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Friday, January 29, 2016, 8pm Zellerbach Hall

St. Louis Symphony

David Robertson , music director Timothy McAllister ,

John ADAMS (b. 1947) Saxophone Animato; Moderato— tranquillo, suave Molto vivo (a hard driving pulse)

Timothy McAllister, saxophone

INTERMISSION

MAHLER (1860 –1911) Symphony No. 5 -sharp minor PART I Trauermarsch: In gemessenem Schritt. Streng. Wie ein Kondukt (Funeral march: with measured pace, stern, like a funeral procession) Stürmisch bewegt, mit größter Vehemenz (Stormy, with utmost vehemence) PART II Scherzo: Kräftig, nicht zu schnell (Strong, not too fast) PART III Adagietto: Sehr langsam (Very slow) Rondo-Finale: Allegro

This project is supported in part by an award from the National Endowment for the Arts, and by Patron Sponsors Gail and Dan Rubinfeld. Cal Performances’ ,*+-–,*+. season is sponsored by Wells Fargo.

15 DEDICATION March 26, 1925 – January 6, 2016

The performances on January 29 and 31 are dedicated to the memory of Pierre Boulez. . E D u T I T A R g

D N A

, N o I S S I M R E P

H T I W

D E C u D o R P E R

. g R E B N E S o R

D D o T

©

Pierre Boulez, Chicago, 2006.

“Pierre Boulez was creative in the deepest sense of the word. His genius touched and continues to in - spire a huge number of people. His engagement with the world of music altered its course. He is a sin - gularity. His legacy will resonate through time.” —David Robertson, Music Director, St. Louis Symphony

“As a conductor Boulez was a towering figure, beloved by musicians who played under him and quite possibly the most transformative master of the art since Mahler. In his chosen repertoire, which ranged from Berlioz, Wagner, and Mahler to Messiaen, Ligeti, and the younger generation of European mod - ernists whose music he favored, he was inimitable, almost intimidating in his abilities. In his later years when his earlier cool intellectualism gave way to a warmer, more generous approach, he became his own special sort of superstar.

PLAYBILL DEDICATION

As a teenager I already knew his early recordings. Most influential for me were his early perform ances of Stravinsky, Debussy, and Bartók, which opened up that music and made it breathe and pul sate like never before. over the years he made a labor of love for the Second Viennese School—Schoenberg, Berg, and Webern—giving warmth and humanity to a body of work that until then had suffered unjustly from poor and misrepresenting performance practice.

His tastes were firmly grounded in his personal canon, which followed a rigorous view of the evo - lution of musical discourse. one of the paradoxes of his career was that he achieved some of his greatest work as a conductor in the united States—in New York, , Cleveland, and Chicago—yet he could find little of value in our own music, neither in our great experimental tradi - tion, nor in our thriving, messy, constantly renewing popular voice. For years I was puzzled, even angered, that for all his vast erudition and for all the power accorded him in the music world, he would deplore what he deemed the simplicities of an Einstein on the Beach or a Music for Eighteen Musicians ; that he dismissed as not serious; and that he appeared to share with Adorno a prudish discomfort with our and popular music. But then, neither had he time for Shostakovich nor Britten. He held fast to his beliefs. It is the privilege of a great mind to have strong opinions, to have even blind spots. In the end, what he did—and that was a great deal—he did better than any - one, and we will miss him.”

—, Berkeley, January 2016

“We mourn the passing of a giant in music and in culture, a truly gentle man whose belief in the es - sential need for music of substance and music of beauty was manifest in everything he did, and in everything he touched. Now we begin to consider and celebrate a rare, inspirational, musical legacy.

Pierre Boulez was a futurist of music, perhaps the Strauss or Mahler, or both, of the latter part of the 20 th century, and the work of his life forms a foundation for the music of today. For Boulez— , performer, advocate—everything, without compromise, had to have meaning; every ges - ture perfectly placed. With that extraordinary imposition on the discourse of a lifetime of music, we find the rare figure whose life was dedicated to the making of musical statements. Each of us, seated here in Zellerbach Hall, are the lucky inheritors of that art, intellect, and wisdom. Pierre Boulez opened doors to the music of today, and implored us to move forward, always.

Berkeley and Bay Area communities had the chance to traverse the Boulez vision in Cal Performances’ celebrations of his 90 th birthday year in 2015. First, last March, the complete works for solo, per - formed exquisitely by Pierre Laurent Aimard and Tamara Stefanovich; then in June the ethereal jour - ney of the multi-media A Pierre Dream , with Steven Schick, the International Contemporary Ensemble, and a group of collaborators supremely dedicated to his music; and again this past November with Matthias Pintscher conducting Boulez’s own Ensemble Intercontemporain, visiting from Paris. That last performance featured one of Boulez’s greatest compositions, Sur Incises , a propul - sive, beautiful work, summarizing that perfect blend of rigor and freedom so characteristic of his music. This was not a bookend, but a mirror—on music, his own and that of contemporaries, ap - proaching the span of a century, and most likely a metaphor for his drive, and his need for great art to always be looking forward.” —Matías Tarnopolsky, Director, Cal Performances PROGRAM NOTES

Saxophone Concerto a living composer ever mounted at Lincoln JoHN ADAMS Center. From 2003 to 2007, Adams held the Richard and Barbara Debs Composer’s Chair Born: February 15, 1947, Worcester, Massachusetts at . In 2004, he was awarded the Now Resides: Berkeley, California Centennial Medal of ’s graduate School of Arts and Sciences “for con - Composed in 2013 tributions to society,” and he became the first- ever recipient of the Nemmers Prize in Music Premièred on August 22, 2013 by the Sydney Composition, which included residencies and Symphony , conducted by the com - teaching at . He was a poser with Timothy McAllister as soloist 2009 recipient of the NEA Award, and has been granted honorary doctorates from the Scoring: solo , 2 , piccolo, (London), Juilliard 3 , English horn, 2 ,bass clar - School, and Cambridge, Harvard, Yale and inet, 2 , 3 horns, 2 , piano, Northwestern universities, honorary member - celeste, harp, strings ship in Phi Beta Kappa, and the California governor’s Award for Lifetime Achievement in Performance Time: approximately 29 minutes the Arts. John Adams was born into a musical family John Adams is one of today’s most acclaimed in Worcester, Massachusetts, on February 15, . Audiences have responded enthu - 1947. As a boy, he lived in Woodstock, siastically to his music, and he enjoys a success Vermont, and in New Hampshire. From his fa - not seen by an American composer since the ther, he learned the and went on to be - zenith of ’s career. A recent come an accomplished performer on that survey of major conducted by instrument, playing with the New Hampshire the League of American orchestras found Philharmonic and Sarah Caldwell’s Boston Adams to be the most frequently performed opera orchestra, and appearing as soloist in living American composer. He received the the first performances of Walter Piston’s ’s distinguished in Boston, New York, and in 1995 for his Washington. (Adams first met Piston as a Concerto, and was the focus in 1997 of the New neighbor of his family in Woodstock, and re - York Philharmonic’s Composer Week. Also in ceived encouragement, advice, and under - 1997 he was elected to the American Academy standing from the older composer, one of this of Arts and Letters, and named “Composer of country’s most respected artists.) Adams’ pro - the Year” by Musical America magazine. He has fessional focus shifted from the clarinet to been made a Chevalier dans l’ordre des Arts et composition during his undergraduate study des Lettres by the French Ministry of Culture. at Harvard, where his principal teacher was In 1999, Nonesuch released The John Adams . Earbox , a critically acclaimed ten-CD collection Rather than following the expected route of his work; and in 2003, he received the for a budding composer, which led through for On the Transmigration of Europe, Adams chose to stay in America. In Souls , written for the 1972, he settled in California to join the fac - in commemoration of the first anniversary of ulty of the San Francisco Conservatory of the World Trade Center attacks. Also in 2003 Music, where his duties included directing the Adams was recognized by New York’s Lincoln New Music Ensemble, leading the student or - Center with a two-month retrospective of his chestra, teaching composition, and adminis - work titled “John Adams: An American tering a graduate program in analysis and Master,” the most extensive festival devoted to history. In 1978, he became associated with

