CONCERT PROGRAM November 9-11, 2012 Jun Märkl, conductor Daniel Lee, cello Dominique Labelle, soprano Kai Rüütel, mezzo-soprano Christoph Genz, tenor Stephen Powell, baritone St. Louis Symphony Chorus Amy Kaiser, director SCHOENBERG Friede auf Erden (Peace on Earth), op. 13 (1907) (1874-1951) St. Louis Symphony Chorus Amy Kaiser, director

HAYDN Cello Concerto in D major, Hob. VIIb:2 (1783) (1732-1809) Allegro moderato Adagio Rondo: Allegro Daniel Lee, cello

INTERMISSION MOZART Requiem Mass in D minor, K. 626 (Süssmayr completion) (1791) (1756-1791) Introitus: Requiem— Kyrie Sequenz Dies irae Tuba mirum Rex tremendae Recordare Confutatis— Lacrimosa Offertorium Domine Jesu Hostias Sanctus Benedictus Agnus Dei— Communio: Lux aeterna Dominque Labelle, soprano Kai Rüütel, mezzo-soprano Christoph Genz, tenor Stephen Powell, baritone St. Louis Symphony Chorus Amy Kaiser, director

23 ACKNOWLEDGMENTS

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

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

Amy Kaiser is the AT&T Foundation Chair.

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

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

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

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

The concert of Saturday, November 10, is underwritten in part by a generous gift from Ms. Lesley A. Waldheim.

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

Pre-Concert Conversations are presented by Washington University Physicians.

These concerts are part of the Wells Fargo Advisors Series.

Large print program notes are available through the generosity of Mosby Building Arts and are located at the Customer Service table in the foyer.

24 PEACE ON EARTH AND HEAVENLY PEACE BY PAUL SCHIAVO

The consolation music offers in times of sorrow is one of its most remarkable properties, and one of the most valued. Musical elegies are TIMELINKS numerous, of course, and date to ancient times and probably to pre-history. But the most highly developed species of musical threnody is singing 1783 of the Requiem, the Latin mass for the deceased. HAYDN Cello Concerto in D major Settings of the Requiem text have been made Treaty of Paris officially by innumerable composers over the centuries. ends America’s One of the most beautiful and moving is that Revolutionary War of Wolfgang Amadeus Mozart, which forms the second half of our concert. Lending poignancy to this already affecting music--Mozart wrote the 1791 MOZART Requiem during the last weeks of his life. Requiem Mass in D minor, The Requiem verses beseech eternal rest for K. 626 the departed and peace to those who survive. In revolutionary France, There are, of course, other texts and other Louis XVI swears kinds of compositions that make similar pleas. allegiance to constitution Our concert begins with one of them, Arnold Schoenberg’s Friede auf Erden, or Peace on Earth, 1907 a choral setting of a poem written for Christmas. SCHOENBERG Between these works we hear the D-major Friede auf Erden (Peace Cello Concerto of Franz Joseph Haydn. Haydn on Earth) , op. 13 enjoyed a warm and mutually admiring Gustav Klimt paints Adele Bloch-Bauer I relationship with Mozart, who could be a harsh critic of other musicians. The fact that Mozart considered Haydn a dear friend attests not only to Haydn’s fine character but also the quality of his music.

25 ARNOLD SCHOENBERG Friede auf Erden (Peace on Earth), op. 13

PEACE ON EARTH Composed in 1907, Arnold Schoenberg’s Friede auf Erden is a setting for large chorus of a Christmas poem by the Swiss writer Conrad Meyer (1825-1898). These verses begin by evoking the nativity scene of shepherds carrying to the Madonna and infant Jesus the angelic salute of the work’s title, “Peace on Earth.” ay

