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St. Louis Symphony Extra - Feb. 1, 2014

St. Louis Symphony Extra - Feb. 1, 2014

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The program insert for the performance of the St. Louis Symphony for Jan. 31, Feb. 1-2, 2014. This is meant to accompany the live broadcast of the Symphony on St. Louis Public Radio at 8 p.m. on Feb. 1. Join us at 90.7 FM or online at stlpublicradio.org.
The program insert for the performance of the St. Louis Symphony for Jan. 31, Feb. 1-2, 2014. This is meant to accompany the live broadcast of the Symphony on St. Louis Public Radio at 8 p.m. on Feb. 1. Join us at 90.7 FM or online at stlpublicradio.org.

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Published by: St. Louis Public Radio on Jan 31, 2014
Copyright:Attribution Non-commercial

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12/20/2014

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23
CONCERT PROGRAM
 January 31-February 1-2, 2014
 Jaap van Zweden, conductor
 BEETHOVEN
 
Symphony No. 5 in C minor, op. 67
 
(1807-08)
 
(1770-1827)
 
Allegro con brio Andante con moto Allegro— Allegro 
INTERMISSION
 SHOSTAKOVICH
 
Symphony No. 5 in D minor, op. 47
 
(1937)
 
(1906-1975)
 
Moderato Allegretto Largo Allegro non troppo
 
24
ACKNOWLEDGMENTS
 Jaap van Zweden is the Lucy and Stanley Lopata Guest Artist.The concert of Friday, January 31, is underwritten in part by a generous gift from Karen and Bert Condie III.The concert of Saturday, February 1, is underwritten in part by a generous gift from Mr. and Mrs. Wilfred R. Konneker.The concert of Saturday, February 1, is underwritten in part by a generous gift from Mr. and Mrs. Lynn Britton.The concert of Sunday, February 2, is underwritten in part by a generous gift from Dr. William H. Danforth.Pre-Concert Conversations are presented by Washington University Physicians.These concerts are sponsored by Thompson Coburn LLP.These concerts are part of the Wells Fargo Advisors Series.Large print program notes are available through the generosity of Dielmann Sotheby’s International Realty and are located at the Customer Service table in the foyer.
 
25
FROM THE STAGE
Diana Haskell, Associate Principal Clarinet, on Shostakovich’s Symphony No. 5:
 “The clarinets have a lot of noodly runs—a lot of fast notes up high in the screech area. It’s like screaming, in a sense. Shostakovich channeled his frus-trations and anger at Stalin’s government in the music. One of his common  ways of getting out those frustrations was wild passages in the winds, usually
played in unison. To play it all in tune and to make it sound good is difcult.“I’m playing the E-at clarinet part. With the E-at you feel very alone.
There are a lot of exposed solos, especially in the second movement. The most prominent solo is quirky, a little sarcastic, a little in-your-face, but also a little lost.”
Shostakovich

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