St. Louis Symphony Extra - March 22, 2014

8/12/2019 St. Louis Symphony Extra - March 22, 2014

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CONCERT PROGRAMMarch 21-22, 2014

David Robertson, conductor

Gil Shaham, violin

INGRAM MARSHALL Bright Kingdoms (2003) (b. 1942)

KORNGOLD Violin Concerto in D major, op. 35 (1937, rev. 1945)(1897-1957)

Moderato nobile Romance: Andante

Finale: Allegro assai vivace Gil Shaham, violin

INTERMISSION

DVOK Symphony No. 9 in E minor, op. 95,(1841-1904) From the New World (1893)

Adagio; Allegro moltoLargo Scherzo: Molto vivace

Allegro con fuoco

David Robertson is the Beofor Music Director and Conductor.

Gil Shaham is the Carolyn and Jay Henges Guest Artist.

The concert of Friday morning, March 21, is underwritten in part by a generousgift from Dr. Virginia V. Weldon.

The concert of Friday morning, March 21, includes coffee and doughnutsprovided by Krispy Kreme.

The concert of Friday evening, March 21, is underwritten in part by a generousgift from Mr. and Mrs. Norman L. Eaker.

The concert of Friday evening, March 21, is underwritten in part by a generousgift from Mr. and Mrs. James R. von der Heydt.

Join David Robertson following the concert of Friday evening, March 21, for a

Q&A to learn more about the program. Sponsored by University College atWashington University professional and continuing education.

The concert of Saturday, March 22, is underwritten in part by a generous giftfrom Drs. Dan and Linda Phillips.

Pre-Concert Conversations are sponsored by Washington University Physicians.

These concerts are part of the Wells Fargo Advisors series.

Large print programs are available through the generosity of Delmar Gardensand are located at the Customer Service table in the foyer.


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TIMELINKS

1893

DVOKSymphony No. 9 inE minor, op. 95,From the New World

Thomas Edisoncompletes work onworlds first motionpicture studio

1937KORNGOLDViolin Concerto inD major, op. 35George Gershwin dies of

brain tumor, at age 39, inBeverly Hills

2003INGRAM MARSHALLBright KingdomsU.S. and British forcesinvade Iraq

These compositions explore new musical terri-

tory. Ingram MarshallsBright Kingdomsuses pre-recorded sounds in an orchestral context. ErichWolfgang Korngolds Violin Concerto also owessomething to what was, when it was written, stilla young technological development. Korngoldwas a renowned composer of Hollywood lmscores, and he wrote this concerto using themesthat originally appeared in the soundtracks forseveral movies. Antonn Dvoks Symphony

No. 9, From the New World, predates thekind of modern technical developments thatshape Marshalls and Korngolds compositions.Nevertheless, it brings a fresh American spiritto the genre of the central-European Romanticsymphony, a novel achievement.

INGRAM MARSHALL

Bright Kingdoms

KINGDOMS OF INNOCENCE Although he workedextensively with sound synthesizers early in hiscareer, most of Ingram Marshalls compositionsof the last three decades have used instrumentsand recorded sounds, usually altered throughelectronic processing. Among those works aretwo pieces for orchestra and recorded sounds,Peaceable Kingdom and Kingdom Come. The St.Louis Symphony performed the latter piece in2005. (The Orchestra also commissioned andplayed the rst performance of Marshalls Sinfo-niaDolce far Niente, in 1998.)

We hear a third of Marshalls Kingdompieces. Like its companions, Bright Kingdomscom-bines instrumental music and recorded sounds,

the latter electronically processed in various ways.The recorded sources are a Swedish childrenschoir and a boy singing a hymn whose wordstranslate as Through the bright kingdoms of thisearth, go we to paradise with song. The com-poser has written of this work: Unconsciously,the music turned out to be about innocence, thekingdoms of innocence and the dissolution ofthose kingdoms.

NEW WORLDSBY PAUL SCHIAVO


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The recorded choir emerges from the rstsound we hear, a single note sustained in thedeep register of the orchestral basses and col-ored by a timpani roll. Initially the choral singingseems indistinct, as if the voices are coming from

underwater, but they quickly grow brighter andclearer. Suddenly, however, the piece shifts to afaster tempo and embarks on a long episode forthe orchestra alone. Here busy textures, asser-tive orchestration, generally static harmonies,and the repetition of short motifs yield musicin a post-minimalist style recalling that of JohnAdams, a longtime friend of Marshall and advo-cate for his music.

