Musician & Staff Picks
Oct 2-3
Blazing Brass
David Robertson, conductor
Nicholas Hodges, piano
with the U.S. Army Herald Trumpets
Copland Fanfare for the Common Man
Prokofiev Piano Concerto No. 2
Harris Symphony No. 3
Janacek Sinfonietta
Tod Bowermaster, horn: “The Janacek features lots of extra brass and is an exhilarating piece to hear live. The Harris is an important American work from the mid-20th century, and with the Copland and the Prokofiev, this program is just chock-full of great music.”
Len Bull, staff/symphony volunteer association: “How can you go wrong with the Blazing Brass of the SLSO brass section plus the U.S. Army Herald trumpets? What a concert!”
Joan Carr, staff/development: “I will go hear any work by Aaron Copland. To me, his works speak of Americans’ indomitable spirit of survival and joy. And, I met him once a long time ago (he was in his 80s at the time)—he’s shorter than I had imagined!”
Stephanie DeChambeau, staff/development: “Rockin’ brass!”
Roberta Gardner, staff/library: “Copland’s Fanfare for the Common Man: Every time I hear it, it brings a lump to my throat.”
Silvian Iticovici, second associate concertmaster: “To me, Janacek's Sinfonietta is a brilliant work of classical clarity and austere lyricism, in which the composer offers an objective view of the troubled years at the beginning of the 20th century and, perhaps, a glimpse of his inner turmoil.”
Stephen Lange, assistant principal trombone: “An obvious choice pick from a trombone player! The Sinfonietta is one of my all time favorite pieces, and since it requires so many brass players, it's not performed very often. Now is your chance!"
Timothy Myers, principal trombone: “The Janacek Sinfonietta is, as we brass players like to say, a blow! What a great piece—not only lots of brass, but interesting orchestral color all around.”
Jonathan Reycraft, trombone: “I love the Sinfonietta for its sense of enveloping joy.”
Cynthia Schon, staff/facilities: “We listen to Copland so much in the car that my daughter can hum along with Fanfare for the Common Man. I also love the Janacek Sinfonietta with all of its trumpet fanfares. The bright acoustics of Powell Hall were absolutely made for Janacek!”
Mike Walk, trumpet: “It will be great fun playing the Janacek Sinfonietta, with its 12 trumpet parts. I'm looking forward to working with the Army Herald Trumpets.”
Oct 10-11
Midsummer Night’s Dream
Nicholas McGegan, conductor
Carolyn Banham, English horn
Women of the Saint Louis Symphony Chorus
Amy Kaiser, director
Handel Occasional Oratorio Overture
Fiala English Horn Concerto in E-flat major
Mendelssohn A Midsummer Night’s Dream
Stephanie DeChambeau, staff/development: “This will be a gorgeous program. Cally Banham always amazes me with her musicality combined with technical skill, and Nic McGegan is a master of this repertoire.”
Megan Denell, staff/community partnerships: “I cannot wait to hear Cally perform. What a rare opportunity to hear the English horn front and center with the orchestra. The warm, mellow voice Cally creates is so mesmerizing.”
Ling Ling Guan, second violins: “I’m looking forward to the music of Mendelssohn and his enchanting A Midsummer Night’s Dream.”
Cynthia Schon, staff/facilities: “I can’t wait to hear Cally’s English Horn Concerto; her gorgeous tone just makes me melt! Her warm personality, which makes her so effective in school visits, comes through in her passionate playing as well.”
Oct 16-17
1812 Overture
Bramwell Tovey, conductor
James Ehnes, violin
Balakirev In Bohemia
Korngold Violin Concerto
Borodin Symphony No. 2
Tchaikovsky 1812 Overture
Diana Haskell, assistant principal clarinet: “As a teenager, it wasn't easy to wake me up, so occasionally my dad would put the 1812 Overture on the hi-fi just before the spot with cannons. By the time the Big Berthas were finished firing, I would be out of bed. Did this give me bad feelings about Tchaikovsky's Overture? No, it makes me smile every time I hear it.”
Stephen Lange, assistant principal trombone: “The 1812 Overture is iconic—this piece was actually very influential for me in pursuing music at a young age. Plus, you won't hear it played very often inside a concert hall. Now is your chance!”
Kathleen Murphy, staff/development: The 1812 Overture is such an unusual piece! A forging battle between woodwinds, strings and brass concluding with a powerhouse of percussion. The Korngold Violin Concerto is certainly a special bonus.”
Michael Sieveking, staff/ticketing: “I’m excited to see if the Hall loses any plaster with the cannon blasts.”
Oct 22-23
Choral Spectacular
David Robertson, conductor
Measha Brueggergosman, soprano
Kate Lindsey, mezzo-soprano
Paul Groves, tenor
Jubilant Sykes, baritone
Saint Louis Symphony Chorus
Amy Kaiser, director
Saint Louis Symphony IN UNISON Chorus
Robert Ray, director
Ives The Unanswered Question
Barber Adagio
Rollo Dilworth Freedom’s Plow
Tippett A Child of Our Time
Richard Ashburner, staff/chorus manager: “People should be prepared to be both overwhelmed and transported by Tippett’s moving work.”
