-
7/29/2019 St. Louis Symphony Program - Sept. 27-28, 2013
1/16
23
CONCERT PROGRAMSeptember 27-28, 2013
Stphane Denve, conductorLars Vogt, piano
PATRICK HARLIN Rapture (2011) (b. 1984)
BEETHOVEN Piano Concerto No. 3 in C minor, op. 37 (1801-02) (1770-1827)
Allegro con brioLargoRondo: Allegro
Lars Vogt, piano
INTERMISSION
R. STRAUSS Ein Heldenleben, op. 40 (1897-98) (1864-1949)
The HeroThe Heros AdversariesThe Heros CompanionThe Heros Battleeld
The Heros Works o PeaceThe Heros Retreat rom the World and Fulllment
David Halen, violin
-
7/29/2019 St. Louis Symphony Program - Sept. 27-28, 2013
2/16
24
ACKNOWLEDGMENTS
Stphane Denve is the Edna W. Sternberg Guest Artist.
Lars Vogt is the Robert R. Imse Guest Artist.
The concert of Friday, September 27, is underwritten in part by a generous giftfrom Ms. Lesley A. Waldheim.
Coffee and doughnuts are provided through the generosity of Krispy Kreme forthe Friday, September 27, concert.
The concert of Saturday, September 28, is underwritten in part by a generous gift
from Prof. Mary Sale.
Pre-Concert Conversations are sponsored by Washington University Physicans.
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 Dielmann
Sothebys and are located at the Customer Service table in the foyer.
-
7/29/2019 St. Louis Symphony Program - Sept. 27-28, 2013
3/16
25
FROM THE STAGEMike Walk, trumpet, on Strausss Ein Heldenleben: Its virtuosic and tuneful. Its got
love scenes and battle scenes and all sorts of orchestrational Straussisms.It contains his biggest themes, really an apotheosis of all that hed writtenbefore: the heros journey, and hes the hero of his own story. Its a big and nepiece to play. Everybody gets involvedfrom the concertmaster to the back row.Nobody gets bored.
In terms of the trumpets, it calls for ve of them, and it calls for some ofthe widest range of any Strauss work. You play the entire range of the trumpetin a short amount of time.
ScottFerguSon
Mike Walk
-
7/29/2019 St. Louis Symphony Program - Sept. 27-28, 2013
4/16
26
TIMELINKS
1801-02BEETHOVENPiano Concerto No. 3 inC minor, op. 37Haydns The Seasons
premieres
1897-98R. STRAUSSEin Heldenleben, op. 40Gustav Klimt rebelsagainst academicpainting in Vienna
2011
PATRICK HARLINRaptureAnti-governmentprotests intensiy inEgypt
The notion of individual heroism has found
expression repeatedly in music, particularlyduring the era of 19th-century Romanticism.This theme was powerfully articulated byBeethoven in his Eroica, or Heroic Symphony,of 1803, a work of large scale, expanded tonallanguage, and dramatic weight worthy of its title.Far from being an isolated example, the EroicaSymphony soon paved the way for other heroicpieces: Beethovens opera Fidelio, his overture to
Goethes drama Egmont, and his Fifth and NinthSymphonies, all of which entailed dramaticexpression of struggle and triumph. And we ndan early hint of that development in the stormyopening of his Piano Concerto No. 3 in C minor.
Later generations of composers would usethe devices of program musicthemes, motifs,and guration linked to specic ideas, events,objects, or personsto convey heroic dramas
even more vividly. The ultimate work of this kindis Richard Strausss tone poem Ein Heldenleben,which forms the second half of our concert.
Heroic struggle is no longer as popular asubject for contemporary composers, but thereare other ideas, emotions, and psychic states thatmusic can express. One is rapture, the inspirationfor the piece that opens our program.
PATRICK HARLINRapture
LOOKING TO THE FUTURE This season, in additionperforming classic works of the orchestralliterature, the St. Louis Symphony continuesto bring exciting music by living composers to
Powell Hall. Some of those composers, such asJohn Adams, Steve Reich, and Thomas Ads,have rmly established reputations and are wellknown to the musically informed public. But theSymphony also will present works by two youngcomposers just beginning their careers. Both tookpart in the Mizzou New Music Initiative, 2012International Composers Festival, sponsoredby the Sinqueeld Charitable Foundation. They
HEROISM AND RAPTUREBY PAUL SCHIAVO
-
7/29/2019 St. Louis Symphony Program - Sept. 27-28, 2013
5/16
27
represent the future of orchestral music. We hearthis evening from one of these young composers,Patrick Harlin.
