CONCERT PROGRAM January 18-20, 2013

Leonard Slatkin, conductor Courtney Lewis, conductor (January 20) St. Louis Symphony Chorus Amy Kaiser, director

CINDY MCTEE Double Play (2010) (b. 1953) The Unquestioned Answer— Tempus Fugit

STRAVINSKY Symphony of Psalms (1930) (1882-1971) Exaudi orationem meam— Expectans expectavi Dominum— Alleluia. Laudate Dominum

St. Louis Symphony Chorus Amy Kaiser, director

INTERMISSION

HOLST The Planets, op. 32 (1914-16) (1874-1934) Mars, the Bringer of War Venus, the Bringer of Peace Mercury, the Winged Messenger Jupiter, the Bringer of Jollity Saturn, the Bringer of Old Age Uranus, the Magician Neptune, the Mystic

Women of the St. Louis Symphony Chorus Amy Kaiser, director ACKNOWLEDGMENTS

Leonard Slatkin is the Monsanto Guest Artist.

Amy Kaiser is the AT&T Foundation Chair.

The St. Louis Symphony Chorus is the Essman Family Foundation Guest Artist.

The concert of Friday, January 18, is underwritten in part by a generous gift from Drs. Dan and Linda Phillips.

The concert of Saturday, January 19, is underwritten in part by a generous gift from Mr. and Mrs. Michael F. Neidorff.

The concert of Sunday, January 20, is underwritten in part by a generous gift from Mr. and Mrs. David L. Steward.

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. A CENTURY OF MUSIC BY PAUL SCHIAVO The three compositions on our program span nearly a century: the earliest dates from 1916, the most recent from 2010. That chronology places these works in the broad historical era TIMELINKS of modernism, a period that many concertgoers once regarded with antipathy. But with the 1914-16 passing of time, the music of the early 20th HOLST century has become more familiar, and that The Planets familiarity has caused it to seem no longer World War I engulfs abrasive or confounding. Instead, we are Europe today able to appreciate the originality, the expressiveness, even the melodiousness of music 1930 STRAVINSKY by the early modern masters. Symphony of Psalms We also can perceive the individuality of German physicists these composers. Certainly it would be difficult to discover the neutron find two personalities more dissimilar than Igor Stravinsky and Gustav Holst. The former was a 2010 thoroughly cosmopolitan musician. Born into CINDY MCTEE Double Play a cultured Russian family, Stravinsky lived and Haitian earthquake worked in Paris during the years in which that creates widespread city was the world’s most vibrant cultural center, devastation and he traveled widely, conducting his music in major cities throughout Europe and America. Holst, by contrast, was modest and retiring. He spent much of his career as a schoolteacher, and used his spare time to study philosophy, religion, and other metaphysical subjects. The two large compositions on our program reflect these differences. Stravinsky’s Symphony of Psalms sets texts that have long held a revered place in Judeo-Christian worship, and its music is scored with a restraint that underscores its prevailing sense of stark majesty. Holst’s The Planets, on the other hand, takes its inspiration from the zodiac and revels in instrumental color and sonic energy. Understanding and appreciation of the early modernists also makes the music of our own time more accessible. Our concert begins with a recent piece by American composer Cindy McTee. Although one would hardly confuse her Double Play with the work of Stravinsky or any other musician of the early 20th century, its rhythms, harmonic idiom, and instrumental colors could hardly exist without the pathbreaking innovations of her musical predecessors. CINDY MCTEE Double Play