Eventually we come to another change and anew section featuring the bright sounds of bellsand trumpet. The recorded voices also returnand join with the orchestra in producing lushRomantic harmonies. When this music has runits course, the orchestral strings begin an ele-giac passage based on the familiar hymn Abidewith Me. At length, the polyphony of string

sound dissolves, and childrens voices, pale andalmost ghostly, take up the hymn melody. Soonthe music is overtaken by darkly atmosphericsounds that suggest, as Marshall says, the end ofthe bright kingdom of innocence. This develop-ment augers a somber conclusion; but the nalpassage restores the hymn of the strings amidwhat seems the ringing of hundreds of bells.

ERICH WOLFGANG KORNGOLDViolin Concerto in D major, op. 35

A ST. LOUIS PREMIERE The St. Louis Symphonyhas given the rst performances of more thana few compositions. Many of these are recentworks commissioned by the orchestra. But one,which has entered the standard orchestral reper-

tory, dates back nearly seven decades. This is theViolin Concerto of Erich Wolfgang Korngold.

The son of a prominent music critic, Korn-gold was a composer child prodigy. GustavMahler, upon hearing some of the 10-year-oldKorngolds compositions, extolled the boysunbelievable talent. Richard Strauss reacted toKorngolds early orchestral scores by declaring:Ones rst reactions to the knowledge that these

BornMay 10, 1942, Mount Vernon,New York

Now LivesNew Haven, Connecticut

First PerformanceJanuary 23, 2004, in Oakland,California, Michael Morganconducted the Oakland EastBay Symphony Orchestra

STL Symphony PremiereThis week

Scoring2 flutespiccolo2 oboesEnglish horn2 clarinetsbass clarinet2 bassoonscontrabassoon4 horns

3 trumpetspiccolo trumpet3 trombonestubatimpanipercussionpianostringsrecorded sounds

Performance Time

approximately 17 minutes


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compositions are by an adolescent are feelings ofawe and fear. Korngolds music soon was beingperformed by leading orchestras and soloists.The composer sealed his early reputation with ahighly successful opera, Die tote Stadt, composed

when he was 20.

A CAREER IN HOLLYWOOD In the years that fol-lowed, Korngold continued to write in a varietyof musical genres. In 1935 the celebrated the-ater director Max Reinhardt invited Korngold toHollywood to adapt music for his famous lmversion ofA Midsummer Nights Dream. The suc-cess of that project prompted the composer toremain in California. He soon became the mostrespected lm composer in Hollywood. Amongthe movies for which he wrote scores wereAnthony Adverse and The Adventures of RobinHood (both of which brought him AcademyAwards),Juarez, The Sea Hawk, The Prince andthe Pauper, and Of Human Bondage.

Korngolds musical outlook was unapologet-

ically Romantic. A rich harmonic palette and aneffusive style of orchestration impart a late-19th-century ripeness to his music, and his sweepingmelodic lines recall those of Strauss. These quali-ties led to the neglect of Korngolds music afterhis death, in 1957, when Modernism was at itszenith in compositional circles, but a recognitionof these same qualities have recently given hiswork a second life. The past three decades have

seen a renewed interest in and appreciation ofKorngolds music, and performances of Die toteStadt, as well as his Violin Concerto and otherconcert works, have established Korngold as per-haps the last important Romantic composer.

FILM MUSIC TO CONCERTO Korngold composedhis Violin Concerto in 1945 for the great Hun-garian violinist Bronislaw Huberman. For some

reason, however, Huberman declined to performit, and the premiere fell to Jascha Heifetz, whoplayed it with the St. Louis Symphony in 1947.The piece adheres to the traditional concertoform of three movements and uses themes bor-rowed from Korngolds lm scores.

