St. Louis Symphony Broadcast Program, April 20, 2013

7/28/2019 St. Louis Symphony Broadcast Program, April 20, 2013

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CONCERT PROGRAMApril 19-20, 2013

Ward Stare, conductorSt. Louis Symphony Chorus

Amy Kaiser, director

BRAHMS Gesang der Parzen (Song of the Fates), op. 89 (1882) (1833-1897)

St. Louis Symphony Chorus

Amy Kaiser, director

WEBERN Im Sommerwind (1904) (1883-1945)

BRAHMS Schicksalslied (Song of Destiny), op. 54 (1868-71)

St. Louis Symphony ChorusAmy Kaiser, director

INTERMISSION

J. STRAUSS, JR. Knstlerleben (Artists Life), op. 316 (1867)(1825-1899)

R. STRAUSS Der RosenkavalierSuite, op. 59 (1909-10)(1864-1949)


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ACKNOWLEDGMENTS

Ward Stare is the Blackwell Sanders Peper Martin Guest Conductor.

Amy Kaiser is the AT&T Foundation Chair.

The concert of Friday, April 19, is underwritten in part by a generous gift fromMr. and Mrs. Walter J. Galvin.

The concert of Friday, April 19, is underwritten in part by a generous gift fromMary Strauss.

The concert of Saturday, April 20, is underwritten in part by a generous gift from

Ms. Phoebe Dent Weil.

Beer and Pretzels for this weekends concerts are generously provided byAnheuser-Busch and Companion.

Pre-Concert Conversations are presented by Washington University Physicians.

These concerts are part of the Wells Fargo Advisors Series.

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


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TIMELINKS

1867-71BRAHMSSchicksalslied (Song ofDestiny), op. 54

J. STRAUSS, JR.

Knstlerleben (ArtistsLife), op. 316Marxs Das Kapitalpublished

1882BRAHMSGesang der Parzen (Songof the Fates), op. 89Philosopher Friedrich

Nietzsche pronouncesthe death o God

1904WEBERNIm SommerwindFreuds TheInterpretation of Dreamspublished

1909-10R. STRAUSSDer RosenkavalierSuite,op. 59

Joan o Arc declared asaint

What can we expect of our brief passages on

this earth? Should wecan we?enjoy pleasurewhere we nd it, or are we destined for sorrow, orat least sorrowful ends? Is there a contradictionbetween these two possibilities, or are bothperhaps true? These would seem weightyquestions for an evening devoted to music, yetthe ve compositions that comprise our concertappear to ask them.

Two of the works we hear, both by Johannes

Brahms, suggest a somber existential outlookrooted in classical antiquity, one that viewshuman life as subject to powers beyond our kenor control. The other three imply that our lot isnot so bleak. Anton Weberns early tone poemIm Sommerwind conveys the idyllic pleasures ofa summer day. Two works by StraussJohannand Richard, who were not relatedintimatethe pleasures of dance (specically the waltz,which enjoyed such popularity in 19th-centuryVienna), of young love and of comedy, in whichall ends well.

For better or worse, the music we hear settlesno philosophical questions. Each compositionspeaks eloquently for its own perspective.

DESTINY AND DIVERSIONSBY PAUL SCHIAVO


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JOHANNES BRAHMSGesang der Parzen (Song of the Fates), op. 89

SINGING OF FATE AND FRAGILITY Severalof Johannes Brahmss major compositions

using chorus and orchestra address mattersof human destiny and, especially, the fragilityof our existence on this earth. The earliest ofthese works, Ein deutsches Requiem (A GermanRequiem), acknowledges that all esh is likegrass but offers a comforting promise based onChristian doctrine: Blessed are the dead that diein the Lord; they will enjoy eternal rest. But intwo later compositions, both of which we hearthis evening, Brahms turned to a harsher ancienttradition, reworded by 19th-century Germanpoets, which holds that our welfare is subjectto the whims of the gods, or controlled by somemalevolent destiny.

