that applies, but the thirdmovement seems that way. Theres a hymn-like tune, a harmonic mist that islike walking by the river before the fog has lifted.

Theres a lot about memory in this work. Ives is not trying to makea statement about memory, per se, but rather he gives the listener theopportunity to create a memory, in the very way that thoughts and feelings

come at you in a random way to shape or inspire memory. He doesnt sort itout in any programmatic or symbolic fashion. He lets it happen.

Its closer to the real experience of memory, rather than an organizedstatement. Its the experience itself.

DilipVishwanat

Timothy Myers


4/16

26

TIMELINKS

1874-75TCHAIKOVSKYPiano Concerto No. 1 inB-fat minor, op. 23Charles Ives born in

Danbury, Connecticut

1903-30IVESThree Places in NewEngland(Orchestral SetNo. 1)World War I violentlytransorms the modernworld

1942COPLANDLincoln PortraitBataan and Corregidorall to Japanese orces inthe Philippines

Beginning in the second half of the 19th

century and continuing into the 20th, a numberof countries produced music that reectednational character to some degree. In Russia,composers such as Glinka, Mussorgsky, andTchaikovsky brought folk melodies and adistinctly Russian lyricism to their operas andconcert works. American composers followedsuit somewhat later, after the start of the 20thcentury. Not surprisingly, their efforts partook of

the modernist ideas that were then permeatingmusical life everywhere.

Our concert celebrates both Americanmodernism and Russian Romanticism. Therst half of the program gives us music by twoof our nations great composers. Each of theircompositions vividly addresses quintessentialAmerican scenes and characters. Following

intermission comes Tchaikovskys perenniallypopular First Piano Concerto, a justly famousexpression of the Romantic spirit of this greatRussian composer.

CHARLES IVESThree Places in New England(Orchestral Set No. 1)

AMERICAN ORIGINAL Although it was never hisintention, Charles Ives has become an iconicgure in American culture: the artistic loner,original and uncompromising. An insuranceexecutive who spent his weekends and vacationscomposing works of astonishing originality, Iveswas ignored by the musical establishment of hisday. As a result, he labored for years in artisticisolation, producing novel scores that he had

little hope of ever hearing. Only near the end ofhis life did he know a measure of the respect henow is accorded.

Among Ives masterpieces is the rst of twoworks he called Orchestral Sets, also known asThree Places in New England. To the best of ourknowledge (and many details of the composersbiography remain uncertain), Ives sketched the

AMERICAN MODERN, RUSSIAN ROMANTICBY PAUL SCHIAVO


5/16

27

pieces that comprise this triptych at differenttimes between 1903 and 1911. In about 1912,he decided to join them into a New EnglandSymphony. Ives later settled on the more neutral,less tradition-bound title, Orchestral Set, and

completed scoring the work for large orchestra in1914. It lay unheard for the next 15 years. In 1930Ives re-scored the music for a smaller orchestrawhen the adventurous conductor NicolasSlonimsky arranged its rst performances.

IVES MUSICAL IDEAS Of the many Ivesian traitsthatThree Places in New England embodies, two

merit particular discussion. One is that eachof its three constituent pieces reects a specicscene, event, and idea. Ives rejected the notionof music, or any other art, as an abstract activity.Rather, he believed that creative work mustreect the larger currents and concerns of life.You cannot set art off in the corner and hopefor it to have vitality, reality, and substance, heonce stated. Consequently, almost all his music

conveys some programmatic content. In ThreePlaces in New England, the extra-musical ideasare especially vivid.

The other salient quality of this work isits all-embracing eclecticism. Ives orchestralmusic often brings together an array ofdisparate materials: familiar chords andstrange dissonances, melodies in conictingkeys, lines moving in different rhythms andspeeds, instruments grouped into contrastingensembles. Ives reveled in the idea of diverse,simultaneous sound worlds, and an exhilaratingmusical tumult seemed to him a true reectionof American life. (His boyhood memory of twobrass bands approaching each other during aFourth of July celebration, which he reproducedin the Putnams Camp movement of Three

Places in New England, sheds some light onthis predilection.) Ives tended especially to usetraditional American melodies in such passages,a practice we nd highly developed in ThreePlaces in New England.