BornMay 29, 1897, Brno, Moravia

Died

November 29, 1957,Hollywood, California

First PerformanceFebruary 15, 1947, in St. Louis,Jascha Heifetz was thesoloist, and the St. LouisSymphony was conductedby its music director, VladimirGolschmann

Most Recent STL SymphonyPerformanceOctober 17, 2009, JamesEhnes was soloist, withBramwell Tovey conducting

Scoringsolo violin2 flutespiccolo2 oboes

English horn2 clarinetsbass clarinet2 bassoonscontrabassoon4 horns2 trumpetstrombonetimpanipercussion

harpcelestastrings

Performance Timeapproximately 24 minutes


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ANTONN DVOKSymphony No. 9 in E minor, op. 95, From theNew World

CZECH COMPOSER IN AMERICA Antonn Dvok

was born in Bohemia, the country we now knowas the Czech Republic, and during the 1870srose to prominence as his homelands foremostcomposer. In the years that followed his famespread throughout Europe and even acrossthe Atlantic, where it attracted the notice of aJeanette Thurber, who had established a newconservatory of music in New York. In 1891 sheinvited Dvok to become the director of thisschool. He would be well compensated and hisduties light, leaving plenty of time for composing.Dvok accepted the position, and in September1892 he sailed for America, where he spent mostof the next three years.

It was during this American chapter in hislife that Dvok composed his Symphony No. 9,which bears the subtitle From the New World.

Dvo

k declared that he intended the subtitle tomean Impressions and greetings from the NewWorld. This heading signifies something verydifferent from a musical panorama of Americaand American life, which some commentatorshave held the piece to be. Yet Dvok also statedthat the symphonys American provenancewould be obvious to anyone who had a nose.He told one correspondent: I do know that I

would never have written [it] just so had I neverseen America.This ambivalent perspective applies to

the symphonys thematic material. During hisAmerican sojourn Dvok expressed interestin black spirituals and Native American tribalmusic, and he once alluded to the peculiaritiesof Negro and Indian music in the themes of thissymphony. But, as he also emphasized, there are

no actual quotations of any American music inthe New World Symphony. Moreover, most ofthe peculiarities of its melodies are also thoseof Czech folk song.

Program notes 2014 by Paul Schiavo

BornSeptember 8, 1841,Nelahozeves, Bohemia

DiedMay 1, 1904, Prague

First PerformanceDecember 16, 1893, CarnegieHall in New York City, AntonSeidl conducted the NewYork Philharmonic Orchestra

STL Symphony PremiereMarch 13, 1905, Alfred Ernstconducting

Most Recent STL SymphonyPerformanceNovember 28, 2009, WardStare conducting

Scoring2 flutespiccolo2 oboesEnglish horn

2 clarinets2 bassoons4 horns2 trumpets3 trombonestubatimpanipercussionstrings



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DAVID ROBERTSONBEOFOR MUSIC DIRECTOR AND CONDUCTOR

David Robertson has established himself asone of todays most sought-after American

conductors. A passionate and compellingcommunicator with an extensive orchestraland operatic repertoire, he has forged closerelationships with major orchestras around theworld through his exhilarating music-makingand stimulating ideas. In 2014-15 Robertson willcelebrate his 10th season as Music Director ofthe 135-year-old St. Louis Symphony. In January2014, while continuing as St. Louis Symphony

Music Director, Robertson assumed the postof Chief Conductor and Artistic Director of theSydney Symphony Orchestra in Australia.

GIL SHAHAMCAROLYN AND JAY HENGES GUEST ARTIST

In the 2013-14 season Gil Shaham returns to one ofhis signature works, Korngolds Violin Concerto.Including this weekends performances with theSt. Louis Symphony, Shaham plays the workwith Zubin Mehta and the Vienna Philharmonicat Carnegie Hall; the Cleveland Orchestra duringits annual Miami residency; John Adams andthe Houston Symphony; James Conlon and theNational Symphony; the symphony orchestraof Austin; and Frances Orchestre de Paris. Healso takes his long-term exploration of ViolinConcertos of the 1930s into a fth season, withperformances of Bartks Second with the LosAngeles Philharmonic and Atlanta Symphony,Prokoevs Second with Michael Tilson Thomas

and the San Francisco Symphony, Barbers withthe Louisiana Philharmonic and Mexico NationalSymphony, and Bergs with the Berlin RadioSymphony and the Bavarian Radio Symphonyin Munich, Paris, and at Carnegie Hall. With thesymphony orchestras of Detroit, Singapore, andLondons BBC, Shaham gives the world, Asian,and European premieres of a new concerto byBright Sheng.