PLAYBILL PROGRAM NOTES the and conductor predominantly consonant harmony, this latter in an evaluation of that ensem - technique producing what he calls “sustained ble’s involvement with contemporary music. resonance,” the quality possessed by the Two years later he helped institute the acoustical overtone series of common chords Symphony’s “New and unusual Music” series, to reinforce and amplify each other to create which subsequently served as the model for an enveloping mass of sound. Adams’ recent the “Meet the Composer” program, sponsored compositions incorporate more aggressive by the Exxon Corporation, the Rockefeller harmonic idioms and more elaborate contra - Foundation, and the National Endowment for puntal textures to create an idiom he dis- the Arts, which placed composers-in-resi - tinguishes from that of his earlier music as dence with several major American orches - “more dangerous, but also more fertile, more tras. Adams served as resident composer with capable of expressive depth and emotional the San Francisco Symphony from 1979 to flexibility.” Among Adams’ commissions are 1985. He began his tenure as Creative Chair On the Transmigration of Souls (New York with the with the Philharmonic; winner of the 2003 Pulitzer première of his symphonic work on Prize and the 2005 grammy Award as Best october 8, 2009. Contemporary Classical Composition In his compositions through the early 1990s, Recording), My Father Knew (San Adams was closely allied with the style known Francisco Symphony), and The Dharma at Big as , which utilizes repetitive Sur (composed for Los Angeles Philharmonic melodic patterns, consonant harmonies, mo - for the opening of Disney Hall in october toric rhythms, and a deliberate striving for 2003). Dr. Atomic , based on the life of atomic aural beauty. unlike some other Minimalist scientist Robert oppenheimer, was premièred music, however, which can be static and inten - by the in october 2005. tionally uneventful, the best of Adams’ early In May 2012 the Los Angeles Philharmonic works ( , , and Los Angeles Master Chorale conducted by , the brilliant , the premièred The Gospel acclaimed [1987] and According to the Other Mary , an “ in [1991]) are marked by two acts”; Scheherazade.2 , a “dramatic sym - a sense of determined forward motion and in - phony for violin and orchestra,” was intro - exorable formal growth, and by frequent allu - duced in March 2015 by the New York sions to a wide range of 20th-century idioms, Philharmonic, conducted by , and both popular and serious. His links with tradi - violinist . tional music are further strengthened by con - sistent use of conventional instruments and © 2016 Dr. Richard E. Rodda PROGRAM NOTES

A NOTE BY THE COMPOSER

My Saxophone Concerto was composed in Having grown up hearing the sound of the early 2013, the first work to follow the huge, saxophone virtually every day—my father three-hour oratorio, The Gospel According to had played alto in swing bands during the the Other Mary . one would normally be hard 1930s and our family record collection was put to draw lines between two such disparate well stocked with albums by the great jazz creations. one deals with such matters as cru - masters—I never considered the saxophone cifixion, raising the dead, and the trials of bat - an alien instrument. My 1987 opera Nixon in tered women. The other has as its source my China is almost immediately recognizable by life-long exposure to the great jazz saxophon - its sax quartet, which gives the orchestration ists, from the swing era through the likes of its special timbre. I followed Nixon with an - Coltrane, Eric Dolphy, and Wayne Shorter. other work, Fearful Symmetries , that also fea - Nonetheless there are peculiar affinities tures a sax quartet in an even more salient shared by both works, particularly in the use role. In 2010 I composed City Noir , a jazz-in - of modal scales and the way they color the flected symphony that featured a fiendishly emotional atmosphere of the music. Both difficult solo part for alto sax, a trope indebted works are launched by a series of ascending to the wild and skittish styles of the great scales that energetically bounce back and bebop and post-bop artists such as Charlie forth among various modal harmonies. Parker, Lennie Tristano, and Eric Dolphy. American audiences know the saxophone Finding a sax soloist who could play in this almost exclusively via its use in jazz, soul, and style but who was sufficiently trained to be pop music. The instances of the saxophone in able to sit in the middle of a modern sym - the classical repertory are rare, and the most phony orchestra was a difficult assignment. famous appearances amount to only a handful But fortunately I met Tim McAllister, who is of solos in works by Ravel (his Bolero and his quite likely the reigning master of the classical orchestration of Mussorgsky’s Pictures at an saxophone, an artist who while rigorously Exhibition ), by Prokofiev ( Lieutenant Kijé trained is also aware of the jazz tradition. Suite and Romeo and Juliet ), Milhaud ( La When one evening during a dinner conver - Création du Monde ), and of course the “Jet sation Tim mentioned that during high school Song” solo in ’s West Side he had been a champion stunt bicycle rider, I Story , probably one of the most immediately knew that I must compose a concerto for this recognizable five-note mottos in all of music. fearless musician and risk-taker. His excep - Beyond that, the saxophone appears to be an tional musical personality had been the key instrument that classical composers employ at ingredient in performances and recordings of best occasionally and usually only for “special” City Noir , and I felt that I’d only begun to effect. It is hard to believe that an instrument scratch the surface of his capacities with that that originated in such straight-laced circum - work. A composer writing a violin or piano stances—it was designed in the mid-19th concerto can access a gigantic repository of century principally for use in military bands past models for reference, inspiration, or even in France and Belgium, and was cautionary models. But there are precious few intended to be an extension of the brass worthy for saxophone, and the ex - family—should have ended up as the trans - tant ones did not especially speak to me. But I formative vehicle for vernacular music (jazz, knew many great recordings from the jazz rock, blues, and funk) in the twentieth cen - past that could form a basis for my composi - tury. Nonetheless, its integration into the tional thinking, among them Focus , a 1961 world of has been a slow and album by Stan getz for tenor sax and an or - begrudged one. chestra of harp and strings arranged by Eddie

