st. louis symphony extra - feb. 21-23, 2014

8/13/2019 St. Louis Symphony Extra - Feb. 21-23, 2014

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CONCERT PROGRAMFebruary 21-23, 2014

Bernard Labadie, conductor

Philip Ross, oboeAndrew Gott, bassoon

Kristin Ahlstrom, violin

Melissa Brooks, cello

RAMEAU Les Borades Suite (c. 1763) (1683-1764)

RigaudonMenuets

EntreGavottes pour les heures

Air vif Air andante Pas de deux Contredanses

HAYDN Sinfonia concertante in B-flat major, Hob. I:105 (1792)(1732-1809)

Allegro Andante Allegro con spirito

Philip Ross, oboe Andrew Gott, bassoon Kristin Ahlstrom, violin Melissa Brooks, cello

INTERMISSION

HAYDN Symphony No. 22 in E-flat major, The Philosopher (1764)

AdagioPrestoMenuettoFinale: Presto

MOZART Symphony No. 39 in E-flat major, K. 543 (1788)(1756-1791)

Adagio; Allegro Andante con moto Menuetto: Allegretto Finale: Allegro


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ACKNOWLEDGMENTS

Bernard Labadie is the Daniel, Mary, and Francis OKeefe Guest Artist.

Philip Ross is the Helen E. Nash, M.D. Guest Artist.

The concert of Friday, February 21, is underwritten in part by a generous giftfrom Mr. and Mrs. Orrin Sage Wightman III.

The concert of Friday, February 21, includes coffee and doughnuts provided byKrispy Kreme.

The concert of Saturday, February 22, is underwritten in part by a generous gift

from Jeanne and Rex Sinqueeld.

The concert of Sunday, February 23, is underwritten in part by a generous giftfrom Mrs. Mariam Sisson.

Pre-Concert Conversations are sponsored by Washington University Physicians.

These concerts are presented by the Thomas A. Kooyumjian Family Foundation.

These concerts are part of the Wells Fargo Advisors series.

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


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FROM THE STAGEEva Kozma, Assistant Principal Second Violin, on Mozarts Symphony No. 39:I love

the last movement because of its energy. We play our hearts out.This is one of the last symphonies of Mozart, and at times it is veryserious. Its dramatic. Youre constantly looking for the Mozartean lightness,the happiness, but the chords are diminished.

Whenever I play Mozart I think of my grandmother. She loved Mozart.She was concertmaster in my hometown orchestra in Romania, and sheonce said in a radio interview that Mozart made the most genial music everwritten, pure and beautiful. I think so too.

A view of the second violins, Eva Kozma at far right.

DILIPVISHWANAT


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TIMELINKS

1763-64RAMEAULes BoradesSuite

HAYDNSymphony No. 22in E-flat major, ThePhilosopherBritain, Spain, and Francesign Treaty of Paris,ending Seven-Year Waror French-Indian War,with France relinquishingterritories in the NewWorld

1788-92MOZARTSymphony No. 39 inE-flat major, K. 543

HAYDNSinfonia concertante inB-flat major, Hob. I:105French Revolution erupts,Declaration of Rights ofMan issued

The four compositions that comprise the

program for our concert were written by threecomposers within the space of barely 30 years,a relatively short span of time in historical terms.This and the fact that two of these composerswere close friends and inuenced by each otherswork might promise a certain stylistic homo-geneity. But quite the opposite is true. Each ofthese works is quite distinct in sound, form, andcharacter. We begin with a suite of dances in the

French Baroque manner, a style that was out ofdate in 1763, when this music was composed, butkept alive through the remarkable longevity of itsauthor, Jean-Philippe Rameau.

Next comes a concerto, but with the unusualfeature of using not one but four solo instru-ments. Following intermission we hear sympho-nies by Joseph Haydn and his friend Wolfgang

Amadeus Mozart. The latter work presents whatwe have come to think of as the classical sym-phonic design, with fast opening and closingmovements framing a slow movement andminuet. But Haydns Philosopher Symphonyfollows a different and quite unusual course,opening with a dignied slow movement markedby contrapuntal textures, and using unusualinstrumental colors throughout. Together, these

four pieces indicate something of the variety ofcompositional invention that marked the lastthird of the 18th century, an exceptionally fertileperiod in the history of Western music.

