Musician and Staff Picks
Heart Songs Sep 22-23 (Opening Weekend)
CHRISTOPHER ROUSE Rapture
SIBELIUS Violin Concerto
STRAVINSKY Petrushka
David Robertson, conductor
Vadim Repin, violin
Tod Bowermaster, horn: Opening
weekend with David Roberstson and Vadim Repin: I've heard
fantastic things about Rouse's Rapture and have
enjoyed the Rouse music we've done before. The Sibelius
Violin Concerto is one of my favorite pieces, plus
Petrushka is such incredible, imaginative music.
Emily Ho, violin: Vadim Repin
because when I hear him play it makes me think about what to
improve in my own playing.
Sarah Hogan, double bass: Opening
weekend will prove to be a season highlight for me. I am
particulary excited to play with Vadim Repin. I accompanied
him several times with the Verbier Festival Orchestra and
they were all amazing performances. He is such an exciting
and inspiring artist to listen to (and watch!). I don't know
the Christopher Rouse piece on the program, but always find
his music to be very heartfelt and beautiful. He's a
contemporary composer whose music is a sure bet. And
Stravinsky's Petrushka is such a lively, energetic
piece that no matter how many times I've played it, I always
look forward to it.
Melissa Lange, staff/marketing:
Stravinsky’s Petrushka. I love brass!
Tim Myers, principal trombone: I was
very pleased to see Christopher Rouse’s Rapture on
the first concert of the season. The orchestra has played
Rouse’s music since at least 1983, when we played The
Infernal Machine, and recently we have performed both
the flute concerto and the trombone concerto. I hope we get
to play the cello concerto some day – it’s an amazing piece.
I think Rapture is somewhat atypical of Rouse’s
music. It spends a lot of time in C major (!), and I
wouldn’t say that it’s as edgy as many of Rouse’s pieces.
But it conveys a sense of wonder that speaks to the heart.
Jennifer Nitchman, flute: I'm looking
forward to opening weekend, partly because beginnings are
always exciting and fun. However, I am mostly excited for it
because we are playing Petrushka! I love, love, love
Stravinsky. Petrushka has so many vibrant colors and
such amazing energy. I really love playing it.
Amy Oshiro, first violin: I love the
combo of Opening Night, with Sibelius and Repin (a
masterwork in a master's hands) and finishing the night with
Stravinsky (tragedy, Russian-style). Two really fun,
memorable pieces.
Carolyn Reidy, staff/development: I’m
most looking forward to the Orchestra’s performance of
Petrushka because it’s one of those works that is an
absolute thrill to experience live. In addition to touching
our hearts, Stravinsky’s music is overwhelmingly colorful
and electric—a celebration of opening night not to be
missed.
BRITTEN Sinfonia da Requiem
MARTIN Concerto for Seven Winds and Orchestra
BRAHMS Symphony No. 2
David Robertson, conductor
Barbara Orland, oboe
Diana Haskell, clarinet
Andrew Gott, bassoon
Thomas Drake, trumpet
Stephen Lange, trombone
Erik Harris, principal double bass:
In looking over any season what I get most excited about are
the conductors and the big symphonies. The symphonic
repertoire is the best and for me the louder the better and
for conductors the more intense and energetic the better.
The first of my three picks are David Robertson doing Brahms
2. From the time he conducted Brahms 4 with the orchestra
and won us over (March 2003), I have enjoyed the
performances of Brahms w/ Maestro Robertson, particularly
Ein deutsches Requiem at Carnegie (March 2006). The 2nd
symphony is one of my favorites and will surely showcase the
orchestra and the great chemistry with Robertson.
Emily Ho, first violin: Brahms 2,
because I liked Robertson's Brahms 3 so much two seasons
ago.
Dana Edson Myers, first violin: I am
a big Benjamin Britten fan and look forward to our concert
with David Robertson featuring the music of Britten, Martin
and Brahms.
Tim Myers, principal trombone: The
second week of the season pairs the much-loved Brahms 2nd
Symphony with two works that are heard less often. I’m a big
Benjamin Britten fan, so I’m glad to finally get to perform
his Sinfonia da Requiem. I’m also looking forward to
hearing my trombone section colleague, Steve Lange, perform
in the solo group in the Frank Martin Concerto for Seven
Winds.
Jonathan Reycraft, trombone: I've
always loved Brahms' Second. The trombones get such a nice
highlight, especially in the first and last movements. It
will be the perfect second half to finish an already
tour-de-force program.
ROSSINI L’Italiana in Algeri Overture
MENDELSSOHN Piano Concerto No. 2
MOZART Symphony No. 33
ELGAR In the South
Nicholas McGegan, conductor
Jonathan Biss, piano
Tod Bowermaster, horn: This program
with Nic McGegan (who is always a delight for musicians and
audiences alike) looks like a lot of fun, with Rossini,
Mendelssohn, and Mozart. But what really caught my eye was
Elgar's In the South, which is like a mini-Strauss
tone poem, and has fantastic horn writing!
