St. Louis Symphony Extra - November 8, 2014

8/10/2019 St. Louis Symphony Extra - November 8, 2014

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CONCERT PROGRAMNovember 7-8, 2014

Hannu Lintu, conductorMarkus Groh, pianoRoger Kaza, hornThomas Jstlein, hornTod Bowermaster, hornChristopher Dwyer, horn

SIBELIUSLemminkinens Return from Lemminkinen Suite , op. 22 (1895)

(1865-1957)

GRIEG Piano Concerto in A minor, op. 16 (1868) (1843-1907)

Allegro molto moderato Adagio Allegro moderato molto e marcato

Markus Groh, piano

INTERMISSION

SCHUMANN Concertstck in F major for Four Horns and Orchestra, op. 86 (1849) (1810-1856)

Lebhaft Romanze: Ziemlich langsam, doch nicht schleppend Sehr lebhaft

Roger Kaza, horn Thomas Jstlein, horn Tod Bowermaster, horn Christopher Dwyer, horn

LISZT Les Prludes (1849-55) (1811-1886)


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ACKNOWLEDGMENTS

These concerts are part of the Wells Fargo Advisors series.

Hannu Lintu is the Ann and Lee Liberman Guest Artist.

Markus Groh is presented by the Whitaker Foundation.

Tod Bowermaster is the Carolyn and Jay Henges Guest Artist.

The concert of Friday, November 7, is underwritten in part by a generous giftfrom Mr. and Mrs. Craig A. Saddler.

The concert of Saturday, November 8, is underwritten in part by a generous giftfrom Mr. and Mrs. Jan K. Ver Hagen.

Coffee and doughnuts are provided through the generosity of Krispy Kreme forthe concert of Friday, November 7.

Pre-Concert Conversations are sponsored by Washington University Physicians.

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


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FROM THE STAGERoger Kaza, Principal Horn, on Schumanns Concertstck in F major for Four Horns

and Orchestra: I love it because it is completely over the top. It was written intwo days during one of Schumanns manic phases. He thought it was one ofhis best works. It shows all of the character of the instrumentheroic, lyrical,introspectiveplus all sides of Schumanns personality, of which there weremany. And its quite a challenge to pull it off. Well do our best.

Roger Kaza


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TIMELINKS

1849SCHUMANNConcertstck in F majorfor Four Horns andOrchestra, op. 86

LISZTLes Prludes

Revolutions in Germanstates fail

1868GRIEGPiano Concerto in Aminor, op. 16BrahmssEin deutschesRequiem (A GermanRequiem) premieres

1895SIBELIUSLemminkinens Return

from LemminkinenSuite , op. 22 French Captain AlfredDreyfus convicted oftreason, causes politicaland social upheavals

Despite the common notion of the artist as an

isolated individual forging his truth in a squalidgarret, artists make art through their relation-ships with the world around themwhether thisbe the garbage man, a lover, a headline, a tweet, orthe ideas of other artists. This weeks composers,even the loner in the north woods, Jean Sibelius,make their music in the wake of the work ofothers. Sibelius is inspired by Finnish folklore,and the emotional drama Wagner had wrungout of music. Robert Schumann takes what sev-eral imaginative craftsmen had createda new valved hornand writes music to show what thistechnological innovation had made possible (aswell as to bedevil hornists for years to come).Edvard Grieg owes much to the inspiration ofboth Schumann and Franz Liszt. Liszt is anothercomposer in synch with Wagnerian themes.

JEAN SIBELIUSLemminkinens Return from LemminkinenSuite , op. 22

SOUL MUSIC You dont have to know whoLemminkinen is to understand the openingstatement of Sibeliuss tone poem: Hes back! From Finnish writer Veijo Murtomki: out of the opening three-note gure, containinga descending fourth and gradually expandingas the movement proceeds, he summons up anorchestral crescendo with a forward drive that isquite simply irresistible.

It was certainly irresistible to Sibeliusscountrymen, as they were rising up againstRussian rule. Murtomki continues: Sibelius ispainting a portrait of a Finnish nobleman andwarrior hero with no cause to bend his kneebefore any man. Lemminkinen is the Achillesof Finnish mythologyas well as a bit of a Don Juan. Sibelius transformed native folklore intomusical and political gold. It became one of hismost popular works.

