St. Louis Symphony Program - Jan. 18-20, 2013

7/29/2019 St. Louis Symphony Program - Jan. 18-20, 2013

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CONCERT PROGRAMJanuary 18-20, 2013

Leonard Slatkin, conductor

Courtney Lewis, conductor (January 20)St. Louis Symphony Chorus

Amy Kaiser, director

CINDY MCTEE Double Play (2010) (b. 1953)

The Unquestioned AnswerTempus Fugit

STRAVINSKY Symphony of Psalms (1930) (1882-1971)

Exaudi orationem meamExpectans expectavi Dominum

Alleluia. Laudate Dominum

St. Louis Symphony ChorusAmy Kaiser, director

INTERMISSION

HOLST The Planets, op. 32 (1914-16) (1874-1934)

Mars, the Bringer o WarVenus, the Bringer o PeaceMercury, the Winged Messenger

Jupiter, the Bringer o JollitySaturn, the Bringer o Old AgeUranus, the Magician

Neptune, the Mystic

Women o the St. Louis Symphony ChorusAmy Kaiser, director


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ACKNOWLEDGMENTS

Leonard Slatkin is the Monsanto Guest Artist.

Amy Kaiser is the AT&T Foundation Chair.

The St. Louis Symphony Chorus is the Essman Family Foundation Guest Artist.

The concert of Friday, January 18, is underwritten in part by a generous giftfrom Drs. Dan and Linda Phillips.

The concert of Saturday, January 19, is underwritten in part by a generous giftfrom Mr. and Mrs. Michael F. Neidorff.

The concert of Sunday, January 20, is underwritten in part by a generous giftfrom Mr. and Mrs. David L. Steward.

Pre-Concert Conversations are presented by Washington University Physicians.

These concerts are part of the Wells Fargo Advisors Series.

Large print program notes are available through the generosity of Mosby

Building Arts and are located at the Customer Service table in the foyer.


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TIMELINKS

1914-16HOLSTThe PlanetsWorld War I engulsEurope

1930STRAVINSKYSymphony of PsalmsGerman physicistsdiscover the neutron

2010CINDY MCTEEDouble Play

Haitian earthquakecreates widespreaddevastation

The three compositions on our program spannearly a century: the earliest dates from 1916,

the most recent from 2010. That chronologyplaces these works in the broad historical eraof modernism, a period that many concertgoersonce regarded with antipathy. But with thepassing of time, the music of the early 20thcentury has become more familiar, and thatfamiliarity has caused it to seem no longerabrasive or confounding. Instead, we aretoday able to appreciate the originality, theexpressiveness, even the melodiousness of musicby the early modern masters.

We also can perceive the individuality ofthese composers. Certainly it would be difcult tond two personalities more dissimilar than IgorStravinsky and Gustav Holst. The former was athoroughly cosmopolitan musician. Born intoa cultured Russian family, Stravinsky lived and

worked in Paris during the years in which thatcity was the worlds most vibrant cultural center,and he traveled widely, conducting his music inmajor cities throughout Europe and America.Holst, by contrast, was modest and retiring. Hespent much of his career as a schoolteacher, andused his spare time to study philosophy, religion,and other metaphysical subjects.

The two large compositions on our program

reect these differences. Stravinskys Symphonyof Psalms sets texts that have long held a reveredplace in Judeo-Christian worship, and its musicis scored with a restraint that underscores itsprevailing sense of stark majesty. Holsts ThePlanets, on the other hand, takes its inspirationfrom the zodiac and revels in instrumental colorand sonic energy.

Understanding and appreciation of the early

modernists also makes the music of our owntime more accessible. Our concert begins with arecent piece by American composer Cindy McTee.Although one would hardly confuse her DoublePlay with the work of Stravinsky or any othermusician of the early 20th century, its rhythms,harmonic idiom, and instrumental colorscould hardly exist without the pathbreakinginnovations of her musical predecessors.

A CENTURY OF MUSICBY PAUL SCHIAVO


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CINDY MCTEEDouble Play

A DISTINGUISHED AMERICAN COMPOSERDescribed as a fresh and imaginative voice in

the world of concert music, Cindy McTee grewup in a musical family in the Pacic Northwest.Her mother played clarinet and saxophone, herfather the trumpet, and McTee spent childhoodhours hearing them rehearse jazz standards. Afterearning a degree in music from Pacic LutheranUniversity, in Tacoma, Washington, she did post-graduate work at the Yale School of Music andthe University of Iowa. She also completed a year

of study in Poland with one of that nations mostsignicant contemporary composers, KrzysztofPenderecki. McTee subsequently taught for morethan 25 years at the University of North Texas.She recently retired her post as Regents Professorof Composition there. In 2011 she married theconductor Leonard Slatkin, a longtime championof her music.