Tod Bowermaster, horn: “A very intriguing program. We did the Ives several years ago at Carnegie Hall—a haunting piece. One shouldn't miss the opportunity to hear our string section play the Barber—nobody does it more beautifully. The Tippett is a piece I know only from recordings, but to hear our Symphony Chorus and In Unison Chorus combined… I can't wait!”
Mary Brown, staff/ticketing: “The performance of Tippet's A Child of Our Time is not to be missed. This work is rarely performed and features our wonderful choruses—the In Unison Chorus and the St. Louis Symphony Chorus—and fabulous soloists, too. Keep your eye on mezzo-soprano, Kate Lindsey.”
Stephanie DeChambeau, staff/development: “I’ve been doing a lot of research on this work and developing a partnership with local organizations to enable patrons to more deeply explore racial issues, which is an important topic in our racially divided city. I’m really looking forward to actually hearing the work, and I’m excited about having both the Symphony Chorus and IN UNISON Chorus on the stage together! (Where will they all go???)”
Suzanne Leek, staff/artistic administration: “It's difficult to share my picks for the SLSO 0910 season—I have so many! However, if pressed, I would have to say that the piece I most look forward to hearing is Barber's Adagio for Strings. Every time I hear it and, especially, every time I hear it played by our wonderful Orchestra, it touches and moves me so deeply. It's a stunningly beautiful work, and I greatly look forward to our performances of it this fall.”
Becky Minor, staff/symphony volunteer association: “Ives, the Barber Adagio for Strings (another emotional roller coaster I’m looking forward to riding with the SLSO) along with the Dilworth World Premiere and the Tippett A Child of Our Time—that’s a LOT packed into one concert. I hope I can handle it.”
Laura Reinert, staff/community partnerships: “I’m looking forward to hearing the Tippet A Child of Our Time. I’ve heard a lot about this piece but have never actually heard it. I look forward to experiencing a new work (new to me anyway).”
Oct 24
Gala w/Yo-Yo Ma
David Robertson, conductor
Yo-Yo Ma, cello
Schubert Symphony No. 8, “Unfinished”
Dvorak Cello Concerto
Andrew Gott, assistant principal bassoon: “To hear Yo-Yo live is not to be missed!”
Marc Thayer, staff/community partnerships: “I’m excited to hear some of the best violin soloists in the world this year at Powell Hall, not to forget Yo-Yo Ma and his oversized violin, not to be missed or taken for granted.”
Oct 30-31
Powerful Percussion
David Robertson, conductor
Colin Currie, percussion
Stravinsky Song of the Nightingale
Tan Dun Water Concerto
Bright Sheng Colors of Crimson
Bartók The Miraculous Mandarin Suite
Richard Ashburner, staff/chorus manager: “Colin Currie has amazing precision and an easy athleticism that makes for a riveting performance.”
Mary Brown, staff/ticketing: “I'm very excited that the SLSO is performing the Tan Dun Water Concerto. Hearing this piece will only be surpassed by the visual experience of watching Colin Currie perform this work.”
Stephanie DeChambeau, staff/development: “Love the Asian-themed program! And Colin Currie always rocks the house!”
Will James, principal percussion: “I’m looking forward to Bartók's Miraculous Mandarin... one of my favorite pieces.”
Timothy Myers, principal trombone: “Bartok’s The Miraculous Mandarin is one of my favorite pieces. The music still sounds striking ninety years since it was first heard, and it takes you to the emotional core of this bizarre story.”
Erin Schreiber, assistant concertmaster: “I think this performance will be just as visually captivating as it is aurally. I think watching Colin Currie is like watching a musical acrobat, and seeing Tan Dun's Water Concerto performed live is sure to be a fascinating experience, especially if you've never heard or seen water instruments played before. To me, this piece evokes an ancient spirit-world. The sounds created by these water instruments are extraordinary.”
Mike Walk, trumpet: “The program of Chinese music will have two interesting works by respected modern composers [Tan Dun and Bright Sheng] sandwiched between great descriptive works of Stravinsky and Bartók. There is some absolutely gorgeous lyricism in Song of the Nightingale.”
Chris Woehr, assistant principal viola: “The Halloween weekend concert with the Bartók Miraculous Mandarin jumps out at me as ‘weally scawy!’ (how my son used to say it). It’s also a hoot to play.”
Nov 7-8
Movie Music of John Williams
David Robertson, conductor
Kristin Ahlstrom, associate principal second violin: “Though it's quite difficult to play, I LOVE John Williams' movie music!”
Tod Bowermaster, horn: “What can be said? The music from all those great soundtracks played live—and David will make the most of it!”