A DISTINGUISHED AMERICAN COMPOSER Described as a “fresh and imaginative voice” in the world of concert music, Cindy McTee grew up in a musical family in the Pacific Northwest. Her mother played clarinet and saxophone, her father the trumpet, and McTee spent childhood hours hearing them rehearse jazz standards. After earning a degree in music from Pacific Lutheran University, in Tacoma, Washington, she did post- Born graduate work at the Yale School of Music and February 20, 1953, Tacoma, the University of Iowa. She also completed a year Washington of study in Poland with one of that nation’s most Now Resides significant contemporary composers, Krzysztof Bloomfield Hills, Michigan Penderecki. McTee subsequently taught for more First Performance than 25 years at the University of North Texas. June 3, 2010, in Detroit, She recently retired her post as Regents Professor Leonard Slatkin conducted of Composition there. In 2011 she married the the Detroit Symphony conductor Leonard Slatkin, a longtime champion Orchestra of her music. STL Symphony Premiere McTee’s works have been performed by many This week orchestras, including the St. Louis Symphony. Scoring The composer has received numerous awards, 2 flutes including fellowships from the Guggenheim and piccolo Fulbright Foundations, American Academy of 3 oboes Arts and Letters, and the National Endowment 2 clarinets E-flat clarinet for the Arts. She also won the 2001 Louisville 3 bassoons Orchestra Composition Competition. 4 horns 3 trumpets QUESTION AND ANSWER Double Play was 3 trombones written to fulfill a commission from the Detroit tuba Symphony Orchestra and was first performed timpani in June 2010 by that ensemble, conducted by percussion harp Slatkin. The piece consists of two movements, strings which can be played independently or, as we hear them now, together. McTee calls the first Performance Time approximately 17 minutes movement “The Unquestioned Answer.” That title evokes one of the most famous American compositions of the 20th century, Charles Ives’s The Unanswered Question, and McTee’s music is a gloss on Ives’s iconic work. As in The Unanswered Question, melodic phrases unfold over complex sustained sonorities, provided mainly by the strings. Those phrases are variants of the fivenote theme of Ives’s piece, which, McTee notes, “is heard in both its backward and forward versions throughout the work.” And as in The Unanswered Question, a feeling of contemplation and mystery pervades the movement. Those qualities carry over into the opening minutes of “Tempus Fugit,” the second part of Double Play, where music redolent of the previous movement sounds against clockwork percussion figures moving at different speeds. But the character of events suddenly changes, as the tempo accelerates and the proceedings grow animated, even frenetic. Here, McTee notes, “jazz rhythms and harmonies, quickly-moving repetitive melodic ideas and fragmented form echo the multifaceted and hurried aspects of 21st- century American society.” Midway through, the fast-paced music pauses for a recollection of the preceding movement; but it soon recaptures its momentum and races to an exciting conclusion.

IGOR STRAVINSKY Symphony of Psalms

A SYMPHONY TO SING Igor Stravinsky was, among many other things, one of the 20th century’s outstanding composers of religiously inspired music. His stature as such rests in no small part on his Symphony of Psalms. Stravinsky wrote this work in 1930 to commemorate the 50th anniversary of the Boston Symphony Orchestra. For this occasion the composer wanted to write a symphony, but not the traditional kind. As he explained in his 1936 autobiography: “My Born idea was that my symphony should be a work June 17, 1882, Oranienbaum, with great contrapuntal development, and for Russia that it was necessary to increase the media at Died my disposal. I finally decided on a choral and April 6, 1971, New York City instrumental ensemble in which the two elements First Performance should be on an equal footing….” December 13, 1930, in Brussels, Having settled on a symphony with voices, Ernest Ansermet conducted Stravinsky came “quite naturally,” as he described the Société Philharmonique it, to the psalms for its texts. He started setting de Bruxelles orchestra and verses from three of them in Slavonic translations chorus but soon came to favor the sound of Latin. The STL Symphony Premiere resulting Symphony of Psalms was performed in January 20, 1956, Vladimir Boston, on December 19, 1930, six days after Golshmann conducting, with the Sumner High School receiving its premiere, in Brussels. a capella Choir under the In scoring his music, Stravinsky direction of Kenneth Billups deemphasized the role of the string instruments in favor of winds and percussion. Violins and Most Recent violas are absent entirely from his orchestra, STL Symphony Performance while the cello and bass parts are largely November 19, 2006, David limited to accompaniment figures that support Robertson conducting, with the St. Louis Symphony more conspicuous foreground events. This Chorus under the direction instrumental deployment affects not just the of Amy Kaiser composition’s spectrum of aural colors but Scoring also its rhetorical character. The music conveys mixed chorus an austerity and remote grandeur to which the 5 flutes traditionally warm and intimate tone of violins piccolo and violas is unsuited. It is notable, in view of 4 oboes this, that Stravinsky deplored what he called English horn the “lyrico-sentimental” view of the psalms, 3 bassoons contrabassoon describing them instead as “magisterial verses.” 4 horns 4 trumpets CHRIST, ELIJAH, AND BACH Stravinsky composed piccolo trumpet the first movement, he remembered, “in a 3 trombones state of religious and musical ebullience.” Its tuba initial gesture is an incisive chord that returns timpani bass drum periodically to punctuate both the arching harp instrumental lines of the opening measures and 2 pianos the entreaties of the chorus. cellos The second movement offers contrapuntal basses treatment of two themes, one given out by the Performance Time orchestra, the other, somewhat later, by the approximately 21 minutes chorus. Stravinsky evidently was inspired by the great chorus-with-orchestra movements of J. S. Bach’s sacred works. The “Kyrie” of Bach’s Mass in B minor may not have been the formal model for this music, but the two movements have a certain kinship of sound and spirit. The closing lines of the second movement call for “a new song,” and we get just that with the intoning of “Alleluia” at the start of the finale. Stravinsky described the slow introduction to this third movement, whose music will recur at several important junctures, as “a prayer to the Russian image of the infant Christ with orb and scepter.” A restrained tone and circling repetition of limited melodic material impart a liturgical quality. Soon the tempo accelerates for a faster section which, the composer explained, “was inspired by a vision of Elijah’s chariot climbing the Heavens.” Stravinsky finally returns to the music of the introduction, extending it in a passage of great stillness and concluding the movement much as it began. GUSTAV HOLST The Planets, op. 32