R The text goes on to acknowledge mankind’s an M violent history, but it returns to the theme of the Born opening stanza, envisioning a future when peace Vienna, September 13, 1874 finally will prevail on earth. Schoenberg initially Died scored the music for unaccompanied choir, but it Los Angeles, July 13, 1951 proved exceptionally difficult to sing in this form. First Performance (A projected performance, scheduled for Vienna December 9, 1911, in Vienna, in 1907, had to be cancelled because the chorus Franz Schreker conducted could not cope with the harmonically dense the combined forces of the Vienna Philharmonic writing.) Several years later Schoenberg added Chorus, the Vienna an instrumental accompaniment as an aid to Lehrergesang Society the singers, but he instructed that “it should not Chorus, and the Vienna sound prominent. On the contrary ... it [should] Tonkünstler Orchestra disappear in the sound of the chorus.” STL Symphony Premiere Schoenberg is remembered chiefly in This week connection with the dissolution of traditional Scoring harmony about a hundred years ago, and the mixed chorus eventual replacement of that harmony with a Performance Time kind of tonally abstract music that led composers approximately 8 minutes into some arcane and hermetic compositional byways during the middle decades of the 20th century. But the Austrian musician was not born a revolutionary, and he did not come to his radical break with key-centered harmony suddenly. Rather, Schoenberg moved gradually from a late-Romantic musical ethos indebted to Wagner, Strauss, and Mahler—the starting point for his artistic journey—through a kind of harmonic twilight in his middle years to the atonal work of his maturity. Friede auf Erden stands at the cusp of this second phase of Schoenberg’s development. The work’s harmonic language seems to press the boundaries of conventional possibilities, and for brief periods to spill beyond them. But the composer still uses dissonance as an expressive inflection within an overall context of tonal harmonies, rather than as a means to efface such harmonies altogether, as he would in his later work. Whenever the music threatens to lose its way altogether, Schoenberg pulls it back to more familiar ground, and in the final moments all the straining harmonic tensions resolve to a bright D-major chord.

26 FRANZ JOSEPH HAYDN Cello Concerto in D major, Hob.VIIb:2

A CONCERTO RESTORED Although his Cello Concerto in D major has long been among Haydn’s most familiar works in concerto form, its origins remain somewhat obscure. We do not know with certainty when or for whom the composer wrote this music, though it seems likely that it dates from the 1780s and was a r dy intended for Anton Kraft, an accomplished H ho m as cellist with the Esterházy court orchestra, which T Haydn directed for some thirty years. Born The concerto unfolds in the customary Rohrau, Austria, March 31, 1732 three movements. The first, whose duration Died comprises more than half of the entire work, Vienna, May 31, 1809 begins with an extended orchestral exposition, First Performance the usual opening in a Classical-period concerto. Unknown, but undoubtedly given by the cellist Anton Only with this accomplished does the solo Kraft and the Esterházy instrument join in exploring the thematic ideas court orchestra under set forth by the orchestra. The music doesn’t the composer’s direction, convey the robust and often brilliant character probably in the 1780s we generally find in the initial movements of STL Symphony Premiere Haydn’s symphonies. Rather, its melodies February 16, 1912, Boris express more a relaxed elegance—a refined, one Hambourg was soloist, with might even say courtly, lyricism. Max Zach conducting In the slow central movement, the musings Most Recent STL Symphony of the soloist establish a relaxed atmosphere, Performance which occasional interjections from the September 12, 2002, Yo-Yo Ma was soloist, with Keith orchestra fail to dispel. Haydn then concludes Lockhart conducting the work with a brief rondo-form finale. Its principal theme, which returns repeatedly Scoring solo cello between episodes of contrasting material in the 2 oboes classic rondo manner, is stated by the cello in 2 horns the opening measures. This melody is simplicity Strings itself, but Haydn nevertheless manages to Peformance Time discover in it considerable interest. Each re- approximately 25 minutes appearance finds the theme slightly varied: decorated with new instrumental figuration or, at one point, colored with somber minorkey harmonies. The intervening episodes offer vigorous passagework for the soloist. The concerto closes in high spirits.