McTees works have been performed by manyorchestras, including the St. Louis Symphony.The composer has received numerous awards,including fellowships from the Guggenheim andFulbright Foundations, American Academy ofArts and Letters, and the National Endowmentfor the Arts. She also won the 2001 LouisvilleOrchestra Composition Competition.

QUESTION AND ANSWER Double Play waswritten to fulll a commission from the Detroit

Symphony Orchestra and was rst performedin June 2010 by that ensemble, conducted bySlatkin. The piece consists of two movements,which can be played independently or, as wehear them now, together. McTee calls the rstmovement The Unquestioned Answer. Thattitle evokes one of the most famous American

compositions of the 20th century, Charles IvessThe Unanswered Question, and McTees music is agloss on Ivess iconic work. As in The UnansweredQuestion, melodic phrases unfold over complexsustained sonorities, provided mainly by thestrings. Those phrases are variants of the venotetheme of Ivess piece, which, McTee notes, isheard in both its backward and forward versionsthroughout the work. And as in The Unanswered

BornFebruary 20, 1953, Tacoma,

WashingtonNow ResidesBloomeld Hills, Michigan

First PerformanceJune 3, 2010, in Detroit,Leonard Slatkin conductedthe Detroit SymphonyOrchestra

STL Symphony Premiere

This week

Scoring2 futespiccolo3 oboes2 clarinetsE-fat clarinet3 bassoons4 horns3 trumpets3 trombonestubatimpanipercussionharpstrings

Performance Timeapproximately 17 minutes


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Question, a feeling of contemplation and mysterypervades the movement.

Those qualities carry over into the openingminutes of Tempus Fugit, the second partof Double Play, where music redolent of the

previous movement sounds against clockworkpercussion gures moving at different speeds.But the character of events suddenly changes,as the tempo accelerates and the proceedingsgrow animated, even frenetic. Here, McTee notes,jazz rhythms and harmonies, quickly-movingrepetitive melodic ideas and fragmented formecho the multifaceted and hurried aspects of 21st-century American society. Midway through, thefast-paced music pauses for a recollection of thepreceding movement; but it soon recaptures itsmomentum and races to an exciting conclusion.

IGOR STRAVINSKYSymphony of Psalms

A SYMPHONY TO SINGIgor Stravinsky was,among many other things, one of the 20th

centurys outstanding composers of religiouslyinspired music. His stature as such rests in nosmall part on his Symphony of Psalms. Stravinskywrote this work in 1930 to commemorate the 50thanniversary of the Boston Symphony Orchestra.For this occasion the composer wanted to writea symphony, but not the traditional kind. As

he explained in his 1936 autobiography: Myidea was that my symphony should be a workwith great contrapuntal development, and forthat it was necessary to increase the media atmy disposal. I nally decided on a choral andinstrumental ensemble in which the two elementsshould be on an equal footing.

Having settled on a symphony with voices,Stravinsky came quite naturally, as he described

it, to the psalms for its texts. He started settingverses from three of them in Slavonic translationsbut soon came to favor the sound of Latin. Theresulting Symphony of Psalms was performed inBoston, on December 19, 1930, six days afterreceiving its premiere, in Brussels.

In scoring his music, Stravinskydeemphasized the role of the string instrumentsin favor of winds and percussion. Violins and

BornJune 17, 1882, Oranienbaum,Russia

DiedApril 6, 1971, New York City

First PerformanceDecember 13, 1930, in Brussels,Ernest Ansermet conductedthe Socit Philharmonique

de Bruxelles orchestra andchorus

STL Symphony PremiereJanuary 20, 1956, VladimirGolshmann conducting, withthe Sumner High Schoola capella Choir under thedirection o Kenneth Billups


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violas are absent entirely from his orchestra,while the cello and bass parts are largelylimited to accompaniment gures that supportmore conspicuous foreground events. Thisinstrumental deployment affects not just the

compositions spectrum of aural colors butalso its rhetorical character. The music conveysan austerity and remote grandeur to which thetraditionally warm and intimate tone of violinsand violas is unsuited. It is notable, in view ofthis, that Stravinsky deplored what he calledthe lyrico-sentimental view of the psalms,describing them instead as magisterial verses.