The latter of these two works opens ourprogram. Brahms composed Gesang der Parzen(Song of the Fates) in 1882, using as his text

a portion of Johann Wolfgang von GoethesIphigenie auf Tauris (Iphigenia in Taurus). In hisretelling of the Greek legend of Iphigenia, Goethehas the titular princess recall a song said tohave been sung by the Parcae, or Fates, warningmankind of the capriciousness and wantoncruelty of the gods. It is the verses of this songthat Brahms set to music in Gesang der Parzen.

The composer opens with stern music in

the key of D minor, a tonality he also used forthe stormy initial movement of his First PianoConcerto and for his Tragic Overture, op. 81.(Like Mozart, whose music he deeply admired,Brahms evidently conceived D minor as a keyof turbulence and pathos.) Here the repetitionof sharply etched rhythmic gures, the use ofunsettled harmonies and what seems implacable

tolling by the timpani help create an impressionof inexorable destiny. Late in the work Brahmsadmits a ray of harmonic light, but the musicsoon returns to D minor, the quiet utterances ofits nal moments conveying only sad resignation.

BornMay 7, 1833, Hamburg

DiedApril 3, 1897, Vienna

First performanceDecember 10, 1882, in Basel,Switzerland

STL Symphony PremiereThis week

Scoring

chorus o mixed voices2 utespiccolo2 oboes2 clarinets2 bassoonscontrabasson4 horns2 trumpets3 trombonestubatimpanistrings

Performance Timeapproximately 14 minutes


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ANTON WEBERNIm Sommerwind

A MODERNISTS ROMANTIC ROOTS AntonWebern is remembered as a pioneer of some of the

most radical tendencies of 20th-century music.He was one of the rst composers to attemptatonal composition, in which the centuries-oldprinciple of a central pitch and orderly hierarchyof subsidiary notes gave way to a sense of free-oating harmonic abstraction. Later he devisedintricate formal procedures for composingwith tone rows, or series, containing all 12musical notes. For this, Webern was lionized bycomposers of the mid-20th-century avant-garde,who adopted his methods as the basis of a newsort of composition that they hoped would cutthem loose from the legacy of Romantic musiconce and for all.

Ironically, Webern himself had begun hiscareer by writing in a late-Romantic mannerindebted to Wagner, Richard Strauss, and

Gustav Mahler. That youthful Romanticism isnowhere more evident than in his tone poem ImSommerwind. Webern composed this piece in1904, at age 21. It was never performed duringhis lifetime. Indeed, the manuscript was lost andrediscovered only in the 1960s.

SUMMER IDYLL Im Sommerwind was inspired bya poem that appears in a novel by the now largely

forgotten German writer Bruno Wille (1860-1928). In this poem, whose title translates as Inthe Summer Breeze, Wille describes impressionsand daydreams of a summers day. Webernscomposition is an abstract musical rendition ofthe poem. The composer subtitled the piece Idyllfor Large Orchestra, and much of it is peacefullyidyllic. Even when the music swells ardently, as it

does on several occasions, no storm threatens thepastoral feeling that prevails. Weberns handlingof his instrumental forces is impressively skilled,and his use of complex and unusual orchestralcolors is even more so.

BornDecember 3, 1883, Vienna

DiedSeptember 15, 1945, Mittersill,Austria

First performanceMay 25, 1962, in Seattle, bythe Philadelphia Orchestra,conducted by EugeneOrmandy

STL Symphony Premiere

August 13, 1972, AndreKostelanetz conducting theonly previous perormance

Scoring3 utes2 oboesEnglish horn4 clarinetsbass clarinet2 bassoons6 horns2 trumpetstimpanipercussion2 harpsstrings



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JOHANNES BRAHMSSchicksalslied (Song of Destiny), op. 54

OF GODS AND MORTALS Completed in 1871,Schicksalslied sets verses by the German

poet Friedrich Hlderlin (1770-1843), versesinspired by the odes of classical antiquity. Inhis poem, Hlderlin compares the immortalexistence of the gods with the lot of humankind.Our lives, he suggests, are driven by a crueldestiny in ways we cannot apprehend, so thatwe tumble blindly from one hour to another.

