st. louis symphony program - oct. 5-6, 2013

7/27/2019 St. Louis Symphony Program - Oct. 5-6, 2013

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CONCERT PROGRAMOctober 5-6, 2013

David Robertson, conductorTimothy McAllister, alto saxophone

Jon Kimura Parker, piano

GERSHWIN Cuban Overture (1932) (1898-1937)

JOHN ADAMS Saxophone Concerto (2013) (b. 1947)

Animato; Moderato; Tranquillo, suaveMolto vivo (a hard driving pulse)

Timothy McAllister, alto saxophone

INTERMISSION

JOHN ADAMS The Chairman Dances, Foxtrot or Orchestra (1985)

GERSHWIN Concerto in F (1925) ed. Campbell-Watson

Allegro

Andante con motoAllegro con brio

Jon Kimura Parker, piano

These perormances o John Adams’ Saxophone Concerto are being recorded live or a uture releaseon Nonesuch Records. To ensure a quality recording, please keep audience noise–other than applause–to a minimum.



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ACKNOWLEDGMENTS

David Robertson is the Beofor Music Director and Conductor.

Timothy McAllister is the Jean L. and Charles V. Rainwater Guest Artist.

Jon Kimura Parker is the Sarah E. Rainwater Ward and Charles S. RainwaterGuest Artist.

The concert of Saturday, October 5, is underwritten in part by a generous gift from Mrs. Ernest A. Eddy, Jr.

The concert of Sunday, October 6, is underwritten in part by a generous gift

from Marjorie M. Ivey.

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 DelmarGardens and are located at the Customer Service table in the foyer.



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FROM THE STAGEChristian Woehr, Assistant Principal Viola, on George Gershwin: “I’ve been going to

the Chautauqua Music Festival in upstate New York since I was a little kid. My parents played in the Pittsburgh Symphony Orchestra so I spent my whole child-hood there. When I was a kid there were still people playing in the orchestra who had been there during Gershwin’s days at Chautauqua.

“It’s a little town, with these practice shacks that have been given composernames. I took French horn lessons in the Brahms-Schumann shack, and it is inthis double shack where the Concerto in F was born. Gershwin wrote a two-piano version of the piece, and then went back to New York and orchestrated it for Walter Damrosch, who had commissioned it and rst conducted it with the

New York Symphony.“Chautauqua is an idyllic place, but I imagine that writing in the practice

shacks, surrounded by fty other practice shacks—Gershwin must have hadamazing powers of concentration. But he could compose in a party.”

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Jon Kimura Parker perorms Gershwin’s Concerto in Fwith the St. Louis Symphony this weekend.



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TIMELINKS

1925GERSHWINConcerto in FThe Great Gatsby published

1932GERSHWINCuban Overture

Anne and CharlesLindbergh’s inant sonkidnapped

1985 JOHN ADAMS

The Chairman Dances,Foxtrot or Orchestra“We Are the World”recorded in Hollywood

2013 JOHN ADAMSSaxophone ConcertoPresident Barack Obamadelivers second inaugural

address

“Whenever serious art loses track of its roots in

the vernacular, then it begins to atrophy.” That statement was made by composer John Adams, who has qualied the observation by noting that there remain experiences that lie beyond thecapacities of vernacular idioms to capture, that only “serious art” can adequately convey. Adams,the most prominent American composer of ourtime, has found his own way of combining thestrengths of our country’s popular music—the

rhythms of jazz and popular dances, the drivingpulse of rock, harmonic inections derived fromthe blues—with the kind of large-scale musicalarchitecture that requires a trained composer.Two instances of this fertile blend, his SaxophoneConcerto and The Chairman Dances, form thecentral part of our concert.

In drawing on the traditions of our nation’s vernacular music, Adams follows in the footsteps

of other important American composers, notably Charles Ives, Aaron Copland, and GeorgeGershwin. The latter, of course, is best known forappropriating the sound of jazz in such works asRhapsody in Blue , An American in Paris and hisConcerto in F, which closes our program. But Gershwin’s musical perspective was broader andmore eclectic than is often realized. In the rst piece we hear, he brings the percussive soundand powerful rhythms of Cuba to a colorfulorchestral piece.