CHRIST, ELIJAH, AND BACH Stravinsky composedthe rst movement, he remembered, in astate of religious and musical ebullience. Itsinitial gesture is an incisive chord that returnsperiodically to punctuate both the archinginstrumental lines of the opening measures andthe entreaties of the chorus.

The second movement offers contrapuntal

treatment of two themes, one given out by theorchestra, the other, somewhat later, by thechorus. Stravinsky evidently was inspired by thegreat chorus-with-orchestra movements of J. S.Bachs sacred works. The Kyrie of Bachs Massin B minor may not have been the formal modelfor this music, but the two movements have acertain kinship of sound and spirit.

The closing lines of the second movement

call for a new song, and we get just that withthe intoning of Alleluia at the start of the nale.Stravinsky described the slow introduction tothis third movement, whose music will recur atseveral important junctures, as a prayer to theRussian image of the infant Christ with orb andscepter. A restrained tone and circling repetitionof limited melodic material impart a liturgicalquality. Soon the tempo accelerates for a faster

section which, the composer explained, wasinspired by a vision of Elijahs chariot climbingthe Heavens. Stravinsky nally returns to themusic of the introduction, extending it in apassage of great stillness and concluding themovement much as it began.

Most RecentSTL Symphony PerformanceNovember 19, 2006, DavidRobertson conducting, withthe St. Louis SymphonyChorus under the direction

o Amy Kaiser

Scoringmixed chorus5 futespiccolo4 oboesEnglish horn3 bassoonscontrabassoon4 horns4 trumpetspiccolo trumpet3 trombonestubatimpanibass drumharp2 pianoscellosbasses



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GUSTAV HOLSTThe Planets, op. 32

ESOTERIC PURSUITS Gustav Holst belongs to that

fascinating tradition, the eccentric English artist.A frail, shy descendant of German and Russianimmigrants, Holst was idealistic, obsessive,and solitary. Throughout his life he delved intomysticism and esoteric studies, even learningSanskrit in order to read Hindu scriptures intheir original language.

These interests might seem unrelated toHolsts efforts as a composer, but in fact they were

closely connected to it. As a rule, Holst onceadmitted, I only study things which suggestmusic to me. Consequently, a number of Holstsearly works were operas and choral settings basedon sacred Hindu texts. During the years just priorto World War I, he became interested in astrologyand learned to cast horoscopes. It is uncertainwhether he gained from this activity the insightinto human nature and the workings of the worldthat astrologys devotees ascribe to the discipline,but the diverse characters associated with theplanets in both astrology and Roman mythologydid indeed suggest music to Holst. The resultwas The Planets, a suite of seven short tone poemsbegun in 1914 and completed two years later.This work proved immediately and enormouslysuccessful, and it remains Holsts best-known

composition.A MUSICAL ZODIAC Each of the seven movementsthat comprise The Planets expresses a moodsuggested by the astrological sign associatedwith its particular planet. These pieces fall intotwo general types: scherzando movements,which are lively, brash, and rhythmic; and quietmeditations of a remote, timeless nature. The

former group includes Mars, which opens ThePlanets in thunderous fashion; Mercury, withanimated music appropriate to its namesake;Jupiter, whose character derives in large partfrom the avor of English folk song, though nopopular tunes are actually quoted; and Uranus.Among the contemplative sections are Venus;Saturn, described by Holst as conveying notso much the physical decay of old age but a

BornSeptember 21, 1874,

Cheltenham, EnglandDiedMay 25, 1934, London

First performance:September 29, 1918, inLondon, English conductorAdrian Boult led the NewQueens Hall Orchestra; Boultalso directed the works initial

public perormance, whichhe gave with the LondonPhilharmonic Orchestra onFebruary 27, 1919

STL Symphony PremiereJanuary 14, 1973, LeonardSlatkin conducting the rstull perormance oThePlanets, with the RonaldArnatt Chorale and Missouri

SingersMost RecentSTL Symphony PerformanceMarch 6, 2010, DavidRobertson conducting, withWomen o the St. LouisSymphony Chorus under thedirection o Amy Kaiser

Scoring

womens chorus3 futes2 piccolosalto fute3 oboesbass oboeEnglish horn3 clarinetsbass clarinet3 bassoons


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vision of fulllment; and Neptune, where theorchestra, playing hushed, reverent sonorities, isjoined in the nal passage by a wordless chorusof womens voices.