VARIED INVENTIONBY PAUL SCHIAVO


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JEAN-PHILIPPE RAMEAULes BoradesSuite

A LONG AND VARIED CAREER Jean-PhilippeRameau was, by any measure, one of the most

remarkable composers of the Baroque era. Bornin France but trained in Italy, he spent his earlyyears as an organist and composer of sacredmusic and keyboard pieces. By 1723 he hadmoved to Paris, where he held no regular posi-tion but seems to have earned his living as a free-lance musician and writer. (Among other things,he authored several famous treatises on musictheory.) At age 50, Rameau embarked on a newcareer as a composer for the theater. His operaHippolyte et Aricie, which premiered in 1733,created a sensation in Paris, due to the unprec-edented dramatic power of its music, and thecomposer found himself at the center of a criticalstorm, with rival factions alternately praising andcondemning the intensity of his style. Undauntedby this controversy, Rameau wrote a new opera in

nearly each of his remaining 30 years.Our concert begins with selections fromRameaus last opera, Les Borades. A great deal ofuncertainty surrounds the history of this piece.The work was commissioned by the Paris Opra,which put it into rehearsal in 1763, the yearbefore Rameau died. But there is no evidence thatit was actually performed. Concert presentationsof excerpts from the score occurred in the 1890s

and again in the 1960s in France, but the rststaged production, at least the rst that anyoneknows of, was not given until 1982.

STORY AND SPECTACLE The tale related in LesBoradescenters on Queen Alphise of Bactria, anancient kingdom in the Near East, who spurnsthe Boreas, god of the wind, in favor of a young

mortal she loves. Angered by this affront, the godraises a mighty gust that carries off the disobedi-ent queen. But in a classic deus ex machinarever-sal, Apollo intervenes and declares that Alphisesbeloved is actually his offspring and a distantdescendant of Boreas also, so all ends well.

Les Borades fullls the traditional require-ment of French Baroque opera for an exten-sive use of dance, either to advance the plot or

BaptizedSeptember 25, 1683, Dijon

DiedSeptember 12, 1764, Paris

First PerformanceUnknown (see below)

STL Symphony PremiereThis week

Scoring2 flutes2 piccolos2 oboes

2 clarinets2 bassoons2 hornsstrings

Performance Timeapproximately 15 minutes


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simply as picturesque diversion. Rameaus scoreis lled with gavottes, minuets, rigaudons andother dances popular with the French aristocracyduring the 18th century. These numbers wouldhave been occasions for lavish stage spectacles

during Rameaus day, sumptuously choreo-graphed and costumed tableaux of the kind thatlong typied opera in Paris.

Our suite includes a selection of the dancemovements Rameau composed for Les Borades.Most of these require no comment. But theGavotte pour les heures has unusual dramaticsignicance. Late in the opera, the bereft Arabis

is cheered by the arrival of Polyhymnia, the museof prayers and hymns. With her is a companyof allegorical gures representing the seasons,zephyrs, and hours. The latter engage in a dancethat inspired Rameau to an ingenious bit ofmusical onomatopoeia, with piccolos whirringover a rhythmically steady accompaniment toimitate the workings of a clock.

JOSEPH HAYDNSinfonia concertante in B-at major, Hob. I:105

A DIFFERENT KIND OF CONCERTO For modern lis-teners, the concerto is almost always a composi-tion for a single featured instrumentalist, usuallyin the role of a heroic virtuoso, with orchestralaccompaniment. But this modern conceptionof the concerto was not rmly established untilaround the beginning of the 19th century. Priorto that, concertos for two or several solo instru-ments were common. During the second half ofthe 18th century such works were usually identi-ed by the term sinfonia concertante. Mozartproduced several works of this kind. His greatcolleague and friend Joseph Haydn composed

only one, but it is of exceptional quality.Haydn wrote his Sinfonia concertante inB-at early in 1792, during the rst of his two cel-ebrated visits to London, where the now famouscomposer had come to preside over a series ofconcerts featuring his music. The work employsa solo quartet of oboe, bassoon, violin, and cello,and is cast in the usual three-movement concerto.The rst movement is built on themes that are by