Harlin grew up in the Pacic Northwest,and he counts the world of nature, as well as
traditions of classical music and jazz, among hisinuences. In addition to his residency at theMizzou International Composers Festival, Harlinhas received a Charles Ives scholarship from theAmerican Academy of Arts and Letters, the 2013Presser Music Award, and the rst Hermitageresidency at the Aspen Music Festival and School.He is currently completing a doctoral degree incomposition at the University of Michigan.
MUSIC OF RAPTURE Rapturewas inspired byan account of an expedition to reach the nadirof the Krubera Cave, the deepest cave on Earth.To plumb what has been described as the Mt.Everest of caving, members of the expeditionspent weeks underground, often in completedarkness. In Blind Descent, a book that chroniclesthe expedition, author James Tabor describes anexperience that all ultra-cavers undergo at somepoint, a phenomenon known as The Rapture.Deprived for weeks of light and normal circadianrhythms, climbers experience a near cripplingonset of emotion. The Rapture can be far worsethan a panic attack. It can also produce almostreligious experiences.
While this piece is neither about religion
nor super-caving, Harlin writes of Rapture, Iwanted to capture [something] of what I thinkis a universal human experience: the onset ofextreme emotion. Similar to extreme emotionalstates, elements in this piece are magnied andecho throughout. The works opening minutesreveal another inuence on Harlins musicalthinking: American minimalism, in the form ofshort repeating motifs and a vibrant rhythmic
pulse. Soon a longer thematic idea is heard,a gure with a descending melodic contour.Repeating in alternation with sustained chordalharmonies, it forms an episode that leads toa relaxed passage and, at length, a moment ofstillness and quiet. From here, the music regainsmomentum, with syncopated rhythms androbust scoring contributing to an extrovertedAmerican spirit at the close.
BornJuly 24, 1984, Salt Lake City
Now ResidesAnn Arbor
First PerformanceFebruary 20, 2011, Matt Dellconducted the Universityo Michigan PhilharmoniaOrchestra
STL Symphony PremiereThese concerts
Scoring
2 futespiccolo2 oboesEnglish horn2 clarinetsbass clarinet2 bassoonscontrabassoon4 horns3 trumpets3 trombonestubatimpanipercussionpianostrings
Performance Timeapproximately 8 minutes
-
7/29/2019 St. Louis Symphony Program - Sept. 27-28, 2013
6/16
28
LUDWIG VAN BEETHOVENPiano Concerto No. 3 in C minor, op. 37
A NEW PATH Shortly after the turn of the 19thcentury, Beethoven, who was not yet 30 and still
seeking to establish a distinctive compositionalvoice, spoke to an acquaintance of his intentto pursue a new path in his music. He soonproceeded to do just that. In a series of remarkablyoriginal works Beethoven achieved a dynamicexpansion of virtually all aspects of his musicallanguage, including weightier sonorities, boldergestures, more thorough development ofthematic ideas and a greatly enlarged palette ofharmonic relationships. But his new path alsoentailed something less technical yet perhapsmore signicant: a heightened sense of musicaldrama. For Beethoven, who now was besetby the loss of his hearing, composition hadbecome no easy matter, and much of his musicfrom these years seems a record of his creativestruggles and triumphs. There is a heroic quality
to this music, and this, as much as its expressivemelodies and harmonies, may account for itsenduring popularity.
Beethovens heroic manner emerged fullyin his Third Symphony, the Sinfonia eroica, orHeroic Symphony, written in 1803. But theelements that would dene that manneraturbulent initial movement and exultant nale(together implying a drama of struggle and
triumph), a broader compositional canvas, moreemphatic sonorities, and generally more urgentexpressionbegan appearing in the composersmusic several years earlier. One of the works thatshows Beethoven starting down his new pathis the Piano Concerto No. 3 in C minor, op. 37,written in 1800.
TAUT DRAMA AND ROLLICKING FINALE Theconcertos long rst movement unfolds under thepervasive inuence of C minor, a key Beethovenassociated with pathos and desperate struggle.(Beethoven would return to C minor for hismost famous expression of strife and triumph,his Fifth Symphony.) A feeling of taut dramais present from the start. Beethoven forges theworks initial theme from two dramatically
BornDecember 16, 1770, Bonn
DiedMarch 26, 1827, Vienna
First PerformanceApril 5, 1803, in Vienna,Beethoven perormed thesolo part and conductedrom the keyboard
STL Symphony PremiereDecember 3, 1915, CarlFriedberg was soloist, withMax Zach conducting
Most Recent STL SymphonyPerformanceFebruary 7, 2010, Radu Lupuwas soloist, with DavidRobertson conducting
Scoringsolo piano2 futes2 oboes2 clarinets
2 bassoons2 horns2 trumpetstimpanistrings
Performance Timeapproximately 34 minutes
-
7/29/2019 St. Louis Symphony Program - Sept. 27-28, 2013
7/16
29
opposed ideas: in the rst four measures, the strings present a rather brusqueand ominous motif which, after being echoed a step higher by the winds, isfollowed at once by a more lyrical and impassioned idea. The coexistence ofsuch diverse and powerful elements, which occurs throughout the openingmovement, accounts for much of the energy and tension Beethoven achieves
here. Additional thematic material presented by the orchestra and the soloistenriches the complexion of this movement.
