ST. LOUIS SYMPHONY DAVID ROBERTSON, CONDUCTOR Wednesday, March 29, 2017, at 7:30pm Foellinger Great Hall PROGRAM ST. LOUIS SYMPHONY David Robertson, music director and conductor

John Adams , Foxtrot for (1985) (b. 1947)

Aaron Copland Appalachian Spring, Ballet Suite for Orchestra (1944) (1900–1990)

20-minute intermission Ludwig van Beethoven Symphony No. 7 in A major, op. 92 (1812) (1770–1827) Poco sostenuto; Vivace Allegretto Presto; Assai meno Allegro con brio

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5 PROGRAM NOTES present only as a gigantic forty-foot portrait Born February 15, 1947, in Worcester, on the wall, to ‘come down, old man, and Massashusetts dance.’ The music takes full cognizance of her The Chairman Dances, Foxtrot for Orchestra past as a movie actress. Themes, sometimes slinky and sentimental, at other times bravura Dancing With Mao and bounding, ride above a bustling fabric of John Adams’ “breakthrough” composition, the energized motives. one that brought him international attention, was his . Completed in 1987 after two years of work, Nixon in China © 2013 Paul Schiavo imagines in fantastical, sometimes surreal, terms the historic 1972 visit of the 37th President to the AARON COPLAND People’s Republic of China and his meeting with Born November 14, 1900, in Brooklyn, New York Communist Party Chairman . Died December 2, 1990, in Sleepy Hollow, New York At the time he had begun working on the opera, Appalachian Spring, Ballet Suite for Orchestra Adams also was obligated to fulfill a commission from the Milwaukee Symphony Orchestra for a American Music For An American Ballet new orchestral piece. Engrossed in the sound- Aaron Copland’s standing as one of America’s world and mise en scène of Nixon in China, he most significant rests on those of his wrote a “Foxtrot for Orchestra” that he originally works that capture something essential, even planned to include in the opera’s third act. This mythic, about our country. Chief among these music, The Chairman Dances, ended up being, in is his most famous composition, Appalachian the ’s words, “an out-take” from Nixon Spring. in China, but it has acquired a life of its own as a concert piece. Appalachian Spring developed out of a collaboration with the esteemed choreographer The scene for which The Chairman Dances was and modern dancer Martha Graham. In 1943, conceived centers, Adams explains: Graham approached Copland about providing music for a new ballet. The scenario she devised On Chairman Mao and his bride, Chiang was unpretentious: a young pioneer couple, Ch’ing, the fabled ‘Madame Mao,’ firebrand, beginning life together in rural Pennsylvania, revolutionary executioner, architect of China’s celebrates the building of a new farm house. calamitous , and (a fact Joining them are their neighbors and a revivalist not universally realized) a former Shanghai preacher. movie actress. In the surreal final scene of the opera, she interrupts the tired formalities of Modest as this seems, no subject could have a state banquet, disrupts the slow-moving better suited Copland at the time. Like many protocol and invites the Chairman, who is artists, and more than most, he had been strongly