LUKE

RATRAY

David Robertson returns toconduct works by Brahms,Wagner, and Schoenberg

next week with the St. LouisSymphony.

Gil Shaham has performedwith the St. Louis Symphonysince 1996; his mostrecent appearance was inNovember 2012.


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CONCERT PROGRAMMarch 23, 2014

Steven Jarvi, conductor

Grant Riew, celloYO Concerto Competition Winner

St. Louis Symphony Youth Orchestra

WAGNER Rienzi Overture (1838-40) (1813-1883)

ELGAR Cello Concerto in E minor, op. 85 (1918-19)(1857-1934)

Adagio; Moderato Lento; Allegro molto Adagio Allegro; Moderato; Allegro, ma non troppo

Grant Riew, cello

INTERMISSION

TCHAIKOVSKY Symphony No. 5 in E minor, op. 64 (1888) (1840-1893)

Andante; Allegro con anima Andante cantabile con alcuna licenza Valse: Allegro moderato Finale: Andante maestoso; Allegro vivace

The St. Louis Symphony Youth Orchestra is supported by the G.A., Jr. andKathryn M. Buder Charitable Foundation and the Fox Performing ArtsCharitable Foundation.


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TIMELINKS

1838-40WAGNERRienziOvertureTchaikovsky born in Uralregion of Russia

1888TCHAIKOVSKYSymphony No. 5 inE minor, op. 64Vincent van Gogh sharesa house in Arles with PaulGauguin

1918-19

ELGARCello Concerto inE minor, op. 85World War I ends

RICHARD WAGNER

RienziOvertureFROM DEADBEAT TO DIGNITARY Richard Wagnerwrote his third opera, Rienzi, the Last of the Tri-bunes, under extreme stress. He began it in 1838,while he and his rst wife, Minna, were living inRiga (then part of Germany), where he conductedmusic for an undistinguished theatrical company.Not yet known as a composer, he had accumulated

huge debts and had no means of paying them. Inthe summer of 1839, the couple skipped townunder cover of darkness, bringing little besidestheir dog and the rst two acts of Rienzi. After a ter-rifying voyage across the Baltic and the North Sea,they arrived in Paris in September. Paris, alas, was not welcoming. For two yearsthe young composer eked out a living doinghackwork, unable to get his foot in the door ofthe Opra. He continued working on Rienzi (atone point from a debtors prison) and writingdesperate letters to anyone he thought could helphim. In June of 1841, several months after he hadshipped the nished score, he learned that Rienziwould be staged by the Royal Saxon Court The-atre; on April 7, 1842, he and Minna set off forDresden. That same October, Rienzinally had

its premiere: a stupendous triumph.Based on a novel by Edward Bulwer-Lytton,this swashbuckling ve-act melodrama is grandopera at its most grandiose, reecting Wagnersambition to outdo all previous examples withsumptuous extravagance. The story depicts amedieval papal notarys doomed attempt to turna degraded Romebeset with feuding families,rampant corruption, and civil unrestinto a great

Republic again. In the end, the eponymous herodies in the collapsing Capitol, which the mob hasset on re.

Rienzi launched Wagners career and, muchto his irritation, remained his greatest popularsuccess for the rest of his life. He considered itimmature and Italianate, a formulaic entertain-ment that did not embody the aesthetic principles

ART & STRUGGLEBY REN SPENCER SALLER


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he brought to bear in his later works. The fullopera is seldom performed today. The overture,however, is a concert staple on the strength ofits many gorgeous melodies and often inventiveorchestration. A highlights reel from the opera,

it begins with a single sustained trumpet note,which gradually builds in volume, signifying therevolutionary call to arms. The poignant maintheme, initially voiced by the strings, is takenfrom Rienzis prayer in the fth act; it pops upagain in the Allegro energico section. Amid mucheuphoric fanfare, the overture concludes with amilitary march.

AN IRONIC CODA The teenage Adolf Hitler wasprofoundly affected by a performance of Rienzi.Years later, according to one possibly apocry-phal account, he even claimed, At that hour it allbegan! Among his most cherished possessionswas the original manuscript of the opera, whichhe had requested as a gift for his 50th birthday.As Joseph Horowitz explains, The Rienzi with

whom the young Hitler identied, who imbuedhim with a special mission to lead his peopleout of servitude, is of course a conquering hero.Even more Romantically potent is that Rienzi is atragic victim, overthrown by a feckless mob at theoperas close. Hitler himself perished, Romanti-cally betrayed, with the manuscript of Rienzi inhis possession; some years before, he had refusedto relinquish it to Bayreuth for safekeeping.