PLAYBILL PROGRAM NOTES

Sauter. Although clearly a “studio” creation, different style of playing. It would be like ask - this album featured writing for the strings that ing a singer used to singing Bach cantatas to referred to Stravinsky, Bartók, and Ravel. cover a Billy Holiday song. Another album, Charlie Parker and Strings , While the concerto is not meant to sound from 1950, although more conventional in jazzy per se, its jazz influences lie only slightly format, nonetheless helped to set a scenario in below the surface. I make constant use of the my mind for the way an alto sax could float instrument’s vaunted agility as well as its ca - and soar above an orchestra. Another album pacity for a lyrical utterance that is only a that I’d known since I was a teenager, New short step away from the human voice. The Bottle Old Wine , with Canonball Adderley and form of the concerto is a familiar one for those that greatest of all jazz arrangers, gil Evans, who know my orchestral pieces, as I’ve used it remained in mind throughout the composing in my , in City Noir , and in my of the new concerto as a model to aspire to. piano concerto . It begins with Classical saxophonists are normally taught one long first part combining a fast movement a “French” style of producing a sound with a with a slow, lyrical one. This is followed by a fast vibrato, very much at odds with the looser, shorter second part, a species of funk-rondo grittier style of a jazz player. Needless to say, with a fast, driving pulse. my preference is for the latter “jazz” style play - The concerto lasts roughly thirty-two min - ing, and in the discussions we had during the utes, making it an unusually expansive state - creation of the piece, I returned over and over ment for an instrument that is still looking for to the idea of an “American” sound for Tim to its rightful place in the symphonic repertory. use as his model. Such a change is no small thing for a virtuoso schooled in an entirely —John Adams, July 2013 PROGRAM NOTES

Symphony No. 5 in C-sharp minor any outward experiences or inner transfor - mations during that period which could ac - count for the new mode of expression. There Born: July 7, 1860, Kalište, Bohemia was no outward struggle that could have Died: May 18, 1911, Vienna threatened the composer’s career [which also included directing the Vienna opera] and Composed in 1902; much revised through 1911 shattered his peace of mind. Mahler’s music provides us with the only indication that his Premièred on October 18, 1904 in Cologne, inner life underwent a change at that time.” conducted by the composer With a rare unanimity, commentators have ig - nored the central biographical event in Scoring: 4 flutes, 4 piccolos, 3 oboes, English Mahler’s life during the time immediately pre - horn, 3 clarinets, E-flat clarinet ,, ceding the composition of the Fifth 3 bassoons, , 6 horns, 4 trum - Symphony — he fell in love, a condition not pets, 3 , , , harp, per - unknown to alter a person’s life. cussion, strings In November 1901, Mahler met Alma Schindler, daughter of the painter Emil Jacob Performance Time: approximately 68 minutes Schindler. She was then 22 and regarded as one of the most beautiful women in Vienna. “oh, heavens! What are they to make of this Mahler was 41. Romance blossomed. They chaos, of which new worlds are forever being were married in March and were parents by engendered, only to crumble in ruin a minute November. Their first summer together, in later? What are they to say to this primeval 1902, was spent at Maiernigg, Mahler’s coun - music, this foaming, roaring, raging sea of try retreat on the Wörthersee in Carinthia, in sound, to these dancing stars, to these breath - southern Austria. It was at that time that the taking, iridescent and flashing breakers?” So Fifth Symphony was composed, incorporat - gustav Mahler wrote during the rehearsals in ing some sketches from the previous summer. 1904 for the première of his Fifth Symphony in He thought of this work as “their” music, the Cologne to his wife, Alma, in Vienna. He was first artistic fruit of his married life with concerned that this new work, so different in Alma. But more than that, he may also have style and aesthetic from his earlier symphonies, wanted to create music that would be worthy would confuse critics and audiences just when of the new circle of friends that Alma, the his music was beginning to receive wide notice. daughter of one of Austria’s finest artists and Musicologist Deryck Cooke noted the ways in most distinguished families, had opened to which this symphony and its two successors him — gustav Klimt, Alfred Roller (who be - differ from the Symphonies No. 1 through came Mahler’s stage designer at the Court No. 4. “gone are the folk inspiration, the ex - opera), architect Josef Hoffmann, and the rest plicit programmes, the fairytale elements, the of the cream of cultural Vienna. In the Fifth song materials, the voices,” Cooke wrote. Symphony, Mahler seems to have taken inor - “Instead we have a triptych of ‘pure’ orches - dinate care to demonstrate the mature quality tral works, more realistically rooted in human of his thought (he was, after all, nearly twice life, more stern and forthright in utterance, Alma’s age) and to justify his lofty position in more tautly symphonic, with a new granite- Viennese artistic life. Since neither Mahler like hardness of or chestration.” nor Alma explained the great change of com - What brought about the radical change in positional style of 1902, the question can Mahler’s symphonism in 1902? Heinrich never be securely answered. Mahler’s renewed Kralik’s comments typify the apparent baffle - musical language seems too close in time to ment among scholars: “Nothing is known of the vast extension of his social life engendered