6 affected by the wave of populist sentiment that LUDWIG VAN BEETHOVEN swept the country during the Depression. As a Born December, 1770, in Bonn, Germany result, the composer sought in the mid-1930s Died March 26, 1827, in Vienna, Austria to make his style more distinctively American Symphony No. 7 in A major, op. 92 and more accessible. To this end, he turned to American folk music as a source of thematic Spacious And Sensual Sound material. Copland’s use of traditional dance tunes Beethoven embarked on his career as a and song melodies was highly personal, however. symphonist at the start of the 19th century—his Instead of quoting them literally, he usually Symphony No. 1 appeared in 1800—and rapidly transfigured his folkloric sources in subtle yet completed six diverse and original works in telling ways. Nevertheless, they imbued his work the genre over a span of scarcely eight years. with a distinctly national flavor. Then, beginning in 1808, the composer brought no symphony before the public for some four From its initial performance in October 1944, years, a period during which he concentrated his Appalachian Spring enjoyed a success unequaled creative efforts chiefly on keyboard and chamber by any American work of its kind. It remained music. Despite this hiatus, the Seventh Symphony, for years a staple of Graham’s repertory, and completed in 1812, picked up much where the Copland’s music received the Pulitzer Prize in previous Sixth, or “Pastoral,” Symphony had 1945. The original ballet was scored for a theater left off. Both works offer a feeling of relaxed orchestra of 13 instruments, but the composer spaciousness and the kind of warm, almost later revised this into a concert suite for full luxuriant orchestral sound not otherwise notable orchestra. In this form it has become one of in the composer’s output. These symphonies the most widely heard compositions of the last are, if one may use the term in connection with century. so thoughtful an artist, the most sensual of Beethoven’s compositions. The music vividly suggests the setting and action of the ballet: the pastoral countryside, the Moreover, neither piece expresses the implicit gathering of the farm folk, their barn dance, the drama of struggle and triumph so central to frightening admonitions of the preacher, the shy Beethoven’s other large symphonies (the Third, affection of the young couple. The final section Fifth, and Ninth). As a piece of “pure” music— presents a set of variations on the Shaker hymn that is, one with neither explicit nor implied “Simple Gifts,” which Copland made famous literary narrative—the Seventh Symphony through his ballet score. All this, however, hardly expresses as much as anything the wonders conveys the achievement of Appalachian Spring. of music itself. Forgotten for the moment are With this work, Copland captured not only an the composer’s well-known battles with fate, appealing frontier atmosphere but something deafness, and loneliness. One senses here— greater: a transcendent feeling of rural life as a more, perhaps, than in any of Beethoven’s other wellspring of purity and harmony with nature. orchestral works—the joy he could find in his own creative powers, in simply combining melody, rhythm, harmony, and instrumental colors for © 2017 Paul Schiavo the purpose of coherent and beautiful musical invention.

7 Pervasive Rhythm The scherzo that follows is full of commotion, The broad chords that punctuate the ’s and its contrasting central section, or Trio, whose melody in the symphony’s opening moments melody is based on an old Austrian pilgrims’ define one of the work’s important attributes: hymn, attains a degree of grandeur never before sheer sonority, a reveling in the physical reality encountered at this point in a symphony. In of orchestral sound. Another element that closing the movement, Beethoven toys with our emerges near the end of the moderately paced expectations: a restatement of the opening bars introductory passage is rhythm, as repeated- of the Trio promises another repetition of this note figures decelerate incrementally, then section, until five swift chords bring matters to a metamorphose into a tripping rhythmic motif. decisive conclusion. Beethoven carries this figure into the Vivace that forms the main body of the first movement, where The English conductor and commentator Donald the tripping rhythm of the introduction underlies Francis Tovey described the finale as “a triumph all of the principal thematic ideas. of Bacchic fury.” However one might characterize this movement, there is no denying its very The ensuing Allegretto is one of Beethoven’s considerable energy, nor the fact that this quality most popular creations, so much so that springs in large part from rhythm. The opening in the 19th and early 20th centuries measures present a sharply etched rhythmic often performed it alone, apart from the rest of motif, and as in the first and second movements, the symphony. From its humble beginning as a this provides the seed from which practically all narrow melody anchored to a single tone, the subsequent developments spring. 16-measure phrase upon which the movement is built soars through successive variations to © 2017 Paul Schiavo unexpected heights.