The ensuing Largo unfolds in the key of E major, a tonality remote fromthe rst movements C major and often thought of as serene in character.Following the stormy outbursts of the rst movement, the musics almostreligious tranquility is all the more moving.
With the nale, Beethoven returns to the sober sound of C minor, butnot to the dramatic struggles of the opening movement. The initial theme
sounds, rather, lively and somewhatalla turcathat is, it carries a hint of theTurkish exoticism popular in Vienna during the late 18th century. Alternatingwith episodes of more sunny music, this melody develops with an inventiveair characteristic of Beethovens best music. It forms the subject for a strikingcontrapuntal passage and later, transformed to bright C major contours andmerry triplet rhythms, launches the rollicking coda section that brings thework to a close.
RICHARD STRAUSSEin Heldenleben, op. 40
MUSICS HEROIC TRADITION The concept of the artist as hero was one of thecentral tenets of the Romantic movement, and its expression runs through19th-century music like a leitmotif. As mentioned above, Beethoven establisheda model followed by many other composers, using music to intimate dramasof struggle and eventual triumph in a number of his works, most notablyhis Third, Fifth, and Ninth Symphonies. These compositions exerted atremendous inuence on succeeding generations of musicians. Throughoutthe 19th century, the most ambitious composers sought in various ways toemulate Beethovens example, adopting something of his heroic mannerand writing orchestral works with thinly veiled autobiographical programs.Berliozs Symphonie fantastiqueand Tchaikovskys Fifth Symphony constituteparticularly famous, but by no means isolated, examples of this practice.
Even apart from the music they created, musicians provided the Romanticera with its most vivid examples of the artist-hero. Beethoven, who overcame
deafness and other hardships by dint of genius and perseverance, provided amodel for this new archetype. Hardly less inspiring, at least to their admirers,were those composers who struggled to assert their progressive artistic idealsagainst a hostile, conservative public: crusaders like Berlioz, Bruckner, andWagner. And the artist-hero found yet another manifestation in the careers ofvirtuoso performers such as Liszt and Paganini, whose feats on the concertstage conquered audiences to a degree matched only by the most popular rockstars of recent years.
-
7/29/2019 St. Louis Symphony Program - Sept. 27-28, 2013
8/16
30
As the Romantic movement reached isculmination, the notion of the artist-hero receivedever more extravagant musical expression.Wagners operatic alter-ego Siegfried and theTitan of Mahlers admittedly autobiographical
First Symphony are notable in this regard. Butthe most unambiguous assertion of the conceptcame with Richard Strausss epic orchestral pieceEin Heldenleben (A Heros Life).
A SELF-PORTRAIT? Written in 1898, this wasthe last of a remarkable series of tone poemsStrauss composed during the nal decade
and a half of the 19th century. Several of thoseworks, particularly Don Juan and Also sprachZarathustra, already had implied certain typesof heroic gures and actions. But Strauss leftnothing implicit about the heroic theme of EinHeldenleben, nor about the identity of the herowhose story its music relatesor so it seemedto the works earliest critics. They immediatelycondemned the composition as a blatant and
immodest piece of self-aggrandizement, eventhough the composer provided no writtenprogram other than the titles of the scoressix sections. Faced with this criticism, Straussattempted to give a more general interpretationof the piece. It is enough to know there is ahero, he said, ghting his enemies. The music,however, offered rather conclusive evidencethat Strauss indeed fancied himself the titlegure: musical quotations from his own earliercompositions presented as emblems of theheros works of peace in the works fth section
From our present perspective, it seemshardly important whether or not the composerwas waving his own ag. Strauss was acontroversial artist, a radical composer in hisday, and he had suffered numerous critical
slings and arrows. If Ein Heldenleben is afantasy of self-vindication, it is hardly moreoffensive than Wagners conquest of his criticsin Die Meistersinger von Nrnberg, in which thehumble but true musician trumps his pedanticrival in a climactic singing contest and wins thegirl each desires. Moreover, it is a sentiment easyto identify with. Who, after all, has not indulgedin heroic fantasies?