GEORGE GERSHWINCuban Overture

AN AMERICAN IN HAVANA With cultural and

economic channels between the United Statesand Cuba opening ever so slightly in recent years,the sounds of Cuban popular music are begin-ning to be heard again in our country. The occa-sional performances and recordings by Cuba’s jazz and salsa stars that nd their way to theseshores (think Buena Vista Social Club) remindus that the island nation has long been hometo a vibrant musical tradition, one that blends

HIGH ART, POP ROOTSBY PAUL SCHIAVO



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Spanish, African, and indigenous elements. Theresulting hybrid is a style of palpable energy.Cuban popular music has always been closely tied to dance, and for that reason rhythm andpercussion instruments have been its most

conspicuous features. Although few Americans get to hear

Cuban music in live performance these days,the situation was once quite different. Prior toCastro’s rise to power, Havana was a popular vacation spot for well-to-do Americans. There,most visitors found themselves entrancedby the pulsating rhythms of the mambo, therhumba, the conga, and other Cuban dances, which had evolved from folkloric origins intosophisticated urban pastimes. One tourist whofell under their spell was George Gershwin, who visited Havana in 1932. The composer,already famous for his Broadway musicalsand the exceptionally successful concert pieceRhapsody in Blue, was particularly impressedby the percussion instruments he encountered,and he brought several of these with him back to New York. Gershwin immediately resolved touse these instruments and some of the charac-teristic Cuban rhythms in a symphonic setting.The result was called Rhumba when it was rst performed at New York’s Lewisohn Stadium in August, 1932, but Gershwin later changed thetitle to Cuban Overture .

The form of this piece bears little relation to

that of the classical overture. Instead, it presentsa succession of tunes in three broad sections.The rst portion of the work is lively, its restlessthemes unfolding over a rhythmic accompani-ment colored by the distinctive sounds of Latinpercussion instruments. A brief cadenza-like solofor clarinet ushers in a slower central episodethat contemplates a blues-tinged melody tradedback and forth between the woodwinds and

strings. In its development, this theme swellsto an unexpected fullness. Suddenly, however,Gershwin breaks off, quickly recapturing theenergy of the opening section and returning toits thematic material, which he now views froma new perspective.

BornSeptember 26, 1898, Brooklyn

Died July 11, 1937, Hollywood

First PerformanceAugust 16, 1932, in New York,Albert Coates conductedthe New York PhilharmonicOrchestra

STL Symphony PremiereFebruary 2, 1946, VladimirGolschmann conducting

Most Recent STL SymphonyPerformance July 5, 2002, David Amadoconducting

Scoring3 futespiccolo2 oboesEnglish horn2 clarinets

bass clarinet2 bassoonscontrabassoon4 horns3 trumpets3 trombonestubatimpanipercussionstrings

Performance Timeapproximately 10 minutes

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exposure to the great jazz saxophonists, from the swing era through the likesof Coltrane, Eric Dolphy, and Wayne Shorter.”

Adams observes further that “having grown up hearing the sound of thesaxophone virtually every day—my father had played alto in swing bandsduring the 1930s and our family record collection was well stocked with

albums by the great jazz masters—I never considered the saxophone an alieninstrument.” Accordingly, he has used saxophones in several of his composi-tions, including the orchestral piece City Noir , which the St. Louis Symphony performed last February. Nonesuch recorded the performances of City Noir ,and will be recording the Saxophone Concerto this weekend, for a futurerelease. Adams describes City Noir as “a jazz-inected symphony that featureda endishly difcult solo part for alto sax, a trope indebted to the wild andskittish styles of the great bebop and post-bop artists such as Charlie Parker,Lennie Tristano, and Eric Dolphy. Finding a sax soloist who could play inthis style, but who was sufciently trained to be able to sit in the middle of amodern symphony orchestra was a difcult assignment.”

Adams found just such a player in Timothy McAllister. McAllister’spersonality, no less than his virtuosity, prompted Adams to create a piece espe-cially for him. “When one evening,” the composer recalled, “during a dinnerconversation Tim mentioned that during high school he had been a cham-pion stunt bicycle rider, I knew that I must compose a concerto for this fearlessmusician and risk-taker. His exceptional musical personality had been the key ingredient in performances and recordings of

City Noir , and I felt that I’d only

begun to scratch the surface of his capacities with that work.”In composing a new piece for McAllister, Adams found little of interest

in the few prominent concertos for saxophone. Instead, he looked to the jazzliterature. Among other sources, the 1950 recording Charlie Parker and Strings suggested, in Adams’ words, a “way the alto sax could oat and soar above anorchestra. Another album that I’d known since I was a teenager, New Bottle Old Wine , with Cannonball Adderley and that greatest of all jazz arrangers, GilEvans, remained in mind throughout the composing of the new concerto as a

model to aspire to.” Adams continues: “While the concerto is not meant to sound jazzy perse, its jazz inuences lie only slightly below the surface. I make constant useof the instrument’s vaunted agility as well as its capacity for a lyrical utterancethat is only a short step away from the human voice. The form of the concertois a familiar one for those who know my orchestral pieces, as I’ve used it in my Violin Concerto, in City Noir , and in my piano concerto Century Rolls. It begins with one long rst part combining a fast movement with a slow, lyrical one.This is followed by a shorter second part, a species of funk-rondo with a fast,

driving pulse.”