The poems sharply contrasted visionstheparadisiacal existence of the deities, and of thedire fate of mortalssuggested highly contrastedmusic. This Brahms provides. A quiet orchestralprologue sets the tone for the singers delivery ofthe opening stanza, creating a serene impressionof untroubled life for the gods. But then, with asudden outcry of angry orchestral sounds, thetone changes, growing anguished for the portionof the text that considers human destiny.

CLASSICAL SEVERITY, MODERN COMPASSIONThese very different visions, especially in the orderin which they are set forth in Hlderlins poem,created a challenge for Brahms: not a musicalchallenge, per se, but what can properly be calledan ethical dilemma. The poems narrative movesfrom bliss to desolation, from light to darkness,in emotional terms. Had Brahms ended with the

piece where the last verse is sung, Schicksalsliedwould have closed on a note of sorrow andresignation. The composer evidently struggledto produce an alternative conclusion, at onetime even repeating the choral singing of the rststanza. Hermann Levi, the conductor entrustedwith the rst performance, was privy to Brahmssdeliberations and advised him against that course.

So in the end, the composer simply reprised theorchestral prologue, with its intimation of deepand tranquil rapture.

In doing this, Brahms changed, and evencontradicted, the tone of Hlderlins poem.Brahms tempers the ancient worlds harshvision of destiny with a compassionate,modern outlook.

First PerformanceOctober 18, 1871, in the

German city o Karlsruhe,with Hermann Leviconducting

STL Symphony PremiereApril 16, 1972, with theUniversity o MissouriChorus, Walter Susskindconducting in Columbia,Missouri

Most Recent STL SymphonyPerformanceJanuary 31, 1999, withthe St. Louis SymphonyChorus, Maximiamo Valdsconducting

Scoringchorus o mixed voices2 utes2 oboes

2 clarinets2 bassoons2 horns2 trumpets3 trombonestimpanistrings



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JOHANN STRAUSS, JR.Knstlerleben (Artists Life), op. 316

AND THE WALTZES! Solely on the evidenceof Gesang der Parzen and Schicksalslied, one

might conclude that Johannes Brahms wasa dour personality with little use for worldlypleasures. In fact, quite the opposite was true.Brahms thoroughly enjoyed the diversionsVienna offeredits restaurants, its beautifulwomen and what was, during the time he livedthere, its most popular pastime, the waltz. Hegreatly admired the waltzes of Johann Strauss,Viennas Waltz King, with whom he developeda warm friendship. The evenings with Strauss!,Brahms exulted in a letter. And his wife! And thechampagne! And the waltzes!

That Brahms delighted in Strausss waltzestesties to their musical merit. The Waltz Kingwas a superb melodist, but his skill as a composeralso included a sophisticated harmonic paletteand knowing use of the orchestra. All these

virtues inform the waltz titled Knstlerleben, orArtists Life. Strauss wrote this compositionin 1867, immediately after completing whatis widely considered his masterpiece, On theBeautiful Blue Danube, and it is of the same highquality as that work. Like On the Beautiful BlueDanube, Knstlerleben begins with an extendedintroduction that foretells several of the waltzmelodies that follow. To create an even greater

sense of compositional cohesion, Straussconcludes the work with a coda passage thatrevisits the signature rst waltz melody.

BornOctober 25, 1825, Vienna

DiedJune 3, 1899, Vienna

First PerformanceUnknown, but almostcertainly 1867, in Vienna, bythe Johann Strauss Orchestra,under the composersdirection

STL Symphony PremiereDecember 31, 1991, DavidLoebel conducting

Most Recent STL SymphonyPerformanceAugust 20, 2004, ScottParkman conducting

Scoringutepiccolo2 oboes2 clarinets2 bassoons

4 horns2 trumpets3 trombonestubatimpanipercussionstrings


MaxLieberMann


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RICHARD STRAUSSDer RosenkavalierSuite, op. 59

AN OPERATIC MASTERPIECE Only a handful of20th-century works have gained a secure place in

the operatic repertory, and only one of these cantruly be called a comedy. That is Richard StrausssDer Rosenkavalier, an opera remarkable for themulti-layered telling of its story. On one level it isa romantic farce, a ribald succession of irtations,secret encounters and mistaken identities. But itsburlesque elements are balanced by more seriousones: strains of tenderness, nobility, poignancy,and wisdom.