Despite these two broad groupings, each

planet is distinct in character and thematicmaterial, a few well-chosen melodic cross-references notwithstanding. Many admirabledetails of compositional craftsmanship contributeto the vividness of Holsts zodiac portrayals.Among other things, we can note the brilliantorchestration, the deft handling of syncopatedrhythms and unusual meters, and the hauntingmodal melodies of its slow movements. Theeffectiveness of these elements has not faded,and The Planets is still one of the most generallyimpressive and widely enjoyed orchestral worksto have come out of England in the last century.

Program notes 2013 by Paul Schiavo

contrabassoon6 horns4 trumpets3 trombonestubatenor tuba

timpanipercussioncelestaorgantwo harpsstrings



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LEONARD SLATKINMONANTO GUEST ARTIST

Internationally acclaimed American conductorLeonard Slatkin began his tenure as Music

Director of the Detroit Symphony Orchestra inSeptember of 2008. In addition to his post at theDSO, he serves as Music Director of the OrchestreNational de Lyon, an appointment which began inAugust 2011. He is also Principal Guest Conductorof the Pittsburgh Symphony Orchestra, a postthat began in fall 2008, and is the author of a newbook entitled Conducting Business.

Following a 17-year appointment as

Music Director of the St. Louis Symphony,where he retains the title Conductor Laureate,Slatkin became Music Director of the NationalSymphony Orchestra in Washington, D.C.in 1996. Other positions in the United Stateshave included Principal Guest Conductor ofthe Minnesota Orchestra, where he founded itsSommerfest; rst Music Director of the ClevelandOrchestras summer series at the Blossom MusicFestival, an appointment he held for nine years;Principal Guest Conductor of the Los AngelesPhilharmonic Orchestra at the Hollywood Bowlfor three seasons; and additional positions withthe New Orleans Philharmonic and the NashvilleSymphony Orchestra. In Great Britain he servedas Principal Guest Conductor of both thePhilharmonia Orchestra of London and the Royal

Philharmonic, and was also Chief Conductor ofthe BBC Symphony Orchestra.Born in Los Angeles to a distinguished

musical family, his parents were the conductor-violinist Felix Slatkin and cellist Eleanor Aller,founding members of the famed HollywoodString Quartet. Leonard Slatkin began his musicalstudies on the violin and studied conducting withhis father, followed by Walter Susskind at Aspen

and Jean Morel at the Juilliard School. He is theproud parent of a son, Daniel, who attends theUniversity of Southern California. He is marriedto composer Cindy McTee, and they reside inBloomeld Hills, Michigan.

Leonard Slatkin most recently conducted theSt. Louis Symphony in November 2010.

Leonard Slatkin isConductor Laureate o the

St. Louis Symphony.


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COURTNEY LEWISJANUARY 20 CONCERT

Hailed by theBoston Phoenixas both an inspiredconductorand an inspired programmer,

Courtney Lewis is quickly becoming recognizedas one of todays top emerging talents. He isfounder and music director of Bostons acclaimedDiscovery Ensemble, a chamber orchestrawith the mission of introducing inner-cityschoolchildren to classical music while bringingnew and unusual repertoire to establishedconcert audiences. Lewis is also AssociateConductor of the Minnesota Orchestra, where

he regularly conducts Young Peoples concerts,outdoor concerts, and other performances,making a successful subscription debut in the2011-12 season.

In November 2008 Lewis made his majorAmerican orchestra debut with the St. LouisSymphony. Other recent and upcomingappearances include returns to the UlsterOrchestra (for a series of BBC Radio 3 InvitationConcerts as well as on subscription) anddebuts with the Colorado and New Hampshiremusic festivals as well as the Atlanta andMemphis symphonies, Naples Philharmonic,

Washingtons National Symphony Orchestra,RT National Symphony Orchestra of Ireland,and the Lausanne Chamber Orchestra.Appointed a Dudamel Fellow with the Los

Angeles Philharmonic for the 2011-12 season,he made his debut with that orchestra in fall2011, returning for additional performances inthe spring.