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JOHN ADAMSThe Chairman Dances, Foxtrot or Orchestra

DANCING WITH MAO John Adams’ “break-through” composition, the one that brought

him international attention, was his opera Nixonin China. Completed in 1987 after two years of work, Nixon in China imagines in fantastical,sometimes surreal, terms the historic 1972 visit of the 37th President to the People’s Republic of China and his meeting with Communist Party Chairman Mao Zedong.

At the time he had begun working on theopera, Adams also was obligated to fulll a

commission from the Milwaukee Symphony Orchestra for a new orchestral piece. Engrossedin the sound-world and mise en scène of Nixon inChina, he wrote a “Foxtrot for Orchestra” that heoriginally planned to include in the opera’s thirdact. This music, The Chairman Dances, ended upbeing, in the composer’s words, “an out-take”from Nixon in China, but it has acquired a life of its own as a concert piece.

The scene for which The Chairman Dances was conceived centers, Adams explains, “onChairman Mao and his bride, Chiang Ch’ing, thefabled “Madame Mao,” rebrand, revolutionary,executioner, architect of China’s calamitousCultural Revolution and (a fact not universally realized) a former Shanghai movie actress. In thesurreal nal scene of the opera, she interrupts the

tired formalities of a state banquet, disrupts theslow-moving protocol and invites the Chairman, who is present only as a gigantic forty-foot portrait on the wall, to “come down, old man,and dance.” The music takes full cognizance of her past as a movie actress. Themes, sometimesslinky and sentimental, at other times bravuraand bounding, ride above a bustling fabric of energized motives.

GEORGE GERSHWINConcerto in F

JAZZ RHYTHMS, CLASSICAL FORM Gershwin wrote his Concerto in F in 1925 at the request of Walter Damrosch, the music director of the New York Symphony. Though not yet 30, Gershwin

First Performance January 31, 1986, in Milwaukee,Lukas Foss conducted theMilwaukee Symphony

Orchestra

STL Symphony PremiereMarch 3, 1989, Murry Sidlinconducting

Most Recent STL SymphonyPerformanceDecember 31, 2004, DavidRobertson conducting

Scoring2 futes2 piccolos2 oboes2 clarinetsbass clarinet2 bassoons4 horns2 trumpets2 trombonestubatimpanipercussionpianoharpstrings


D e b o r a h

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was already a phenomenally successfulcomposer of Broadway musicals, and thetremendous acclaim his Rhapsody in Blue hadgarnered the preceding year conrmed that he was capable of writing “serious” music as well.

With characteristic self-condence, Gershwinimmediately accepted Damrosch’s invitation,even though he had never attempted so ambi-tious a composition. He then promptly acquired,he said in a newspaper interview, “four or vebooks on musical structure to nd out exactly what the concerto form really was!”

The composer probably made this comment with tongue in cheek. He was always sensitive tothe charge that he was a talented but unschooledmusician, a gifted melodist who lacked thetraining and discipline to master larger forms.In fact, Gershwin worked hard to create fulls-cale compositions using the idioms of Americanpopular music. The Concerto in F is one of hismost successful attempts, a satisfying fusion of jazz rhythms and blues harmonies with classicalform. Anything it may lack in sophistication of design is more than compensated by its freshnessand vitality.

IN HIS OWN WORDS Gershwin provided thefollowing description of his concerto:

The rst movement employs theCharleston rhythm. It is quick andpulsating, representing the young enthusi-astic spirit of American life. It begins witha rhythmic motif given out by the kettledrums…. The principal theme is announcedby the bassoon. Later, a second theme isintroduced by the piano.

The second movement has a poetic,nocturnal atmosphere which has come tobe referred to as the American blues, but in a purer form than that in which they are

usually treated.The nal movement reverts to thestyle of the rst. It is an orgy of rhythms,starting violently and keeping to the samepace throughout.