THE ADVANTAGES OF INFLUENCBY EDDIE SILVA


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Sibelius was inspired by Finlands epiclyric poem,Kalevala, which is the source mate-rial for the Lemminkinen Suite . In September,the St. Louis Symphony performed the secondtone poem of Sibeliuss Four Legends series,The Swan of Tuonela, featuring Cally Banhamon English horn. With its depiction of a River ofDeath into the underworld, it precedes the herosdescent into that world,Lemminkinen in Tuonela. The nal tone poem, which you hear in theseconcerts, is the heros triumphant resurrection. But Sibelius said he was less interested intelling a story than an expression of a state of

mind the depiction of characters and the pro-cesses of the soul. He is concerned with emotion.

EDVARD GRIEGPiano Concerto in A minor, op. 16

A BOYS WILL When Edvard Grieg was 14 yearsold, in 1858, in Leipzig, he attended a concert inwhich Clara Schumann performed her husbandsPiano Concerto. Grieg was smitten. He stored theexperience away in a place where artists go aftertheyve begun to realize how they may respond tothe ineffable. Griegs story is that of a young man fromthe provinces with big ideas, who must go to thecapitals to nd where those ideas may be nur -tured. His Norwegian home is not one of thosecapitals, but he gains some fame and conductinggigs there. But he wants to be a composer. He goes to Denmark, a more musicallysophisticated place, and nds mentors andfriends of like minds. To write, he moves to thecountryside north of Copenhagen. He will ndsome peace therea peace that comes droppingslow in those gentle passages in the middle of thenal movement.HEAR ME ROAR It feels like a young mans work youth pushing at the boundaries, challenging theinstrument, the orchestra, himself. It opens withas bold a statement as to be heard in music. I AMHERE! it roars savagely, as young men will. Thosefew bars actually killed one pianist. He playedthem then collapsed, and died not long after.

BornDecember 8, 1865,Hmeenlinna, FinlandDiedSeptember 20, 1957, Jrvenp, FinlandFirst PerformanceApril 13, 1896, by thePhilharmonic Society inHelsinki, conducted bySibeliusSTL Symphony PremiereThis weekScoringute2 piccolos2 oboes2 clarinets2 bassoons4 horns3 trumpets3 trombonestubatimpanipercussionstringsPerformance Timeapproximately 7 minutes


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You know that opening. If you ever pre-tended to be a famous piano virtuosoromantic,powerful, emotivethis is the theme you pre-tended to play. But after that famous roar, the concertobecomes something else. A compelling tender-ness lls the concert hall, as if this is where the youth was trying to get to all along. After theimpetuosity and the exposition of unbridledemotions, he tries a little tenderness. In the lovely second movement Adagio(meaning: play a little slower now) the orchestracozies up to the piano, the strings and horns give

it a little lift, a little support you heretofore didntthink it really needed, or would have repelledbefore. The piano insinuates itself into the orches-tral discussion, and quite naturally becomes themain topic, with no one the worse for it. The woodwinds give the nal movement agentle push, and the piano takes on a light, airycharacter, in contrast to the more robust beat ofthe orchestra. The movement takes on a pasto-ral mood with the ute, the piano responding inkind like a gentle creek in summer. The piano takes on a more vibrant theme,with much scurrying across the keys. In themovie version in your head, you see the impas-sioned youth and the orchestra collapsing asone, together at the end. Of course this concerto would gure prominently in cinema when thatart form came around:Intermezzo, with IngridBergman and Leslie Howard. There was the cin-ematic before there was cinema. Griegs PianoConcerto is proof of that.