Much of the operas psychological depth isachieved through the orchestra, which more thanone analyst has described as a leading characterin the drama. The orchestra comments upon theactions taking place on stage in a voice that is byturns mocking, affectionate and philosophical,and its brilliant string of waltzes and marcheshelp convey the opulent atmosphere of old

Vienna, where the story takes place.

FROM THEATER TO CONCERT HALL Shortly afterthe operas rst performance, in 1911, Straussarranged a set of Rosenkavalier Waltzes thatproved instantly popular. He followed this witha second waltz set and, in 1945, an orchestralsuite based on some of the operas nest music.The suite contains orchestral adaptations of

the operas Introduction; the entrance of CountOctavian, in his guise as the Rose Cavalier, andhis duet with the young ingnue, Sophie; a waltzassociated with the boorish Baron Ochs; thetrio from the closing scene; the nal love duet;and a reprise of the waltz, which now takes ona robust, mocking quality, as the operas maincharacters celebrate the comeuppance of the

lecherous Baron.

Program notes 2013 by Paul Schiavo

BornJune 11, 1864, Munich

DiedSeptember 8, 1949, Garmish-

Partenkirchen, BavariaFirst PerformanceSeptember 28, 1946, inVienna, Hans Swarowskyconducted the ViennaSymphony Orchestra

STL Symphony PremiereNovember 15, 1946, VladimirGolschmann conducting

Most Recent STL SymphonyPerformanceOctober 27, 2001, Jun Mrklconducting

Scoring3 utespiccolo3 oboesEnglish horn3 clarinets

E-at clarinetbass clarinet3 bassoonscontrabassoon4 horns3 trumpets3 trombonestubatimpanipercussion

2 harpscelestastrings



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WARD STAREBLACKWELL SANDERS PEPER MARTIN GUEST CONDUCTOR

A native of Rochester, New York, Ward Staremade a successful Lyric Opera of Chicago debut

in Humperdincks Hnsel und Gretel in January2013. Stare completed his tenure as ResidentConductor of the St. Louis Symphony in 2012.In April 2009, he made his highly successfulCarnegie Hall debut with the orchestra,stepping in at the last minute for Music DirectorDavid Robertson, who performed the role ofchansonnier in H. K. Grubers Frankenstein!!.

The 2010-11 season included Stares debutwith the Norwegian National Opera in a newproduction of Brittens The Rape of Lucretia. Futureopera engagements include appearances at OperaTheatre of St. Louis and Stares return engagementwith Lyric Opera of Chicago in 2014-15.

Highlights of the 2011-12 season includedbeing named Musician of the Month byMusicalAmerica in November 2011, and an invitation

to participate in the prestigious Allianz CulturalFoundations 2012 International ConductorsAcademy. Over the course of four months,Stare worked intensively with both the LondonPhilharmonic Orchestra and the Philharmoniaculminating in Stares debut with the LPO inRoyal Festival Hall in April 2012.

Recent and upcoming engagements includethe Atlanta Symphony, Houston Symphony,

Qubec Symphony, Dallas Symphony, and theRochester Philharmonic Orchestra.

Following in the path of many greatorchestral conductors whose careers beganas instrumentalists, Stare was trained as atrombonist at the Juilliard School in Manhattan.At the age of 18, he was appointed principaltrombonist of the Lyric Opera of Chicago and

has performed as an orchestral musician with theChicago Symphony Orchestra and the New YorkPhilharmonic, among others.

Ward Stare leads the St.Louis Symphony in a concerteaturing the 1812 Overtureat Powell Hall on June 8.