Amy Oshiro, first violin: Jonathan
Biss is a hugely gifted pianist and everything sounds great
when he is at the piano. The rest of the program is all
lyrical and full of melodies that can be sung while leaving
the hall. I especially like singing the program's highlights
while I get into my car after really good concerts!
Enlightened Seduction Oct 12-14
RAMEAU Suite from Dardanus
HAYDN Symphony No. 83, “The Hen”
FAURÉ Pavane
FAURÉ Requiem
Bernard Labadie, conductor
Mary Wilson, soprano
Keith Phares, baritone
Saint Louis Symphony Chorus
Amy Kaiser Director
Debbie Bloom, second violin: Besides
having a great title for the program, I always enjoy
collaborating with our wonderful SLSO Chorus. I love the
Faure Pavane and Requiem, we rarely have the pleasure of
playing Rameau and Haydn can be a lot of fun for the
musicians as well as the audience!
Tod Bowermaster, horn: I found
Bernard Labadie's debut with us four years ago (we did
Handel's Water Music) to be really exciting, and the
Fauré Requiem is such a beautiful piece, featuring the
Symphony Chorus.
Jonathan Brader, staff/ticketing: I
had the pleasure of singing with Mary Wilson as a member of
an ensemble while she was the soloist and she was amazing! I
can’t wait to hear her again in October! She was fabulous in
Opera Theatre’s production of Gloriana as well!
Mary Ione Brown, staff/ticketing: I’m
looking forward to seeing and hearing Mary Wilson in the
Faure Requiem. We go way back--we sang together in the Bach
Society of Saint Louis. She has an incredible technique and
such a joy for singing. One would be enlightened to hear her
sing.
Stephanie DeChambeau, staff/development:
Beautiful, beautiful, beautiful. This will be a lovely
trip into the ether.
Roberta Gardner, staff/library: There
is definitely one concert that I’m especially looking
forward to: Faure’s Requiem. This music is so lyrical, so
moving, so spiritual. I’ve sung it as a chorister more times
than I can count and I’m still not tired of it. Several
summers ago I was in St. David’s, Wales, on vacation. While
visiting the 900-year-old cathedral the organist started to
rehearse the music for the Requiem. I was transfixed and
when he began the “Pie Jesu” I was tempted to start singing
and I’ll always regret that I didn’t.
Lorraine Glass-Harris, second violin:
The Enlightened Seduction week with Bernard Labadie, vocal
soloists Mary Wilson and Keith Phares, and Amy Kaiser's
chorus, offers us the opportunity to abide in gracious,
gentle beauty.
Warren Goldberg, double bass: I have
always loved Fauré and these are two of my favorites.
Emily Ho, first violin: Labadie
brings a fresh approach to old works and I enjoy the way he
rehearses.
Bjorn Ranheim, cello: Fauré’s Requiem
is one of the most sublime and beautiful pieces for chorus
and orchestra.
BERLIOZ King Lear Overture
BERLIOZ La Mort de Cléopâtre
ZIMMERMANN Musique pour les soupers du Roi Ubu
RAVEL La Valse
David Robertson, conductor
Susan Graham, mezzo-soprano
Cally Banham, English horn and oboe:
Berlioz overtures set the standard for great orchestration
for woodwinds, topped off by Ravel's masterpiece, the
sensuous and exhilarating, sometimes sinister La Valse!
Mary Ione Brown, staff/ticketing: I’m
excited to hear Susan Graham sing the Berlioz La Mort de
Cleopatre. She is known for her French roles and
repertoire so the Berlioz will be a real treat.
Stephanie DeChambeau, staff/development:
Susan Graham is not to be missed! She’s on the same level as
Deborah Voigt, IMHO. Also, all the music is wonderfully
dramatic/operatic in scope. I think the emotion and epic
nature of this program will be comparable to the program
with Ms. Voigt in 0607.
Emily Ho, first violin: Susan Graham,
because I enjoyed her Ravel at Carnegie so much last year.
Dana Edson Myers, first violin: I
admire Berlioz’s music, which is uniquely intoxicating.
Amy Oshiro, first violin: I love,
love, love La Valse!!! Do you need me to repeat it?
La Valse is Ravel's mini-masterpiece. It is a hugely
romantic approach on the styles and flavors of the
orchestral waltz. Ravel was an orchestrational genius and
this piece proves it yet again. You'll see me smiling a lot
during this piece!
Scott Parkman, assistant conductor and
music director of the Saint Louis Symphony Youth Orchestra:
Susan Graham is simply one of the most gorgeous singers,
performers and people that I know in the entire business of
classical music. Her performance of Ravel’s Shéhrazade
last spring at Carnegie Hall was in all senses thrilling.
La Valse also happens to be one of my treasured pieces.
