st. louis symphony program - oct. 11-13, 2013

7/27/2019 St. Louis Symphony Program - Oct. 11-13, 2013

1/16

23

CONCERT PROGRAMOctober 11-13, 2013

Anthony Marwood, conductor and violin

MOZART Symphony No. 1 in E-at major, K. 16 (1764-65) (1756-1791)Molto allegroAndantePresto

MOZART Violin Concerto No. 2 in D major, K. 211 (1775)Allegro moderatoAndanteRondo: Allegro

Anthony Marwood, violin

INTERMISSION

MOZART Violin Concerto No. 3 in G major, K. 216 (1775)AllegroAdagio

Rondeau: Allegro

Anthony Marwood, violin

MOZART Symphony No. 35 in D major, K. 385, Haner (1782)Allegro con spiritoAndante

MenuettoPresto


2/16

24

ACKNOWLEDGMENTS

Anthony Marwood is the Ann and Lee Liberman Guest Artist.

The concert of Friday, October 11, is underwritten in part by a generous gift

from Mr. and Mrs. Jack Bodine.

The concert of Friday, October 11, is underwritten in part by a generous giftfrom Linda and Paul Lee.

The concert of Saturday, October 12, is underwritten in part by a generous giftfrom Mrs. Bettie L. Gershman.

The concert of Sunday, October 13, is underwritten in part by a generous giftfrom Mrs. Laura R. Orthwein.

Pre-Concert Conversations are sponsored by Washington University Physicians.

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.


3/16

25

FROM THE STAGEHelen Kim, frst violins, on playing Mozart:Mozart writes music that is transparent.

You cant hide behind anything. In a lot of romantic repertoire you can maskcertain shortcomings, with lush vibrato or showy pyrotechnics, for example,but in Mozart the primary concerns are purity, clarity, and creativity.

Im looking forward to Anthony Marwood playing and conducting.Performing this way tends to open up your ears. We get used to a certain dynamicwith conductors, but when theres not somebody with a baton the whole timeyou have to be very alert aurally to much more subtle cues. It usually results ina more cohesive string sound. Theres more interaction between sections. Youllsee more eyes looking around, the musicians tracking each other.

Pia

Johnson

Anthony Marwood plays and conducts Mozartwith the St. Louis Symphony this weekend.


4/16

26

TIMELINKS

1764-65MOZARTSymphony No. 1 in E-atmajor, K. 16St. Louis established as a

French trading post

1775MOZARTViolin Concerto No. 2 inD major, K. 211Violin Concerto No. 3 inG major, K. 216American RevolutionaryWar begins with Battle o

Lexington and Concord

1782MOZARTSymphony No. 35 inD major, K. 385, HanerMozart begins writing sixstring quartets dedicatedto Haydn

I only wish I could instill in every friend ofmusic... the depth of sympathy and profoundappreciation of Mozarts inimitable art that Imyself feel and enjoy.

The author of those words, the composerFranz Joseph Haydn, would be gratied if hecould see how high Mozarts star has ascended inthe two centuries and more since he wrote them.Today, millions share his enthusiasm for thework of his great contemporary. Mozarts music

lls concert halls and the air waves throughoutthe year; festivals honoring his name dot themusical landscape; and the list of recordings ofhis compositions, which already exceeds that ofany other composer, continues to grow. We haveeven seen a ctional account of the composersnal years become a successful Hollywood lm.

Mozart occupies a central place in ourmusical culture, and his compositions continueto provide some of the most deeply satisfyingmusical experiences available. Nothing more isneeded to explain a concert devoted entirely tohis work.

WOLFGANG AMADEUS MOZARTSymphony No. 1 in E-at major, K. 16

THE PRODIGY IN LONDON Mozarts work as asymphonist spanned nearly his entire career.Between his eighth and 32nd years he producedsome 40 original compositions in this form.One of Mozarts late symphonies concludes ourconcert. His very rst begins it.