Andrew Gott, assistant principal bassoon: “I've played John Williams’ music before: the crowd loves it, the orchestra loves it.”
Tom Kovach, staff/development: “What do Darth Vader, Luke Skywalker, Princess Lea and Superman have in common? If you answered ‘movies’ or you have their action figures like I do (got C3PO?) you are almost correct. But excerpts from Star Wars, Superman and themes from other great movies, including Jurassic Park, will be here at Powell! May the force be with you.”
Stephen Lange, assistant principal trombone: “If you have never been to an SLSO concert, and can't decide which show to come to, then come to this one. Then go see The Planets, March 5-6.”
Nov 13-14
Mozart’s “Elvira Madigan”
Sir Andrew Davis, conductor
Robert Levin, piano
Berlioz Béatrice et Bénedict Overture
Mozart Piano Concerto No 21, K. 467
Elgar Symphony No. 1
Tod Bowermaster, horn: “This is my favorite Berlioz overture, an unusual and charming piece, and Robert Levin is a wonderful Mozart interpreter. Then one of my favorite symphonies, which we have not performed since Slatkin's farewell season ('95-'96). Great melodies and fantastic horn writing.”
Dianne Darwin, staff/executive: “Oh, there are so many I'm looking forward to, but foremost among them is the November concert of Berlioz, Mozart and Elgar. How beautiful and wonderful!”
Nov 20-22
Virtuoso Stephen Hough
Nic McGegan, conductor
Stephen Hough, piano
Handel Concerto a due cori No. 3
Mendelssohn Piano Concerto No. 1
Haydn Symphony No. 59, “Fire”
Mendelssohn Symphony No. 5, “Reformation”
Deborah Bloom, second violins: “I think this will be one of the most delightful concerts of the year with the combination of programming and McGegan's joyful and exuberant conducting style.”
Ling Ling Guan, second violins: “I’m especially looking forward to our second week with Nic McGegan this season, and Mendelssohn’s Fifth Symphony.”
Nov 27-28
Dvorak’s New World Symphony
Ward Stare, conductor
Barber Essay No. 2
Prokofiev Excerpts from Romeo and Juliet
Dvořák Symphony No. 9 (“From the New World”)
Carolyn Banham, English horn and oboe: “The beloved ‘New World’ Symphony of Dvořák is timeless. This piece is one of my oldest friends. I really look forward to playing it with our thoughtful and insightful young resident conductor, Ward Stare."
Tod Bowermaster, horn: “A great concert to introduce someone to orchestral music. All lush, dramatic music (the Prokofiev is a personal favorite) and Ward Stare's subscription debut.”
Becky Minor, staff/symphony volunteer association: “I have a background in marching band, so I’m looking forward to hearing a lot of the ‘classics’— the actual works, rather than the arrangements I’ve heard for years, and to hear them done really well, such as the ‘New World’ Symphony.”
Laura Reinert, staff/community partnerships: “I’m also looking forward to hearing the ‘New World’ Symphony—this is one of my favorite pieces. No matter how many times I hear it I still get chills.”
Cynthia Schon, staff/facilities: “My daughter knows all of Dvořák’s main themes by heart, thanks to Disney’s Little Einsteins, and it is beautiful music to get to know. Even though I’ve heard and played it dozens of times, there are always new places that catch my ear, and the English horn solo based on the Negro Spiritual ‘Goin’ Home’ always gives me that special tingle on the back of my neck that marks a great concert.”
Dec 4-6
Romantic Brahms
Peter Oundjian, conductor
David Halen, violin
John Estacio Frenergy
Barber Violin Concerto
Brahms Symphony No. 2
Mary Brown, staff/ticketing: “This is going to be a great concert. Peter Oundjian is one of my favorite guest conductors! Plus, it will be a pleasure to hear David Halen play the Barber Violin Concerto.”
Becky Minor, staff/symphony volunteer association: “Anytime you get to hear David Halen solo is fantastic. I’m also intrigued by the title of John Estacio’s Frenergy.”
Dec 11-13
Messiah
Nicholas McGegan, conductor
Dominique Labelle, soprano
Daniel Taylor, countertenor
James Gilchrist, tenor
Nathan Berg, bass-baritone
Saint Louis Symphony Chorus
Amy Kaiser, director
Becky Boyer Hall, second violins: “The previous Messiah that we did with Nic was so absolutely full of joy. It's the Messiah performance that I've always wanted to experience again!”
Sarah Hogan, double bass: “When McGegan comes to town it is always a special treat for the musicians of the SLSO as well as the audience. I am looking forward to the return of Handel's Messiah to celebrate the holiday season. This type of music is McGegan’s specialty and I’m excited about playing this masterpiece under his direction.”
Laura Reinert, staff/community partnerships: “Messiah is a masterpiece that I love to hear every year. I always enjoy the orchestra, vocal soloists, and our stellar Symphony Chorus!”