RITE OF INITIATION Griegs concerto premieredin Copenhagen in 1869. A year later, he gains anaudience in Rome with the famous Franz Lisztkind of like an audience with the Pope. He offers

the renowned virtuoso and composer the con-certo score, and Liszt sits at his piano to play it.I really wondered if he would play my

concerto unrehearsed, Grieg wrote. I myselfbelieved this was impossible. Liszt, however, obvi-ously did not share my view. And so he began toplay. After his accomplishment, I must add thatfurther perfection is inconceivable; he playedthe Cadenza, which technically is exceedingly

Born June 15, 1843, Bergen, NorwayDiedSeptember 4, 1907, Bergen,NorwayFirst PerformanceApril 3, 1869, in Copenhagen;Edmund Neupert, the pianistto whom Grieg dedicatedthe score, played the solopartSTL Symphony Premiere January 30, 1908, KatharineGoodson was soloist, withMax Zach conductingMost Recent STL SymphonyPerformanceOctober 10, 2010, AndrWatts was soloist, withGilbert Varga conductingScoring2 utes

piccolo2 oboes2 clarinets2 bassoons4 horns2 trumpets3 trombonestimpanistringsPerformance Timeapproximately 30 minutes


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dif cult, perfectly! Afterwards, he handed me thescore and said: Just stay your course. I tell youtruly, you have the ability neededlet nothingfrighten you! I cannot express the importance ofhis words. It was as though he initiated me. Manytimes when disappointments or bitterness areabout to overwhelm me, my thoughts return towhat he told me then, and my remembrance ofthat moment enables me to keep up my courage.

ROBERT SCHUMANNConcertstck in F major for Four Horns and

Orchestra, op. 86NEW WAVE Technological innovation changesthe art being produced as much as it changeseverything else. And in art, as with every-thing else, it is rst met with resistance. HerbieHancock walked into a Miles Davis recordingsession and saw an electric piano. He thoughtDavis was joking. It looked like a kids toy. Davistold him to shut up and play the thing and a newkind of jazz happened. In the early 19th century several clever tinker-ers got obsessed with horns. Heretofore, a horn was a single length of tubing and crazy dif cultto play. Even the best hornists could manufactureonly a few notes within a single scale. That tubewas a beast to keep in tune. Valves. The clever tinkerers invented valvesand changed music. It took a while though. Theearly valves were clunky. They made the hornsheavy and were dismissed. But clever tinker-ers never stop (look at all those Gillette razors!)and the valved horn became a supple, agile, andaccommodating instrument, one with which a virtuoso hornist could play every note. Composer Robert Schumann considered

himself a new wave artist (kind of like theTalking Heads) and was enthusiastic about thisnew technological innovation. In 1849, his mostproli c year as a composer, he wrote out theConcertstck (Concert Piece) in F major for FourHorns and Orchestra in two days. This Concertstck puts the horn on fantas-tic display. You love harmonies? Here is the workfor you, especially in the opening movement. You

Born June 8, 1810, Zwickau, SaxonyDied July 29, 1856, Endenich, nearBonnFirst PerformanceFebruary 5, 1850, Schumannconducted the LeipzigGewandhaus OrchestraSTL Symphony PremiereDecember 5, 1992, withsoloists Roland Pandol,Lawrence Strieby, RogerKaza, and James Wehrman,with Raymond LeppardconductingMost Recent STL SymphonyPerformanceNovember 8, 1998, withsoloists Roland Pandol, James Wehrman, TodBowermaster, and RobertLauver, with Hans VonkconductingScoring4 solo horns2 utespiccolo2 oboes2 clarinets2 bassoons2 horns

2 trumpets3 trombonestimpanistringsPerformance Timeapproximately 21 minutes


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love the song-like quality of the instrument? Thesecond movement is as lyrical as youll nd any -where. You like to see musicians sweat? Checkout the nale.

FRANZ LISZTLes Prludes

LISZTOMANIA As a composer, Liszt was musi-cally aligned with Wagner, and thus in oppositionto Brahms and the Schumanns. Such divisions,of course, are not necessarily so black and white,

but as the latter composers/musicians were turn-ing to a more Classical mode, Liszt and Wagnerwere all out Romantics producing musical highdramaas well as some personal high drama. Liebestod, or Love-Death, is a theme attrib-uted to Wagneran erotic death, a love consum-mated through or after deathand given its mostimpressive musical realization inTristan undIsolde . Liszt was hooked into this theme too, asso many artists have been. W.B. Yeats said, Sexand death are the only things that can interest aserious mind. One of Liszts innovations as a composer isthe creation of the symphonic poem, a single-movement work intended to express a dramaticprogram or extra-musical idea.Les Prludes issuch a work. Preludes to what? you might ask.This is Liszts preface to the score:

What is life but a series of preludes tothat unknown song whose rst andsolemn note sounds with death? Loveis the enchanted dawn of existence. Butwhat fate is there whose delights arenot interrupted by some cruel storm? And what wounded soul, eeing suchtempest, does not seek solace in nature?