THREE PLACES The compositions rst movementevokes Boston Common, where a bas-reliefby the sculptor Augustus Saint-Gaudens

BornOctober 20, 1874, Danbury,Connecticut

DiedMay 19, 1954, New York

First PerormanceJanuary 10, 1931, in New York,Nicolas Slonimsky conductedan orchestra composed omembers o the BostonSymphony Orchestra

STL Symphony PremiereDecember 17, 1970, Leonard

Slatkin conducting

Most Recent STL SymphonyPerormanceJanuary 19, 2003, MichaelStern conducting

Scoring3 utespiccolo2 oboes

English horn2 clarinets2 bassoonscontrabassoon4 horns2 trumpets,3 trombonestubatimpanipercussion

harpcelestapianoorganstrings

Perormance Timeapproximately 19 minutes


6/16

28

commemorates the 54th Massachusetts Infantry,the rst Black regiment to ght in the Civil War.Ives had long admired this work, and it inspired amusical reverie about the soldiers it portrays. Thepiece quotes fragments of three familiar melodies:

Stephen Fosters Old Black Joe and the CivilWar songs Marching through Georgia andThe Battle Cry of Freedom.

Putnams Camp takes us to a spot nearIves home town of Danbury, Connecticut, where,in the winter of 1778-79, General Israel Putnamand a detachment of Continental soldiers spentthe darkest days of the Revolution. In a preface

to the score, Ives related a programmatic storyabout this music. It tells of a boy attending anIndependence Day picnic at the site. Fallingasleep, he dreams of the Revolutionary troopswho had camped there, then awakens to thesounds of the celebration. In addition to itsfamous collision of different marches, the musicquotes a number of patriotic songs in a multi-layered, almost hallucinatory, collage.

One Sunday morning in June 1908, Ivesand his wife strolled beside the HousatonicRiver as it owed past the picturesque village ofStockbridge, Massachusetts. We walked in themeadows along the river, Ives later recalled,and heard the distant singing from the churchacross the river. The mist had not entirely left theriver bed, and the colors, the running water, thebanks and trees were something that one wouldalways remember. The third of the composersThree Places in New England captures thisscene in one of the most remarkable pieces ofimpressionist nature music ever composed, withstrains of hymn tunes sounding through a mist ofshimmering orchestral sonorities.

AARON COPLANDLincoln Portrait

COMPOSER AND PATRIOT Aaron Coplandwas born a generation after Charles Ives, andhis career, while not easy, entailed none of thestoicism and artistic isolation required of Ives.Copland achieved not only fame for his workbut a unique positionhe grew to be recognized

BornNovember 14, 1900, in Brooklyn

DiedDecember 2, 1990, inTarrytown, New York

First PerormanceMay 14, 1942, in Cincinnati,Andr Kostelanetzconducted the CincinnatiSymphony Orchestra andWilliam Adams narrated

STL Symphony PremiereFebruary 7, 1947, Charles

Galloway was narrator,with Vladimir Golschmannconducting

Most Recent STL SymphonyPerormanceApril 16, 2005, at CarnegieHall, Paul Newman wasnarrator, with DavidRobertson conducting

Scoring

narrator2 utes2 piccolos2 oboesEnglish horn2 clarinetsbass clarinet2 bassoonscontrabassoon4 horns3 trumpets

3 trombonestubatimpanipercussionharpcelestastrings



7/16

29

essentially as Americas national composer. Using American folk tunes for theiremotional resonance, Copland expressed a deeply felt pride in our countryand its people.

Copland wrote Lincoln Portrait shortly after the attack on Pearl Harbor,hoping that the piece would help to boost patriotic sentiment and morale at

a time when the nations fortunes seemed at low ebb. In paying tribute to the16th president, Copland decided to use Lincolns own words and to have thesespoken, rather than sung, against a background of evocative orchestral musicthat would draw a simple but impressive frame around the words of Lincoln.

LINCOLN IN MUSIC AND WORDS Copland intended the long orchestral preludeto suggest something of the mysterious sense of fatality that surroundsLincolns personality, and later, toward the end of the passage, something

of his gentleness and simplicity of spirit. Here the composer, who oftenworked with American folk melodies, uses a variant of the song SpringeldMountain. The second section is livelier, reecting the background of thecolorful times in which Lincoln lived, Copland noted. Stephen FostersCamptown Races weaves its way through this musical collage, as does arecollection of Springeld Mountain.

Lincoln speaks through his writings in the nal portion of the piece, theseveral quotations connected and given biographical context by means ofshort phrasesHe was born in Kentucky ... and this is what he said ...which

Copland added to the text. The haunting Springeld Mountain tune soundsagain, and the nal piece of narration, taken from the Gettysburg Address,provides the occasion for a sonorous climax.