BornMarch 31, 1732, Rohrau, Austria

Died

May 31, 1809, ViennaFirst PerformanceMarch 9, 1792, in London,under the composersdirection

STL Symphony PremiereJanuary 23, 1953, with LeonardArner, oboe, NormanHerzberg, bassoon, HarryFarbman, violin, and DodiaFeldin, cello, Eleazar DeCarvalho conducting

Most Recent STL SymphonyPerformanceNovember 2, 2008, withBarbara Orland, oboe,Andrew Gott, bassoon,Alison Harney, violin,and Melissa Brooks,

cello, Nicholas McGeganconducting

Scoringsolo oboesolo bassoonsolo violinsolo celloflute2 oboesbassoons

2 horns2 trumpetstimpanistrings



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First PerformanceUnknown, but certainlyat Esterhza, the palatialestate of the Hungarian

prince Nikolaus Esterhzy, in1764, under the composersdirection

STL Symphony PremiereOctober 14, 1971, JamesLevine conducting the onlyprevious performance

Scoring2 English horns

bassoon2 hornsstrings


turns graceful and robust. Haydn, in contrast tothe practice of his time, does not hold the soloquartet in abeyance during the initial paragraph,but has it assist the orchestra in setting forthhis musical materials. There is a lively interplay

among the soloists, and all four of them partakein the cadenza Haydn provides near the end ofthe movement.

This opening is followed by a gentle Andantethat nds the solo group in intimate conversationwith only the barest orchestral accompaniment.The last movement takes the form of an amusingmusic lesson. The orchestra begins by offering a

vigorous phrase in unison, but immediately thesolo violin cuts in. No, no, its recitative seemsto implore. Try again. The orchestra does so,but again the violin interrupts: Not that waythisway. And for the remainder of this charmingnale the four soloists demonstrate a successionof nimble scales and other gures, which thepoor orchestra struggles to imitate as best it can.

JOSEPH HAYDNSymphony No. 22 in E-at major,The Philosopher

HAYDN IN HUNGARY Before visiting London,Haydn had served as court composer to theHungarian prince Nikolaus Esterhzy. This situ-ation entailed both challenge and opportunity.The Esterhzy court orchestra consisted only ofa small group of strings with pairs of horns andoboes, a bassoon, and occasional utes. Withthese modest instrumental forces Haydn had toproduce a continually varied stream of music. Themost important result of that process was a seriesof more than 80 symphonies that Haydn com-posed during his three-decade Esterhzy tenure.

With the Esterhzy court orchestra as hislaboratory, Haydn was able to test his musicalideas. Particularly during the 1760s, he experi-mented with different types and arrangements ofmovements, sought unexpected turns of melodyand harmony, and deployed his musicians innovel ways. His Symphony in E-at major, No. 22in the standard listing of his works, employs allthese stratagems.


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SYMPHONIC ANOMALIES The rst unusual feature of this composition is itsscoring. Prince Nikolauss oboists evidently had English horns at their disposal,and in the present work Haydn used those instruments in place of oboes. (Thisis the only one of his symphonies in which we nd this unusual instrumen-tation.) The result is an uncommonly rich and deep orchestral sound, some

perilously high horn writing notwithstanding.But sonority isnt the only anomaly. Though the work unfolds in four

movements, these do not yield the usual pattern of a Classical-period sym-phony. Haydn reverses the fast and slow movements normally found at theoutset, beginning the piece with a stately Adagio. The initial movement bringsanother surprise. Here a broad theme for the winds plays over a steadily march-ing accompaniment by the strings. This theme has the character of a liturgi-cal chant, and both that character and the texture of its setting here recall the

chorale prelude, a form widely cultivated by composers during the 17th andearly 18th centuries. The reference to this older and learned compositionalgenre, together with the measured gravity of the music, presumably inspiredthe name The Philosopher, by which this symphony is now known.

The second movement conveys that bracing energy Haydn so oftenbrought to the fast movements of his symphonies. We then hear a minuet, witha contrasting central episode featuring the distinctive timbres of the winds.This anticipates the colors of the closing movement. Here, rapid-re horn callsare echoed by the English horns, a striking effect.