Bjorn Ranheim, cello: La Valse
is one of the most manic and insane pieces I've ever played.
In my mind it's a classic waltz meets grunge band/mosh pit!
JOSEPH SCHWANTNER
Morning’s Embrace
BARTOK Violin Concerto No. 1
TCHAIKOVSKY Symphony No.
4
Leonard Slatkin, conductor
Heidi Harris, violin
Lorraine Glass-Harris, second violin:
Leonard Slatkin brings a return of the old repertoire in
Schwantner and Tchaikovsky. The Past Returns: still the SLSO
with Leonard. What has changed, what endures? Come and find
out.
Erik Harris, principal double bass:
Whenever Leonard Slatkin comes back it is like a homecoming
of sorts. The orchestra has such a rich history with him and
responds to his every gesture with the confidence of a
well-oiled machine, which he helped create during his
tenure. Also, as my Dad said once upon hearing Tchaik 4:
“That Tchaikovsky sure can write an ending.”
Dana Edson Myers, first violin: It’s
always an event when Leonard Slatkin comes back.
REVUELTAS Homenaje a Federico Garcia Lorca
ESA-PEKKA SALONEN
Mania
RIMSKY-KORSAKOV
Scheherazade
Roberto Minczuk, conductor
Daniel Lee, cello
Jonathan Brader, staff/ticketing: The
Wild World weekend will be a great time to hear the SLSO’s
own Daniel Lee. I have the distinct privilege of hearing
Danny warm up before rehearsals in the foyer. His long bow
strokes are so rich and full that I have often mistaken his
drills for romantic cello suites. This one will not be a
disappointment! If you have a pulse you will enjoy this
concert; if not, you will enjoy this concert – Revueltas,
Rimsky-Korsakov, Danny Lee – it’s a win-win.
Stephanie DeChambeau, staff/development:
Danny Lee soloing is enough to attract me, but then the
fact that he’s performing a work by the dynamic Esa-Pekka
Salonen makes it even more exciting! I know he’ll play the
*#@% out of that! And Rimsky-Korsakov’s Scheherazade
is one of my all-time faves and will feature our fantastic
concertmaster David Halen playing all those lovely
interludes.
Lorraine Glass-Harris, second violin:
Roberto Minczuk conducting with Daniel Lee as soloist offers
us a program that is so crowded with musical personalities
that we may well need a referee: Mexican composer Revueltas
engages in a shouting match with Rimsky-Korsakov's
Scheherazade. A larger-than-life program!
JANÁCEK The Cunning Little Vixen Suite
MOZART Exsultate, jubilate, K. 165
MAHLER Symphony No. 4
Jiří Bělohlávek, conductor
Isabel Leonard, mezzo-soprano
Cally Banham, English horn and oboe:
Each time I return to Mahler's 4th, I am stunned all over
again by its intense beauty, wisdom, and message of hope
within. It is truly a life-affirming composition.
Debbie Bloom, second violin: Mahler's
4th Symphony is one of my all-time favorite pieces in the
world and combined with the exquisite Mozart Exsultate,
jubilate and Janáček (always fresh and original-sounding
music), the program looks like a highlight of the season.
Mary Ione Brown, staff/ticketing: I’m
curious about the Mozart Exultate, jubilate and the Mahler
4th performed by Isabel Leonard, mezzo-soprano. Usually,
these works are performed by a coloratura soprano. I’ve also
heard the Mahler performed with a boy soprano. Ms. Leonard
is a recent graduate from Julliard and recipient of the
Marilyn Horne Foundation Award – hmmm, can you say
coloratura mezzo-soprano?
Chris Carson, principal double bass:
I'm looking forward to our performances of Mahler's 4th
symphony. The outer movements are filled with serene light
and the slow movement expresses one of the great epiphanies
in symphonic literature.
Lorraine Glass-Harris, second violin:
Gradus ad Parnassum: steps to the eternal!
David Halen, concertmaster: To me,
the concert I look forward to most next season is the
program containing the Mahler Fourth Symphony. The last
performance the Saint Louis Symphony gave of the work was
also the final performance given in St. Louis by the late
Hans Vonk. I recall those concerts as perhaps the most
meaningful of my career. Never before as a musician did I
sense the kind of gravity and power of this musical score.
Maestro Vonk, who was suffering at the time with ALS (Lou
Gehrig's disease), was physically barely able to conduct.
Not only was he almost unable to get to the podium, most of
his conducting gestures were limited to small movements of
his head and from a piercing and heartbreaking look in his
eyes. One could sense his overwhelming feelings -- which
ranged from ecstasy to despair throughout the evening. It
was like listening to a dying man describe the vast range of
emotions he feels in music, instead of words (a much more
powerful language). The orchestra never sounded better. I
had the feeling his incredible perspective was being
unlocked phrase by phrase with a sense of freedom that only
someone truly facing mortality can ascertain. I knew the
audience sensed it as well from their silence, in spite of
being a completely full house.