27 WOLFGANG AMADEUS MOZART Requiem Mass in D minor, K. 626

HISTORY AND LEGEND No work of Mozart’s has acquired so heavy a gloss of legend and romantic fiction as has his final composition, the Requiem Mass. The composer was scarcely in his grave, the unfinished Requiem still on his desk, before various persons began to speculate on the coincidence of his writing a setting of the Latin Missa pro Defunctis while he himself was fatally ill, and to embellish, in light of this, what they Born knew about his final days. Since the 19th century, Salzburg, January 27, 1756 the Requiem legend has grown so familiar and, Died to those sentimentally inclined, so appealing, Vienna, December 5, 1791 that it now requires some effort to consider First performance objectively the work and the circumstances in At the estate of Count Franz which it was composed. Georg Walsegg, near Vienna, The facts concerning those circumstances under the Count’s direction, December 14, 1793 are as follows. By 1791 Mozart’s fortunes were at low ebb. He was heavily in debt and STL Symphony Premiere reduced to accepting what were for him December 12, 1958, with soprano Irene Jordan; second-rate assignments: writing dance music contralto Jean Madeira; tenor and orchestrating old music. Two opera Lesley Chabay; baritone, commissions he received that year failed to ease Mack Harrell; Washington his burdens. La clemenza di Tito, performed University Choir Men’s Glee in September in Prague, was not a success. A Club; Washington University Women’s Glee Club; and month later, The Magic Flute was produced in Edouard van Remoortel Vienna. Though it was well received, Mozart conducting profited little from its success. Most Recent STL Symphony Several months earlier, Mozart had received Performance another commission. In July, an anonymous February 27, 2010, with soprano gentleman requested composition of a Requiem Celena Shafer; mezzo-soprano mass, stipulating somewhat peculiarly that Marianna Pizzolato; tenor Alek the composer attempt to discover neither the Shrader; bass Luca Pisaroni; St. Louis Symphony Chorus, occasion for its performance nor his patron’s Amy Kaiser, director; Roberto identity. Mozart accepted the assignment and in Abbado conducting October, with the two operas and several other Scoring pieces finally behind him, began concentrated four solo voices and chorus work on the Requiem. But by November 20 he 2 bassett horns had fallen seriously ill and took to bed. Two 2 bassoons weeks later, on December 5, he died, his work on 2 trumpets the mass only partly done. 3 trombones timpani Not wishing to forfeit the fee that had organ accompanied the Requiem commission, strings Constanze Mozart, the composer’s widow, asked Performance Time one of her husband’s students, Franz Xaver approximately 48 minutes Süssmayr, to complete the score. Thanks to his 28 efforts, she was able to deliver the mass as promised. Mozart’s anonymous benefactor was one Count Franz Georg Walsegg, a dilettante musician who indulged in the dubious practice of commissioning works from competent composers and passing them off as his own. He had lost his wife, and the Requiem he purchased from Mozart was to be performed in her memory at his estate, the Count taking credit for its composition. Mozart knew nothing of his intentions. The web of lore surrounding the Requiem had assumed substantial form as early as 1798, when the first account of Mozart’s life was published. It stated that the composer was beset with presentiments of his death even before he began writing the Requiem and became convinced that in doing so he was actually composing his own funeral music. Other writers proceeded to elaborate the story. Otto Jahn, the eminent 19th-century Mozart biographer, described Count Walsegg’s messenger as “a tall, thin, grave-looking man, dressed from head to foot in grey and calculated from his very appearance to make a striking and weird impression.” So weird, in fact, that Mozart is supposed to have believed that he was actually a spectral emissary from the next world. Other chroniclers had the composer working feverishly at the Requiem on his death bed, dictating passages with his dying breath, or having the pen with which he was writing fall from his hand as he sank into a final coma.

SACRED POLYPHONY About the music itself: the major church compositions of Mozart’s maturity—Mass in C minor, K. 427, is the other work in this category— hark back to the contrapuntal idiom of the Baroque period. It is well known that Mozart developed a strong interest in the music of J. S. Bach shortly after his arrival in Vienna in 1781, and how deeply this influenced him. Imitative counterpoint became an increasingly important element in his instrumental works, culminating in the great fugal passages of the last symphonies. And since fugue was traditionally a province of liturgical music, Mozart would have felt even more inclined to exercise his skill as a contrapuntist in composing the Requiem. It is not surprising, then, that the opening phrases of the Introit are given out in imitative counterpoint, or that the Kyrie is set as a double fugue of great brilliance and power. More contrapuntal writing is heard elsewhere in the work. But Mozart did not intend the Requiem only to revive the polyphonic style of the past, and his score offers more than contrapuntal artifice. The Dies irae, traditionally the most dramatic section of the Requiem, here takes the form of a thundering chorus; Rex tremendae and Domine Jesu, also choral movements, are in their own way scarcely less urgent. In the Tuba mirum, a trombone is deputized for the trumpet of the Last Judgement, and there is highly expressive writing for the solo vocal quartet in this movement, as well as in the Recordare and Agnus Dei.