Mozart composed his Symphony in E-atmajor, K. 16, in 1764, in London, when he wasall of eight years old. He had come to the Englishcapital in the company of his family during thegrand tour his father had arranged to displayhis son as a child prodigy. In a memoir writtenafter Mozarts death, the composers sister, MariaAnna (or Nannerl, as she was known familiarly),recalled that in August 1764, while the family wasstaying in London, Leopold Mozart fell seriously

THE MUSIC OF MOZARTBY PAUL SCHIAVO


5/16

27

ill. Until their father recovered, Nannerl andWolfgang were forbidden to touch the keyboard.The younger child therefore composed his rstsymphony directly onto paper, his sister copyingthe music as he did so.

It is not certain that the work Nannerlreferred to is, in fact, K. 16. Some Mozart scholarshave hypothesized an even earlier effort. No suchmusic, however, has been discovered, and thisE-at symphony remains Mozarts earliest knownpiece in the genre.

MOZARTS SYMPHONIC DEBUT Whether or

not K. 16 actually represents Mozarts rstsymphonic essay, it forecasts his mature style toa remarkable degree. The works initial phrasepresents a strong unison statement followedat once by a more lyrical one, thus establishingtwo poles of expression in its very rst moments.This would remain a favorite Mozartean device(we nd another instance of it at the outset ofhis Haffner Symphony, which we hear later).

An even more tangible connection between K.16 and Mozarts mature symphonies occurs inthe second movement. Here, after the openingphrase, the horns give out a gure whose rstfour notes form the celebrated Jupiter motif, thegure Mozart would develop so brilliantly in thenale of the great Symphony in C major, K. 551,his last symphonic essay.

For all this, K. 16 is not merely a precur-sor of glories to come. Rather, it has charmsquite its own, not the least being the abundantenergy of its opening movement. The Andantemovements harmonies are expressive anddeftly controlled. And the ensuing Presto showsMozart already cognizant of the 18th-centuryhunting nale tradition.

BornJanuary 27, 1756, Salzburg

DiedDecember 5, 1791, Vienna

First PerformanceUnknown

STL Symphony PremiereJanuary 31, 1953, Eleazar DeCarvalho conducting

Most Recent STL SymphonyPerformanceMarch 26, 2000, Marvin

Hamlisch conductingScoring2 oboesbassoon2 hornsstrings

Performance Timeapproximately 13 minutes


6/16

28

WOLFGANG AMADEUS MOZARTViolin Concerto No. 2 in D major, K. 211

THE COMPOSER AS VIOLINIST Mozart is remem-bered as one of the supreme composers of

Western music. He was also, as many of hiscontemporaries testied, a superb pianist. Lesswell known is that he was a precociously accom-plished violinist. We know from several reminis-cences that he was playing the instrument byage six. At 15 he became section leader of thecourt orchestra in his native Salzburg, and hewas playing violin concertos by other composersbefore that. His father, a ne violinist in his ownright, once urged his son to devote more practiceto the instrument, saying if you would but applyyourself you would be the nest violinist inEurope. Mozart ignored this advice, having nointerest in a career as a virtuoso performer. Buthe put his knowledge of the violin to excellentuse when composing. Chief among his works forthe instrument are the ve violin concertos he

produced between April and December 1775, atage nineteen.Completed in June of that year, the Violin

Concerto in D, K. 211, is the second of these veworks. Its tone could hardly be more genial, andit offers no surprises in terms of form. The rstmovement opens with an orchestral exposition,the customary initial paragraph of a concerto inMozarts day. Here the composer sets forth two

principal themes. These are of contrasting char-acter, the rst being vigorous and in the mock-martial vein we often nd in Mozarts pianoconcertos. The second, which follows immedi-ately, is a lighter subject, its character almost thatof a comic opera. Upon its entrance, the soloinstrument takes up each of these subjects inturn and adds several new ideas, mostly involv-

ing brilliant passagework. Late in the proceed-ings Mozart offers the featured violinist an oppor-tunity for a solo cadenza, a courtesy he extends inthe succeeding movements as well.