It is strange, but I look
forward to the November performances with a great sense of
expectation and some underlying trepidation. It will
doubtless contain the remnants of perhaps the finest
performance of Hans Vonk's long, esteemed career. I also
fear revisiting the whole set of complex issues that at the
time seemed to have only one inevitable result.
Hans' funeral in Amsterdam
was a homecoming and extraordinary tribute. Even our cab
driver from the airport knew about it. There were many
musical tributes performed by several orchestras, and many
great musicians from around the world. At the burial on that
sunny day in September, the last piece performed graveside
just before he was lowered into the ground was a recording
of the third movement, (Ruhevoll) from the Fourth Symphony
of Mahler, performed by the Saint Louis Symphony.
Emily Ho, first violin: The Mahler 4
is just so much fun to play!
Sarah Hogan, double bass: Mahler 4 is
seriously one of my most favorite pieces. It is serenely
beautiful and is one of those pieces that I can tell you all
about the first time I played it. (I won't!) I can
appreciate its contrast from other Mahler symphonies -- it
is more traditional in format and length. But somehow Mahler
still managed to fit in all of his splendor and magic.
Asako Kuboki, second violin: If I had
to pick, it would be Mahler 4. I look forward to every
opportunity to play Mahler. The last time we played, it was
the last concert with Hans Vonk, so I think the recollection
of that experience will add yet another dimension to the
piece.
Dana Edson Myers, first violin:
Janacek’s music is another world all together, totally
enchanting, so I will enjoy his Cunning Little Vixen
Suite in November.
Scott Parkman, assistant conductor and
music director of the Saint Louis Symphony Youth Orchestra:
I met Maestro Belohlavek during my very first job with the
Minnesota Orchestra when he conducted Dvorak's 8th Symphony.
I learned so much from him about Czech expression, elegance,
and humility. With the Janacek from Cunning Little Vixen,
this program should be sublime.
GLINKA Ruslan and Ludmila Overture
DVORAK Violin Concerto
SCHMIDT Symphony No. 4
Yakov Kreizberg, conductor
Julia Fischer, violin
Tod Bowermaster, horn: Another
conductor I am really happy to work with again is Yakov
Kreizberg, who did Shostakovich Symphony No. 5 with us a
number of years ago. He was very exacting and exciting, and
his program with Julia Fischer, who played an exquisite
Beethoven Concerto a few years ago, is what I would call a
"don't miss." The Dvorak Violin Concerto is a lovely piece,
and I have heard raves about the Schmidt Symphony No. 4 --
some big horn parts, I hear.
Jonathan Reycraft, trombone: Yakov
Kreizberg is a dynamic young conductor and the Schmidt
symphonies are precious stones in the rough. Not to mention
the soloist for the week is the phenomenal Julia Fischer.
MARK-ANTHONY TURNAGE Three
Screaming Popes
GERSHWIN Rhapsody in Blue
WALTON Symphony No. 1
Bramwell Tovey, conductor and piano
Stephanie DeChambeau, staff/development:
This one caught my attention just with the title of the
first piece! Who wouldn’t be intrigued by a piece called
Three Screaming Popes? Then followed by Rhapsody in
Blue. FUN!
Tim Myers, principal trombone: The
season has a number of classics from the twentieth century
that I’m eager to revisit. At the end of November, I’m glad
that we’re doing the Walton First Symphony again, which we
haven’t played since the mid-eighties.
Jonathan Reycraft, trombone: A few
years ago I heard Walton's First Symphony on two occasions
in the same season and was riveted with excitement by each
performance. After playing Walton’s Second Symphony
in 0607 I think I’m going to have a ball performing this
piece.
Fusion: An Afternoon of Bluegrass Dec
2
Edgar Meyer, double bass
Mike Marshall, mandolin
Members of the SLSO
Tod Bowermaster, horn: The other
program I would say that everybody should try to get to is
the Fusion concert at the Touhill featuring Edgar Meyer and
Mike Marshall. I had the chance to play chamber music with
Edgar a number of years ago. He is an unbelievably talented
bassist, and writes music that is so heartfelt and
immediately appealing. He's also fun to watch (somehow it
seems as if his double bass is his dancing partner!).
STRAVINSKY Symphony in
C
SZYMANOWSKI Violin Concerto No. 1
MOZART Symphony No. 41, “Jupiter”
David Robertson, conductor
Christian Tetzlaff, violin
Eric Gaston, staff/artistic
administration: I like the balance of the program, with
Stravinsky (in Neoclassical mode) and Mozart serving as the
bookends and the lush, exotic sounds of Szymanowski in the
middle. Christian Tetzlaff is among my favorite violinists,
a talented balance of intellect and passion. I’ll listen to
him play pretty much anything.