Erin Schreiber, assistant concertmaster: “A classic masterpiece, sure to be infused with fresh vitality in the hands of Nic McGegan.”
Cynthia Schon, staff/facilities: “I remember singing along with the SLSO’s broadcasts of Messiah long before I ever worked here. It just isn’t officially Christmas for me until I’ve sung along with all of the Choruses at least once.”
Michael Sieveking, staff/ticketing: “For me no other piece of music instantly conjures as many wonderful memories of past holidays seasons as the Messiah. I think this will probably be my Top Pick of the season.”
Jan 2-3
Magical Music of Disney
David Robertson, conductor
Stephanie DeChambeau, staff/development: “With familiar music and still pictures to look at, my six-year-old daughter might actually pay attention through an entire concert!”
Becky Minor, staff/symphony volunteer association: “I’m really looking forward to the SLSO Presents concerts of the Magical Music of Walt Disney, and Bugs Bunny on Broadway. Disney and Warner Brothers were my introduction to classical music as I suspect they were for many Americans. The rich background of the musical scores brought depth to the amazing artistry of the animators—if you look beyond the slapstick humor or the ‘princess; storylines, you see and hear some real genius there. I think that’s why these cartoons are classics, because of the depth behind them, which endures. I still enjoy watching and pointing out that richness to friends and family. (They think I’m weird…) Hearing the SLSO give its interpretation live—I can’t wait!”
Tina Pollette, staff/finance: “The movies! I love the way the orchestra plays flawlessly along with the movies, or to the still images as it will for the Disney concert.”
Jan 15-16
Symphonie Fantastique
Susanna Mälkki, conductor
Ingrid Fliter, piano
Symphonie fantastique
Mangus Lindberg Parada
Ravel Piano Concerto in G major
Berlioz Symphonie fantastique
Carolyn Banham, English horn and oboe: "A tour de force week for the English horn, and also for the orchestra."
Joe Drexelius, staff/ticketing: “Truly one of the most excellent examples of an early Romantic era composition, Berlioz continues to marvel audiences with this example of the early program symphony. The tale of unrequited love is one we are all quite familiar with, but even still you may find yourself easily being swept away by the melodramatic tone of this brilliant piece of music. You could easily lose your head over this phenomenal composition!”
Felicia Foland, bassoon: “A favorite gem of the stage for me is the Piano Concerto in G major by Maurice Ravel. This season we present it with Ingrid Fliter as soloist, who played Chopin’s Piano Concerto No. 2 with us in 2008. It is a wonderful showcase for everyone on stage and delivers a ravishing slow movement of serene, natural beauty. The score still remains fresh and modern, satisfying listeners who appreciate works of the masters and moderns alike!”
Cynthia Schon, staff/facilities: “The eerie section with the church bells and low brass in the Berlioz, which was used every time the abusive husband came around in Sleeping with the Enemy, would be enough to make this music unforgettable. Ward Stare used that section and several other excerpts for last spring’s educational concerts, and the kids were spellbound!”
Jan 22-24
Pines of Rome
Stéphane Denève, conductor
Piotr Anderszewski, piano
Berlioz Roman Carnival Overture
Mozart Piano Concerto No. 18
G. Conneson A Glimmer in the Age of Darkness
Respighi Pines of Rome
Kristin Ahlstrom, associate principal second violin: “Denève brings a youthful exuberance to the podium—he's a lot of fun to make music with.”
Carolyn Banham, English horn and oboe: "Pines of Rome with Denève promises to be nothing short of spectacular!"
Tod Bowermaster, horn: “It's been years since we've done a Respighi tone poem, and Pines is perhaps his most evocative and dramatic. Trumpet-lovers should be here for this one, especially for Susan Slaughter's offstage solo. Stéphane Denève has conducted some great performances with us in recent years.”
Joe Drexelius, staff/ticketing: “Nature has been a constant source of inspiration to composers since the dawn of written music. Respighi's Pini di Roma not only borrows from this palette, but paints a picture so vibrant, you can't help but envision what the composer sets out to depict. The added instrumentation only compounds this and allows Respighi to speak with an expanded vocabulary. Truly the next best thing to jumping on a 14-hour flight to Rome is to simply listen to (and enjoy) this delightful music.”
Becky Boyer Hall, second violins: “Stéphane Denève conducting Pines of Rome. This is a wonderful program with a couple of things I don't know as well, and a couple of chestnuts. I remember Denève being a truly inspiring conductor and I am really looking forward to working with him again.”
Sarah Hogan, double bass: “The last time Stéphane Denève was in town [March 2007], the orchestra seemed to thrive under his intense and fresh approach. I am looking forward to working with him again!”
Will James, principal percussion: “Pines of Rome is high on my list of favorites to play and to hear.”