PLAYBILL PROGRAM NOTES by his marriage, however, to have been unaf - “I heard each theme in my head while copying fected by it. In an 1897 letter to the conductor the score, but now I could not hear them at all! Anton Seidl, Mahler himself confirmed the Mahler had overscored the kettledrums and symbiotic relationship of his music and his percussion so madly and persistently that lit - life: “only when I experience do I compose — tle beyond the rhythm was recognized.” Major only when I compose do I experience.” changes were in order, Alma advised. Mahler The musical style that Mahler initiated with agreed, immediately crossed out most of the the Fifth Symphony is at once more abstract percussion parts, and spent seemingly endless yet more powerfully expressive than that of his hours during the next seven years further al - earlier music. In his study of the composer, tering the orchestration so that it would clearly Egon gartenberg noted that the essential qual - reveal the complex musical textures. Hardly ity differentiating the later music from the ear - any two performances of the work during his lier was a “volcanic change to modern lifetime were alike. The première in Cologne polyphony,” a technique of concentrated con - brought mixed responses from audience and trapuntal development that Mahler had de - critics. Even Bruno Walter, Mahler’s protégé rived from an intense study of the music of and assistant at the Vienna opera and himself Bach. “You can’t imagine how hard I am find - a master conductor and interpreter of his men - ing it, and how endless it seems because of the tor’s music, lamented of the first performance, obstacles and problems I am faced with,” “It was the first time and, I think, the only time Mahler confided to his friend Natalie Bauer- that a performance of a Mahler work under his Lechner while struggling with the Symphony’s own baton left me unsatisfied. The instrumen - third movement. Free of his duties at the tation did not succeed in bringing out clearly opera between seasons, he labored through - the complicated contrapuntal fabric of the out the summer of 1902 on the piece at his lit - parts.” It was not until one of his last letters, in tle composing hut in the woods, several February 1911, that Mahler could finally say, minutes walk from the main house at “The Fifth is finished. I have been forced to re- Maiernigg. So delicate was the process of cre - orchestrate it completely. I fail to comprehend ation that he ordered Alma not to play the how at that time [1902] I could have blundered piano while he was working, lest the sound, so like a greenhorn. obviously the routine I though distant, should disturb him (she was a had acquired in my first four symphonies com - talented musician and budding composer until pletely deserted me. It is as if my totally new her husband forbade her to practice those skills musical message demanded a new technique.” after their wedding); and he even complained Mahler had indeed solved the problems of the that the birds bothered him because they sang work with its final revision, according to in the wrong keys (!). Every few days he Bruno Walter. “In the Fifth Symphony,” Walter brought his rough sketches to Alma, who wrote, “the world now has a masterpiece which copied them over and filled in some of the or - shows its creator at the summit of his life, of chestral lines according to his instructions. his power, and of his ability.” The composition was largely completed by Though there have been attempts to attrib - early autumn, when the Mahlers returned to ute extra-musical dimensions to Mahler’s Fifth Vienna, but gustav continued to revise the or - Symphony (one, a 23-page analysis of the chestration throughout the winter, daily steal - work’s musico-metaphysical aspects by Ernst ing a few early-morning minutes to work on it otto Nodnagel of Darmstadt — “What an before he raced to the opera House. The tin - eccentric!” Alma noted of him — appeared kering went on until a tryout rehearsal with the soon after the première), this is “pure” music. Vienna Philharmonic early in 1904. Alma, lis - “Nothing in any of my conversations with tening from the balcony, reported with alarm, Mahler and not a single note point to the PROGRAM NOTES influence of extra-musical thoughts or emo - The giant Scherzo stands at the center point of tions upon the composition of the Fifth,” wrote the Symphony, the only movement not linked Bruno Walter. “It is music — passionate, wild, with another. Balancing the opening move - pathetic, buoyant, solemn, tender, full of all ments are the Adagietto and the Rondo-Finale the sentiments of which the human heart is of Part III, which have the quality of preface capable — but still ‘only’ music, and no meta - and summation. physical questioning, not even from very far The structures of the individual movements off, interferes with its purely musical course.” of the Symphony No. 5 are large and complex, For his part, Mahler, who once thundered bearing allegiance to the classical models, but across a dinner-party table, “Pereant die expanded and reshaped, with continuous de - Programme!” (“Perish all programs!”), did not velopment and intertwining of themes. The create any written description of the Trauermarsch is sectional in design, alternat - Symphony, as he had for his earlier works, but ing between music based on the opening determined to let the music speak unaided for summons and an intensely sad thren - itself. He insisted that the audience have no ody presented by the strings. The following program notes for the première or for later movement (“Stormily moving, with great ve - performances in Dresden and Berlin. The only hemence”) resembles sonata form, with a soar - quasi-programmatic indication in the score is ing chorale climaxing the development section the title of the first movement — Trauermarsch only to be cut short by the return of the stormy (“Funeral March”) — but even this is only an music of the recapitulation. The Scherzo jux - indication of mood and not a description of taposes a whirling waltz/ ländler with trios events. It is with this work that Mahler left be - more gentle in nature. The serene Adagietto , hind the mysticism, mystery, and symbolism perhaps the most famous (and most often de - of and entered the modern era. It tached) single movement among Mahler’s stands, wrote Michael Kennedy, “like a mighty symphonies, serves as a calm interlude be - arch at the gateway to 20th-century music.” tween the gigantic movements surrounding it. Mahler grouped the five movements of the The closing movement ( Rondo-Finale ) begins Fifth Symphony into three parts, a technique as a rondo, but interweaves the principal for creating large structural paragraphs that themes with those of the episodes as it unfolds he had first used in the Third Symphony. in a blazing display of contrapuntal craft. The Thus, the opening Trauermarsch takes on the triumphant chorale that was snuffed out in the character of an enormous introduction to the second movement is here returned to bring the second movement. The two are further joined Symphony to an exalted close. in their sharing of some thematic material. © 2016 Dr. Richard E. Rodda

PLAYBILL Sunday, January 31, 2016, 3pm Zellerbach Hall

Berkeley RADICAL: The Natural World St. Louis Symphony

David Robertson , music director

Peter Henderson , piano Roger Kaza , horn William James , xylorimba Thomas Stubbs , Deborah O’Grady , production director and photographer Seth Reiser , set and lighting designer

MESSIAEN (1908 –1992) Des Canyons aux Étoiles… (From the Canyons to the Stars …) (1971 –74)

An Introduction with David Robertson and the St. Louis Symphony

INTERMISSION

MESSIAEN (1908 –1992) Des Canyons aux Étoiles… (From the Canyons to the Stars …) (1971 –74)

PART oNE Le Désert (The Desert) Les orioles (The orioles) Ce qui est écrit sur les étoiles… (What is Written in the Stars…) Le Cossyphe d’Heuglin (The White- Browed Robin) (piano solo) Cedar Breaks et le Don de Crainte (Cedar Breaks and the gift of Awe)

(Continued) PART TWo Appel interstellaire (Interstellar Call) (horn solo) Bryce Canyon et les rochers rouge-orange (Bryce Canyon and the Red-orange Rocks)

PART THREE Les Ressuscités et le chant de l’étoile Aldébaran (The Resurrected and the Song of the Star Aldebaran) Le Moqueur polyglotte (The Mockingbird) (piano solo) La grive des bois (The Wood Thrush) omao, Leiothrix, Elepaio, Shama (Hawaiian Thrush, old World Babbler, Monarch Flycatcher, Magpie-Robin) Zion Park et la Cité céleste (Zion Park and the Celestial City)

Jon Else , cinematography and time lapse photography Adam Larsen , video design consultant Cath Brittan , production manager

Production co-commissioned by Cal Performances, St. Louis Symphony, Los Angeles Philharmonic, Sydney Symphony Orchestra, and Washington Performing Arts.

This project is supported in part by an award from the National Endowment for the Arts, and by Patron Sponsors Gail and Dan Rubinfeld. Cal Performances’ ,*+-–,*+. season is sponsored by Wells Fargo.