Emily Ho, first violin: Christian
Tetzlaff because when I hear him play it makes me think
about what to improve in my own playing.
Tim Myers, principal trombone: The
piece that I’m perhaps most intrigued about is John Adams’
Doctor Atomic Symphony in February. If Doctor Atomic
is as engaging as Nixon in China or Harmonielehre
are, we are in for a wonderful experience.
Marc Thayer, staff/community
partnerships: Szymanowski’s music is both contemporary
and romantic and is not heard often enough, especially by
one of my favorite violinists, Christian Tetzlaff.
CHAPLIN Modern Times
David Robertson, conductor
Amy Oshiro, first violin: An incredible film and the original music played live to go with it, what more can you ask for? Seeing it in Powell Hall (originally built for the cinematic arts, as in a "moviehouse") makes the experience even more authentic. I love movie night!
BACH Brandenburg Concerto No. 2
SCHNITTKE Concerto grosso No. 3
VILLA-LOBOS Bachianas
brasileiras No. 1
BACH Brandenburg Concerto No. 5
Nicholas McGegan, conductor
Mark Sparks, flute
Philip Ross, oboe
David Washburn, trumpet
Maryse Carlin, harpsichord
David Halen, violin
Alison Harney, violin
Emily Ho, first violin: The
Brandenburgs and Nic McGegan should be self-explanatory.
Dana Edson Myers, first violin: I
love Bach, and Schnittke is always fascinating, so this
January concert should be a winning combination as it also
features some of our wonderful players.
BACH Brandenburg Concerto No. 3
MARTINU Double concerto for Strings, Piano and Timpani
BACH Brandenburg Concerto No. 6
TIPPETT Concerto for Double String Orchestra
Nicholas McGegan, conductor
Emily Ho, first violin: Ditto.
Dana Edson Myers, first violin:
Tippett always perks me up.
Marc Thayer, staff/community
partnerships: Martinu’s music is some of the most clever
and interesting music from Eastern Europe, it is not heard
enough, especially with a conductor as fun as Nic McGegan.
DEBUSSY Prelude to the Afternoon of a Faun
LIGETI Clocks and Clouds
HENRI DUTILLEUX The Shadows of Time
BEETHOVEN Piano Concerto No. 4
David Robertson, conductor
Mitsuko Uchida, piano
Women of the Saint Louis Symphony Chorus
Amy Kaiser, director
Stephanie DeChambeau, staff/development:
This will be simply gorgeous. I’m especially looking forward
to the Ligeti. And Mitsuko Uchida only performs a relative
handful of orchestral dates each year so this will be a rare
opportunity to hear her in person.
Eric Gaston, staff/artistic
administration: I’m excited about the juxtaposition of
works on this program, the variations in texture and color,
sensation and emotion--I find the Dutilleux is especially
rich--and then to have a world-class musician like Mitsuko
Uchida on hand to close the concert with Beethoven should be
an incredible experience. I’ll probably attend both
performances.
Emily Ho, first violin: I’m very
excited about playing with Mitsuko Uchida. One of her Mozart
CDs was the first I ever purchased as a kid.
Tim Myers, principal trombone: I tend
to be an optimist about new pieces or pieces that are new to
me. I’m especially looking forward to the pairing of works
by Ligeti and Dutilleux in late January.
MESSIAEN Turangalila Symphony
David Robertson, conductor
Nicholas Hodges, piano
Cynthia Millar, ondes martenot
Saint Louis Symphony Orchestra
Eric Gaston, staff/artistic
administration: Such a colorful and visceral piece, I
feel like it requires use of all the senses to experience
it. It’s aggressive, joyful, erotic, intoxicating, strange,
meditative--often many or all of those things at once.
Jennifer Nitchman, flute: Messiaen's
music is incredibly challenging to play, which I really
enjoy. I try to get lost in the strange beauty of his music.
SCHUBERT/BERIO Rendering
ROSSINI Stabat Mater
David Robertson, conductor
Twyla Robinson, soprano
Nancy Maultsby, mezzo-soprano
Tenor tba
John Relyea, bass-baritone
Saint Louis Symphony Chorus
Amy Kaiser, director
Mary Ione Brown, staff/ticketing: I am so excited to hear Rossini’s Stabat Mater. Have we ever done this work before? (Saint Louis Symphony Orchestra premiere!)
BRAHMS Tragic Overture
MOZART Piano Concerto No. 23 in A, K. 488
JOHN ADAMS Doctor Atomic
Symphony
David Robertson, conductor
Radu Lupu, piano
Chris Carson, double bass: I'm
curious about Dr. Atomic. I've developed an
appreciation of Adams' compositions--Robertson is probably
the leading interpreter of his music. Adams likes to compose
pieces about important historical people and events--I think
I'll read up on this one to help me wrap my mind around it.
Stephanie DeChambeau, staff/development:
We’ll FINALLY get to hear the Doctor Atomic Symphony!