But man does not long resign himselfto the comfort of natures bosom, andwhen the trumpet sounds the alarm hetakes up his perilous post.

Program notes 2014 by Eddie Silva

BornOctober 22, 1811, Raiding,AustriaDied July 31, 1886, Bayreuth, BavariaFirst PerformanceFebruary 23, 1854, in Weimar,under the composersdirectionSTL Symphony PremiereNovember 10, 1911, Max ZachconductingMost Recent STL SymphonyPerformanceMarch 1, 2009, with Jun MrklconductingScoring3 utespiccolo2 oboes2 clarinets2 bassoons

4 horns2 trumpets3 trombonestubatimpanipercussionharpstringsPerformance Timeapproximately 16 minutes


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Hannu Lintu most recentlyconducted the Symphonyin October 2013.

HANNU LINTUANN AND LEE LIBERMAN GUEST ARTISTS

Chief Conductor of the Finnish Radio SymphonyOrchestra since August 2013, Hannu Lintu previ-ously held the positions of Artistic Director andChief Conductor of the Tampere PhilharmonicOrchestra, Principal Guest Conductor with theRT National Symphony Orchestra, Dublin, and Artistic Director of the Helsingborg Symphony,and Turku Philharmonic orchestras.

Highlights of Lintus 2014-15 season includehis debut with the Hall Orchestra and appear-ances with the BBC Scottish Symphony, Warsaw

Philharmonic, and Lahti Symphony orches-tras, as well as WDR Sinfonieorchester Kln,Orquestra Simfnica de Barcelona, and TokyoMetropolitan Symphony Orchestra. In the U.S.he returns to the Baltimore Symphony Orchestraand makes his debut with the Detroit Symphonyand Minnesota orchestras. Last season Lintustepped in at short notice to conduct thePhilharmonia Orchestra, and other recentengagements have included the Royal ScottishNational Orchestra, Deutsches Symphonie-Orchester Berlin, MDR SinfonieorchesterLeipzig, and Orchestre national de Lyon; theRoyal Stockholm Philharmonic and GothenburgSymphony orchestras; and the CincinnatiSymphony Orchestra and Houston Symphony.

Recent operatic projects include Aulis

SallinensKullervo at the 2014 Savonlinna OperaFestival and Tannhuser with Tampere Operain 2012. Regularly appearing with the FinnishNational Opera, Lintu has conducted severalproductions includingParsifal (directed by HarryKupfer), Carmen, and SallinensKing Lear . Hehas also worked with Estonian National Opera,recording Tauno PylkknensMare and Her Son.

Hannu Lintu studied cello and piano at theSibelius Academy, where he later studied con-ducting with Jorma Panula. He participated inmasterclasses with Myung-Whun Chung at the Accademia Chigiana in Siena, Italy, and took rstprize at the Nordic Conducting Competition inBergen in 1994.


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MARKUS GROHWHITAKER GUEST ARTIST

Pianist Markus Groh gained immediate worldattention after winning the Queen ElisabethInternational Competition in 1995, the rstGerman to do so. Since then he has built an inter-national reputation on his remarkable soundimagination and astonishing technique, con-rming his place among the nest pianists inthe world today. European highlights this seasoninclude a performance with the Finnish RadioOrchestra, a tour with the Flanders Symphonyand a live television broadcast of Hindemiths

Piano Concerto under Hannu Lintu in Finland.In the U.S., Groh plays a recital on the HayesPiano Series at Kennedy Center, in addition toconcerto performances with the HarrisburgSymphony and the Florida Orchestra.

Widely acclaimed for his interpretations ofLiszt, an all-Liszt CD (including theTotentanz andB-minor Sonata) was released by AVIE in 2006. Itwas named Editors Choice inGramophone . Ahighly acclaimed all-Brahms CD was released by AVIE in June of 2008. Other recordings include aCD of Debussy, Proko ev, and Britten cello sona -tas with Claudio Bohrquez on Berlin Classics and a CD of LisztsTotentanz with the Orchestrede la Suisse Romande, conducted by Fabio Luision Cascavelle.