Tom Kovach, staff/development: “Graceful and energetic. Wonderful, emotional and provocative. Those are just a few of the words to describe the Pines of Rome-Orchestral Blockbusters weekend. If you are in doubt about the power of music, pianist Piotr Anderszewski will change all that with a ray of warmth during those cold January days in St. Louis.”
Becky Minor, staff/symphony volunteer association: “I’m a very visual person, so I’m attracted to works with titles like A Glimmer in the Age of Darkenss.”
Wendy Plank Rosen, second violins: "When I first played the Pines of Rome in my youth, I was blown away by its energy and brilliance depicting nature."
Jonathan Reycraft, trombone: “Denève brings new electricity to these masterworks.”
Cynthia Schon, staff/facilities: “I first met the Pines of Rome in New Jersey All-State Wind Ensemble my senior year in high school, and it was love at first hearing. It includes a mesmerizing English horn solo (Cally Banham will be awesome) in the ‘Pines near a Catacomb’ movement, and the big finish of ‘Pines of the Appian Way’ is the most sonically brilliant music I’ve ever heard. The Fantasia 2000 digital homage to the original Disney classic pairs this piece with ice caves & flying whales. You’ll have to see it for yourself!”
Jan 29-30
Beethoven’s Fifth
David Robertson, conductor
Christian Tetzlaff, violin
Beethoven Leonore Overture No. 3
Beethoven Violin Concerto
Beethoven Symphony No. 5
Anne Marie Block, staff/development: “I am really looking forward to Beethoven’s Symphony No. 5 because it rocks! It’s hard to sit still during this one.”
Becky Minor, staff/symphony volunteer association: “I’m looking forward to the Beethoven Festival, especially Beethoven 5. I mean, come on… who can’t get excited about hearing that?”
Feb 5-7
“Eroica” Symphony
David Robertson, conductor
Radu Lupu, piano
Beethoven Leonore/King Stephen Overture
Beethoven Piano Concerto Nos. 3 & 1
Beethoven Symphony No. 3, “Eroica”
Kristin Ahlstrom, associate principal second violin: “Radu Lupu is one of the best artists around. It's an honor to share the stage with him.”
Becky Boyer Hall, second violins: “Beethoven Fest... Great Soloists... Roger Kaza playing ‘Eroica’... I will have a special violin to play.”
Feb 12-14
Valentine’s Romance
Ludovic Morlot, conductor
Viviane Hagner, violin
Tchaikovsky Romeo and Juliet Fantasy-Overture
Mendelssohn Violin Concerto
Berlioz Love Scene from Romeo et Juliette
Ravel Suite No. 2 from Daphnis et Chloé
Stephanie DeChambeau, staff/development: “If you aren’t in love before you walk into this concert, you will be by the time you walk out!”
Will James, principal percussion: “Daphnis et Chloé is a work I’m really looking forward to playing with this orchestra.”
Cynthia Schon, staff/facilities: “I first heard Ravel’s Daphnis et Chloé performed by the BSO at Tanglewood while I was attending chamber music camp. I thought it included the most sensuous sounds I’d heard this side of Leslie Caron dancing on the Place de la Concorde fountain with the bluesy trumpet solo in An American in Paris.”
Feb 20-21
Bugs Bunny on Broadway
George Daughtery, conductor
Tod Bowermaster, horn: “A great way to discover how you already knew so much classical music—because you heard it on Saturday mornings!”
Becky Boyer Hall, second violins: “Who doesn't love Bugs Bunny?”
Joe Drexelius, staff/ticketing: “Fun for the whole family! For years Looney Tunes has brought classical music into young children's lives by pairing great orchestral arrangements with delightful characters. A perfect follow-up to the Symphony's presentation of Charlie Chaplin films and the classic Wizard of Oz, Bugs Bunny on Broadway is a program that everyone, young and old, can enjoy.”
Becky Minor, staff/symphony volunteer association: “I’m really looking forward to the SLSO Presents concerts of the Magical Music of Walt Disney, and Bugs Bunny on Broadway. Disney and Warner Brothers were my introduction to classical music as I suspect they were for many Americans. The rich background of the musical scores brought depth to the amazing artistry of the animators—if you look beyond the slapstick humor or the ‘princess; storylines, you see and hear some real genius there. I think that’s why these cartoons are classics, because of the depth behind them, which endures. I still enjoy watching and pointing out that richness to friends and family. (They think I’m weird…) Hearing the SLSO give its interpretation live—I can’t wait!”
Nicole Montgomery, staff/marketing: “I would credit Bugs Bunny as the first ‘person’ to introduce classical music to me as a kid. I can’t wait to be that kid again, singing along to ‘kill the waabbit, kill the waabbit!…’”
Tina Pollette, staff/finance: “The movies! I love the way the orchestra plays flawlessly along with the movies, and especially in this concert of Bugs Bunny cartoons.”