David Robertson has turned me into a John Adams fan so I
don’t want to miss the US premiere.
Eric Gaston, staff/artistic
administration: The Mozart piano concerto on this
program might be my favorite of the 27 he wrote, and with
Radu Lupu at the keyboard I’ve no doubt the performances
will be revealing and moving. Also, as major fan of John
Adams’ music I’m definitely looking forward to the US
premiere of his Doctor Atomic Symphony here in St.
Louis, even though I have no idea what it sounds like.
Lorraine Glass-Harris, second violin:
It is one of the most lively, well-balanced, and imaginative
Subscription Seasons we've ever given. Each concert offers a
window out from the familiar to the unfamiliar, from one
century to another, one tradition to another, all through
the sound bridge of the symphonic experience. So that, for
instance, we may ponder Mozart's influence on Brahms, and
then literally explode the tradition with John Adams’
Doctor Atomic. At concert's end, our ears should be
literally ringing with the harmony of the spheres.
Dana Edson Myers, first violin: I
think the concert with David Robertson and Radu Lupu looks
fantastic!
Tim Myers, principal trombone: The
piece that I’m perhaps most intrigued about is John Adams’
Doctor Atomic Symphony in February. If Doctor
Atomic is as engaging as Nixon in China or
Harmonielehre are, we are in for a wonderful experience.
WAGNER Siegfried Idyll
STRAVINSKY Jeu de
cartes
STRAUSS Symphonia Domestica
Mark Elder, conductor
Cally Banham, English horn and oboe:
The Symphonia Domestica is a very special tone poem
of Strauss, containing some of his more humorous moments. It
is meant to paint a picture of a family. I am excited about
performing the oboe d'amore part. In this piece the rarely
heard oboe d'amore represents the child, making his presence
known by continuously interrupting the beautiful scenes of
domestic bliss!
Tod Bowermaster, horn: As a horn
player, I must recommend this program with Mark Elder
conducting Wagner Siegfried Idyll (a very sweet and
tender piece) and Strauss' Symphonia Domestica,
featuring a high E in the first horn part -- high C is often
considered our top note!
Lorraine Glass-Harris, second violin:
Just a little house music--that is if your
neighborhood is Olympus!
Dana Edson Myers, first violin: It
will be great to have British conductor Mark Elder back.
Jonathan Reycraft, trombone: The last
movement of Symphonia Domestica is truly exciting.
Phil Ross, oboe: The Wagner and the
Strauss. I just love those pieces. The Siegfried Idyll
is such a nice opening piece. I don’t know the Symphonia
Domestica as much as Strauss’ other works, but I’m
really excited to get to learn something new. Strauss to me
is very exciting.
Marc Thayer, staff/community
partnerships: Wagner’s instrumental music not only tells
an incredible story but makes you feel each emotion as if
you were a character in the story. He’s known for his opera,
but in Siegfried Idyll you get to make up the words.
Dance Fantastic Feb 29, Mar 1-2
OLIVER KNUSSEN Flourish with Fireworks
CHOPIN Piano Concerto No. 2
TURINA Danzes fantasticas
FALLA The Three-Cornered Hat Suite
Miguel Harth-Bedoya, conductor
Ingrid Fliter, piano
Lorraine Glass-Harris, second violin: Vivacious, delicious color!
NIELSEN Clarinet Concerto
SHOSTAKOVICH Symphony No. 10
Roberto Abbado, conductor
Scott Andrews, clarinet
Tod Bowermaster, horn: Roberto Abbado,
whose uncle Claudio is one of the most revered maestros
around, has been here a few times and gotten really exciting
music-making from the orchestra. His concerts feature the
Nielsen Clarinet Concerto with Scott Andrews, our principal
clarinet, who always manages to make the most difficult
music sound easy and always plays from the heart. The second
half is Shostakovich Symphony No. 10, one of my favorites
and a very exciting piece.
Eric Gaston, staff/artistic
administration: Anytime there’s Nielsen on the program,
I’m there, and based on past performances I expect that
Scott Andrews will make a very convincing case for his
Clarinet Concerto. Combined with Shostakovich 10 there’s a
lot of irony in this program, both subtle and not-so-subtle,
and it will make for a very red-blooded and exciting
weekend.
Diana Haskell, assistant principal
clarinet: For me, the most meaningful concert is the
week that features Nielsen's Clarinet Concerto and
Shostakovich 10. Call me a clarinerd (many do) but I'm
partial to this concert because it is filled with clarinet
sounds.
First on the
program is the wonderful Nielsen Concerto, which our own
principal clarinetist Scott Andrews will perform. This is an
extended one-movement work that I like to think of as a
beautiful argument between the clarinet, orchestra and snare
drum. Nielsen, an expressive composer, makes me feel like I
know the clarinetist for whom the work was written, who from
all reports had a tendency to bicker. I look forward to
hearing Scott perform this athletic work with his customary
musicianship and ease.