PYOTR ILYICH TCHAIKOVSKYPiano Concerto No. 1 in B-fat minor, op. 23

A MISPERCEIVED MASTERPIECE The history of music is replete with accountsof works that have been thoroughly misunderstood on rst hearing. Rarely,however, has a composition that now enjoys nearly universal popularitybeen greeted with such scathing condemnation as Tchaikovskys First PianoConcerto received on Christmas Eve in 1874. Tchaikovsky had composed thiswork during the preceding month but wished to solicit the opinion of an expertpianist before committing it to print. His choice was Nikolay Rubinstein, thegreatest Russian virtuoso of the day, who met Tchaikovsky before a Christmasparty to hear the concerto.

This audience did not go as the composer hoped. Rubinstein listenedto Tchaikovskys music in icy silence, then proceeded to denounce it with atorrent of abuse. The concerto was unplayable and worthless, he declared.Passages were so clumsy, so fragmented and poorly conceived as to bebeyond rescue. The whole was vulgar and badly written. Any uninformedperson hearing this, the composer recalled, would have concluded thatI was a senseless, talentless fool who had the impertinence to submit hisscribblings to a great musician.


8/16

30

Tchaikovsky, whose correspondence anddiary reveal endless self-doubts concerning hismusical abilities, might easily have acceptedthis judgment from one of the most respectedmusicians of the time. Instead, he proudly

insisted that he would not alter a single note.He withdrew his dedication of the concerto toRubinstein and offered it instead to the celebratedGerman pianist-conductor Hans von Blow,who praised the music and played the premiereperformance, in Boston, in October 1875. Onthis and subsequent occasions the concerto wonoverwhelming approval, and it remains among

the most popular and widely known works inthe orchestral repertory. Ironically, one of itsearly champions was Nikolay Rubinstein, whoadmitted that his initial estimate of the concertowas mistaken and whose performances of it verymuch pleased Tchaikovsky.

LYRICISM AND VIRTUOSITY The concertosfamous opening passage, with its memorable

theme accompanied by crashing chords fromthe piano, is actually an introduction to the rstmovements true principal subject, which isbased on a Ukrainian folk song. In contrast tothe robust energy of this idea, the two themesthat follow tap the vein of lyricism that was sucha conspicuous part of Tchaikovskys talent. Themiddle movement offers a pair of moods andtempos: a warmly romantic theme introducedby the ute, then a change of tempo and anew, dance-like melody. A return to the initialmaterial rounds the movement into a satisfyingABA format. The nale again has the avor ofUkrainian folk song, which is imparted throughthe vigorous main subject. Development of thisand the more cantabile second theme proveshighly energetic and calls forth displays of

brilliant passagework from the soloist.

Program notes 2013 by Paul Schiavo

BornMay 7, 1840, Kamsko-Votkinsk,

RussiaDiedNovember 6, 1893, St.Petersburg

First PerormanceOctober 25, 1875, in Boston,Hans von Blow was soloist,with Benjamin Johnson Langconducting the Boston

Symphony OrchestraSTL Symphony PremiereMarch 5, 1908, Rudolph Ganzwas soloist, with Max Zachconducting

Most Recent STL SymphonyPerormanceApril 17, 2011, Yefm Bronmanwas soloist, with DavidRobertson conducting

Scoringsolo piano2 utes2 oboes2 clarinets2 bassoons4 horns2 trumpets3 trombones

timpanistrings



9/16

31

DAVID ROBERTSONBEOFOR MUSIC DIRECTOR AND CONDUCTOR

A consummate musician, masterful programmer,and dynamic presence, David Robertson has

established himself as one of todays mostsought-after American conductors. A passionateand compelling communicator with an extensiveorchestral and operatic repertoire, he has forgedclose relationships with major orchestras aroundthe world through his exhilarating music-makingand stimulating ideas. In fall 2013, Robertsonlaunches his ninth season as Music Director ofthe 134-year-old St. Louis Symphony. Whilecontinuing as St. Louiss music director, inJanuary 2014 Robertson assumes the post ofChief Conductor and Artistic Director of theSydney Symphony Orchestra in Australia.