8 PROFILE DAVID ROBERTSON is one of today’s most A highlight of Robertson’s 2016–17 guest sought-after conductors. Celebrated worldwide conducting engagements includes The as a champion of contemporary composers, ’s revival of Janáček's Jenůfa. an ingenious programmer, and a masterful He has held other titled posts with the BBC communicator, Robertson is a consummate and Symphony Orchestra, the Orchestra National de deeply collaborative musician. With an extensive Lyon, the Jerusalem Symphony Orchestra, and orchestral and operatic repertoire that spans the Ensemble Intercontemporain. the classical to the avant-garde, he has forged close relationships with major orchestras and Robertson received Columbia University’s 2006 opera companies around the world. This marks Ditson Conductor’s Award, and he and the St. Robertson’s 12th season as music director of the Louis Symphony are recipients of several major storied 137-year-old St. Louis Symphony. He also awards from ASCAP and the League of American serves as chief conductor and artistic director of Orchestras. Musical America named him the 2000 the Sydney Symphony Orchestra in Australia. Conductor of the Year. In 2010 he was elected a Fellow of the American Academy of Arts and As music director of the St. Louis Symphony, Sciences, and in 2011 a Chevalier de l’Ordre des Robertson has solidified the orchestra’s standing Arts et des Lettres. as one of the nation’s most enduring and innovative. Under his leadership, the St. Louis Born in Santa Monica, California, Robertson was Symphony’s notable relationship with composer educated at London’s Royal Academy of Music, John Adams has produced the 2014 release of where he studied horn and composition before on Nonesuch Records, which won the turning to orchestral conducting. He is married to Grammy Award for Best Orchestral Performance; pianist Orli Shaham. the 2016 release of Adams’ symphony, Scheherazade.2, performed by Leila Josefowicz; and 2017 will see the release of Adam’s , also with Josefowicz.

9 ST. LOUIS SYMPHONY Celebrated as one of the today’s most exciting The St. Louis Symphony performs numerous and enduring orchestras, the St. Louis Symphony works by composer John Adams throughout its is the second-oldest orchestra in the United Powell Hall concert season, including his Violin States and is widely considered one of the world’s Concerto, featuring soloist Leila Josefowicz, in finest. In September 2005, American conductor the fall of 2016. The concerto was recorded by David Robertson became the 12th Music Director Nonesuch Records for a future release that will in the orchestra’s history and has since solidified include Adams’ violin symphony, Scheherazade.2, the St. Louis Symphony’s standing as one of the which was recorded with Josefowicz at Powell nation’s most vital and innovative ensembles. Hall in February 2016. In its 137th season, the St. Louis Symphony is committed to artistic excellence, educational In 2015, the St. Louis Symphony received a impact, and community connection—all in service Grammy Award for Best Orchestral Performance to its mission of enriching people’s lives through for Adams’ City Noir and Concerto, the power of music. In addition to its regular with Robertson conducting and featuring soloist concert performances at home in Powell Hall, the Timothy McAllister, also recorded on Nonesuch. Symphony is an integral part of the diverse and This was the orchestra’s sixth Grammy and 57th vibrant St. Louis community, presenting hundreds nomination. of free education programs and performances In the 2015-16 season the St. Louis Symphony throughout the region each year. The Grammy completed a highly successful California Award-winning St. Louis Symphony’s impact tour, which included stops in Berkeley and beyond its home market is realized through Los Angeles’ . With regular Saturday night concert broadcasts, Robertson conducting, the tour featured celebrated recordings, and regular touring performances of Messiaen’s Des canyons aux activity. étoiles . . ., which included video images of the In the 2016-17 season, Robertson and the American Southwest landscapes that inspired the Symphony made a three-city concert tour composer, created by the artist Deborah O’Grady of Spain (Valencia, Madrid, and Oviedo), the especially for the St. Louis Symphony. orchestra’s first visit to Spain since 1998.

10 137TH SEASON 2016-2017

Music Director David Robertson

Resident Conductor and Director of the St. Louis Symphony Youth Orchestra Gemma New