PLAYBILL PROGRAM NOTES

Des Canyons aux Étoiles… (From the Canyons chief organist at the Trinité in Paris. In 1936 to the Stars... ) for Piano, Horn, and Orchestra Messiaen joined with André Jolivet, Yves oLIVIER MESSIAEN Baudrier, and Daniel Lesur to form La Jeune France, a group of young French composers Born: December 10, 1908, Avignon pledged to returning substance and sincerity to Died: April 27, 1992, Paris the nation’s music, which they felt had become trivialized and cynical. Messiaen was appointed Composed in 1971 –74 to the faculties of the Schola Cantorum and the École-Normale that same year. Called up for Premièred on November 20, 1974, at Alice military service at the outbreak of hostilities in Tully Hall in New York City; Frederic Waldman 1939, he was captured the following summer conducting the Aeterna Orchestra, with Yvonne and imprisoned at Stalag VIII-A in görlitz, Loriod as piano soloist and Sharon Moe as Silesia. There he wrote his Quartet for the End horn soloist of Time for the musical instruments available among his fellow musician-prisoners (clarinet, Scoring: solo piano, solo horn, solo xy - violin, , and piano); the work’s extraordi - lorimba, solo glockenspiel, 2 flutes, alto , nary première was given at the camp in 1941. piccolo, 2 oboes, English horn, 2 clarinets, He was repatriated later that year, resuming his E-flat clarinet, bass clarinet, 2 bassoons, con - position at the Trinité and joining the staff of trabassoon, 2 horns, 2 trumpets, piccolo the Conservatoire as professor of harmony, trumpet, 3 trombones, percussion, strings where his students came to include such im - portant musicians as Boulez, Stockhausen, and Performance Time: Approximately 92 minutes Xenakis. In addition to his teaching duties in Paris, Messiaen gave special classes in Budapest, olivier Messiaen, one of towering figures of Darmstadt, Saarbruck, and Tanglewood. He modern French music, was born in 1908 in the was a member of the French Institute, the ancient southern town of Avignon to Pierre Academy of Beaux Arts de Bavière of Berlin, the Messiaen, a professor of literature noted for Santa Cecilia Academy of Rome, and the his translations of Shakespeare, and the poet American Academy of Arts and Letters. He Cécile Sauvage. olivier entered the Paris died in Paris in 1992. Conservatoire at the age of 11 to study with Almost like a musical monk from a composer Paul Dukas, organist Marcel Dupré, Medieval time, Messiaen’s life, works, and reli - and others of that school’s distinguished faculty; gion are indivisible. “The foremost idea I he won several prizes for harmony, organ, im - wanted to express in music, the one that’s the provisation, and composition before gradu ating most important because it stands above every - in 1930. The following year he was appointed thing else,” he wrote, “is the existence of the PROGRAM NOTES truths of the Catholic faith. I have the good luck taposed, recalled, intercut, but seldom varied to be a Catholic; I was born a believer and so it — in a kind of musical mosaic that Messiaen happens that the Scriptures have always made spoke of in terms of “strophe” and “anti-stro - a deep impression on me since childhood. A phe” and “epode” (an ancient greek poetic number of my works are therefore intended to form of alternating long and short verses). With illuminate the theological truths of the Catholic his mystical religiosity and his embrace of the belief. That is the first aspect of my work, the world, his meticulous craftsmanship and his noblest, probably the most useful, the most emotional sincerity, his modernity and his valid, and the only one perhaps that I shall not timelessness, Messiaen created, in the words of regret at the hour of my death.” Few of his com - his student Karlheinz Stockhausen, “fantastic positions, however, are specifically liturgical, music of the stars.” Messiaen having chosen rather to address the widest possible audience in the concert hall * * * (and, with his huge music drama Saint-François d’Assise of 1983, the opera house) in the most From the Canyons to the Stars… , composed be - varied and colorful style devised by any mid- tween 1971 and 1974 on a commission from 20th-century composer. Messiaen explained: Miss Alice Tully in observance of the American “god being present in all things, music dealing Bicentennial, was premièred at Alice Tully Hall with theological subjects can and must be ex - on November 20, 1974 by the Musica Aeterna tremely varied…. I have therefore…tried to orchestra, conducted by Frederic Waldman. produce a music that touches all things with - The pianist was the composer’s wife, Yvonne out ceasing to touch god.” Loriod (who wore a gown based on the colors Though he wrote works for solo piano, of Bryce Canyon created specially for the occa - voices, and chamber ensembles, most of sion by Pierre Cardin), and the horn soloist was Messiaen’s output is for organ or orchestra, Sharon Moe. The work’s scoring — piano, 13 whose vast resources of sonority are integral to solo strings, percussion, and a full complement his compositional style. Equally varied is the of winds — was dictated by the stage capacity of enormous range of influences that helped shape Alice Tully Hall, and its subject determined by his music. Carla Huston Bell listed the following its association with America. Messiaen imme - dizzying spectrum of inspirations in her 1984 diately dismissed anything to do with “those study of the composer: his family (notably the skyscrapers I cannot stand,” and instead turned refined literary tastes of his parents and the for inspiration to his large library of geographic mystical Catholicism of his mother); the solid books, where he found pictures of Bryce technical foundation of his early training; his in - Canyon in utah — “the most beautiful thing in terest in the rhythmic systems of ancient greek the united States,” he said — in a volume titled and Asian Indian music; gregorian plainchant; Les Merveilles du Monde . He spent several 14th-century isorhythm; Debussy; Stravinsky, weeks at Bryce, Zion, and Cedar Breaks with and Russian music; nature and birdsong; total his wife during the spring of 1972 (“a good time serialization; and the symbiotic artistic inter - to hear bird songs”), and drew from his experi - change with his colleagues and his students. ence of the fantastic colors and shapes and oth - Sonority and structure are indivisible in erworldliness of those landscapes the spiritual Messiaen’s compositions. Short blocks of music, context of From the Canyons to the Stars… . The built in From the Canyons to the Stars… almost work is one of Messiaen’s most powerful ex - entirely from the melodies and implicit har - pressions of his synesthesia — the characteris - monies of birdsong, are forged from precise, tic of having one sense triggered by another. sharply contrasted sounds of stained-glass bril - “Colors are very important to me because I liance, from single strands of melody (the have a gift,” he said. “It’s not my fault, it’s just Interstellar Call must certainly be the longest how I am — whenever I hear music, or even if passage for unaccompanied horn ever included I read music, I see colors. They correspond to in an orchestral work) to huge, dazzling, mono - the sounds — rapid colors that turn, mix, com - lithic chord streams of gleaming instrumental bine and move with the sounds. They are al - alloys. These blocks are then assembled — jux - ways changing, but they are marvelous and

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they reproduce themselves each time one re - moments of musical progress appear peats the same sound complex.” equally important, and none of them de - guy Lelong, the French writer with a par - mands attention at the expense of others. ticular interest in the interrelations of various art forms, prepared the following discussion Part I: Le Désert (The Desert) The desert of From the Canyons to the Stars… in collabo - is a symbol of the void of the soul that ration with the composer: allows one to hear the inner call of the Spirit. That is, for Messiaen, the best way to The canyons of utah are the starting point begin this gradual journey to the stars. The for this monumental fresco in 12 move - theme played on the horn evokes a peaceful ments, and the music rises to the stars, en - state; birds and desert wind (performed on countering during this ascension several the wind machine) define the vast birdsongs dear to the composer. This is a ge - of Creation. ological work whose mission is to celebrate the landscape and birds found in America, Les Orioles (The Orioles) First of the five yet it is also astronomical, and, as Messiaen’s movements consisting solely of birdsong. music often is, frankly religious. This pur - These are American orioles from the west - suit of the grandiose takes place within ern united States. Most of these birds have highly developed writing. A work of an orange-and-black coat, and all of them “sound-color,” Des canyons aux étoiles… are excellent singers. Birds are the perfect innovates first of all with its orchestration. link between nature and music, between Written for only 44 instruments, including a earth and sky. very complex percussion section that in - cludes a wind machine and a geophone (a Ce qui est écrit sur les étoiles… (What Is that Messiaen in - Written in the Stars…): Mene (“mea - vented for this work), the piece produces sured”), tekel (“weighed”), upharsin (“di - incredible sound images due to its instru - vided”) At the Biblical feast of Belshazzar, mental assembly. The solo piano either acts King of Babylon, who refused to recognize alone (in two of the 12 movements), alter - the existence of god, these words appeared nates with, or is superimposed on the or - in letters of fire inscribed on the wall of his chestra. Its mainly timbral treatment palace. For Messiaen these words describe manages to achieve a complexity of sound the order of the placement and movement that emulates the entire orchestra. From a of the stars in the universe. These words formal point of view, in the same sense as in also have a musical equivalence since the visual art, this work reflects a ‘refusal of letters that comprise them are here trans - composition.’ In other words, all the lated into notes. PROGRAM NOTES