A brief orchestral statement, which againserves to introduce the main thematic material,begins the ensuing Andante. After this initialpassage, the movement unfolds as a lovely ariafor the solo violin. Mozart builds the nale on

First PerformanceUnknown, but possibly 1775or 1776 in Salzburg, with thecomposer conducting and

perorming as soloistSTL Symphony PremiereOctober 26, 1978, JosephSuk was soloist, with WalterSusskind conducting

Most Recent STL SymphonyPerformanceApril 18, 2010, Gil Shahamwas soloist, with DavidRobertson conducting, atSan Franciscos Davies Hall

Scoringsolo violin2 oboes2 hornsstrings



7/16

29

a recurring principal theme whose minuet-likemelody is begun by the violin and completedby the orchestra. Between appearances of thissubject, the solo instrument leads the waythrough episodes devoted to contrasting ideas.

WOLFGANG AMADEUS MOZARTViolin Concerto No. 3 in G major, K. 216

A MYSTERY SOLVED On October 23, 1777, Mozartwrote to his father, describing an informal concertat the Heiligkreuz Monastery near Augsburg:

During the meal we had some music.... I playedmy Strassburg Concerto, which went like oil.Everyone praised my beautiful, pure tone.

Mozart, then 21, had made Augsburg oneof the rst stops on a long journey that wouldeventually take him to Paris in search of employ-ment. The Strassburg Concerto was his ViolinConcerto in G major, K. 216. Mozarts sobriquetfor this piece refers to a dance melody associ-

ated with the Alsatian city that is its namesake,a melody appearing in its nal movement. TheStrassburg reference, which recurs in a letterwritten by the composers father, long bafedMozart scholars. But a recently discovered collec-tion of popular songs from the 18th centuryincludes a tune called The Strassburger thatmatches a melody in K. 216, conclusively identi-fying that work as the Strassburg Concerto.

PRODIGAL INVENTION As do many composi-tions Mozart wrote during his adolescence, thisconcerto conveys a feeling of almost carefreeassurance. Ideas seem to ow from the compos-ers pen so abundantly that he scarcely has timeto develop each one properly. Mozarts prodigalinvention is a conspicuous feature of the opening

movement. Having presented a series of attrac-tive melodic ideas in the initial orchestral state-ment, he permits introduction of further materialby the soloist. Remarkably, Mozart manages tomold this surfeit of invention into a coherent andengaging whole.

Alfred Einstein, the eminent Mozart scholar,described the concertos second movement asan Adagio that seems to have fallen straight from

First PerformanceUnknown. Mozart mayhave perormed the workwith the Salzburg CourtOrchestra, but there is norecord o that perormance.

As noted below, Mozart didplay the work on at least onesubsequent occasion.

STL Symphony PremiereFebruary 13, 1914, EugneYsae was soloist, with MaxZach conducting

Most Recent STL SymphonyPerformance

September 25, 2010,Anne Akiko Meyers wassoloist, with Louis Langreconducting

Scoringsolo violin2 futes2 oboes2 hornsstrings


Doris

stock


8/16

30

heaven. Its celestial aspect stems from morethan just Mozarts beautiful lines and harmonies.In addition, the musics timbres have an almostethereal quality about them, with the orchestralviolins muted, the low strings playing pizzicato

and utes replacing the oboes used in the rest ofthe concerto.

The nale features a recurring princi-pal theme in merrily swaying rhythms. It alsoincludes a pair of surprising digressions: a bitter-sweet little arietta in slower tempo, heard midwaythrough the movement; and the dance-like tunewe now know to be the Strassburg melody

mentioned in Mozarts letter from Augsburg.In keeping with its unpredictable character, themovement closes not with a grand orchestralourish but with a disarmingly modest commentfrom the wind instruments alone.