WOLFGANG AMADEUS MOZARTSymphony No. 39 in E-at major, K. 543

A MOZARTIAN MYSTERY In the summer of 1788, Mozart completed threeextraordinary symphonies, the last such works he would compose. This naltrilogy, as it is often called, poses two of the most intriguing and enduringquestions of Mozarts biography: Why did the composer write these works,and did he ever hear them performed? Mozart scholars have proposed severalpossibilities for explaining the composition of these three late symphonies,but even their most persuasive theories remain unproved for lack of denitivedocumentary evidence. And so, the mystery of the composers last three sym-phonies remains just that. But of the musics value there is no doubt. No sym-phonic compositions of the 18th century surpass the nal trilogy in strength,intricacy, or beauty, and only Mozarts slightly earlier Prague Symphony andthe later London symphonies of Haydn even approach them in this respect.

Less turbulent and impassioned than the Symphony in G minor, K.550, and not so outwardly brilliant as the Jupiter Symphony, K. 551, theSymphony in E-at Major, K. 543, has long been the least appreciated portionof the nal trilogy. It deserves better, for its musical substance and compo-sitional details are scarcely less admirable than those of its more famous sib-lings. Like the other two symphonies of the nal trilogy, this work followsthe four-movement sequence that by the 1780s had become the usual formatof symphonic composition. Unlike them, its plan includes an introduction inslow tempo to begin the rst movement. This preface begins in a splendid,


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even ceremonious, manner, with sonorouschords in formal rhythms punctuated by timpanistrokes and falling scale gures. (The latter willreappear, in a more animated context, during themain body of the movement.) The music then

becomes quiet and expectant, its mounting senseof anticipation making the onset of the ensuingAllegro all the more effective.

There follows a slow movement that beginssoftly and placidly in the string choir alone.Beginning with its second paragraph, however,Mozart touches on some dark harmonies andstormy textures. The outbursts never last long,

though, and the movement as a whole conveysa beautiful and seemingly nocturnal atmosphere.The third movement presents a robust

minuet whose central episode uses an Alpine folkdance melody, sung here by the clarinet. Mozartconstructs the nale on a single swift and ener-getic theme, a procedure often used by Haydn inhis symphonic nales. This subject proves thesource of myriad developments, as Mozart varies

and extends his melodic material in characteristi-cally imaginative fashion.

Program notes 2014 by Paul Schiavo

BornJanuary 27, 1756, Salzburg

Died

December 5, 1791, ViennaFirst PerformanceUnknown

STL Symphony PremiereJanuary 23, 1914, Max Zachconducting

Most Recent STL SymphonyPerformanceFebruary 11, 2006, Roberto

Abbado conductingScoringflute2 clarinets2 bassoons2 horns2 trumpetstimpanistrings



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BERNARD LABADIEDANIEL, MARY, AND FRANCIS OKEEFE GUEST ARTIST

Bernard Labadie has established himself world-wide as one of the leading conductors of the Ba-roque and Classical repertoire, a reputation thatis closely tied into his work with Les Violons duRoy and La Chapelle de Qubec, both of whichhe founded and continues to lead as music direc-tor. With these two ensembles he regularly toursCanada, the U.S., and Europe.

Highlights of the 2013-14 season include re-engagements with the New York Philharmonic,Kansas City Symphony, New World Symphony,

and Chicago Symphony Orchestra. Appearancesoverseas will include concerts with the Malay-sian Philharmonic, Auckland Philharmonia, Mel-bourne Symphony Orchestra, Orchestre Philhar-monique de Strasbourg, WDR Sinfonieorchester(Cologne), Bavarian Radio Symphony Orchestra(Munich), NDR Sinfonieorchester (Hamburg),Swedish Radio Symphony Orchestra, OrchestrePhilharmonique de Radio France, and a European

Tour with Les Violons du Roy.

PHILIP ROSSHELEN E. NASH, M.D. GUEST ARTIST

Philip Ross grew up surrounded by world-classoboists. His father, Dan, is a well-known oboistand maker of gouging machines, which are high-

precision cutting tools essential for reed-making.With at least one of Dans machines in every ma-jor North American orchestra, Jonesboro, Arkan-sas is a revolving door of oboists making theirpilgrimage to have their machines serviced.