Feb 26-27
Mozart’s Requiem
Roberto Abbado, conductor
Rachel Harnisch, soprano
Marianna Pizzolato, mezzo-soprano
Alek Shrader, tenor
Luca Pisaroni, bass-baritone
Saint Louis Symphony Chorus
Amy Kaiser, director
Mozart Masonic Funeral Music
Luca Francesconi Cobalt, Scarlet: Two Colors of Dawn
Mozart Requiem, K. 626
Richard Ashburner, staff/chorus manager: “The chorus has been looking forward to working with Roberto Abbado once again since we did Alexander Nevsky with him. I’m looking forward to this collaboration on Mozart Requiem especially since we are using an edition of the score that Maestro Abbado assembled and created himself. The performance should radiate from the care he has put into his personal preparation.”
Deborah Bloom, second violins: “Abbado, our fabulous Saint Louis Symphony Chorus and Mozart Requiem: This one will be a memorable and profound musical experience.”
Roberta Gardner, staff/library: “My fiance conducted Mozart’s Requiem and I was the soprano soloist just 12 days before we were married. Needless to say, it has a very special place in my heart.”
Becky Minor, staff/symphony volunteer association: “I’m intrigued by Cobalt, Scarlet: Two Colors of Dawn, and how the SLSO will bring those colors to musical life.”
Mar 5-6
The Planets
David Robertson, conductor
Renaud Capuçon, violin
Women of the Saint Louis Symphony Chorus
Amy Kaiser, director
Ligeti Violin Concerto
Holst The Planets
Tod Bowermaster, horn: “Should be a season highlight. A great orchestral masterpiece and showpiece, and David Robertson will bring out all of the colors and drama.”
Matt Hoyt, staff/information services: “The Planets: I am a sucker for choral, check. I love the range of The Planets, check, check. The Ligeti has a sense of thematic contiguity with The Planets, check, check, check. Sounds like a journey of mind, spirit, and sound to me!”
Stephen Lange, assistant principal trombone: “The Planets is one of the pieces I heard in seventh grade that really made me excited to play the trombone.”
Becky Minor, staff/symphony volunteer association: “I have a background in marching band, so I’m looking forward to hearing a lot of the ‘classics’— the actual works, rather than the arrangements I’ve heard for years, and to hear them done really well, such as The Planets.”
Kathleen Murphy, staff/development: “A space shuttle named Powell? Absolutely! Holst identifies the unique personalities of each planet and takes you on an exploration of the good, the bad, the beautiful and the ugly.”
Laura Reinert, staff/community partnerships: “The Planets is a concert not to be missed. I last heard it performed at Carnegie Hall under the baton of Maestro Vonk; it was a very memorable performance.”
Cynthia Schon, staff/facilities: “I’ve loved The Planets from the first time I heard them. Every time I listen I get the feeling I know where movie score composers get their inspiration!”
Michael Sieveking, staff/ticketing: “I can not wait to hear the voices of the Women of the SLSO Chorus. I’m getting chills thinking about it.”
Chris Woehr, assistant principal viola: “You can’t go wrong with a full whirl through The Planets of Gustav Holst: great tunes, great grooves, great orchestration, with an ethereal women’s chorus orbiting around the last planet Neptune (once again the last planet, with the downsizing of Pluto).”
Mar 13
Meredith Monk
David Robertson, conductor
Meredith Monk Vocal Ensemble
Saint Louis Symphony Chorus
Amy Kaiser, director
Stravinsky Monumentum pro Gesualdo di Venosa ad CD annum
Meredith Monk New Work (World Premiere)
Meredith Monk “Night”
Bartók Music for Strings, Percussion and Celesta
Kristin Ahlstrom, associate principal second violin: “I'm very excited to play Bartók's Music for Strings, Percussion, and Celesta. I've wanted to play it ever since I heard bits and pieces of it in the movie The Shining.”
Richard Ashburner, staff/chorus manager: “This concert offers singers of the Symphony Chorus the rare opportunity to participate in the creative process with one of the great performance artists of our time. We are so psyched to get our teeth into whatever it is that Ms. Monk creates for us!”
Mar 19-20
André Previn
André Previn, conductor and piano
André Previn Diversions
Mozart Piano Concerto No. 24, K. 491
Rachmaninoff Symphony No. 3
Tod Bowermaster, horn: “How exciting for us to work with one of America's most famous musicians, both playing and conducting. Previn is particularly known for his Rachmaninoff interpretation. Should be fun!”
Stephanie DeChambeau, staff/development: “André Previn is a legend, and I’ve never seen/heard him in person so I’m looking forward to this weekend.”
Chris Woehr, assistant principal viola: “I am fascinated by this program, conducted by André Previn himself. He might still be using one of my dad’s batons. (My father made sticks for most of the conductors of his generation, and was Previn’s music librarian in the Pittsburgh Symphony. I’m wondering if Previn will freak out that the 57 year-old bald viola player in front of him is the son of his former colleague.)”