Born in Belfast, Northern Ireland, Lewisattended the University of Cambridge, duringwhich time he studied composition with RobinHolloway and clarinet with Dame Thea King,graduating with starred rst class honors. After

completing a masters degree with a focus on thelate music of Gyrgy Ligeti, he attended the RoyalNorthern College of Music, where his teachersincluded Sir Mark Elder and Clark Rundell.

Courtney Lewis most recently conducted theSt. Louis Symphony in February 2011.

Courtney Lewis made hismajor American orchestra

debut with the St. LouisSymphony in 2008.

Travis

anderson


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AMY KAISERAT&T FOUNDATION CHAIR

One of the countrys leading choral directors,Amy Kaiser has conducted the St. Louis

Symphony in Handels Messiah, Schuberts Massin E-at, Vivaldis Gloria, and sacred works byHaydn and Mozart as well as Young PeoplesConcerts. She has made eight appearances asguest conductor for the Berkshire Choral Festivalin Shefeld, Massachusetts, Santa Fe, and atCanterbury Cathedral. As Music Director of theDessoff Choirs in New York for 12 seasons, sheconducted many performances of major works at

Lincoln Center. Other conducting engagementsinclude concerts at Chicagos Grant Park MusicFestival and more than fty performances with theMetropolitan Opera Guild. Principal Conductorof the New York Chamber Symphonys SchoolConcert Series for seven seasons, Kaiser also ledmany programs for the 92nd Street Ys acclaimedSchubertiade. She has conducted over twenty-veoperas, including eight contemporary premieres.

A frequent collaborator with Professor PeterSchickele on his annual PDQ Bach concerts atCarnegie Hall, Kaiser made her Carnegie Halldebut conducting PDQs Consort of ChoralChristmas Carols. She also led the Professor inPDQ Bachs Canine Cantata Wachet Arf withthe New Jersey Symphony.

Kaiser has led master classes in choral

conducting at Indiana University Jacobs Schoolof Music, served as faculty for a Chorus Americaconducting workshop, and as a panelist for theNational Endowment for the Arts. An activeguest speaker, Kaiser teaches monthly classes foradults in symphonic and operatic repertoire andpresents Illuminating Opera for four weeks inApril at Opera Theatre of St. Louis.

Amy Kaiser has prepared choruses for the

New York Philharmonic, Ravinia Festival, MostlyMozart Festival, and Opera Orchestra of NewYork. She also served as faculty conductor andvocal coach at Manhattan School of Music andthe Mannes College of Music. An alumna of SmithCollege, she was awarded the Smith CollegeMedal for outstanding professional achievement.

Amy Kaiser prepares the St.Louis Symphony Chorus or

perormances oThe Matrix,April 5-6, 2013.


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Amy KaiserDirector

Leon Burke, IIIAssistant Director

Gail HintzAccompanist

Susan PattersonManager

Nancy Davenport AllisonRev. Fr. Stephan BaljianStephanie A. BallNick BearyRudi J. BertrandAnnemarie Bethel-PeltonPaula N. BittleJerry BolainMichael Bouman

Richard F. BoydKeith BoyerPamela A. BransonBonnie BrayshawMarella BrionesDaniel P. BrodskyBuron F. Buffkin, Jr.Leon Burke, IIICherstin ByersLeslie CaplanMaureen A. CarlsonVictoria CarmichaelMark CereghinoJessica Klingler CissellRhonda Collins CoatesTimothy A. ColeDaniel CopelandDerek DahlkeLaurel Ellison Dantas

Deborah DawsonMary C. DonaldStephanie M. EngelmeyerLadd FaszoldJasmine J. FazzariHeather FehlRobin D. Fish, Jr.Alan FreedMark FreimanAmy Gatschenberger

Lara GerassiMegan E. GlassSusan GorisKaren S. GottschalkJacqueline GrossSusan H. HagenClifton D. HardyNancy J. HelmichEllen HenschenJeffrey E. HeylMatthew S. Holt

Allison HoppeHeather HumphreyKerry H. JenkinsMadeline KaufmanPaul V. KunnathKendra LeeDebby LennonGregory C. LundbergGina MaloneJamie Lynn Marble

Kellen MarkovichJan Marr aLee MartinAlicia MatkovichDaniel MayoRachael McCreeryElizabeth Casey

McKinneyScott MeidrothBrian MulderJohanna NordhornDuane L. OlsonNicole OrrHeather McKenzie

PattersonSusan PattersonMatt PentecostBrian PezzaShelly Ragan Pickard

Sarah PriceValerie ReichertKate ReimannDavid ResslerGregory J. RiddlePatti Ruff RiggleStephanie Diane