ESOTERIC PURSUITS Gustav Holst belongs to that fascinating tradition, the eccentric English artist. A frail, shy descendant of German and Russian immigrants, Holst was idealistic, obsessive, and solitary. Throughout his life he delved into mysticism and esoteric studies, even learning Sanskrit in order to read Hindu scriptures in their original language. These interests might seem unrelated to Born Holst’s efforts as a composer, but in fact they were September 21, 1874, closely connected to it. “As a rule,” Holst once Cheltenham, England admitted, “I only study things which suggest Died music to me.” Consequently, a number of Holst’s May 25, 1934, London early works were operas and choral settings based First performance: on sacred Hindu texts. During the years just prior September 29, 1918, in to World War I, he became interested in astrology London, English conductor and learned to cast horoscopes. It is uncertain Adrian Boult led the New whether he gained from this activity the insight Queen’s Hall Orchestra; Boult also directed the work’s initial into human nature and the workings of the world public performance, which that astrology’s devotees ascribe to the discipline, he gave with the London but the diverse characters associated with the Philharmonic Orchestra on planets in both astrology and Roman mythology February 27, 1919 did indeed “suggest music” to Holst. The result STL Symphony Premiere was The Planets, a suite of seven short tone poems January 14, 1973, Leonard begun in 1914 and completed two years later. Slatkin conducting the first This work proved immediately and enormously full performance of The successful, and it remains Holst’s best-known Planets, with the Ronald Arnatt Chorale and Missouri composition. Singers A MUSICAL ZODIAC Each of the seven movements Most Recent STL Symphony Performance that comprise The Planets expresses a mood March 6, 2010, David suggested by the astrological sign associated Robertson conducting, with with its particular planet. These pieces fall into Women of the St. Louis two general types: scherzando movements, Symphony Chorus under the which are lively, brash, and rhythmic; and quiet direction of Amy Kaiser meditations of a remote, timeless nature. The Scoring former group includes “Mars,” which opens The women’s chorus Planets in thunderous fashion; “Mercury,” with 3 flutes animated music appropriate to its namesake; 2 piccolos “Jupiter,” whose character derives in large part alto flute 3 oboes from the flavor of English folk song, though no bass oboe popular tunes are actually quoted; and “Uranus.” English horn Among the contemplative sections are “Venus”; 3 clarinets “Saturn,” described by Holst as conveying not bass clarinet so much the physical decay of old age but a 3 bassoons contrabassoon vision of fulfillment; and “Neptune,” where the 6 horns orchestra, playing hushed, reverent sonorities, is 4 trumpets 3 trombones joined in the final passage by a wordless chorus tuba of women’s voices. tenor tuba Despite these two broad groupings, each timpani “planet” is distinct in character and thematic percussion material, a few well-chosen melodic cross- celesta references notwithstanding. Many admirable organ two harps details of compositional craftsmanship contribute strings to the vividness of Holst’s zodiac portrayals. Among other things, we can note the brilliant Performance Time approximately 51 minutes orchestration, the deft handling of syncopated rhythms and unusual meters, and the haunting modal melodies of its slow movements. The effectiveness of these elements has not faded, and The Planets is still one of the most generally impressive and widely enjoyed orchestral works to have come out of England in the last century.