In 2012-13, Robertson led the St. LouisSymphony on two major tours: his rst Europeantour with the orchestraits rst Europeanengagements since 1998in fall 2012, which

included critically-acclaimed appearances atLondons BBC Proms, at the Berlin and Lucernefestivals, and at Pariss Salle Pleyel; and a spring2013 California tour which included a three-dayresidency at the University of California-Davisand performances at the Mondavi Center forthe Performing Arts and venues in Costa Mesa,Palm Desert, and Santa Barbara. Highlights of his2013-14 season with St. Louis include a return

to Carnegie Hall on the centennial of BenjaminBrittens birth for a concert performance of theopera Peter Grimes, and the recording earlier inthe fall of a St. Louis Symphony co-commission,John Adamss Saxophone Concerto. NonesuchRecords will release the disc featuring theconcerto, along with the orchestras performanceof Adamss City Noir, in 2014.

Born in Santa Monica, California, Robertsonwas educated at Londons Royal Academy ofMusic, where he studied horn and compositionbefore turning to orchestral conducting. DavidRobertson is the recipient of numerous awardsand honors.

David Robertson returnsto Powell Hall to conduct

works by Gershwin and JohnAdams, October 5-6, 2013.

MichaeltaMMaro


10/16

32

WINTLEY PHIPPS

Wintley Phipps is a world-renowned vocalartist, education activist, motivational speaker,pastor, and CEO and Founder of the U.S. Dream

Academy. For his work at the U.S. Dream Academyhe has received numerous service awards, amongthem: the Excellence in Mentoring for ProgramLeadership Award from MENTOR/NationalMentoring Partnerships; the Oprah Winfrey AngelNetwork Use Your Life Award; andPhilanthropistof the Year Award from the National Center forBlack Philanthropy, Inc.

For more than 28 years he has traveled theworld delivering messages of hope, advocacy,and equality to many thousands of people. Avideo of Phipps performing Amazing Grace hasenjoyed over seven million views on YouTube. Atwo-time Grammy Award nominee, Phipps is nostranger to performing in front of distinguishedaudiences. In addition to President BarackObama, other notable listeners have included

former presidents Jimmy Carter, Ronald Reagan,George H.W. Bush, Bill Clinton, George W. Bush,former South African President Nelson Mandela,Mother Teresa of Calcutta, and Oprah Winfrey.Phipps is also an internationally recognizedspeaker on behalf of the Dream Academy andyoung people, having completed speakingengagements in Europe, Australia, Asia, Africa,and North and South America. In recognition of

his positive global impact through speaking, theNational Speakers Association awarded Phippsthe prestigious Master of Inuence Award.

Born in the Republic of Trinidad and Tobago,Phipps moved to Montreal at an early age andthen studied at Oakwood University in Huntsville,Alabama, where he received his bachelor of artsdegree in theology. He went on to earn a Masters

of Divinity from Andrews University in BerrienSprings, Michigan. Phipps has three sons with hiswife, Linda Diane Galloway Phipps, and currentlyserves as the senior pastor for the Palm Bay Seventh-Day Adventist Church in Palm Bay, Florida.

Wintley Phipps mostrecently perormed with

the St. Louis Symphony inFebruary 2013.


11/16

33

KIRILL GERSTEINELLEN ATWOOD ARMSTRONG GUEST ARTIST

In January 2010, Kirill Gerstein was named therecipient of the 2010 Gilmore Artist Award. Only

the sixth pianist to have been so honored, theGilmore Award is awarded to an exceptionalpianist who, regardless of age or nationality,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.

Highlights of Gersteins 13-14 season inNorth America include a subscription debut withthe New York Philharmonic; re-engagementswith the Cleveland Orchestra, the Chicago, SanFrancisco, Detroit, Cincinnati, and Houstonsymphonies; recitals in Boston, Toronto, Denver,Princeton, and at Duke University; and returnvisits to the Aspen Music Festival and School and

the Grant Park Music Festival. Internationally, hehas been re-engaged by Londons Philharmonicand Philharmonia Orchestras as well as by theCzech Philharmonic and the Finnish Radio, andalso appears with the Danish Radio, DresdenPhilharmonic, Melbourne Symphony, and theSanta Cecilia Orchestra in Rome.

Born in 1979 in Voronezh, Russia, Gersteinattended one of the countrys special music

schools for gifted children and taught himselfto play jazz by listening to his parents extensiverecord 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 School of

Music, where he earned Bachelors and Mastersof Music degrees.Gerstein became an American citizen in

2003 and is currently a professor of piano at theMusikhochschule in Stuttgart.