Program notes © 2012 by Paul Schiavo

29 JUN MÄRKL JEAN L. AND CHARLES V. RAINWATER GUEST ARTIST

Jun Märkl has long been known as a highly respected interpreter of the core Germanic repertoire from both the symphonic and operatic traditions, and more recently for his refined and idiomatic Debussy, Ravel, and Messiaen. His long-standing relationships at the state operas of Vienna, Berlin, Munich, and Semperoper Dresden have in recent years been complemented by his Music Directorships of the Orchestre National de Lyon (2005-11) and MDR Symphony Orchestra Leipzig (to 2012). He guests with the world’s leading orchestras, including: Cleveland Orchestra, Philadelphia Orchestra, NHK Symphony Orchestra, Czech Philharmonic,

illo t Munich Philharmonic, Oslo Philharmonic, M Tonhalle Orchester Zürich. ap t is e -B ean J Jun Märkl most recently conducted the St. Louis Symphony in November 2011.

DANIEL LEE SARAH E. RAINWATER WARD AND CHARLES S. RAINWATER GUEST ARTIST

Korean-American cellist Daniel Lee continues to gain recognition as one of his generation’s most significant artists. Concerto appearances with the St. Louis Symphony have included Strauss’s Don Quixote and Esa-Pekka Salonen’s Mania. In February 2009, following his performance of Elgar’s Cello Concerto with the St. Louis Symphony, the St. Louis Post-Dispatch proclaimed that Lee “made the concerto his own in a beautiful and deeply touching display of interpretive and musical virtuosity.” Lee opened the 2009-10 St. Louis Symphony season performing the St. Louis premiere of Osvaldo Golijov’s Azul for Cello and Orchestra with David Robertson conducting. Most recently, Daniel Lee performed Dvořák’s Cello Concert, with Peter Oundjian conducting, Daniel Lee received the in April 2012. prestigious Avery Fisher Career Grant in 2001. 30 DOMINIQUE LABELLE Dominique Labelle has fearlessly plumbed the technical and emotional depths of music, turning in performances possessed of “conviction without exhibitionism” (De Telegraf), that have “the audience hanging on every note” (Boston Globe). Recent engagements included Stravinsky’s Les Noces with the St. Louis Symphony and David Robertson; Handel’s Messiah with Kent Nagano and the Orchestre Symphonique de Montreal; Yehudi Wyner’s Fragments from Antiquity with the Lexington Symphony; and performances with conductor Nicholas McGegan with the Philharmonia Baroque Orchestra, Göttingen Handel Festival, and the National Arts Centre Orchestra. Another favorite collaborator is Hungarian conductor Iván Fischer, with whom she performed the Countess Almaviva in Mozart’s The Marriage of Figaro at Teatro Perez Galdos in Las Palmas and in Budapest, Bach’s B-minor Mass in Washington, D.C., St. Matthew Passion with the Royal Concertgebouw Orchestra in Amsterdam, Dominique Labelle most and a Mozart Requiem with the Orchestra of recently performed with St. Luke’s at Carnegie Hall. Her most recent the St. Louis Symphony in recording is in the title role of Handel’s Atalanta, September 2011. with McGegan and the Philharmonia Baroque Orchestra. Visit Labelle at dominiquelabelle.com

KAI RÜÜTEL Estonian mezzo-soprano Kai Rüütel studied at the Georg Ots Music School in Tallinn and then at the Koninklijk Conservatorium in The Hague and the Dutch National Opera Academy, graduating from the masters program with Special Honors. While studying in the Netherlands she was supported by Eesti Kultuurkapital. Rüütel won First Prize in the National Competition for Young Classical Singers in Estonia three years in a row in 2001, 2002, and 2003. In the 2012-13 season Rüütel returns to Royal Opera House as Wellgunde in Der Ring des Nibelungen. Other highlights include a world premiere for Vlaamse Opera and her City of Birmingham Symphony Orchestra debut with aus b e r g