Internationally acclaimed American conductor Leonard Slatkin began his tenure as Music Director of the Detroit Symphony Orchestra in September of 2008. In addition to his post at the DSO, he serves as Music Director of the Orchestre National de Lyon, an appointment which began in August 2011. He is also Principal Guest Conductor of the Pittsburgh Symphony Orchestra, a post that began in fall 2008, and is the author of a new book entitled Conducting Business. Following a 17-year appointment as Music Director of the St. Louis Symphony, where he retains the title Conductor Laureate, Slatkin became Music Director of the National Symphony Orchestra in Washington, D.C. in 1996. Other positions in the United States have included Principal Guest Conductor of the Minnesota Orchestra, where he founded its Sommerfest; first Music Director of the Cleveland Leonard Slatkin is Orchestra’s summer series at the Blossom Music Conductor Laureate of the Festival, an appointment he held for nine years; St. Louis Symphony. Principal Guest Conductor of the Los Angeles Philharmonic Orchestra at the Hollywood Bowl for three seasons; and additional positions with the New Orleans Philharmonic and the Nashville Symphony Orchestra. In Great Britain he served as Principal Guest Conductor of both the Philharmonia Orchestra of London and the Royal Philharmonic, and was also Chief Conductor of the BBC Symphony Orchestra. Born in Los Angeles to a distinguished musical family, his parents were the conductor- violinist Felix Slatkin and cellist Eleanor Aller, founding members of the famed Hollywood String Quartet. Leonard Slatkin began his musical studies on the violin and studied conducting with his father, followed by Walter Susskind at Aspen and Jean Morel at the Juilliard School. He is the proud parent of a son, Daniel, who attends the University of Southern California. He is married to composer Cindy McTee, and they reside in Bloomfield Hills, Michigan. Leonard Slatkin most recently conducted the St. Louis Symphony in November 2010. COURTNEY LEWIS JANUARY 20 CONCERT