Program notes © 2013 by Paul Schiavo

First PerformanceDecember 3, 1925, in CarnegieHall, the composer was thepiano soloist, and Walter

Damrosch conducted theNew York Symphony

STL Symphony PremiereMarch 1, 1936, with Gerswinat the keyboard, VladimirGolschmann conducting

Most Recent STL SymphonyPerformanceMay 21, 2010, Terrence Wilson

was soloist, with Ward Stareconducting

Scoringsolo piano2 futespiccolo2 oboesEnglish horn2 clarinetsbass clarinet

2 bassoons4 horns3 trumpets3 trombonestubatimpanipercussionstrings




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DAVID ROBERTSONBEOFOR MUSIC DIRECTOR AND CONDUCTOR

A consummate musician, masterful program-mer, and dynamic presence, David Robertson

has established himself as one of today’s most sought-after American conductors. A passion-ate and compelling communicator with anextensive orchestral and operatic repertoire,he has forged close relationships with majororchestras around the world through his exhila-rating music-making and stimulating ideas. Infall 2013, Robertson launches his ninth seasonas Music Director of the 134-year-old St. LouisSymphony. While continuing as St. Louis’smusic director, in January 2014 Robertsonassumes the post of Chief Conductor and Artistic Director of the Sydney Symphony Orchestra in Australia.

In 2012-13, Robertson led the St. LouisSymphony on two major tours: his rst Europeantour with the orchestra—its rst European

engagements since 1998—in fall 2012, whichincluded critically-acclaimed appearances at London’s BBC Proms, at the Berlin and LucerneFestivals, and at Paris’s Salle Pleyel; and a spring2013 California tour which included a three-day residency at the University of California-Davisand performances at the Mondavi Center for thePerforming Arts and venues in Costa Mesa, PalmDesert, and Santa Barbara. Highlights of his

2013-14 season with St. Louis include a returnto Carnegie Hall on the centennial of BenjaminBritten’s birth for a concert performance of the opera Peter Grimes, and the recording this weekend of a St. Louis Symphony co-commis-sion, John Adams’ Saxophone Concerto.Nonesuch Records will release the disc featuringthe concerto, along with the orchestra’s perfor-mance of Adams’ City Noir, in 2014.

Born in Santa Monica, California, Robertson was educated at London’s Royal Academy of Music, where he studied horn and compositionbefore turning to orchestral conducting. DavidRobertson is the recipient of numerous awardsand honors.

David Robertson returns toPowell Hall to conduct Peter

Grimes on November 16.

M i c h a e l T a M M a r o



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TIMOTHY MCALLISTER JEAN L. AND CHARLES V. RAINWATER GUEST ARTIST

Timothy McAllister is one of today’s leadingconcert saxophone performers and a champion

of contemporary music. Credited with over 150premieres of new works by eminent and emergingcomposers, his work is highlighted in the recent Deutsche Grammophon DVD release of John Adams’ City Noir , lmed as part of GustavoDudamel’s inaugural concert as music directorof the Los Angeles Philharmonic. In August 2013 he gave the world premiere of John Adams’Saxophone Concerto with the Sydney Symphony Orchestra under the baton of the composer in theSydney Opera House, followed by U.S. and inter-national premieres with the Baltimore Symphony Orchestra and Orquestra Sinfônica do Estado deSão Paulo.

McAllister has been a recent soloist with the Albany Symphony Orchestra, Cabrillo FestivalOrchestra, Reno Philharmonic, Texas Festival

Orchestra at Round Top, Detroit Chamber Winds and Strings, Royal Band of the Belgian Air Force, United States Navy Band, Dallas WindSymphony, Hong Kong Wind Philharmonia,Nashville Symphony, and the Boston ModernOrchestra Project among others. An in-demandorchestral saxophonist, he has performed in the wind sections of top orchestras around the globe.

He appears regularly as soprano saxo-

phonist of the acclaimed PRISM SaxophoneQuartet, performing with orchestras, on majorchamber music series and festivals, and in resi-dencies each year at the nation’s elite musicinstitutions, including the Curtis Institute, RiceUniversity’s Shepherd School of Music, andOberlin Conservatory among others.

A dedicated teacher, he serves as Professor of Saxophone and co-director of the Institute for New Music at Northwestern University’s Bienen Schoolof Music. Additionally, he spends his summersas distinguished Valade Fellow at the InterlochenCenter for the Arts. He holds the Doctor of Musical Arts from the University of Michigan, wherehe studied saxophone with Donald Sinta andreceived the School of Music’s most distinguishedperformance award—the Albert A. Stanley Medal.

Timothy McAllister makeshis solo debut with the St.

Louis Symphony this week.