BornJune 11, 1864, Munich
DiedSeptember 8, 1949, Garmish-Partenkirchen, Bavaria
First PerformanceMarch 3, 1899, in Frankurt,the composer, who was alsoan outstanding conductor,directed
STL Symphony PremiereFebruary 27, 1925, RudolGanz conducting
Most Recent STL SymphonyPerformanceMarch 22, 2009, DavidRobertson conducting
Scoring3 futespiccolo
4 oboesEnglish horn2 clarinetsE-fat clarinetbass clarinet3 bassoonscontrabassoon8 horns5 trumpets3 trombones
tenor tubabass tubatimpanipercussion2 harpsstrings
Performance Timeapproximately 40 minutes
-
7/29/2019 St. Louis Symphony Program - Sept. 27-28, 2013
9/16
31
Ein Heldenleben unfolds in six broad sections, played without pause. Therst introduces the hero of the works title in a soaring romantic melody. In thesecond part, Strauss depicts the heros enemies through carping woodwindgures and malevolent harmonies in the low strings. But the hero also hasa soul-mate, a Beloved, or Companion, represented in radiant passages for
solo violin in the third section. The fourth portion of the tone poem nds thehero confronted by his enemies in some of the most colorful battle music evercomposed. Emerging victorious, he now devotes himself to peaceful worksfor the benet of humanity. Quotations from Don Juan, Til Eulenspiegel, Deathand Transfguration, and several other Strauss compositions sound in this fthsection. Finally, his lifes work accomplished, the hero withdraws from theworld, serene in the knowledge of his virtues and accomplishments.
Program notes 2013 by Paul Schiavo
Drew
Farrell
Stphane Denve
-
7/29/2019 St. Louis Symphony Program - Sept. 27-28, 2013
10/16
32
STPHANE DENVEEDNA W. STERNBERG GUEST ARTIST
Stphane Denve is Chief Conductor of StuttgartRadio Symphony Orchestra (SWR) and the
former Music Director of the Royal ScottishNational Orchestra (RSNO). Recognisedinternationally for the exceptional quality of hisperformances and programming, he regularlyappears at major concert venues with the worldsleading orchestras and soloists.
Recent engagements include his CarnegieHall debut with Boston Symphony, andappearances with Chicago Symphony,
Philadelphia Orchestra, Los Angeles Philharmonic,Munich Philharmonic, , Deutsches SymphonieOrchester Berlin, London Symphony Orchestra,Philharmonia Orchestra, NDR SymphonyHamburg, and Swedish Radio Symphony. Withthe RSNO he has performed at Europes mostprestigious festivals and venues including the BBCProms, Edinburgh International Festival, ViennaKonzerthaus, Amsterdam Concertgebouw, andThatre des Champs-Elyses.
Highlights of the current season includemajor tours of Europe and Asia including twoconcerts at Suntory Hall with the StuttgartRadio Symphony Orchestra (SWR); his debutwith the Royal Concertgebouw Orchestra; LesContes dHoffmann for the Gran Teatre del Liceu;and return visits to the Boston Symphony,
Philadelphia Orchestra, New World Symphony,Toronto Symphony, Sao Paulo Symphony, andBBC Symphony.
A graduate and prize-winner of the ParisConservatoire, Denve began his career as SirGeorg Soltis assistant with the Orchestre deParis and Paris National Opera. At home in abroad range of repertoire, he has a special afnityfor the music of his native France, and is also a
champion of new music.Stphane Denve enjoys close relationshipswith many of the worlds leading solo artists,and has performed with, among others, Leif OveAndsnes, Piotr Anderszewski, Emanuel Ax, LarsVogt, Yo-Yo Ma, Pinchas Zukerman, Joshua Bell,Leonidas Kavakos, Hilary Hahn, Vadim Repin,and Gil Shaham.
For more information visit stephanedeneve.com.
Stphane Denve mostrecently conducted the
St. Louis Symphony inNovember 2011.
J.HenryFair
-
7/29/2019 St. Louis Symphony Program - Sept. 27-28, 2013
11/16
33
LARS VOGTROBERT R. IMSE GUEST ARTIST
Born in the German town of Dren in 1970, LarsVogt rst came to public attention when he won
second prize at the 1990 Leeds InternationalPiano Competition. He has since gone on to giveperformances throughout Europe, Asia, Australia,and North and South America. His versatilityas an artist ranges from the core classicalrepertoire of Mozart, Beethoven, Schumann, andBrahms to the romantics Grieg, Tchaikovsky,and Rachmaninoff to the dazzling LutosawskiConcerto. A keen chamber musician, Vogt is now
increasingly working with orchestras both asconductor and directing from the keyboard.