WOLFGANG AMADEUS MOZARTSymphony No. 35 in D major, K. 385, Haffner

FROM SERENADE TO SYMPHONY MozartsHaffner Symphony takes both its title and itsmusical substance from an orchestral serenadethe composer wrote in the summer of 1782at the behest of one Sigmund Haffner, head ofa prominent family in the composers nativecity of Salzburg. Mozart, who had recently leftSalzburg for Vienna and was engaged with otherprojects, found himself hard-pressed to fulllthis commission. Only by working at a furiouspace did he managejust barelyto complete asix-movement serenade in time for a ceremonycelebrating Herr Haffners elevation to the ranksof the minor nobility.

In December Mozart wrote to his father inSalzburg, requesting the return of his Haffner

score. He had just scheduled an importantconcert in the Austrian capital and planned toinclude this music on the program. His hecticexistence during this period of his life musthave distracted him, for upon receiving theserenade from his father he wrote: My newHaffner symphony [serenade] has positivelyamazed me, for I had forgotten every singlenote of it. It must surely produce a good effect.

First PerformanceMarch 23, 1783, in Vienna,under the composersdirection

STL Symphony PremiereMarch 9, 1934, VladimirGolschmann conducting

Most Recent STL SymphonyPerformanceJune 15, 2004, Scott Parkmanconducting at Faust Park

Scoring2 futes

2 oboes2 clarinets2 bassoons2 horns2 trumpetstimpanistrings



9/16

31

He then set about reshaping the work. By abandoning a march movementand one of two minuets, he trimmed the serenade down to the four-move-ment form of a symphony, which he then re-scored for a larger orchestra.In this new incarnation the work was heard during a concert Mozart gaveon March 23, 1783.

APPLAUSE FROM AN EMPEROR The Haffner Symphony, as it is now known,pleased Mozarts audience, which included Austrian Emperor Joseph II. Acontemporary magazine reported of the event: The concert was honored withan exceptionally large crowd and ... received with the loudest applause. Ourmonarchwho, contrary to his habit, attended the whole of the concertaswell as the entire audience, accorded him [Mozart] such unanimous applauseas has never been heard of here.

Mozart builds the symphonys rst movement on just a single theme, butwhat a striking subject this is. The melodic leaps in the opening measuresimpart a tremendous sense of energy to the music, which Mozart characteristi-cally balances with a gentle and pliant answer (just as in the opening measuresof K. 16). Still, exceptional vigor dominates the movement, imparted throughunison runs, dramatic tremolo passagework in the strings, and other animatedguration. There follows a slow movement and then a minuet, each conveyingthe lighter character of serenade music.

Upon dispatching his score to Salzburg for the Haffner celebration, Mozart

had instructed his father that the nale should be played as fast as possible,by which he probably meant as fast as the Salzburg orchestra could manageit. In any event, this movement provides the symphony with a most spiritedconclusion.

Program notes 2013 by Paul Schiavo


10/16

32

ANTHONY MARWOODANN AND LEE LIBERMAN GUEST ARTIST

British violinist Anthony Marwood is interna-tionally renowned as a charismatic and versatilesoloist, director, and creative collaborator, having

won worldwide critical acclaim for his formida-ble technique and exceptional artistry.

Marwood was named Instrumentalist ofthe Year at the 2006 Royal Philharmonic SocietyAwards. He performs frequently as soloist withorchestras around the world, with conductorssuch as Valery Gergiev, Sir Andrew Davis, MarinAlsop, David Robertson, and Thomas Ads.Highlights of the 12-13 season included a MusicaViva recital tour of Australia with pianist Aleksan-dar Madar, and his debuts as soloist/director ontour with the Amsterdam Sinfonietta and withthe Vancouver Symphony Orchestra.

In the 13-14 season he looks forward tocollaborations with the Scottish ChamberOrchestra, Iceland Symphony, Swedish ChamberOrchestra, Les Violons du Roy in Quebec,

Tapiola Sinfonietta, BBC Scottish Symphony,and the London Mozart Players. He also looksforward to return invitations to the AustralianChamber Orchestra, Sydney Symphony, and theNew Zealand Symphony.