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AMY KAISERAT&T FOUNDATION CHAIR

One of the countrys leading choral directors,Amy Kaiser has conducted the St. Louis

Symphony in Handels Messiah, Schuberts Massin E-at, Vivaldis Gloria, and sacred works byHaydn and Mozart as well as Young PeoplesConcerts. She has made eight appearances asguest conductor for the Berkshire Choral Festivalin Shefeld, Massachusetts, Santa Fe, and atCanterbury Cathedral. As Music Director of theDessoff Choirs in New York for 12 seasons, sheconducted many performances of major works atLincoln Center. Other conducting engagementsinclude concerts at Chicagos Grant Park MusicFestival and more than fty performances with theMetropolitan Opera Guild. Principal Conductorof the New York Chamber Symphonys SchoolConcert Series for seven seasons, Kaiser also ledmany programs for the 92nd Street Ys acclaimedSchubertiade. She has conducted over twenty-ve

operas, including eight contemporary premieres.A frequent collaborator with Professor Peter

Schickele on his annual PDQ Bach concertsat Carnegie Hall, Kaiser made her CarnegieHall debut conducting PDQs Consort of ChoralChristmas Carols. She also led the Professor inPDQ Bachs Canine Cantata Wachet Arf withthe New Jersey Symphony.

Kaiser has led master classes in choralconducting at Indiana University Jacobs Schoolof Music, served as faculty for a Chorus Americaconducting workshop, and as a panelist for theNational Endowment for the Arts. An activeguest speaker, Kaiser teaches monthly classes foradults in symphonic and operatic repertoire andpresents Illuminating Opera for four weeks inApril at Opera Theatre of St. Louis.

Amy Kaiser has prepared choruses for theNew York Philharmonic, Ravinia Festival, MostlyMozart Festival, and Opera Orchestra of NewYork. She also served as faculty conductor andvocal coach at Manhattan School of Music andthe Mannes College of Music. An alumna of SmithCollege, she was awarded the Smith CollegeMedal for outstanding professional achievement.

Amy Kaiser prepares theSt. Louis Symphony or the

season fnale, BeethovensSymphony No. 9, May 9-12.


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Amy KaiserDirector

Leon Burke, IIIAssistant Director

Gail HintzAccompanist

Susan PattersonManager

Nancy Davenport AllisonRev. Fr. Stephan BaljianStephanie A. BallNick BearyRudi J. BertrandAnnemarie Bethel-PeltonPaula N. BittleJerry Bolain

Michael BoumanRichard F. BoydKeith BoyerPamela A. BransonBonnie BrayshawMarella BrionesDaniel P. BrodskyBuron F. Buffkin, Jr.

Leon Burke, IIICherstin ByersLeslie CaplanMaureen A. CarlsonVictoria CarmichaelMark P. CereghinoJessica Klingler CissellRhonda Collins CoatesTimothy A. Cole

Derek DahlkeLaurel Ellison DantasDeborah DawsonZachary DevinMary C. DonaldStephanie M. EngelmeyerLadd FaszoldJasmine J. Fazzari

Heather FehlRobin D. Fish, Jr.Alan FreedMark FreimanAmy GarcsAmy GatschenbergerLara GerassiMegan E. GlassSusan GorisKaren S. GottschalkJacqueline Gross

Susan H. HagenClifton D. HardyTimothy HavisNancy J. HelmichEllen HenschenJeffrey E. HeylLori HoffmanMatthew S. HoltAllison Hoppe

Heather HumphreyKerry H. JenkinsMadeline KaufmanJennifer KlauderElena KorpalskiPaul V. KunnathKendra LeeDebby Lennon

Gregory C. LundbergGina MaloneJamie Lynn MarbleJan MarraLee MartinAlicia MatkovichDaniel MayoRachael McCreeryElizabeth Casey McKinney

Scott MeidrothClaire MinnisBrian MulderJohanna NordhornDuane L. OlsonNicole OrrHeather McKenzie PattersonSusan Patterson

ST. LOUIS SYMPHONY CHORUS 2012-2013


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Matt PentecostBrian PezzaShelly Ragan PickardSarah PriceValerie Reichert

Kate ReimannDavid ResslerGregory J. RiddlePatti Ruff RiggleStephanie Diane RobertsonTerree RowbottomPaul N. RunnionJennifer Ryrie

Susan SampsonPatricia ScanlonMark V. ScharffSamantha Nicole SchmidPaula K. SchweitzerLisa SienkiewiczJanice Simmons-JohnsonJohn William SimonCharles G. Smith

Shirley Bynum Smith

Joshua StantonAdam StefoDavid StephensBenna D. StokesGreg Storkan

Maureen TaylorMichelle D. TaylorJustin ThomasNatanja TomichPamela M. TriplettDavid R. TrumanGreg UpchurchRobert Valentine

Kevin VondrakSamantha WagnerNancy Maxwell WaltherKeith WehmeierNicole C. WeissDennis WillhoitPaul A. WilliamsMary WissingerSusan Donahue Yates

Carl S. Zimmerman

DiLipVishwanat

St. Louis Symphony Chorus


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GESANG DER PARZEN

Es frchte die GtterDas Menschengeschlecht!Sie halten die HerrschaftIn ewigen Hnden,Und knnen sie brauchenWies ihnen gefllt.