Director of the St. Louis Symphony Chorus, AT&T Foundation Chair Amy Kaiser

Director of the St. Louis Symphony IN UNISON® Chorus Kevin McBeth

FIRST SECOND VIOLINS David Halen, concertmaster, Alison Harney, principal, Dr. Frederick Eno Eloise and Oscar Johnson, Jr. Chair Woodruff Chair Heidi Harris, associate concertmaster, Kristin Ahlstrom, associate principal, Louis D. Beaumont Chair Virginia V. Weldon, M.D. Chair Celeste Golden Boyer, Eva Kozma, assistant principal second associate concertmaster Andrea Jarrett Erin Schreiber, assistant concertmaster Rebecca Boyer Hall Dana Edson Myers, Nicolae Bica Justice Joseph H. and Maxine Goldenhersh Janet Carpenter Chair Lisa Chong Jessica Cheng, Margaret B. Grigg Chair Elizabeth Dziekonski Charlene Clark Ling Ling Guan Ann Fink Jooyeon Kong Emily Ho Asako Kuboki Silvian Iticovici, Wendy Plank Rosen second associate concertmaster emeritus Shawn Weil Helen Kim,*** Jane and Whitney Harris Chair Joo Kim Melody Lee Xiaoxiao Qiang Angie Smart, Mary and Oliver Langenberg Chair Hiroko Yoshida

*denotes chair vacant **denotes replacement ***denotes leave of absence † denotes extra musician

11 HARP Beth Guterman Chu, principal, Allegra Lilly, principal, Ben H. and Katherine G. Wells Chair Elizabeth Eliot Mallinckrodt Chair Kathleen Mattis, associate principal Jonathan Chu, assistant principal Gerald Fleminger Mark Sparks, principal, Susan Gordon Herbert C. and Estelle Claus Chair Leonid Gotman Andrea Kaplan, associate principal Morris Jacob Jennifer Nitchman Chris Tantillo Ann Choomack Shannon Farrell Williams Christy Kim † Christian Woehr Xi Zhang PICCOLO Eva Stern † Ann Choomack Wendy Richman †

OBOES Jelena Dirks, principal, Morton D. May Chair Daniel Lee, principal, Philip Ross, acting associate principal Frank Y. and Katherine G. Gladney Chair Cally Banham Melissa Brooks, associate principal, Michelle Duskey** Ruth and Bernard Fischlowitz Chair David Kim, assistant principal Anne Fagerburg ENGLISH HORN Elizabeth Chung Cally Banham James Czyzewski Alvin McCall Bjorn Ranheim Scott Andrews, principal, Walter Susskind Chair Yin Xiong Diana Haskell, associate principal, Wilfred and Ann Lee Konneker Chair DOUBLE BASSES Tina Ward, Mabel Dorn Reeder Honorary Chair Underwritten in part by a generous gift from Tzuying Huang Dr. Jeanne and Rex Sinquefield Erik Harris, principal, Henry Loew Chair E-FLAT Carolyn White, associate principal Diana Haskell Christopher Carson, assistant principal David DeRiso CLARINET Sarah Hogan Kaiser Tzuying Huang Donald Martin Ronald Moberly

12 Andrew Cuneo, principal, Molly Sverdrup Chair Shannon Wood, principal, Andrew Gott, associate principal Symphony Volunteer Association Chair Felicia Foland Thomas Stubbs, associate principal, Vincent Karamanov Paul A. and Ann S. Lux Chair

CONTRABASSOON PERCUSSION Vincent Karamanov William James, principal, St. Louis Post-Dispatch Foundation Chair HORNS John Kasica, Alyn and Marlynn Essman Chair Roger Kaza, principal, Thomas Stubbs W.L. Hadley and Phoebe P. Griffin Chair Henry Claude † Thomas Jöstlein, associate principal Christopher Dwyer KEYBOARD INSTRUMENTS Tod Bowermaster Principal*, Florence G. and Morton J. May Chair Julie Thayer Peter Henderson † Lawrence Strieby MUSIC LIBRARY Elsbeth Brugger, librarian Karin Bliznik, principal, Henry Skolnick, assistant librarian Symphony Volunteer Association Chair Roberta Gardner, library assistant Thomas Drake, associate principal Jeffrey Strong STAGE STAFF Michael Walk, David J. Hyslop Chair Joseph Clapper, assistant stage manager Ron Bolte, Jr., stage technician (sound) Rick McKenna, stagehand Timothy Myers, principal, Mr. and Mrs. William R. Orthwein, Jr. Chair Amanda Stewart, associate principal Jonathan Reycraft

BASS Gerard Pagano

TUBA Michael Sanders, principal, Lesley A. Waldheim Chair

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