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.


Sounding Together Sep 28-29

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.


Sunshine Oct 5-6

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.


Unhinged Oct 19-20

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!


Intimate Light Oct 26-28

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.


Wild World Nov 2-4

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!


Child Light Nov 9-10

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.


Romantic Fervor Nov 16-17

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.


Thrill Ride Nov 29-30, Dec 1

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!).


Clarity Dec 7-9

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.


Modern Times Dec 29-30

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 & Co. Jan 12-13

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.


Unstoppable Bach Jan 18-19

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.


Shadows and Light Jan 25-26

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.


Fusion: Turangalila Jan 29

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.


Reverence Feb 1-2

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!)


Burden of Dreams Feb 7-8

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.


Homeward Bound Feb 23-24

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!


Keeping Secrets Mar 7-8

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. 


The Creation Mar 14-15

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.


Fidelio Mar 28, 30 Apr 5

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.


Happy 100 Apr 4

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.


European Landscape Apr 11-12

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!


Many Worlds Apr 17-18

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.


Realizations Apr 25-27

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.


Exploding Colors May 8-11

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.

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