Der frchte sie doppelt,Den je sie erheben!Auf Lippen und Wolken

Sind Sthle bereitetUm goldene Tische.

Erhebet ein Zwist sich,So strzen die Gste,Geschmht und geschndet,In nchtliche Tiefen,Und harren vergebens,Im Finstern gebunden,Gerechten Gerichtes.

Sie aber, sie bleibenIn ewigen FestenAn goldenen Tischen.Sie schreiten vom BergeZu Bergen hinber.

Aus Schlnden der TiefeDampft ihnen der AtemErstickter Titanen,Gleich Opfergerchen,Ein leichtes Gewlke.

Es wenden die HerrscherIhr segnendes AugeVon ganzen Geschlechtern,Und meiden, im EnkelDie ehmals geliebten,Still redenden Zge

Des Ahnherrn zu sehn.

So sangen die Parzen;Es horcht der VerbannteIn nchtlichen Hhlen,Der Alte, die Lieder,Denkt Kinder und EnkelUnd schttelt das Haupt.

SONG OF THE FATES

The human raceshould fear the gods.They hold the powerin their eternal hands,and can use itas they please.

Any whom they exaltshould fear them doubly!On cliffs and clouds

thrones stand readyaround golden tables.

If dissension arises,then the guests are hurled down,despised and disgraced,into the nocturnal depths,and they wait there in vain,bound in darkness,for just judgement.

The gods, however, continuethe eternal feastsat the golden tables.They stride over mountainsfrom peak to peak.

From the abysses of the deepthe breath of suffocated Titanssteams up to themlike scents of sacrices,a light cloud.

The rulers averttheir blessing-bestowing eyesfrom entire races,and avoid seeing, in the grandchild,the once loved,silently speaking features

of the ancestor.

Thus sang the Fates.The old, banished onelistens to the songsin his nocturnal caverns,thinks of his children and grandchildren,and shakes his head.

GESANG DER PARZENBY JOHANN WOLFGANG VON GOETHE

--Translation by Ron Jeffers and Gordon Paine


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SCHICKSALSLIED

Ihr wandelt droben im LichtAuf weichem Boden, selige Genien!Glnzende GtterlfteRhren Euch leicht,Wie die Finger der KnstlerinHeilige Saiten.

Schicksallos, wie der schlafendeSugling, atmen die Himmlischen:Keusch bewahrt

In bescheidner KnospeBlhet ewigIhnen der Geist;Und die seligen AugenBlicken in stiller,Ewiger Klarheit.

Doch uns ist gegebenAuf keiner Sttte zu ruhn:Es schwinden, es fallen

Die leidenden MenschenBlindlings von einerStunde zur andern,Wie Wasser von KlippeZu Klippe geworfen,Jahrlang ins Ungewisse hinab.

SONG OF DESTINY

Ye walk on high in light,upon soft ground, ye spirits blest!Gleaming breezes divinelightly stir you,as the artists ngers stirthe sacred harp strings.

Free from Fate, like a sleeping babe,the heavenly ones draw their breath:chastely guarded

in its modest bud,their spiritblooms for ever;and their hallowed eyesgaze in calmeternal clearness.

But to us it is givento nd rest nowhere:suffering mankind

dies away and fallsblindly fromone hour to the next,like water hurledfrom rock to rock,year in, year out, down into the unknown.

SCHICKSALSLIEDBY FRIEDRICH HLDERLIN

--Translation by Sir Donald Francis Tovey


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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

vary, 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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St. Louis Symphony Broadcast Program, April 20, 2013

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