It has not been seen since.

BornMay 22, 1813, Leipzig

Died

February 13, 1883, VeniceFirst PerformanceOctober 20, 1842, atDresdens Royal SaxonCourt Theatre, Carl Reissigerconducting

YO PremiereMay 23, 1980, GerhardtZimmermann conducting

Most Recent YOPerformanceNovember 25, 1995, DavidLoebel conducting

Scoring2 flutespiccolo2 oboes2 clarinets2 bassoons

contrabassoon4 horns4 trumpets3 trombonestubatimpanipercussionStrings



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EDWARD ELGARCello Concerto in E minor, op. 85

GOODBYE TO ALL THAT Edward Elgar completedhis Cello Concerto in the summer of 1919, at

Brinkwells, a small cottage in Sussex that he andhis wife rented every year. Brooding and elegiac,the work reects his pervasive sadness, his sensethat he was a man out of time, with all his bestwork behind him. The First World War had dev-astated England, leaving him, like so many of hiscountrymen, deeply disillusioned. His belovedwife, Alice, was quite ill, fading away before onesvery eyes, as he put it. Several of his friends hadrecently died, and he suffered from a painfulchronic ear condition and a serious throat ail-ment for which he had undergone a risky surgerythe year before. (In fact, he sketched out the open-ing theme of the cello concerto the very day heleft the nursing home.) Although Elgar was only62 and would live another 15 years, he had theoverwhelming sense that life as he knew it was

over. Everything good and nice and clean andfresh and sweet is far awaynever to return, helamented to a friend in a letter. Indeed, this was tobe his last summer with Alice, who died in 1920,and the Cello Concerto was his last major work.

The rst performance, in October of thatyear, was a debacle. Elgar conducted the LondonSymphony Orchestra, with Felix Salmond assoloist, but he had not been given sufcient

time to rehearse with the orchestra, and thiswas painfully evident. As one newspaper criticwrote, The orchestra was virtually inaudible,and when just audible was merely a muddle.No-one seemed to have any idea of what it wasthe composer wanted. The audience was clearlyunderwhelmed, perhaps expecting a virtuosicshowpiece, not a case study in private despair.

SOUL MUSIC Today Elgars Cello Concerto is aclassic of the solo cello repertoire, thanks in partto generations of new performers who grew uphearing Jacqueline du Prs incandescent 1960srecordings. The four movements, conceived astwo pairs, ow together with the perfect logic of adream. The Adagio; Moderato opens with a briefand tumultuous recitative for the solo cello, which

BornJune 2, 1857, LowerBroadheath, England

DiedFebruary 23, 1934, Worcester,England

First PerformanceOctober 27, 1919, in London;the composer conductedthe London SymphonyOrchestra, and Felix Salmondwas the soloist

YO PremiereThis concert

Scoring2 flutespiccolo2 oboes2 clarinets2 bassoons4 horns2 trumpets

3 trombonestubatimpanistrings



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is soon followed by the swaying, lyrical maintheme, introduced by the violas and picked up bythe cello. The second movement, a fretful scherzo,juxtaposes long sighing lines with stuttering piz-zicato accents. The solo cello dominates the next

movement, a hushed and heart-rending Adagiothat meditates on a single theme of surpassingbeauty. The nale is long and mercurial, with manykey changes, tempo shifts, and shadowy harmonicundercurrents. As a whole, Elgars Cello Concertois not about showing off the soloists technique;its about revealing the soul of the instrument, itsdark-throated ecstasies, its deep and radiant blues.

The cello suffers, but it also sings.

PYOTR ILYICH TCHAIKOVSKYSymphony No. 5 in E minor, op. 65

PRETTY PLEASURES Too many people who loveTchaikovsky are embarrassed to say so. To lovethe guy who wrote Swan Lakeand The Nutcracker

is so easy, so obvious. Your grandma, your favor-ite grocery checker, your least-favorite state rep-resentative, and Carmela Soprano probably lovehim, too. Piotr Ilyich Tchaikovsky made prettymusic, and intellectuals have been sneering at thepretty-pushers for the past 100 years or so. Butpreferring Stockhausen to Tchaikovsky doesntmake a person smart, and besides, Tchaikovskysmusic, like most truly beautiful things, has facets.If nothing else, it should be admired for the samereason you admire Pet Sounds, or the GatewayArch, or the pacemaker that keeps you alive:because it is so very well made.