March 21
Family Concert: American Heritage
Ward Stare, conductor
Bernstein CandideOverture
Copland Hoedown
Copland Appalachian Spring (excerpts)
Joplin Maple Leaf Rag
John Williams Theme from Schindler’s List
Wendy Plank Rosen, second violins: "What amazing 20th-century composers! A must for every American to hear! I love the bouncy, yet soulful, rags of the famous Missourian, Scott Joplin."
Mar 26-28
Mozart & Shostakovich
Vassily Sinaisky, conductor
Orli Shaham, piano
Mozart Piano Concerto No. 20, K. 466
Shostakovich Symphony No. 8
Carolyn Banham, English horn and oboe: "I've been waiting my whole life to play Shostakovich 8! The moment is finally here!"
Megan Denell, staff/community partnerships: “I am really excited about the Shostakovich. The composer's perspective on the persecution of individual rights by an oppressive regime, in this case Soviet, resonates with the uprisings we've seen this year. How interesting to listen and reflect upon today's revolutions through the music that gave voice to Shostakovich's experience in the first half of the twentieth-century. What could be more relevant?”
David Halen, concertmaster: “I look forward to both the return of Vassily Sinaisky (a great master of Shostakovich symphonies) and to Orli's playing of the lovely Mozart K. 466.”
Erik Harris, principal double bass: “Vassily Sinaisky will bring a genuine Russian intensity to Shostakovich 8.”
Matt Hoyt, staff/information services: “Shostakovich Symphony No. 8: Great balance of frantic and serene. It seems as if not a note is wasted or superfluous. I am fascinated that the creation of the least tangible form of art (instrumental music that did not have a stated purpose) would be functionally banned by the state for sounding ‘imperialistic.’”
Will James, principal percussion: “For me, playing the Shostakovich 8 will be a highlight of the season.”
Becky Minor, staff/symphony volunteer association: “I love Orli’s playing! Such delicacy, power, and technique all rolled into one! Love her!”
Jonathan Reycraft, trombone: “Being in the midst of this great orchestra during the Shostakovich 8 creates a feeling of unbridled intensity.”
Apr 9-10
Gil Shaham Plays Prokofiev
David Robertson, conductor
Gil Shaham, violin
Christopher Rouse Rapture
Prokofiev Violin Concerto No. 2
Sibelius Symphony No. 7
John Adams Doctor Atomic Symphony
Carolyn Banham, English horn and oboe: “I always love to play John Adams with David Robertson. Every time you get the SLSO, David, and the music of Adams together, I almost burst with pride.”
Deborah Bloom, second violins: “Gil Shaham playing Prokofiev Violin Concerto No. 2 is one of the solo-artist performances I am most looking forward to this season. Combined with David Robertson conducting Sibelius, Rouse and Adams—this will be an exciting evening.”
Matt Hoyt, staff/information services: “I missed the Doctor Atomic Symphony the first time around, but will be there this time. It sounds very technically challenging for the musicians, and demands the listener’s attention as well. The theme fits the work well.”
Becky Minor, staff/symphony volunteer association: “Hearing Gil Shaham play, as well as hearing the Doctor Atomic Symphony again before the California tour, should be a real treat for those of us who can’t go west with the Orchestra. I’m excited to get a second read of the Doctor Atomic. I’ve developed a real love for Adams. I first heard his work in marching band and winter guard, believe it or not, with Short Ride on a Fast Machine, and have fallen in love with his rhythmic creation. His work is so organic, like the pulsations of life.”
Timothy Myers, principal trombone: “I love it when new music comes around again. Christopher Rouse's Rapture was a pick of mine when we first played it two seasons ago. It isn't scary new music; it's in C major, with gorgeous melodies.”
Jonathan Reycraft, trombone: “If I were to give a title to this program it would be ‘Time Synthesis.’”
Apr 11
Phenomenal Gil Shaham
David Robertson, conductor
Gil Shaham, violin
Stravinsky Danse concertantes
Mozart Violin Concerto No. 2, K. 211
Stravinsky Violin Concerto
Mozart Symphony No. 36, “Linz,” K. 425
Kristin Ahlstrom, associate principal second violin: “Gil Shaham always inspires me with his gorgeous and unique sound.”
Andrew Gott, assistant principal bassoon: “Our California tour with Gil Shaham. His playing is inspirational!”
Becky Boyer Hall, second violins: “Two fantastic programs including Gil... heaven!”
Erin Schreiber, assistant concertmaster: “You have your choice of two very different but equally stimulating programs, (both of which are in preparation for our California tour), and three very different violin concerti, all performed by Gil Shaham over the course of three days, (an amazing feat)!”
Apr 23-25
Pinchas Zukerman
Pinchas Zukerman, conductor, violin, and viola
Bach Violin Concerto No. 1
Hindemith Trauermusik
Stravinsky Pulcinella Suite
Brahms Serenade No. 2
Stephanie DeChambeau, staff/development: “Looking forward to seeing Pinchas Zukerman wear three hats in a single concert. Makes me tired just looking at it on the schedule!”