Hailed by the Boston Phoenix as “…both an inspired conductor…and an inspired programmer,” Courtney Lewis is quickly becoming recognized as one of today’s top emerging talents. He is founder and music director of Boston’s acclaimed Discovery Ensemble, a chamber orchestra with the mission of introducing inner-city schoolchildren to classical music while bringing new and unusual repertoire to established concert audiences. Lewis is also Associate Conductor of the Minnesota Orchestra, where he regularly conducts Young People’s concerts, outdoor concerts, and other performances, making a successful subscription debut in the 2011-12 season. In November 2008 Lewis made his major nderson A American orchestra debut with the St. Louis ravis T Symphony. Other recent and upcoming Courtney Lewis made his appearances include returns to the Ulster major American orchestra Orchestra (for a series of BBC Radio 3 Invitation debut with the St. Louis Concerts as well as on subscription) and Symphony in 2008. debuts with the Colorado and New Hampshire music festivals as well as the Atlanta and Memphis symphonies, Naples Philharmonic, Washington’s National Symphony Orchestra, RTÉ National Symphony Orchestra of Ireland, and the Lausanne Chamber Orchestra. Appointed a Dudamel Fellow with the Los Angeles Philharmonic for the 2011-12 season, he made his debut with that orchestra in fall 2011, returning for additional performances in the spring. Born in Belfast, Northern Ireland, Lewis attended the University of Cambridge, during which time he studied composition with Robin Holloway and clarinet with Dame Thea King, graduating with starred first class honors. After completing a master’s degree with a focus on the late music of György Ligeti, he attended the Royal Northern College of Music, where his teachers included Sir Mark Elder and Clark Rundell. Courtney Lewis most recently conducted the St. Louis Symphony in February 2011. 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 Schubertiade. She has conducted over twenty-five Amy Kaiser prepares the St. operas, including eight contemporary premieres. Louis Symphony Chorus for A frequent collaborator with Professor Peter performances of The Matrix, Schickele on his annual PDQ Bach concerts at April 5-6, 2013. Carnegie Hall, Kaiser made her Carnegie Hall debut conducting PDQ’s Consort of Choral Christmas Carols. She also led the Professor in PDQ Bach’s Canine Cantata “Wachet Arf” with the New Jersey Symphony. Kaiser has led master classes in choral conducting at Indiana University Jacobs School of Music, served as faculty for a Chorus America conducting workshop, and as a panelist for the National Endowment for the Arts. An active guest speaker, Kaiser teaches monthly classes for adults in symphonic and operatic repertoire and presents “Illuminating Opera” for four weeks in April at Opera Theatre of St. Louis. Amy Kaiser has prepared choruses for the New York Philharmonic, Ravinia Festival, Mostly Mozart Festival, and Opera Orchestra of New York. She also served as faculty conductor and vocal coach at Manhattan School of Music and the Mannes College of Music. An alumna of Smith College, she was awarded the Smith College Medal for outstanding professional achievement. ST. LOUIS SYMPHONY CHORUS 2012-2013 SYMPHONY OF PSALMS

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

Amy Kaiser Victoria Carmichael Heather McKenzie Director Rhonda Collins Coates Patterson Laurel Ellison Dantas Susan Patterson Marella Briones Deborah Dawson Valerie Reichert Assistant Director Heather Fehl Kate Reimann Megan E. Glass Patti Ruff Riggle Gail Hintz Susan Goris Stephanie Diane Robertson Accompanist Karen S Gottschalk Jennifer Ryrie Nancy J. Helmich Patricia Scanlon Susan Patterson Ellen Henschen Lisa Sienkiewicz Manager Allison Hoppe Janice Simmons-Johnson Heather Humphrey Denise Stookesberry Nancy Davenport Allison Madeline Kaufman Pamela M. Triplett Stephanie A. Ball Kendra Lee Samantha Wagner Paula N. Bittle Debby Lennon Nicole C. Weiss Pamela A. Branson Gina Malone Mary Wissinger Bonnie Brayshaw Jamie Lynn Marble Susan Donahue Yates Marella Briones Rachael McCreery Elena Zaring Cherstin Byers Elizabeth Casey McKinney Maureen A. Carlson Johanna Nordhorn

Dilip Vishwanat SYMPHONY OF PSALMS

Psalm 38, v 13, 14 Exaudi orationem meam, Domine Hear my prayer, O Lord Et deprecationem meam. And my supplication. Auribus percipe lacrimas meas. Give ear unto my cry Ne sileas: Quoniam advena ego sum Nor be silent: for I am a stranger with apud te thee Et peregrinus, sicut omnes patres mei. And a foreigner, like all my fathers. Remitte mihi ut refrigerer Spare me, that I may be refreshed Prius quam abeam et amplius non ero. Before I go hence and am no more.

Psalm 39, v 1-3 Expectans expectavi Dominum I waited patiently for the Lord Et intendit mihi And He inclined unto me Et exaudivit preces meas: And heard my prayer, Et eduxit me de lacu miseriae, And brought me up out of a horrible pit, Et de luto faecis. And out of the foul mud. Et statuit super petram pedes meos: And set my feet upon a rock Et direxit gressus meos. And directed my step. Et immisit in os meum canticum novum, And He hath put a new song in my mouth, Carmen Deo nostro. A song of our God. Videbunt multi et timebunt: Many shall see and shall fear Et sperabunt in Domino. And shall hope in the Lord.