RobertsonTerree RowbottomPaul N. Runnion

Jennifer RyrieSusan SampsonPatricia ScanlonMark V. ScharffSamantha Nicole SchmidPaula K. SchweitzerLisa SienkiewiczJanice Simmons-JohnsonJohn William SimonCharles G. SmithShirley Bynum Smith

Joshua StantonAdam StefoDavid StephensBenna D. StokesDenise StookesberryGreg StorkanMaureen TaylorMichelle D. TaylorJustin ThomasNatanja Tomich

Pamela M. TriplettDavid TrumanGreg UpchurchRobert ValentineKevin VondrakSamantha WagnerKeith WehmeierNicole C. WeissDennis WillhoitPaul A. WilliamsChristopher WiseMary WissingerSusan Donahue YatesElena ZaringCarl S. Zimmerman

ST. LOUIS SYMPHONY CHORUS 2012-2013SYMPHONY OF PSALMS


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Amy KaiserDirector

Marella BrionesAssistant Director

Gail HintzAccompanist

Susan PattersonManager

Nancy Davenport AllisonStephanie A. BallPaula N. BittlePamela A. BransonBonnie BrayshawMarella BrionesCherstin ByersMaureen A. Carlson

Victoria CarmichaelRhonda Collins CoatesLaurel Ellison DantasDeborah DawsonHeather FehlMegan E. GlassSusan GorisKaren S GottschalkNancy J. HelmichEllen HenschenAllison Hoppe

Heather HumphreyMadeline KaufmanKendra LeeDebby LennonGina MaloneJamie Lynn MarbleRachael McCreeryElizabeth Casey McKinneyJohanna Nordhorn

Heather McKenziePatterson

Susan PattersonValerie ReichertKate ReimannPatti Ruff RiggleStephanie Diane RobertsonJennifer RyriePatricia ScanlonLisa SienkiewiczJanice Simmons-Johnson

Denise StookesberryPamela M. TriplettSamantha WagnerNicole C. WeissMary WissingerSusan Donahue YatesElena Zaring

WOMEN OF THE ST. LOUIS SYMPHONY CHORUSTHE PLANETS

dilip vishwanaT


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Psalm 38, v 13, 14Exaudi orationem meam, DomineEt deprecationem meam.

Auribus percipe lacrimas meas.Ne sileas: Quoniam advena ego sumapud teEt peregrinus, sicut omnes patres mei.Remitte mihi ut refrigererPrius quam abeam et amplius non ero.

Psalm 39, v 1-3Expectans expectavi DominumEt intendit mihiEt exaudivit preces meas:Et eduxit me de lacu miseriae,Et de luto faecis.Et statuit super petram pedes meos:Et direxit gressus meos.Et immisit in os meum canticum novum,Carmen Deo nostro.Videbunt multi et timebunt:Et sperabunt in Domino.

Psalm 150Laudate Dominum in sanctis ejus.Laudate eum in frmamento virtutis ejus.Laudate eum in virtutibus ejus.Laudate eum secundum multitudinem

magnitudinis ejus.Laudate eum in sono tubae.Laudate eum in timpano et choro.Laudate eum in chordis et organo.

Laudate eum in cymbalis benesonantibus.Laudate eum in cymbalis jubilationibus.Omnis spiritus laudat Dominum.Alleluia.

Hear my prayer, O LordAnd my supplication.

Give ear unto my cryNor be silent: for I am a stranger with

theeAnd a foreigner, like all my fathers.Spare me, that I may be refreshedBefore I go hence and am no more.

I waited patiently for the LordAnd He inclined unto meAnd heard my prayer,And brought me up out of a horrible pit,And out of the foul mud.And set my feet upon a rockAnd directed my step.And He hath put a new song in my mouth,A song of our God.Many shall see and shall fearAnd shall hope in the Lord.

Praise the Lord in His sacred places,Praise Him in the rmament of His power.Praise Him for His mighty acts.Praise Him according to his excellent

greatness.Praise Him with the sound of the trumpet.Praise Him with drums and voices.Praise Him with strings and organ.

Praise Him with high-sounding cymbals.Praise Him with cymbals of joy.Let everything that has breath praise the Lord.Alleluia.

SYMPHONY OF PSALMS


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St. Louis Symphony Program - Jan. 18-20, 2013

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