Philip Ross holds degrees from the East-man School of Music and the Chicago College ofPerforming Arts where he studied with RichardKillmer and Alex Klein respectively. He has maderepeat appearances as guest principal oboe of theSan Francisco Symphony, toured with the Chica-go Symphony, and recorded with the CincinnatiSymphony Orchestra. He also takes part in theSt. Barts Music Festival.

Philip Ross enjoys playing music with hiswife and fellow oboist, Laura. The oboe couplewelcomed their rst child in April 2013.

Bernard Labadie mostrecently conducted the St.

Louis Symphony in April 2013.

Philip Ross made his St.Louis Symphony solodebut in January 2008.


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ANDREW GOTT

Prior to taking the position of Associate PrincipalBassoon of the St. Louis Symphony in 2006, An-drew Gott was Principal Bassoon of the VirginiaSymphony Orchestra under the baton of JoAnnFalletta. He has also played Principal Bassoonwith the Buffalo Philharmonic Orchestra andthe Woodlands Symphony Orchestra. He hasserved on the faculty at the Governors Schoolfor the Arts, Old Dominion University, Christo-pher Newport University, and Ball State BassoonCamp. Gott received his Bachelor of Music fromBall State University and his Master of Music from

the Shepherd School of Music at Rice University,where he studied with Ben Kamins. Andrew Gottwas born and raised in Bolivar, Missouri.

KRISTIN AHLSTROM

Kristin Ahlstrom joined the St. Louis Symphonyin 1996, and was appointed to the AssociatePrincipal Second Violin chair in 2001. She is amember of the Ilex Piano Trio along with herhusband, pianist Peter Henderson, and St. LouisSymphony cellist Anne Fagerburg; and is also theviolinist of a string trio featuring St. Louis Sym-phony musicians Shannon Farrell Williams andBjorn Ranheim. Ahlstrom has played chambermusic recitals as well as orchestral concerts as amember of the Sun Valley (Idaho) Summer Sym-phony since 2001, and has been a guest artist inIndiana Universitys Summer Music series every

year since 2006. She and her husband live in St.Louiss South City along with their lively, sweetdog Zinni.

Andrew Gott was a memberof the ensemble that most

recently performed HaydnsSinfonia concertante, inNovember 2008.

Kristin Ahlstrom mostrecently performed as asoloist with the St. LouisSymphony in January 2008.


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MELISSA BROOKS

Melissa Brooks has been a member of the St.Louis Symphony since 1992. She is a native ofNew York City, where from 1977-88 she attendedthe pre-college division of the Juilliard School.Brooks received her undergraduate degree fromthe New England Conservatory where she stud-ied with Laurence Lesser. She graduated fromboth schools with Distinction in Performance.Brooks has performed chamber and solo con-certs throughout the country, including a duoconcert with the late cellist Janos Starker. Shehas won numerous awards and honors and was

nominated by Leonard Bernstein for an AveryFisher Career Grant in 1988.Her activities in the community include cre-

ating and participating in numerous benet con-certs throughout the year as well as engagementin advocacy work. Melissa Brooks is MissouriChapter leader for the national organization,Moms Demand Action for Gun Sense in America.Melissa Brooks was also a

member of the ensemble

that most recentlyperformed HaydnsSinfonia concertante, inNovember 2008.


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PLAYING MOZART:EVA KOZMA, ASSISTANT PRINCIPAL SECOND VIOLIN

Symphony No. 39 is a difcult piecefor string players, because there is so

much character that needs to standout. Its operatic. Note lengths need tobe precise. We need to listen to eachother so much and play together.

Not everyone can play Mozart.People want to vibrate at the end ofa line, become more romantic. Thatdoesnt work for Mozart. The music isvery transparent. If you dont respectthe character or the lines, it will makea big mush.

In this symphony Mozart givesthe second violins a lot of the maintheme. Were not just accompanyingeighth notes. In other works we may bepart of the background, or supportingthe harmony. In this case were pretty

much equal.

DILIPVISHWANAT

Eva Kozma

A BRIEF EXPLANATIONYou dont need to know what andante means or what a glockenspiel is toenjoy a St. Louis Symphony concert, but its always fun to know stuff. For

example, what does Hob. I:105 mean?