TWIST OF FATE It is a pleasure to listen to Tchai-kovskys Symphony No. 5, and the structure ofthe four-movement work invites us to feel good,

or at least better. It follows the per aspera adastra modelthrough hardships to the starsthat Beethoven also adopted in his own FifthSymphony: from minor to major, from dark tolight (or at least somewhat lighter), from sorrowto celebration (of a qualied sort). Most criticsidentify the main theme as a musical representa-tion of fate; the composer himself says as muchin a programmatic outline that he drafted during

BornMay 7, 1840, Kamsko-Votkinsk, Russia,

DiedNovember 6, 1893, St.Petersburg

First performanceNovember 17, 1888, in St.Petersburg; the composerconducted

YO PremiereMarch 7, 1975, GerhardtZimmermann conducting

Most Recent YOPerformanceMay 3, 2009, Ward Stareconducting

Scoring3 flutespiccolo2 oboes2 clarinets

2 bassoons4 horns2 trumpets3 trombonestubatimpanistrings



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the early stages of composition and later abandoned. Regardless of what itsymbolizes, the theme is tirelessly reiterated, revised, and transformed overthe four movements, and through its many permutations the emotional trajec-tory of the work is revealed. The so-called fate theme rst appears in the open -ing measures as a mournful lament sung by the clarinet. In the second move-

ment, it barges in rather rudely, interjecting harsh brass blurts in the wake ofan achingly lovely horn and winds interlude. (The orchestra stops short for amoment, in shocked silence.) The third movement, an off-kilter scherzo, stag-gers gamely, like a woozy prima ballerina; the theme sneaks back toward theend, an ominous afterthought muttered by the winds. In the nale, the themeblazes out in a major mode and ignites a fever-dream march.

INSECURE ARTIST Like many great artists, Tchaikovsky was tormented by

self-doubt, and he allowed himself to be perhaps unduly inuenced by theopinions of others. Ten years had elapsed since his Fourth Symphony (1878),and although his professional stature had risen during that time, thanks tothe opera Eugene Onegin, the 1812 Overture, and other hits, he feared that hewas creatively bankrupt. In a letter to his main patron, he admitted, I want somuch to show not only to others, but to myself, that I still havent expired... Idont know whether I wrote to you that I had decided to write a symphony.At rst it was fairly difcult; now inspiration seems to have deserted me com-pletely. At another point, he confessed that he had to squeeze it from my

dulled brain. Despite these reservations, he was initially pleased with the n-ished symphony, but when critics and colleagues (even an otherwise support-ive Johannes Brahms) advanced criticisms, he wrote, Neither [Brahms] northe players liked the Finale, which I also think rather horrible. Not a monthlater, however, it was back in its creators good graces: The Fifth Symphonywas beautifully played and I have started to love it againI was beginning todevelop an exaggerated negative opinion about it.

Program notes 2014 by Ren Spencer Saller


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STEVEN JARVI

Steven Jarvi is the newly appointed Resident Con-ductor of the St. Louis Symphony, Music Direc-tor of Winter Opera Saint Louis, and the Music

Director of the St. Louis Symphony Youth Or-chestra. Formerly the Associate Conductor of theKansas City Symphony (KCS), he won the BrunoWalter Memorial Foundation Award in 2009. Hecame to the KCS after several years as the Con-ducting Fellow with Michael Tilson Thomas andthe New World Symphony in Miami Beach, asan Associate Conductor for the New York CityOpera at Lincoln Center, and as the ApprenticeConductor with the Washington National Operaat the Kennedy Center in Washington D.C.

GRANT RIEWYO CONCERTO COMPETITON WINNER

Grant Riew, a 17-year-old junior at John Bur-roughs School, is honored to be playing in hisfourth year with the St. Louis Symphony YouthOrchestra. He is a student of Catherine Lehr,former Assistant Principal Cello of the St. Louis

Symphony. He has also studied with Mary LouGotman of the Community Music School of Web-ster University and Hans Jensen at the Meadow-mount School of Music.