Shostakovich 10 was
one of the first works I played in college, and I fell in
love with it immediately. The first movement, which I think
is a masterpiece, has extended clarinet solos that are very
haunting. There is fear, resentment and an unease in
Shostakovich 10. To me it is a clear statement from
Shostakovich about Stalin, like many of his symphonies.
Fortunately, the fourth movement clearly seems to project
redemption and freedom, a common theme in Shostakovich's
music.
Richard Holmes, principal timpani:
I'm looking forward to Shostakovich No.10. It's my favorite
of the symphonies and I have special memories of it when we
recorded it. This symphony has a wide range of dynamics for
the timpani, very soft to very loud, and can easily show
both the technical and musical abilities of the timpanist.
I also look forward
to Abbado conducting. He's a very stern, demanding and
gifted conductor.
Melissa Lange, staff/marketing: I
love Shostakovich and I love brass!
Dana Edson Myers, first violin: I
love the music of Carl Nielsen and look forward to hearing
our terrific principal clarinetist Scott Andrews in the
Nielsen Clarinet Concerto.
Tim Myers, principal trombone: In
early March, we will come back to one of my favorite
Shostakovich symphonies, the Tenth.
Phil Ross, oboe: Shostakovich 10. I
just love that one.
HAYDN The Creation
David Robertson, conductor
Laura Aikin, soprano
Paul Groves, tenor
Ildebrando d’Arcangelo, bass baritone
Saint Louis Symphony Chorus
Amy Kaiser, director
Jonathan Brader, staff/ticketing:
Haydn’s The Creation is high on my list because I
have only heard excerpts and never the complete work. Also
Ildebrando d’Arcangelo is a pretty big internationally
recognized singer.
Mary Ione Brown, staff/ticketing:
This is one of my favorite works to sing and hear. Haydn’s
music makes me smile.
Emily Ho, first violin: I really
enjoy concerts where one major work is featured, especially
this one.
Dana Edson Myers, first violin:
Haydn’s Creation is a brilliant choral work. You can
actually recognize from the music what is being created,
even without the text! This concert features an all-star
cast that includes tenor Paul Groves. Groves wowed me in the
Britten War Requiem at the close of 0607.
BEETHOVEN Fidelio
David Robertson, conductor
Christine Brewer, soprano,
Celena Shafer, sopranos;
Stuart Skelton, Philippe
Castagner, tenors; James Morris,
Greer Grimsley, bass-baritiones
Saint Louis Symphony Chorus
Amy Kaiser, director
George Berry, principal bassoon: It's
been over forty years since I've played Beethoven's opera
Fidelio and I've been longing to do it again ever
since!
Debbie Bloom, second violin: One of
the great operas, rarely presented live in St. Louis with
what looks to be an all-star cast, David Robertson
conducting and another collaboration with our wonderful
chorus: an unbeatable combination!
Tod Bowermaster, horn: If there is
one program to not miss next season, it is Beethoven's
Fidelio, in a rare concert performance. Normally we only
get to play the overture, so it will be fun discovering all
the other incredible music Beethoven wrote in his only
opera. Christine Brewer is singing, one of our treasured
local artists who just happens to be a worldwide superstar!
Jonathan Brader, staff/ticketing:
Beethoven’s Fidelio for obvious reasons, namely
Christine Brewer (doing something other than Britten, which
is nice, and she signed my copy of the album that was
released a few years ago). In addition, I find it hard to
think of anything besides Stanley Kubrick’s Eyes Wide
Shut when listening to the rarely done opera (which is,
of course why I have never seen it). That thought in turn
brings to mind a wealth of fitting scenes from that film and
others such as A Clockwork Orange and The
Shining. Music is all about interpretation, right?
Fidelio is my top pick for the season!
Mary Ione Brown, staff/ticketing: We
have an all-star cast of soloists, chorus, orchestra, and
conductor. Need I say more?
Emily Ho, first violin: In terms of
concerts where one major work is featured, few are as major
as this one.
ELLIOTT CARTER Holiday Overture
ELLIOTT CARTER Of Rewaking
ELLIOTT
CARTER Four Pieces for Timpani
ELLIOTT
CARTER Oboe Concerto
David Robertson, conductor
Michelle DeYoung, mezzo soprano
Richard Holmes, timpani
Nicholas Daniel, oboe
Mary Ione Brown, staff/ticketing: I can’t wait to hear Michelle DeYoung (what a fabulous mezzo!) and experience the music of Elliott Carter.
SMETANA The Moldau from Ma vlast
BARTOK Rhapsody No. 1 for Violin and Orchestra
RAVEL Tzigane
SCHUMANN Symphony No. 3, “Rhenish”
Gilbert Varga, conductor
Karen Gomyo, violin
Tod Bowermaster, horn: One of my
favorite guest conductors since I have been a member of this
orchestra is Gilbert Varga. He always puts his own personal
stamp on the music, and the deep joy with which he makes
music is contagious. It will be fun to experience his take
on Smetana's Moldau (a piece we have played a lot),
and Schumann's “Rhenish” Symphony.