Hob.:Hob. is the abbreviation for the Hoboken catalogue of Haydns works;Hoboken does not refer to New Jersey or have anything to do with the closingof toll booths, rather, Anthony van Hoboken (1887-1983), who took on theenormous task of compiling the denitive catalogue of Haydns many works;Hob. numbers include a roman numeral followed by an Arabic gure


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YOU TAKE IT FROM HEREIf these concerts have inspired you to learn more, here are suggested sourcematerials with which to continue your explorations.

Cuthbert Girdlestone,Jean-Philippe Rameau: His Life and WorkDover PressA new edition of the denitive English-language biography

Opra National de Paris, Jean-Philippe Rameau,Les Borades

2 DVD SetA sumptuous lm of the opera, with asuperb cast

David Wyn Jones, editor,Oxford Composer Companions: HaydnOxford University PressA fount of enlightening information on

Haydn, his music, his milieu, his career, hisrelationships

Robert W. Gutman,Mozart: A Cultural BiographyMariner BooksAn excellent account of the composer andhis times

Read the program notes online atstlsymphony.org/planyourvisit/programnotes

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

The St. Louis Symphony is on


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AUDIENCE INFORMATION

BOX OFFICE HOURS

Monday-Saturday, 10am-6pm; Weekdayand Saturday concert evenings through

intermission; Sunday concert days12:30pm through intermission.

TO PURCHASE TICKETS

Box Ofce: 314-534-1700Toll Free: 1-800-232-1880Online: stlsymphony.org

Fax: 314-286-4111A service charge is added to alltelephone and online orders.

SEASON TICKET EXCHANGE POLICIES

If you cant use your season tickets,simply exchange them for another

Wells Fargo Advisors subscriptionconcert up to one hour prior to yourconcert date. To exchange your tickets,please call the Box Ofce at 314-534-1700 and be sure to have your tickets

with you when calling.

GROUP AND DISCOUNT TICKETS

314-286-4155 or 1-800-232-1880 Anygroup of 20 is eligible for a discount ontickets for select Orchestral, Holiday,or Live at Powell Hall concerts. Callfor pricing.

Special discount ticket programs areavailable for students, seniors, andpolice and public-safety employees.

Visit stlsymphony.org for moreinformation.

POLICIES

You may store your personalbelongings in lockers located on the

Orchestra and Grand Tier Levels at acost of 25 cents.

Infrared listening headsets are availableat Customer Service.

Cameras and recording devices aredistracting for the performers andaudience members. Audio and videorecording and photography are strictly

prohibited during the concert. Patronsare welcome to take photos before theconcert, during intermission, and afterthe concert.

Please turn off all watch alarms, cellphones, pagers, and other electronicdevices before the start of the concert.

All those arriving after the start of the

concert will be seated at the discretionof the House Manager.

Age for admission to STL Symphonyand Live at Powell Hall concerts

varies, however, for most events therecommended age is ve or older. Allpatrons, regardless of age, must havetheir own tickets and be seated for all

concerts. All children must be seatedwith an adult. Admission to concerts isat the discretion of the House Manager.

Outside food and drink are notpermitted in Powell Hall. No food ordrink is allowed inside the auditorium,except for select concerts.

Powell Hall is not responsible for

the loss or theft of personal property.To inquire about lost items, call314-286-4166.

POWELL HALL RENTALS

Select elegant Powell Hall for your nextspecial occasion.

Visit stlsymphony.org/rentalsfor more information.


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BOUTIQUE

WHEELCHAIR LIFT

BALCONY LEVEL(TERRACE CIRCLE, GRAND CIRCLE)

GRAND TIER LEVEL

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

MET BAR

TAXI PICK UPDELMAR

ORCHESTRA LEVEL(PARQUET, ORCHESTRA RIGHT & LEFT)

WIGHTMAN

GRAND

FOYERTICKET LOBBY

CUSTOMER

SERVICE

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LOCKERS

WOMENS RESTROOM

MENS RESTROOM

ELEVATOR

BAR SERVICES

HANDICAPPED-ACCESSIBLE

FAMILY RESTROOM

Please make note of the EXIT signs in the auditorium. In the case of an emergency,proceed to the nearest EXIT near you.

st. louis symphony extra - feb. 21-23, 2014

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