Groh is the founder and artistic director of

the Bebersee Festival near Berlin. He also appearsfrequently on radio and television in Europe, theU.S., Canada, Mexico, Brazil, and Japan. A prize-winning documentary featuring Groh and a rep-lica of Steinways rst piano (built in 1836) on arecital tour traveling by horse and carriage wasbroadcast nationwide by ARD in Germany onthree separate occasions in 2011.

Markus Groh was born on January 5, 1970 insouthern Germany. He was a student of ProfessorKonrad Richter in Stuttgart and Professor HansLeygraf in Berlin and Salzburg. Groh has recentlybeen named Professor of Piano at the Universityof the Arts in Berlin.

Markus Groh makes his St.Louis Symphony debut inthese concerts.


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ROGER KAZARoger Kaza rejoined the St. Louis Symphony asPrincipal Horn in the fall of 2009, after 14 yearswith the Houston Symphony. He was previously amember of the St. Louis Symphony horn sectionfrom 1983-95, and prior to that held positions inthe Vancouver Symphony, Boston Symphony, andthe Boston Pops, where he was solo horn under John Williams. A native of Portland, Oregon, heattended Portland State University, studying withChristopher Leuba, and later transferred to theNew England Conservatory in Boston, wherehe received a Bachelor of Music with Honors in

1977 under the tutelage of Thomas E. Newell, Jr. An avid bicyclist, hiker, and whitewaterrafter, Roger Kaza is especially fond of the horn inits original setting: out-of-doors. A performanceof Olivier Messiaens Interstellar Call, from hissuite From the Canyons to the Stars, was recordedat the bottom of the Grand Canyon.

THOMAS JSTLEINThomas Jstlein began as Associate PrincipalHorn with the St. Louis Symphony in April 2010.Most recently, he served as Assistant Professorof Horn at the University of Illinois, leading thecharges in the Champaign-Urbana SymphonyOrchestra and Ian Hobsons Sinfonia da Camerawhile teaching horn and orchestral repertoire.

From 2007-09, Jstlein was the New YorkPhilharmonics Assistant Principal Horn, play-ing all positions, including Principal and ThirdHorn. Under the direction of Lorin Maazel,he performed on three major tours, including

the historic live broadcast from North Korea.Previously, he held positions with the Honolulu,Omaha, Richmond, and Kansas City symphonyorchestras over a course of 13 years.

Jstlein studied with hornists William VerMeulen and Thomas Bacon at Rice University,and privately with tubists Arnold Jacobs andRoger Rocco. He has taught at the University ofHawaii and Virginia Commonwealth University.

Roger Kaza most recentlyperformed as soloist withthe Symphony in April 2012.

Thomas Jstlein makes hisSt. Louis Symphony solodebut in these concerts.


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TOD BOWERMASTER CAROLYN AND JAY HENGES GUEST ARTIST

Tod Bowermaster, a native of Ottawa, Illinois,is Third Horn of the St. Louis Symphony, aposition he has held since 1995. He servedas Acting Assistant Principal in the 2008-09season and Acting Principal for the 2002-03season. Bowermaster has appeared as a solo-ist with the orchestra on numerous occasions.He has also performed as a soloist with theHonolulu Symphony and the Sun Valley SummerSymphony, among others. Before his appoint-ment to the St. Louis Symphony he was a memberof the Honolulu Symphony and the Lyric Operaof Chicago Orchestra. In October of 2012, he washonored to be a member of the World Orchestrafor Peace, performing at New Yorks CarnegieHall and Chicagos Symphony Center underthe direction of Valery Gergiev. Winner of the1999 American Horn Competition and the 1982Coleman Chamber Ensemble Competition, hecontinues to enjoy performing in both solo and

chamber music settings.

CHRISTOPHER DWYER Christopher Dwyer was appointed to the SecondHorn position in the St. Louis Symphony by DavidRobertson during the spring of 2014. Dwyer alsoserves as Second Horn for the Colorado MusicFestival Orchestra in Boulder during the summermonths. Prior to moving to St. Louis he servedas Second Horn for the Jacksonville SymphonyOrchestra and the New Mexico SymphonyOrchestra, as well as the Principal Horn for theSarasota Opera Orchestra. Dwyer has frequentlyperformed as a guest with many other orchestrasincluding the Philadelphia, Chicago, Cleveland,Los Angeles, Cincinnati, Baltimore, Malaysian,and Kansas City symphony orchestras.