Kirill Gerstein mostrecently perormed with

the St. Louis Symphony inDecember 2012.

Marco

BorggreVe


12/16

34

THE PRINCIPALS JOB:TIMOTHY MYERS,PRINCIPAL TROMBONE

Im mostly responsible fororganizing who plays what whenin our section. Im deciding whoplays what part for each piece, whilemaking sure the work load is not toogreat or too small. Most of the time,the composers score the trombonesin threes, and there are four of

us. [Each work on this weekendsprogram calls for three trombones.]The principal plays the solo partsmost of the time.

Theres also the matter of coordinating things with other sections,especially other brass sections, which all can be sorted out without theconductor being involvedthe conductor already has plenty of things to dosuch things as articulations, perhaps balance issues.

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

example, what is cantabile?

Cantabile: Program notes author Paul Schiavo mentions a cantabilethemein Tchaikovskys Piano Concerto No. 1. The Italian word may be translatedas singable, or in a singing style. It may also refer to a slow or moderatetempo, which for a superb melodist such as Tchaikovsky, is just how hisorchestral songs should be played.

Dan

Dreyfus


13/16

35

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

Jan Swaford,Charles Ives: A Life with MusicW. W. NortonCurrently the best biography of thecomposer

Howard Pollack,Aaron Copland: TheLife and Work of an Uncommon Man

Henry HoltA magisterial biography

Pyotr Ilyich Tchaikovsky,Tchaikovsky: Letters to His Family (AnAutobiography)Cooper Square PressTchaikovskys letters provide the most

valuable source of information abouthis life and psyche

David Brown,Tchaikovsky: The Crisis YearsGollanczThe second volume of the four-volumelife-and-works study by the leadingTchaikovsky scholar covers the First

Piano Concerto, among much else

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


14/16

36

DONOR SPOTLIGHTMISSOURI LOTTERY

Missouri Lottery ticket sales began nearly 28 years ago in January 1986. Since

that time, the Lottery has provided the state and public education with morethan $4.6 billion in proceeds. In addition, Lottery players have won more than$10 billion in prizes, including 381 players who won life-changing jackpotsranging from $1 million to $293.7 million. Retailers that sell Lottery ticketshave earned more than $1 billion in commissions and incentives.

A state agency, the Lottery currently generates more than $1.1 billion insales annually and is the sixth-largest source of state income. Lottery gamesinclude dozens of Scratchers games ranging in cost from $1 to $20 and sevendifferent Draw Games ranging in price from $.50 to $2.

How is Missouri Lottery unding allocated?Each year the Missouri Legislature determines what programs will get fundedand the amount of funding within both Elementary and Secondary Educationand Higher Education. During FY13, the Lottery generated more than $288.8million for public education programs, including the A+ Schools Program,Access Missouri, the Classroom Trust Fund, and the Foundation Program.In FY14, more than $187 million in Lottery dollars is being appropriated for

Elementary and Secondary programs, and $127.9 million is being allocatedfor Higher Education schools and programs. More than $36.8 million isdesignated to the University of Missouri system, which includes the campus inSt. Louis. It also includes 9.6 percent of the state funding for Harris-Stowe StateUniversity in St. Louis.

For a complete list of appropriations and programs funded annually, youcan visit the Lotterys website at MOLottery.com.

Why does the Missouri Lottery support the STL symphony?

The Missouri Lottery is proud tosupport the Symphony in YourSchool program. This program isconsistent with the Lotterys missionto support educational enrichmentin Missouri schools. Our Play ItForward campaign underscoresthe fundamental belief that children

across our state deserve the besteducational opportunities possibleincluding standards-based musiceducation programs like the STLSymphony offers. Were thrilled tohelp the Symphonys world-classmusicians Play It Forward byhelping underwrite their publicschool outreach.

Missouri Lottery helps bring Symphonymusicians such as cellist Bjorn Ranheim intoSt. Louis public schools.


15/16

37

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 ticketswith 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.


16/16

38

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

POWELL HALL

LOCKERS

WOMENS RESTROOM

MENS RESTROOM

ELEVATOR

BAR SERVICES

HANDICAPPED-ACCESSIBLE

FAMILY RESTROOM

Please make note o the EXIT signs in the auditorium. In the case o an emergency,proceed to the nearest EXIT near you.

st. louis symphony program - sept. 20-22, 2013

Documents