Riew was selected to be a member of the2014 National High School Honors Orchestrasponsored by the American String Teachers As-sociation. In 2013, Riew was principal cellist of

the Missouri All-State Orchestra, winner of theArtist Presentation Societys St. Louis SymphonyYouth Orchestra Competition, quarter nalistin the Fischoff National Chamber Competition,and winner of the Fox Performing Arts St. LouisTeen Talent Competition. Grant Riew values allthe friendships he has made through these musi-cal experiences.

Steven Jarvi leads the YO inits final concert of the 2013-14 season on June 1.

Grant Riew thanks histeachers for all the supportthey have given him in hismusical endeavors.


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First ViolinsChristopher GoesslingConcertmasterJohn Li

Assistant ConcertmasterHava PolinskyRachel CheungWill CrockKatelyn HamreGajan KumarAisling OBrienHannah OBrienChad PleasantMatthew RhoJulia RiewJulia SonMadison UngactaTiffany WilkinsAishwarya YadamaJinghang Zhang

Second ViolinsAnthony SuPrincipalRebecca Liu

Assistant PrincipalCherry TomatsuKayla BrownAmanda CaoJason CohnElizabeth CordellMadeline HornseyAidan IpSarah KimJudy LuoBryar Abas OmerMadelaine OReilly-BrownFaith TanEmily XuAnna ZhongStephanie Zhong

ViolasMarisa McKeeganPrincipalSharanya Kumar

Assistant PrincipalAdam GarrettStephen AhrensMatt DillerCaleb HenryDaniel LarsonSamuel LarsonJonathan ShieldsBrett ShockerPhoebe YaoEunnuri Yi

CellosSean HamrePrincipalEric Cho

Assistant PrincipalGrant RiewCamille CundiffMichelle DodsonJoshua HartJulie HolzenNathan HsuMelinda LaiDylan LeeAnn RyuJason West

BassesAlex NiemaczekPrincipalRyan WahidiAssistant PrincipalBen VennardPieter BoswinkelJohn Paul ByrneAlex Hammel

Annamarie PhillipsPhillip SansoneJustus Schriedel

FlutesMadeline BertLeah PeipertRachel PetzoldtShiori Tomatsu

PiccoloRachel Petzoldt

OboesBrenna CunninghamEthan LeongAura Martin

ClarinetsEarl KovacsAleksis Martin

Wailani RonquillioKentaro Umemori

BassoonsDavid CarterAlex DaviesJoseph HendricksDavid Schwartz

HornsTerrence AbernathyMatthew BlochBrandon Hoeein

Rachel MartinJonas MondscheinEli Pandol

TrumpetsThomas BarronCharles PragerBenjamin StegerGarrett Thomas

Trombones

Ashley CoxMichael McBrideCaleb Shemwell

Bass TromboneCarter Stephens

TubaAlec Lang

PercussionMatthew ClarkRyan FirthBrandon LeeSam LopateJoshua Luthy

Coaches from theSt. Louis Symphony

Joo Kim, violin IAlison Harney, violin II

Chris Tantillo, violaDavid Kim, celloDavid DeRiso, bassJennifer Nitchman, uteBarbara Orland, oboePhilip Ross, oboeTimothy Zavadil, clarinetTina Ward, clarinetAndrew Cuneo, bassoonTod Bowermaster, hornThomas Drake, trumpet

Paul Jenkins, tromboneJonathan Reycraft, tromboneWilliam James, percussion

ST. LOUIS SYMPHONY YOUTH ORCHESTRA 2013-2014


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

Powell Hall is not responsible for

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

POWELL HALL RENTALS

Select elegant Powell Hall for your nextspecial occasion.

Visit stlsymphony.org/rentalsfor more information.


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BOUTIQUE

WHEELCHAIR LIFT

BALCONY LEVEL(TERRACE CIRCLE, GRAND CIRCLE)

GRAND TIER LEVEL

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

MET BAR

TAXI PICK UPDELMAR

ORCHESTRA LEVEL(PARQUET, ORCHESTRA RIGHT & LEFT)

WIGHTMAN

GRAND

FOYERTICKET LOBBY

CUSTOMER

SERVICE

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.

St. Louis Symphony Extra - March 22, 2014

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