Beethoven’s Mass in C. In upcoming seasons R i rj a m

she will make debuts with Nederlandse Opera, M Tehéâtre du Capitole Toulouse, Dallas Opera, and Kai Rüütel makes her United with Netherlands Radio Philharmonic Orchestra States debut in these concerts at the Royal Concertgebouw in Amsterdam. with the St. Louis Symphony. 31 CHRISTOPH GENZ Born in Erfurt, Germany, tenor Christoph Genz received his first musical training as a member of the St. Thomas’ Boys Choir in Leipzig. He continued his studies in musicology at King’s College Cambridge where he was also a member of King’s College Choir. He studied voice under Hans-Joachim Beyer at the Hochschule für Musik und Theater in Leipzig and with Elisabeth Schwarzkopf. He won first prize at the International Singing Competition in Grimsby, England and the first prize at the International J.S.Bach- Competition in Leipzig. Plans for 2012 include a tour with Thomanerchor Leipzig/Gewandhausorchestra to South Korea, Japan, and England (St. Matthew Passion), a tour with La Petite Bande under the

o r owi t z direction of Sigiswald Kuijken (St. Matthew H

ancy Passion), an opera production at the Schwetzingen N Festival as well as concerts and recitals at Christoph Genz debuts with the St. Louis Symphony this Musikverein Vienna, Leipzig Gewandhaus, and week. in Cologne, Paris, and Amsterdam.

STEPHEN POWELL Stephen Powell’s engagements for the 2012-13 season currently include singing as Francesco Foscari in I due Foscari in a return to Los Angeles Opera; Iago in a fully-staged production of Otello with the Jacksonville Symphony Orchestra, under Fabio Mechetti; in Carmina Burana in his debut with Cleveland Orchestra; and in Bach’s Mass in B minor with the Atlanta Symphony, under Robert Spano. He debuts with the Nashville Symphony Orchestra in Carmina Burana, with Atlanta Opera as Enrico in Lucia di Lammermoor, and with the Fort Worth Symphony in Beethoven’s Symphony No. 9. He also sings as soloist with the American Symphony Orchestra at Carnegie Hall in Franz Schmidt’s The Hunchback of Notre Dame. olla r d P h r is t ian C Stephen Powell most recently sang with the St. Louis Symphony and Chorus in April 2012. 32 AMY KAISER AT&T FOUNDATION CHAIR

One of the country’s leading choral directors, Amy Kaiser has conducted the St. Louis Symphony in Handel’s Messiah, Schubert’s Mass in E-flat, Vivaldi’s Gloria, and sacred works by Haydn and Mozart as well as Young People’s Concerts. She has made eight appearances as guest conductor for the Berkshire Choral Festival in Sheffield, Massachusetts, Santa Fe, and at Canterbury Cathedral. As Music Director of the Dessoff Choirs in New York for 12 seasons, she conducted many performances of major works at Lincoln Center. Other conducting engagements include concerts at Chicago’s Grant Park Music Festival and more than fifty performances with the Metropolitan Opera Guild. Principal Conductor of the New York Chamber Symphony’s School Concert Series for seven seasons, Kaiser also led many programs for the 92nd Street Y’s acclaimed Amy Kaiser, an alumna of Schubertiade. She has conducted over twenty-five Smith College, was awarded operas, including eight contemporary premieres. the Smith College Medal for outstanding professional achievement.