Le Cossyphe d’Heuglin (The White-Browed of the Steller’s Jay (blue and black) while it Robin) For solo piano, the second of five flies over the canyon. movements consisting solely of birdsong. Here, it is a South African bird that sings. Part III: Les Ressuscités et le chant de l’é - toile Aldebaran (The Resurrected and the Cedar Breaks et le don de crainte (Cedar Song of the Aldebaran Star) Again, the Breaks and the Gift of Awe) In his preface Book of Job furnished the inspiration: “the to the score, Messiaen refers to Cedar stars sing”— they possess their own natu - Breaks as “a vast amphitheatre, sliding ral sonority. The stars sing and the resur - down towards a deep abyss,” evoking a rected revolve around the stars. sense of awe at the overwhelming beauty in unspoiled nature and a symbol of the Le Moqueur polyglotte (The Mockingbird) Divine Presence. The second movement for piano solo and the third of five movements consisting Part II: Appel interstellaire (Interstellar solely of birdsong. The sound suggests a Call) Messiaen originally wrote this move - large landscape, and through some inexpli - ment for solo horn as a memorial to the cable sleight-of-hand implies something young French composer, and a student of that is only realized at its departure. The his, Jean-Pierre guézec. It became one of mockingbird launches forth and dazzles the main inspirations for Des canyons aux with its tricks and imitations, accumulat - étoiles…. In his notes to this movement, the ing momentum and bursting into a blaze composer quotes from the : “It is he of hot light. that heals hearts and binds up their wounds; it is he that numbered the stars, La Grive de bois (The Wood-Thrush) The calling each by name” (Book of Psalms); “o fourth of the five movements consisting earth, cover not thou blood, and let my cry solely of birdsong. The song of the wood- have no place” (Book of Job). thrush is a major with a clear tim - bre. It is usually preceded by a pickup note Bryce Canyon et les rochers rouge-orange and followed by a lower rustling. This bird - (Bryce Canyon and the Red-Orange song symbolizes the archetype that god Rocks) This is the central movement of the wanted, one that we realize in heavenly life. work. Bryce Canyon is a gigantic circus of fantastic formations of red, orange and vio - Omao, Leiothrix, Elepaio, Shama let rocks. This movement attempts to re - (Hawaiian Thrush, Old World Babbler, produce all of these colors as well as those Monarch Flycatcher, Magpie-Robin) The

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final movement consisting solely of bird - Crowded trails, gridlocked roads, hikers with song. These birds from the Hawaiian is - boomboxes playing music into the canyons, lands, China, and India form the nucleus of and National Parks being marketed as this “long symphony of birds.” grandiose amusement parks have altered the nature experience from one of solitude to one Zion Park et la Cité celeste (Zion Park and of necessary patient tolerance. Although there the Celestial City) Nature and the divine seem to be no humans in Messiaen’s vision fuse in this vision of paradise. Those who and experience of these canyons, my explo - discover the walls, trees, and limpid river of rations were filled with human encounters Zion Park see it as a symbol of Paradise, and all that those encounters imply. and it provides the ultimate opportunity, in This situation, coupled with a growing this work, to observe heaven on Earth. awareness of the ways in which human activity alters our environment, led me to a somewhat © 2016 Dr. Richard E. Rodda different interpretation of the movements of Photographs by Deborah O’Grady Des Canyons . Each movement is introduced in the score with a textual prologue, either Biblical or descriptive of the birdsong and composi - A N OTE BY THE PHOTOGRAPHER tional technique of the music. My interpretation aims to incorporate the recognition of the eco - When asked by the conductor David logical crisis we face and the reality of human Robertson to create a work of photographic art pressures on the environment, with my awe for to be viewed simultaneously with symphonic the sheer beauty and magnificence of nature, performances of this landmark musical com - from rocks and rivers to clouds and, of course, position, I accepted the commission with joy. birds. Messiaen’s vision of nature and the cos - What better assignment for a landscape pho - mos in Des Canyons is entirely optimistic. Even tographer trained in music composition, than interpreting the writing on the wall of to meld together the visual and aural worlds in - Belshazzar’s feast, “ mene, teqel, parsin, ” was seen spired by the deserts and magnificent National by Messiaen as ultimately, or at least possibly, Parks of the southwestern united States. It was optimistic. For me, the writing on the wall IS a two-year journey for me to create a visual the evidence of the ecological challenges we work of art structured on the musical score of face, and this recognition emerges in my work. Des Canyons . Responding to the scope and This production brings together imagery, complexity of the music was a process of con - both sacred and profane, from my travels, fol - stant discovery and challenge. lowing Messiaen’s path, absorbing his as - Messiaen’s journey took place in 1972. signed meanings, assembled to work with the Describing the enviable solitude of his time in music organically. Seth Reiser’s beautiful set Bryce Canyon, he says “For me, the good time is and lighting design acknowledge Messiaen’s when I hear bird songs, which is to say the synaesethetic color sensitivity, bringing the spring, a season that also makes it possible to musicians of the orchestra into the stage pic - avoid throngs of tourists. So we set off alone, my ture. As Messiaen did on his travels to these wife and I, in the canyon. It was marvelous, magnificent places, look—but also listen. Let grandiose; we were immersed in total silence— the music and images speak in concert, and not the slightest noise except for the bird songs.”* take you from the canyons to the stars! Because Messiaen traveled to Bryce and Zion Canyons and Cedar Breaks National —Deborah o’grady, January 2016 Monument in April, I chose that month for my most intensive work there. But the parks I visited in 2014 and 2015 provided a radical *Conversation between Messiaen and Claude departure from Messaien’s experiences. Samuel in Messiaen and Color . ABOUT THE ARTISTS N o S u g R E F

T T o C S Founded in 1880, the St. Louis Symphony is the St. Louis Symphony’s first European tour the second oldest orchestra in the united with Music Director David Robertson, in 2012, States and is widely considered one of the with performances at the BBC Proms, the world’s finest. In September 2005 internation - Lucerne Festival, Paris’s Salle Pleyel, and ally acclaimed conductor David Robertson Musikfest Berlin. In 2013 the Symphony com - became the 12th Music Director and second pleted its second successful California tour with American-born conductor in the orchestra’s Robertson, which included a three-day resi - history. In its 136th season, the St. Louis dency at the university of California, Davis. Symphony continues to strive for artistic ex - cellence, fiscal responsibility, and community A consummate musi - connection. In addition to its regular concert cian, masterful pro - performances at Powell Hall, the Symphony is grammer, and dy namic an integral part of the St. Louis community, presence, American presenting free education and community maestro, David programs throughout the region each year. Robertson has estab - o R A