Christopher Dwyer received his Bachelorof Music degree from the Cleveland Institute ofMusic where he was a student of Eli Epstein. Healso studied with the eminent Dale Clevengerwhile serving as a member of the CivicOrchestra of Chicago. An avid baseball fan,hiker, and craft beer enthusiast, he is marriedto utist Laura Dwyer.

Tod Bowermaster mostrecently performed as asoloist with the Symphony

in September 2007.

Christopher Dwyer makeshis Symphony solo debut inthese concerts.


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PLAYING SCHUMANNS CONCERTSTCKROGER KAZA, PRINCIPAL HORN

Its almost as hard as it was inSchumanns day. Back then it was

nearly impossible. He was very optimis-tic about the new valved horns that had just come out.

The rst part is the most challeng -ing. Its extremely high, extremely con-tinuous playing. Weve actually re-writ-ten some of it to spread out the parts tomake it easier on the rst player.

A BRIEF EXPLANATION You 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. For

example, what do the tempo markingsLebhaft; Romanze: Ziemlich langsam,doch nicht schleppend;and Sehr lebhaft mean in Schumanns Concertstck?

Lebhaft: lively, sprightly, or brisk Romanze: Ziemlich langsam, doch nicht schleppend: Romance: Quite slow, butnot draggingSehr lebhaft: very lively, sprightly, or brisk

Roger Kaza

D ILIP V ISHWANAT


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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.

sibelius//english Jean Sibelius website produced by the FinnishClub of Helsinki

youtube.comGrieg Piano Concerto You may nd many interpretations of thefamous concerto by many different soloists

John Worthen, Robert Schumann: Life andDeath of a Musician

Yale University Press A thorough and well-written study of a bril-liant and tormented life

Ken Russell, director,LisztomaniaDVDIts a train wreck of a movie, with The WhosRoger Daltrey playing a rock-star Liszt, butit might be worth watching just to see RingoStarr play the Pope

Read the program notes online. Go to stlsymphony.org.Click Connect, thenProgram Notes. Also learn more about this season of anniversaries with videos and podcasts. Click Connect, then 10-50-135.

Keep up with the backstage life of the St. Louis Symphony, as chronicled bySymphony staffer Eddie Silva, viastlsymphony.org/blog

Download our NEW APP!Buy tickets to concerts anywhere, anytime. Exploreupcoming performances, listen to podcasts, watch video, and share up-to-the-minute information about concerts, programs, and promotions.The new STLSymphony app is available for iPhone and Android. Search STL Symphony in your app store.

The St. Louis Symphony is on


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AUDIENCE INFORMATIONBOX OFFICE HOURSMonday-Saturday, 10am-6pm;closed Sunday. Concert Hours: Fridaymorning Coffee Concerts open 9am;all other concerts open 2 hours prior toconcert through intermission.

TO PURCHASE TICKETS

Box Of ce: 314-534-1700Toll Free: 1-800-232-1880

Online: stlsymphony.orgFax: 314-286-4111 A 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 Of ce at 314-534-1700 and be sure to have your ticketswith you when calling.

GROUP AND DISCOUNT TICKETS314-286-4155 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 theOrchestra and Grand Tier Levels at acost of 25 cents.

FM radio headsets are available atCustomer Service.

Cameras and recording devices aredistracting for the performers andaudience members. Audio and videorecording and photography are strictlyprohibited 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 theconcert will be seated at the discretionof the House Manager.

Age for admission to STL Symphonyand Live at Powell Hall concerts varies, however, for most events therequired age is ve or older. All patrons,regardless of age, must have their owntickets and be seated for all concerts.

All children must be seated with anadult. Admission to concerts is at thediscretion of the House Manager.

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Powell Hall is not responsible forthe loss or theft of personal property.To inquire about lost items, call314-286-4166.

POWELL HALL RENTALSSelect elegant Powell Hall for your nextspecial occasion. Visit: stlsymphony.org.Click About Us, then Hall Rental formore 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)

WIGHTMANGRANDFOYER

TICKET 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 - November 8, 2014

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