Recent and upcoming performancehighlights in North America includeappearances with the Philadelphia andCleveland orchestras as well as with the LosAngeles Philharmonic, the Cincinnati andAtlanta symphonies, and the National ArtsCentre Orchestra in Ottawa; a recital at NewYorks 92nd St. Y; and duo recitals with violinistChristian Tetzlaff in the U.S. and Canada.
Internationally, during the 13-14 seasonVogt appears with the Royal ConcertgebouwOrchestra and Mariss Jansons both inAmsterdam and London, as well as with theRotterdam Philharmonic, City of BirminghamSymphony Orchestra, NHK Symphony in Tokyo,
and Deutsches Symphonie-Orchester Berlin inBerlin, Vienna, and on tour in Asia. Vogts specialrelationship with the Berlin Philharmonic hascontinued with regular collaborations followinghis appointment as their rst ever Pianist inResidence in 2003-04.
During the 13-14 season, he plays trioconcerts with Christian and Tanja Tetzlaff inBerlin, Paris, Zurich, and Salzburg. Vogt is
also an accomplished and enthusiastic musiceducator; he was recently appointed Professorof Piano at the Hannover Conservatory of Musicand in 2005 founded Rhapsody in School,which has become a high prole educationproject across Germany.
Lars Vogt most recentlyperormed with the
St. Louis Symphony inOctober 2003.
FelixBroeDe
-
7/29/2019 St. Louis Symphony Program - Sept. 27-28, 2013
12/16
34
KNOWING THESTORY:MIKE WALK, TRUMPET
Ein Heldenleben relates a substantialnarrative. The hero composer isintroduced, meets his enemies (mostlycritics), engages with his beloved,battles his enemies (mostly critics),defeats them, achieves a kind ofsaintliness, and is elevated beyond theearthly bounds in glory, fully satised
by what hes achieved. Strauss wasthinking about himself in this fantasy.Its probably not surprising that hewas a young man of 33 when hecreated this work.
Mike Walk knows the work, hasplayed it numerous times, and knows its story. But how essential is thatstory to the playing ofEin Heldenleben, with trumpets playing on and off
stage, the trumpeters playing the full range of their instruments, and somepretty intense rhythms and harmonies to pull off?Walk is succinct: Its helpful. But not a necessity.
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. What
is a tone poem?
Tone poem: an orchestral form in which a poem or program provides anarrative. Richard Strauss was especially inclined toward the tone poem,as found in such works as Don Quixote, Don Juan,Also sprach Zarathustra,Til Eulenspiegels Merry Pranks, Symphonia domestica, and this weeks EinHeldenleben, which many consider his greatest tone poem. Strauss likedstories, and since he was a composer, he told them through music.
Dan
DreyFuS
Mike Walk
-
7/29/2019 St. Louis Symphony Program - Sept. 27-28, 2013
13/16
35
YOU TAKE IT FROM HEREIf these concerts have inspired you to learn more, here are suggested sourcematerials with which to continue your explorations.
Patrick Harlin, Rapturepatrickharlin.comThe composers website has a digitalrecording ofRapture.
Elliott Forbes, editor,Thayers Life of BeethovenPrinceton University Press
The essential English-languagebiography
Michael Kennedy,Richard Strauss: Man, Musician, EnigmaCambridge University PressA ne single-volume biography
Richardstrauss.orgA website devoted to the composerand his music
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
-
7/29/2019 St. Louis Symphony Program - Sept. 27-28, 2013
14/16
36
CLASSICAL CONCERT:JOHN ADAMS SAXOPHONE CONCERTO
OCTOBER 5-6David Robertson, conductor; Timothy McAllister, saxophone;Jon Kimura Parker, piano
John Adams new work, his Saxophone Concerto, receives its St. Louispremiere. These performances will be recorded live by Nonesuch for afuture CD release, which will include the Symphonys February 2013performance of Adams City Noir. Saxophone virtuoso Timothy McAllistercalls the concerto, the most important work for saxophone in this young
century. McAllister hints that if you are a Stan Getz fan, you will love AdamsSaxophone Concerto. If you cant make it to Powell Hall, you may hear theSaturday night concert live on St. Louis Public Radio.
ScottFerguSon
David Robertson and John Adams
-
7/29/2019 St. Louis Symphony Program - Sept. 27-28, 2013
15/16
37
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.
-
7/29/2019 St. Louis Symphony Program - Sept. 27-28, 2013
16/16
38
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
POWELL HALL
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.