In February 2015 the St. Louis Symphony M lished himself as one M A

received a grammy award for Best orchestral T of today’s most

L E

Performance for its recording of John Adams’ A sought-after conduc - H C City Noir and Saxophone Concerto on I tors. A passionate and M . This was the Symphony’s compelling communicator with an extensive or - sixth grammy, as well as its 57th nomination. chestral and operatic repertoire, he has forged The City Noir recording follows the 2009 close relationships with major orchestras Nonesuch release of the Symphony’s per - around the world through his exhilarating formances of Adams’ music-making and stimulating ideas. In fall Symphony and , which 2015 Mr. Robertson launched his 11th season reached No. 2 on the Billboard rankings for as Music Director of the 136-year-old St. Louis classical music, and was named Best CD of the Symphony. In January 2014 he assumed the Decade by The Times of London. post of Chief Conductor and Artistic Director In 2013 –14 David Robertson led the St. Louis of the Sydney Symphony orchestra in Australia. Symphony in a Carnegie Hall performance of In 2014 –15 Mr. Robertson led the St. Louis Britten’s Peter Grimes on the Britten centennial, Symphony back to Carnegie Hall, performing which , in the New York Meredith Monk’s Weave for Carnegie’s cele - Times , selected as one of the most memorable bration of the artist, as well as Tchaikovsky’s concerts of the year. Recent tours have included Symphony No. 4. Zachary Woolfe of the New

PLAYBILL ABOUT THE ARTISTS

York Times wrote: “Mr. Robertson led a fero - mières of new compositions by eminent and ciously focused performance of Tchaikovsky’s emerging composers worldwide. Fourth Symphony, the phrasing taut but nat - In August 2013 he gave the world première ural as breathing.” of John Adams’ Saxophone Concerto— Born in Santa Monica, California, Mr. described by the Sydney Morning Herald as Robertson was educated at London’s Royal “an astonishing performance”—with the Academy of Music, where he studied horn Sydney Symphony orchestra under the baton and composition before turning to orchestral of the composer in the Sydney opera House. conducting. Robertson is the recipient of nu - Subsequent united States premières and in - merous awards and honors. ternational performances throughout 2013 and 2014 occurred with Marin Alsop and the Deborah O’Grady ’s Baltimore and Sao Paulo State (Brazil) sym -

career in photogra - phonies, along with a recording of the con - phy, spanning three certo and City Noir for Nonesuch Records decades, centers on with David Robertson and the St. Louis the landscapes of the Symphony, which won the 2015 grammy western united States. Award for Best orchestral Performance. Many bodies of her other engagements with the concerto have work represent an ex - included the BBC Proms with the BBC ploration of the rural Symphony orchestra, Royal Liverpool landscapes of north - Philharmonic, Milwaukee Symphony ern California seen within the context of na - orchestra, New World Symphony, and the tive mythology (Pomo and Lake Miwok traditional stories, collected in the early 20th Cabrillo Festival orchestra. century by anthropologists working at uC Berkeley) and the pioneer experiences of an A versatile pianist, early settler, Susanna Roberts Townsend. Peter Henderson is Ms. o’grady’s territory expands to include active as a performer the Navajo Nation and the Four Corners area in solo, chamber, and of utah, Colorado, Arizona, and New Mexico, orchestral settings. for the creation of the video montage com - Since fall 2005, Mr. missioned by the Phoenix Symphony for Henderson has Enemy Slayer: A Navajo Oratorio , and for served as Assistant Code Talker Stories , a book of oral histories Professor of Music at and portraits of the World War II Navajo Maryville university. Marines whose native language was used to He performs frequently as an ensemble key - create an unbreakable code that aided in the boardist with the St. Louis Symphony, and defeat of the Japanese at the close of the war. made his first appearance as a subscription- concert soloist with the Symphony in January Timothy McAllister 2008. He often gives Pre-Concert Conversations from the Symphony’s Powell is one of today’s pre - Hall stage prior to subscription concerts. mier soloists, a mem - Henderson has coached at the ber of the renowned San Diego Chamber Music Workshop each PRISM Quartet, and summer since 2001, and was an orchestral a champion of con - and chamber keyboardist with the Sun Valley temporary music Summer Symphony during its 2004 and credited with dozens 2006 –09 seasons. In 2003 he was a winner of of recordings and the St. Louis-based Artist Presentation more than 150 pre - Society’s auditions. ABOUT THE ARTISTS

Mr. Henderson holds a Doctor of Music de - degree and was a student of Will Hudgins of gree from Indiana university-Bloomington the Boston Symphony orchestra. Mr. James (having studied piano there with Dr. Karen received his Bachelor of Music degree from Shaw); before attending Iu, he studied piano at Northwestern university in 2004. While at - the university of Idaho with Dr. Jay Mauchley. tending Northwestern, he studied with Michael Burritt, an active soloist and clinician Roger Kaza rejoined throughout the country, and James Ross, a the St. Louis Symphony member of the Chicago Symphony orchestra. as Principal Horn in James is an active educator in the percussion the fall of 2009, after community. His book The Modern Concert 14 years with the Snare Drum Roll has been met with critical ac - Houston Symphony. claim as a much-needed resource for both He was previously a teachers and students. member of the St. Louis Symphony horn Thomas Stubbs grad - section from 1983 –95, uated from Juilliard in and prior to that held positions in the 1970 and subse - Vancouver Symphony, Boston Symphony, and quently joined the St. the Boston Pops, where he was solo horn under Louis Symphony, John Williams. A native of Portland, oregon, where he is currently Mr. Kaza attended Portland State university, the Associate studying with Christopher Leuba, and later Principal Timpani/ transferred to the Conservatory Percussionist ( in Boston, where he received a Bachelor of specialist). He teaches Music with Honors in 1977 under the tutelage of at St. Louis university and, since 1989, at the Thomas E. Newell, Jr. Aspen Music Festival and School. He has also Mr. Kaza has appeared as soloist with many taught at the university of Missouri-St. Louis, orchestras, including the St. Louis, Vancouver, university of Missouri-Columbia, and and Houston symphonies, and the Carlos university of Indiana-Bloomington. He is also Chavez Chamber orchestra in Mexico City. A a clinician for the Zildjian cymbal company. frequent chamber musician as well, he has At Juilliard Stubbs was a student of Saul performed at numerous summer venues, in - goodman and a private student of Buster cluding the Bravo!Vail Festival, Chamber Bailey. Additional studies were with Morris Music Northwest, Mainly Mozart, and the goldenberg at the National orchestral Aspen and Marrowstone Festivals. Association, and with george gaber, Roland Kohloff, gary Weidersheim, and Rick Holmes William J. James is at the Aspen Music Festival. Principal Percussion Mr. Stubbs continues this teaching legacy, of the St. Louis with many of his former students now playing Symphony. He won professionally around the world, including the position at age 25 in the San Francisco Symphony, Seattle while a member of the Symphony, New Jersey Symphony, North New World Symphony Carolina Symphony, Birmingham Symphony, in Miami Beach, Malaysian Philharmonic, and both the Army Florida. He graduated Band and Marine Band in Washington, D.C. from the New England Conservatory in 2006 with a Master of Music