Megan Denell, staff/community partnerships: “Bach, Hindemith, Stravinsky and Brahms: An all-star line-up.”
Becky Boyer Hall, second violins: “The charm of the Stravinsky and the beauty and serenity of the Brahms... what a satisfying program... Oh yes, and then there's Pinky (or Maestro Zukerman to some)!”
Erik Harris, principal double bass: “I’m looking forward to the return of Pinchas Zuckerman, performing his hat trick as violin soloist, viola soloist, and conducting the elegant Brahms Serenade No. 2.”
May 1-2
All-Wagner!
David Robertson, conductor
Christine Brewer, soprano
Alan Held, bass-baritone
Wagner Prelude to Act I of Lohengrin
Wagner Three Excerpts from Act III of Die Meistersinger
Wagner Prelude & Liebestond from Tristan und Isolde
Wagner Ride of the Valkyries and Final Scene of Die Walküre
Anne Marie Block, staff/development: “I never tire of hearing Wagner’s powerful and beautiful Ride of the Valkyries.”
Tod Bowermaster, horn: “This should be a season highlight for sure. St. Louis' own Christine Brewer (well, OK, Lebanon, Illinois' own!) is one of the premiere Wagner sopranos of our time, and one does not have much opportunity to hear this incredible music. A must-see!”
Mary Brown, staff/ticketing: “What do Isolde and Brünhilde have in common? Why Christine Brewer, of course! This is going to be a phenomenal concert!”
Stephanie DeChambeau, staff/development: “For years I didn’t like Wagner—then I heard someone who could really sing his stuff and then it all clicked for me! Christine Brewer can sing a HUGE range of repertoire beautifully (I was amazed at her gorgeous Mozart Requiem in 2006), but she seems to have been born to sing Wagner. This is a don’t-miss event!”
Joe Drexelius, staff/ticketing: “Christine Brewer, Christine Brewer, Christine Brewer! She truly possesses one of the great voices of our time. Please do yourself a favor and attend performances by this international superstar as often as you can. Add the boisterous music of Wagner and you have the recipe for a musical evening you will never forget!”
Becky Boyer Hall, second violins: “All Wagner with Christine Brewer... need I say more?”
Erik Harris, principal double bass: “Christine Brewer is possibly the greatest Wagnerian soprano in the world today, paired with a ‘greatest hits’ of four incredible Wagner operas. It'll make a Wagner fan out of anyone.”
Tom Kovach, staff/development: “Hold on to your Powell red seat for the mighty All-Wagner concerts with David Robertson, Christine Brewer and Alan Held. Grab a drink/dessert from the Grand Foyer, then be prepared for the main course as Brewer’s and Held’s voices will transport you into another world.”
Kathleen Murphy, staff/development: “Robertson, Brewer and Held performing all Wagner… that’s why I’m looking forward to this concert!”
Brian Owens, staff/community partnerships: “I love Christine!”
Laura Reinert, staff/community partnerships: “The All-Wagner program is a must see. I never pass up an opportunity to hear Christine Brewer!”
Cynthia Schon, staff/facilities: “My brother is more of a rock-and-roll type than classical, but after seeing Apocalypse Now he became obsessed with ‘Ride of the Valkyries.’ For Christmas that year I bought him a cassette tape titled Heavy Metal Classix that included the Ride, Verdi’s Anvil Chorus, and other classical excerpts suitable for head-banging, and he would blast it in his car stereo thinking it gave him an extra air of sophistication. Just recently, as he organized his gear before a triathlon, a woman passing by heard it and commented how nice it was to hear someone playing classical music for a change!”
May 7-9
Rachmaninoff Second Concerto
Robert Spano, conductor
Horacio Gutiérrez, piano
Christine Goerke, soprano
Brett Polegato, baritone
Saint Louis Symphony Chorus
Amy Kaiser, director
Rachmaninoff Piano Concerto No. 2
Vaughan Williams Symphony No. 1, “A Sea Symphony”
Richard Ashburner, staff/chorus manager: “Talk about happy singers! When it was announced to the St. Louis Symphony Chorus that ‘A Sea Symphony’ would be performed at this end of this season, the singers cheered. Audiences will see why from the opening musical representation of waves crashing on the cliffs to the quiet pools of sonorities that bring the work to a close. This theatrical work explodes with the power and peace of the sea. You can’t help but be ‘swept away’ by it all (could not resist).”
Mary Brown, staff/ticketing: “Eric Carmen borrowed from Rachmaninoff for his 1975 hit ‘All by Myself.’ Come hear the original, romantic work performed by Horacio Gutiérrez and the SLSO. Met star Christine Goerke is one of the featured soloists for the Vaughn Williams ‘Sea Symphony.’ What a way to end our season!”