In 2014 Marwood will tour with pianistMarc-Andr Hamelin and clarinetist MartinFrst, including performances in San Francisco,Boston, and London. He has made over thirty

recordings for the Hyperion label both as soloistand as a member of the Florestan Trio. His mostrecent releases have been the violin sonatas byBrahms and Schumann for Wigmore Live, and amuch-acclaimed recording of Brittens violin anddouble concertos with Lawrence Power.

Marwood is a keen exponent of contempo-rary works. Adss concerto Concentric Pathsand Sally Beamishs 1995 concerto were both

written for him, and he also champions concer-tos by Steven Mackey and Peteris Vasks. He willpremiere a new concerto by Samuel Carl Adamsin California in 2014.

Anthony Marwood plays a 1736 CarloBergonzi violin, kindly bought by a syndi-cate of purchasers, and is co-Artistic Directorof the Peasmarsh Chamber Music Festival inSussex, England.

Anthony Marwood mostrecently perormed withthe St. Louis Symphonyin February 2011.


11/16

33

LATE TO MOZART:HELEN KIM, FIRST VIOLINS

I had late exposure to Mozart. I didntdiscover the concertos, sonatas, andsymphonies until college. I thoughtit was the most wonderful thing. Ittook me a while to understand howto approach music from that period.There are donts and dos in bowtechnique, vibrato, etc. You need a lot

of experience to have that feel natural.

Dan

Dreyfus

Helen Kim

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. Forexample, what does the K stand for in Mozarts titles?

K: K is the abbreviation for Kchel, Austrian music historian LudwigKchel, who created the standard thematic catalogue of Mozarts works,rst published in Leipzig in 1862; this catalogue has grown so useful thatmost Mozart compositionsother than operasare generally referred toby their K numbers, rather than Symphony or Concerto numbers.


12/16

34

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

Paul Johnson,Mozart: A LifeViking AdultThis new and slender biography(176 pages!) is due to be publishedin November, but looks intriguingboth for its brevity and the author,a singular historian known for hisbios of Dickens, Churchill, Socrates,

and Jesus, as well as The Birth of theModern

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

Maynard Solomon,Mozart: A LifeHarper PerennialSolomon pins a lot of Wolfgang Amadeuss development on a father-sonclash; almost a Daddy Dearest of Mozart biographies, but utterly engagingand informative

Amadeus, dir. Milos FormanDVD and Instant Video

If you are willing to totally ignore the concept of historical accuracy, this1984 lm is a great romp, especially for F. Murray Abrahams captivatingperformance as Antonio Salieri

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


13/16

35

CLASSICAL CONCERT:MOZART VIOLIN CONCERTO NO. 5

NOVEMBER 8-9Nicholas McGegan, conductor; Stefan Jackiw, violin

Following the all-Mozart concerts, this is your opportunity to hear three ofthe ve Mozart violin concertos in one season. The Fifth is performed by thebrilliant young virtuoso Stefan Jackiw in his St. Louis Symphony debut. Hehas talent thats off the scale according to the Washington Post. The ebullientNic McGegan returns to conduct works by Weber, Rameau, and Haydn.

Stefan Jackiw is presented by the Whitaker Foundation.

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

Lisa-Marie

Mazzucco

Stean Jackiw


14/16

36

COMMUNITY CONCERT:SYMPHONY IN THE CITY ON STAGE AT POWELL

TANGO!

Wednesday, November 6, 2013Pre-concert tango lessons, Powell Hall foyer, 6pmConcert, 7pm

Post-concert wine and dance party, Powell Hall foyer, until 9:15pm

An evening of tango music and dance with Cortango, made up of Symphonymusicians Cally Banham, Asako Kuboki, and David DeRiso. Joining themon stage will be the exquisite Argentine Tango dance pair of Mauro Peraltaand Claudia Cortes. Learn tango moves before the concert, and join theafter-concert dance party, with Argentine wine. With featured artists MelissaBrooks, cello; Jennifer Nitchman, ute; and Adam Maness, piano, guitar,

and maybe more.

Cortango


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.


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 o the EXIT signs in the auditorium. In the case o an emergency,proceed to the nearest EXIT near you.

st. louis symphony program - oct. 11-13, 2013

Documents