PLAYBILL ORCHESTRA ROSTER ST. LOUIS SYMPHONY David Robertson, Music Director

Steven Jarvi, Resident Conductor and Director of the St. Louis Symphony Youth Orchestra Amy Kaiser, Director of the St. Louis Symphony Chorus, AT&T Foundation Chair Kevin McBeth, Director of the St. Louis Symphony IN UNISON® Chorus

FIRST Nicolae Bica David Halen Deborah Bloom Concertmaster Lisa Chong Eloise and Oscar Johnson, Jr. Chair Elizabeth Dziekonski Heidi Harris Ling Ling guan Associate Concertmaster Jooyeon Kong Louis D. Beaumont Chair Asako Kuboki Mabel Dorn Reeder Honorary Chair Wendy Plank Rosen Celeste golden Boyer Shawn Weil Second Associate Concertmaster Erin Schreiber Assistant Concertmaster Beth guterman Chu Dana Edson Myers Principal Justice Joseph H. and Ben H. and Katherine G. Wells Chair Maxine Goldenhersh Chair Kathleen Mattis Jessica Cheng Associate Principal Margaret B. Grigg Chair Jonathan Chu Charlene Clark Assistant Principal Ann Fink Xi Zhang Emily Ho gerald Fleminger Silvian Iticovici Susan gordon Second Associate Leonid gotman Concertmaster Emeritus Morris Jacob Helen Kim Chris Tantillo Jane and Whitney Harris Chair Shannon Farrell Williams Joo Kim Christian Woehr Melody Lee Xiaoxiao Qiang Angie Smart Daniel Lee Mary and Oliver Langenberg Chair Principal Hiroko Yoshida Frank Y. and Katherine G. Gladney Chair Melissa Brooks SECOND VIOLINS Associate Principal Alison Harney Ruth and Bernard Fischlowitz Chair Principal David Kim Dr. Frederick Eno Woodruff Chair Assistant Principal Kristin Ahlstrom Anne Fagerburg Associate Principal James Czyzewski Virginia V. Weldon, M.D. Chair Alvin McCall Eva Kozma Bjorn Ranheim Assistant Principal Elizabeth Chung** Andrea Jarrett Davin Rubicz** Rebecca Boyer Hall (Continued) ORCHESTRA ROSTER

DOUBLE BASSES E-FLAT CLARINET Underwritten in part by a generous gift from Diana Haskell Dr. Jeanne and Rex Sinquefield Erik Harris BASS CLARINET Principal Tzuying Huang Henry Loew Chair Carolyn White BASSOONS Associate Principal Andrew Cuneo Christopher Carson Principal Assistant Principal Molly Sverdrup Chair David DeRiso Andrew gott Warren goldberg Associate Principal Sarah Hogan Kaiser Felicia Foland Donald Martin Ronald Moberly CONTRABASSOON *

HARP HORNS Allegra Lilly Roger Kaza Principal Principal Elizabeth Eliot Mallinckrodt Chair W.L. Hadley and Phoebe P. Griffin Chair Thomas Jöstlein FLUTES Associate Principal Mark Sparks Christopher Dwyer Principal Tod Bowermaster Herbert C. and Estelle Claus Chair Julie Thayer Andrea Kaplan Lawrence Strieby Associate Principal Jennifer Nitchman TRUMPETS Ann Choomack Karin Bliznik Principal PICCOLO Symphony Volunteer Association Chair Ann Choomack Thomas Drake Associate Principal OBOES Jeffrey Strong Jelena Dirks Michael Walk Principal David J. Hyslop Chair Morton D. May Chair Philip Ross TROMBONES Acting Associate Principal Timothy Myers Cally Banham Principal Michelle Duskey** Mr. and Mrs. William R. Orthwein, Jr. Chair Amanda Stewart ENGLISH HORN Associate Principal Cally Banham Jonathan Reycraft

CLARINETS BASS Scott Andrews gerard Pagano Principal Walter Susskind Chair TUBA Diana Haskell Michael Sanders Associate Principal Principal Wilfred and Ann Lee Konneker Chair Lesley A. Waldheim Chair Tina Ward Tzuying Huang

PLAYBILL ORCHESTRA ROSTER TIMPANI MUSIC LIBRARY Shannon Wood Elsbeth Brugger Principal Librarian Symphony Volunteer Association Chair Henry Skolnick Thomas Stubbs Assistant Librarian Associate Principal Roberta gardner Paul A. and Ann S. Lux Chair Library Assistant

PERCUSSION STAGE STAFF William James Jack Snider Principal Stage Manager St. Louis Post-Dispatch Foundation Chair Joseph Clapper John Kasica Assistant Stage Manager Alyn and Marlynn Essman Chair Doug Fowler Thomas Stubbs Stage Technician - Sound Rick McKenna KEYBOARD INSTRUMENTS Stagehand Principal * Florence G. and Morton J. May Chair *Chair vacant **Replacement

FROM THE CANYONS TO THE STARS… ENSEMBLE FIRST VIOLINS CELLOS David Halen Daniel Lee Concertmaster Principal Eloise and Oscar Johnson, Jr. Chair Frank Y. and Katherine G. Gladney Chair Heidi Harris Melissa Brooks Associate Concertmaster Associate Principal Louis D. Beaumont Chair Ruth and Bernard Fischlowitz Chair Mabel Dorn Reeder Honorary Chair David Kim Erin Schreiber Assistant Principal Assistant Concertmaster Helen Kim DOUBLE BASSES Jane and Whitney Harris Chair Erik Harris Principal SECOND VIOLINS Henry Loew Chair Alison Harney Principal FLUTES Dr. Frederick Eno Woodruff Chair Mark Sparks Kristin Ahlstrom Principal Associate Principal Herbert C. and Estelle Claus Chair Virginia V. Weldon, M.D. Chair Andrea Kaplan Associate Principal VIOLAS Jennifer Nitchman Kathleen Mattis Associate Principal PICCOLO Xi Zhang Ann Choomack Chris Tantillo

(Continued) ORCHESTRA ROSTER OBOES TROMBONES Jelena Dirks Timothy Myers Principal Principal Morton D. May Chair Mr. and Mrs. William R. Orthwein, Jr. Chair Michelle Duskey** Jonathan Reycraft gerald Pagano ENGLISH HORN Cally Banham PERCUSSION William James Principal Percussion CLARINETS St. Louis Post-Dispatch Foundation Chair Scott Andrews Shannon Wood Principal Principal Timpani Walter Susskind Chair Symphony Volunteer Association Chair Tina Ward Thomas Stubbs Associate Principal Timpani E-FLAT CLARINET Paul A. and Ann S. Lux Chair Diana Haskell John Kasica Alyn and Marlynn Essman Chair BASS CLARINET Henry Claude Tzuying Huang Brian Kushmaul

BASSOONS Andrew Cuneo Principal Molly Sverdrup Chair Felicia Foland

CONTRABASSOON Ellen Connors

HORNS Roger Kaza Principal W.L. Hadley and Phoebe P. Griffin Chair Thomas Jöstlein Associate Principal Christopher Dwyer

TRUMPETS Karin Bliznik Principal Symphony Volunteer Association Chair Thomas Drake Associate Principal Jeffrey Strong

PLAYBILL