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JON KIMURA PARKER SARAH E. RAINWATER WARD AND CHARLES S.RAINWATER GUEST ARTIST

A veteran of the international concert stage, Jon

Kimura Parker has performed as guest soloist with the Philadelphia Orchestra and WolfgangSawallisch in Carnegie Hall, toured Europe withthe Royal Philharmonic Orchestra and AndréPrevin, and shared the stage with Jessye Normanat Berlin’s Philharmonie. A true Canadian ambas-sador of music, Parker has given commandperformances for Queen Elizabeth II, the U.S.Supreme Court, and the Prime Ministers of

Canada and Japan. He is an Ofcer of the Orderof Canada, his country’s highest civilian honor.

An active media personality, Parker hostedthe television series Whole Notes on Bravo! andCBC Radio’s Up and Coming . His YouTubechannel features the Concerto Chat video series, with illuminating discussions of the pianoconcerto repertoire.

Last season, Parker appeared as soloist withthe major orchestras of Beijing, Shanghai, andGuangzhou, and toured the U.S. with BramwellTovey and the Vancouver Symphony Orchestra.He also had the honor of being the last guest pianist to work with the Tokyo String Quartet inits nal season.

Highlights of this season include soloappearances with the San Diego Symphony

with Jahja Ling, Seattle Symphony with LudovicMorlot, Shepherd School Symphony Orchestra with Larry Rachleff, and the National Arts CentreOrchestra with Hannu Lintu. He appears at theHong Kong Festival with Gary Hoffman, VadimRepin, and Joyce Yang, and begins two majorchamber music collaborations, with the MiróQuartet, and in a trio with violinist Martin Beaverand cellist Clive Greensmith.

A committed educator, Jon Kimura Parkeris Professor of Piano at the Shepherd School of Music at Rice University. Parker is also Artistic Advisor of the Orcas Island Chamber MusicFestival, where he has given world premieres of new works by Peter Schickele and Jake Heggie.

Jon Kimura Parker mostrecently perormed with

the St. Louis Symphony inApril 2002.

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ON COMPOSITION:CHRISTIAN WOEHR,ASSISTANT PRINCIPAL VIOLA

Chris Woehr is not only a violist, but he is also a composer and arranger.He is a member of an ensemble of Symphony musicians known as theStrings of Arda, which will play some

of his original compositions for theLandmarks Series event at the JamesS. McDonnell Planetarium on Monday,November 4 at 7 p.m. Woehr hastranscribed Gershwin’s Cuban Overture for Strings of Arda, a task that gavehim insight into Gershwin’s “grasp of counterpoint.” He says that Gershwinfollows Woehr’s composing rules,

of which there are only two: “It’s got to have a groove that carries youphysically and emotionally. And there needs to be a story line that makessense—a story line with a real climax.”

D a n

D r e y f u s

Christian Woehr

A BRIEF EXPLANATION You don’t need to know what “andante” means or what a glockenspiel is toenjoy a St. Louis Symphony concert, but it’s always fun to know stuff. For

example, Why aren’t there saxophones in orchestras?

Which came frst, the symphony orchestra or the saxophone? This one’s easierthan the chicken or the egg. The sax wasn’t invented until the 1840s, andcomposers had been writing for orchestras a lot longer than that, so thesaxophone is not part of the standard repertoire. However, Ravel makesgreat use of the saxophone in both Bolero and for his orchestration of Mussorgsky’s Pictures at an Exhibition. Jazz Age composer George Gershwin writes a saxophone part for An American in Paris and Prokoev adds sax

to the Russian sounds of his Lt. Kijé Suite. Guest artist Timothy McAllisterhas called John Adams’ Saxophone Concerto “the most important work forsaxophone in this young century.”



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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.

Edward Jablonski, GershwinNortheastern University Press A biography by the foremost Gershwin scholar

gershwin.com A website devoted to the composerand his brother and collaborator, Ira,

with history, timeline, references,sound clips, etc.

John Adams, Hallelujah Junction:Composing an American LifePicador PressThe composer’s chronicle of his lifeand work

earbox.comThe composer’s website

Read the program notes online at stlsymphony.org/planyourvisit/programnotes

Keep up with the backstage life of the St. Louis Symphony, as chronicled by Symphony 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; Weekday and 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: 314-286-4111 A service charge is added to alltelephone and online orders.

SEASON TICKET EXCHANGE POLICIES

If you can’t 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 Any group 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 Symphony and 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 seated with an adult. Admission to concerts isat the discretion of the House Manager.

Outside food and drink are not permitted 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 next special occasion.

Visit stlsymphony.org/rentalsfor more information.



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B O U T I Q U E

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

FOYER TICKET LOBBY

CUSTOMER

SERVICE

POWELL HALL

LOCKERS

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MEN’S 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. 5-6, 2013

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