Psalm 150 Laudate Dominum in sanctis ejus. Praise the Lord in His sacred places, Laudate eum in firmamento virtutis ejus. Praise Him in the firmament of His power. Laudate eum in virtutibus ejus. Praise Him for His mighty acts. Laudate eum secundum multitudinem Praise Him according to his excellent magnitudinis ejus. greatness. Laudate eum in sono tubae. Praise Him with the sound of the trumpet. Laudate eum in timpano et choro. Praise Him with drums and voices. Laudate eum in chordis et organo. Praise Him with strings and organ. Laudate eum in cymbalis benesonantibus. Praise Him with high-sounding cymbals. Laudate eum in cymbalis jubilationibus. Praise Him with cymbals of joy. Omnis spiritus laudat Dominum. Let everything that has breath praise the Lord. Alleluia. Alleluia. AUDIENCE INFORMATION BOX OFFICE HOURS POLICIES Monday-Saturday, 10am-6pm; Weekday You may store your personal and Saturday concert evenings through belongings in lockers located on the intermission; Sunday concert days Orchestra and Grand Tier Levels at a 12:30pm through intermission. cost of 25 cents. Infrared listening headsets are available at Customer Service. TO PURCHASE TICKETS Cameras and recording devices are Box Office: 314-534-1700 distracting for the performers and Toll Free: 1-800-232-1880 audience members. Audio and video Online: stlsymphony.org recording and photography are strictly Fax: 314-286-4111 prohibited during the concert. Patrons A service charge is added to all are welcome to take photos before the telephone and online orders. concert, during intermission, and after the concert. Please turn off all watch alarms, cell SEASON TICKET EXCHANGE POLICIES phones, pagers, and other electronic If you can’t use your season tickets, devices before the start of the concert. simply exchange them for another All those arriving after the start of the Wells Fargo Advisors subscription concert will be seated at the discretion concert up to one hour prior to your of the House Manager. concert date. To exchange your tickets, please call the Box Office at 314-534- Age for admission to STL Symphony 1700 and be sure to have your tickets and Live at Powell Hall concerts with you when calling. vary, however, for most events the recommended age is five or older. All patrons, regardless of age, must have GROUP AND DISCOUNT TICKETS their own tickets and be seated for all concerts. All children must be seated 314-286-4155 or 1-800-232-1880 Any with an adult. Admission to concerts is group of 20 is eligible for a discount on at the discretion of the House Manager. tickets for select Orchestral, Holiday, or Live at Powell Hall concerts. Call Outside food and drink are not for pricing. permitted in Powell Hall. No food or drink is allowed inside the auditorium, Special discount ticket programs are except for select concerts. available for students, seniors, and police and public-safety employees. Powell Hall is not responsible for Visit stlsymphony.org for more the loss or theft of personal property. information. To inquire about lost items, call 314-286-4166. POWELL HALL RENTALS Select elegant Powell Hall for your next special occasion. Visit stlsymphony.org/rentals for more information. POWELL HALL

BALCONY LEVEL (TERRACE CIRCLE, GRAND CIRCLE)

WHEELCHAIR LIFT BALCONY LEVEL (TERRACE CIRCLE, GRAND CIRCLE)

WHEELCHAIR LIFT

GRAND TIER LEVEL (DRESS CIRCLE, DRESS CIRCLE BOXES, GRAND TIER BOXES & LOGE)

MET BAR

TAXI PICK UP DELMAR MET BAR

TAXI PICK UP DELMAR ORCHESTRA LEVEL (PARQUET, ORCHESTRA RIGHT & LEFT) BOUTIQUE ORCHESTRA LEVEL (PARQUET, ORCHESTRA RIGHT & LEFT) BOUTIQUE

WIGHTMAN WIGHTMANGRAND GRANDFOYER TICKET LOBBY

FOYERCUSTOMER TICKET LOBBY SERVICE CUSTOMER SERVICE KEY KEY LOCKERS BAR SERVICES LOCKERS BAR SERVICES WOMEN’S RESTROOM HANDICAPPED-ACCESSIBLE WOMEN’S RESTROOM HANDICAPPED-ACCESSIBLE

MEN’SMEN’S RESTROOM RESTROOM FAMILYFAMILY RESTROOM RESTROOM

ELEVATORELEVATOR