33 ST. LOUIS SYMPHONY CHORUS 2012-2013

Amy Kaiser Mark Freiman Sarah Price Director Amy Telford Garcés Valerie Christy Reichert Lara Gerassi Kate Reimann Leon Burke, III Megan E. Glass David Ressler Assistant Director Susan Goris Gregory J. Riddle Karen S. Gottschalk Patti Ruff Riggle Gail Hintz Jacqueline Gross Stephanie Diane Robertson Accompanist Cole Gutmann Terree Rowbottom Susan H. Hagen Paul N. Runnion Susan Patterson Ariel Halt Jennifer Ryrie Manager Cliff Hardy Susan Sampson Nancy Helmich Patricia A. Scanlon Nancy Davenport Allison Ellen Henschen Mark V. Scharff Rev. Fr. Stephan Baljian Jeffrey Heyl Samantha Nicole Schmid Stephanie A. Ball Lori Hoffman Paula K. Schweitzer Nick Beary Matthew S. Holt Lisa Sienkiewicz Rudi J. Bertrand Allison Hoppe Janice Simmons-Johnson Annemarie Bethel-Pelton Heather Humphrey John William Simon Paula N. Bittle Kerry Jenkins Charles G. Smith Jerry Bolain Stephanie Jones- Shirley Bynum Smith Michael Bouman Engelmeyer Joshua Stanton Richard F. Boyd Madeline Kaufman Samuel Stengler Keith Boyer Paul V. Kunnath David Stephens Pamela A. Branson Kendra Lee Benna D. Stokes Bonnie Brayshaw Debby Lennon Denise M. Stookesberry Marella Briones Gregory C. Lundberg Greg Storkan Daniel Brodsky Gina Malone Maureen Taylor Buron F. Buffkin, Jr. Jamie Lynn Marble Michelle D. Taylor Leon Burke, III Kellen Markovich Justin Thomas Cherstin Byers Jan Marra Natanja Tomich Leslie Caplan Lee Martin Pamela M. Triplett Maureen A. Carlson Alicia Matkovich David R. Truman Victoria Carmichael Dan Mayo Greg Upchurch Mark Cereghino Rachael McCreery Robert Valentine Jessica Klingler Cissell Elizabeth Casey McKinney Kevin Vondrak Rhonda Collins Coates Scott Meidroth Samantha Wagner Timothy A. Cole Claire Minnis Nancy M. Walther Derek Dahlke Brian Mulder Keith Wehmeier Laurel Ellison Dantas Johanna Nordhorn Nicole Weiss Deborah Dawson Duane L. Olson Paul A. Williams Mary C. Donald Nicole Orr Dennis Willhoit Ladd Faszold Heather McKenzie Patterson Christopher Wise Jasmine Fazzari Susan Patterson Mary Wissinger Heather Fehl Matt Pentecost Susan Donahue Yates Robin Fish, Jr. Brian Pezza Elena Zaring Alan Freed Shelly Ragan Pickard Carl S. Zimmerman

34 A BRIEF EXPLANATION

You don’t need to know what “andante” means or what a glockenspiel is to enjoy a St. Louis Symphony concert, but it’s always fun to know stuff. For example, what does “Hob. VIIb:2” mean? Hob. VIIb:2: “Hob” is the abbreviation for the “Hoboken catalogue,” which is not kept in New Jersey; rather, Dutch musicologist Anthony van Hoboken compiled the definitive catalogue of Haydn’s works into two volumes, so Haydn works are given Hob. numbers, followed by Roman numerals and then an Arabic figure.

MY INSTRUMENT: JAMES MEYER ON THE BASSET HORN “The basset horn produces a veiled sound. It’s dark, and absorbs dissonances very well. Mozart uses it that way in many exposed sections—these are very poignant moments in the Requiem. You couldn’t do it with any other instrument. It’s not a prominent sound, but Mozart orchestrates very well for it. He gets the other instruments out of the way so you can hear it. “Technically speaking, it is a tenor clarinet, with an extended low register not unlike the modern bass clarinet. It’s difficult to control, acoustically unstable. It needs to be approached with great care. “It works beautifully in the Requiem. It couldn’t have a better home for its fundamental qualities.”

Basset Horn 35 YOU TAKE IT FROM HERE If these concerts have inspired you to learn more, here is suggested source material with which to continue your explorations.

Allen Shawn, Arnold Schoenberg’s Journey Harvard University Press Humanizes a man famous for obsessiveness, and places music in context of life and times

“Esterházy Castle in Fertod” “Haydn Room @ Esterhaza” Search youtube A handsome video tour of where Haydn lived and worked, as well as the concert hall where the Cello Concerto in D major premiered

H. C. Robbins Landon, 1791: Mozart’s Last Year Schirmer Books An in-depth account of the period in which Requiem was composed

Read the program notes online at stlsymphony.org/planyourvisit/programnotes

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

The St. Louis Symphony is on

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