Emily Ho, first violin: Gilbert Varga
brings a fresh approach to old works and I enjoy the way he
rehearses.
Stephen Lange, trombone: If you
listen carefully to The Moldau, there are some truly
beautiful moments in the trombone section!
LUTOSLAWSKI Musique funebre
BEETHOVEN Piano Concerto No. 2
PROKOFIEV Symphony No. 5
Carlos Kalmar, conductor
Joseph Kalichstein, piano
Erik Harris, principal double bass:
Prokofiev 5 with Kalmar. He is a great up-and-coming maestro
and the Prokofiev was the piece that won the SLSO a Grammy.
To put it simply: the SLSO owns Prokofiev 5.
Emily Ho, first violin: The Prokofiev
5 is just so much fun to play!
Stephen Lange, assistant principal
trombone: True story. I was driving from Texas to
Colorado one summer for a music festival. Somewhere in the
middle of Texas I decided to pop in a recording of
Prokofiev’s 5th Symphony -- and it proved to be very
costly! The final movement is absolutely intense with
rhythm and melody. I had the stereo as loud as it could go
without distortion and it was just thrilling. Just as the
recording ended, I looked in my rearview mirror and saw the
flashing lights of a state trooper. That’s my only speeding
ticket, ever. It was worth it, by the way.
Bjorn Ranheim, cello: Prokofiev 5 is
one of the most fun symphonies to play. The technical
demands and massive climaxes provide an incredible
performance experience.
PURCELL/STUCKY Funeral Music for Queen Mary
JOHN ADAMS The Dharma at Big Sur
BEETHOVEN Symphony No. 3, “Eroica”
Marin Alsop, conductor
Leila Josefowicz, electric violin
Jonathan Brader, staff/ticketing:
Realizations is on my list of “try new things.” I have a
strong affection that I can’t begin to understand for techno
music and an electric violin played by Leila Josefowicz
sounds like it could be right up my alley. I can imagine
endless possibilities. I think this concert will be pretty
cool.
Stephanie DeChambeau, staff/development:
Fantastic combo: wonderful violinist playing the electric
violin for a John Adams piece! Rock on!
Lorraine Glass-Harris, second violin:
Hear the bustle of Mary Queen of Scot's gown as she walks to
the scaffold!
Effortless Music May 2-4
STRAVINSKY Concerto in D
BACH Violin Concerto in D minor, BWV 1052
MENDELSSOHN Symphony No. 3, “Scottish”
Leonidas Kavakos, conductor and violin
Mary Ione Brown, staff/ticketing: Of
all the guest artists that grace our presence in this superb
concert hall, Leonidas Kavakos is one of my favorites. He is
an extraordinarily gifted violinist and artist. This is a
must see/must hear concert!
Lorraine Glass-Harris, second violin:
The incomparable violinist Leonidas Kavakos in his SLSO
conducting debut.
Emily Ho, first violin: We all know
what a great violinist Kavakos is. I’m very curious to see
him conduct.
Sarah Hogan, double bass: I am also
looking forward to working with Leonidas Kavakos, this time
in a slightly different capacity. His previous appearances
with the orchestra have been simply stunning, and I look
forward to seeing what he can do as a conductor. The first
time I heard him play, I was struck not only by his
musicality, but by his beautiful tone. The sound he produces
is of a quality rarely heard.
Dana Edson Myers, first violin: I’m
looking forward to the return of violinist Leonidas Kavakos,
who comes back not only to play but to conduct as well.
Tim Myers, principal trombone: Also
high on my list is Leonidas Kavakos and the Stravinsky
Violin Concerto.
Amy Oshiro, first violin: Now here's
an extraordinary artist showing his stuff as the soloist and
also on the podium! Who remembers his fantastic encore he
did a few years ago? It was jaw dropping! Not only is he a
phenomenal violinist, but he shows us all up again when he
makes his conducting debut as well with our orchestra. He is
an artist that I never want to miss.
BACH/STOKOWSKI Toccata and Fugue in D minor
CHRISTOPHER THEOFANIDIS Rainbow Body
ORFF Carmina Burana
Peter Oundjian, conductor
Anna Christy, soprano
Stanford Olsen, tenor
Lucas Meachem, baritone
Saint Louis Symphony Chorus
Amy Kaiser, director
Mary Ione Brown, staff/ticketing: Peter Oundjian is one of my favorite guest conductors. Carmina Burana is a showcase piece for our fabulous Saint Louis Symphony Chorus, under the direction of Amy Kaiser. Come and be prepared to be transported to another realm!
All programs, artists and conductors subject to change.
