The St.

Louis Symphony is grateful to Peter Oundjian for agreeing to lead the orchestra on its season finale on short notice, filling in for Rafael Frhbeck du Burgos due to ill health.

Peter Oundjian
Felix and Eleanor Slatkin Guest Artist

Toronto-born conductor Peter Oundjian, noted for his probing musicality, collaborative spirit, and engaging personality, has been an instrumental figure in the rebirth of the Toronto Symphony Orchestra (TSO) since his appointment as Music Director in 2004. In addition to conducting the orchestra in dynamic performances that have achieved outstanding artistic acclaim, he has been greatly involved in a variety of new initiatives that have strengthened the ensembles presence in the community and attracted a young and diverse audience. In 2004, he established an annual celebration of new music, showcasing new compositions and premiering commissioned works. Now an audience favorite, the New Creations Festival celebrates the best in contemporary orchestral music and attracts celebrated contemporary composers. In his tenure with the TSO, Oundjian has also released five recordings on the orchestras self-produced record label, tsoLIVE. The award-winning documentary Five Days in September: The Rebirth of an Orchestra, is available on DVD and chronicles Oundjians first week as Music Director of the Toronto Symphony Orchestra. In addition to his post in Toronto, Oundjian has been named the Music Director of the Royal Scottish National Orchestra, starting in the 2012-13 season. Oundjian was Principal Guest Conductor of the Detroit Symphony Orchestra from 2006 to 2010 and played a major role at the Caramoor International Music Festival in New York between 1997 and 2007. He has served as a visiting professor at the Yale School of Music since 1981. In May 2009, Oundjian received an honorary doctorate from the San Francisco Conservatory. During the 2011-12 season, Oundjian conducts the Colorado Symphony, Dallas Symphony Orchestra, Seattle Symphony, Israel Philharmonic Orchestra, and the Royal Scottish National Orchestra. Oundjian was educated in England, where he studied violin with Manoug Parikian. He then attended the Royal College of Music in London, where he was awarded the Gold Medal for Most Distinguished Student and Stoutzker Prize for excellence in violin playing. He completed his violin training at the Juilliard School in New York, where he studied with Ivan Galamian, Itzhak Perlman, and Dorothy DeLay. Oundjian was the first violinist of the renowned Tokyo String Quartet, a position he held for 14 years. He and his wife Nadine have two children, Lara and Peter. Peter Oundjian most recently conducted the St. Louis Symphony in April 2012.

Program change for May 5 and 6, 2012

Glinkas Ruslan and Lyudmila Overture has been added to the Saturday and Sunday program.

GLINKA
(1804-1857)

Ruslan and Lyudmila Overture (1837-42)

RACHMANINOFF
(1873-1943)

Piano Concerto No. 3 in D minor, op. 30 (1909)

Allegro ma non tanto Intermezzo: Adagio Finale: Alla breve Stephen Hough, piano

Intermission

BEETHOVEN
(1770-1827)

Symphony No. 5 in C minor, op. 67 (1807-08)

Allegro con brio Andante con moto Allegro Allegro

Stephen Hough Ellen Atwood Armstrong Guest Artist Stephen Hough is widely regarded as one of the most important and distinctive pianists of his generation. In recognition of his achievements, he was awarded a prestigious MacArthur Fellowship in 2001. He received the 2008 Northwestern University School of Musics Jean Gimbel Lane Prize in Piano Performance and was recently named winner of the 2010 Royal Philharmonic Society Instrumentalist Award. Hough has appeared with most of the major American and European orchestras and plays recitals regularly in the important halls and concert series around the world. Hough is also a regular guest at festivals such as Salzburg, Ravinia, Tanglewood, Edinburgh, Aldeburgh, and the BBC Proms, where he has made over 15 concerto appearances. In the summer 2009 he played all of the works for piano and orchestra of Tchaikovsky over four Prom concerts, three of which were broadcast live on BBC television. Highlights of Houghs 2011-12 season include return engagements with the Minnesota Orchestra and the Pittsburgh, National, and Seattle symphonies; the world premiere of the orchestrated version of his Mass with the Indianapolis Symphony; recitals in San Francisco, Chicago, Miami, Paris, Stockholm, and Santa Fe; an extensive tour of recitals and concerto appearances throughout Australia; and orchestral appearances with the London Philharmonic, Finnish Radio, Netherlands Philharmonic, and Leipzig Radio Orchestra, and a residency with the Singapore Symphony. Hough is also an avid writer and composer. He has written for the Guardian and Times, and was invited by the Telegraph Media Group in 2008 to start what has become one of the most popular cultural blogs. He has also written extensively about theology for the print media and his book, The Bible as Prayer, was published in the U.S. and Canada by Paulist Press in 2007. Houghs recent compositions include a cello concerto, The Loneliest Wilderness; two choral worksMass of Innocence and Experience and Missa Mirabiliswhich were performed at Londons Westminster Abbey and Westminster Cathedral respectively; a trio, Was mit den Trnen geschieht, commissioned by members of the Berlin Philharmonic; and a sonata for piano, Broken Branches, which will be premiered at Wigmore Hall. A resident of London, Hough is a visiting professor at the Royal Academy of Music in London and holds the International Chair of Piano Studies at his alma mater, the Royal Northern College in Manchester. For further information please visit www.stephenhough.com. Stephen Hough most recently performed with the St. Louis Symphony in April 2012.

Rach Fest 2 + Beethoven 5

BY JAY GOODWIN

Mikhail Glinka Ruslan and Lyudmila Overture

Born: Novospasskoye, near Yelnya, Smolensk district, Russia, June 1, 1804 Died: Berlin, February 15, 1857 First performance: December 9, 1842, in St. Petersburg, with the premiere of the opera Ruslan and Lyudmila STL Symphony premiere: March 16, 1923, Rudolf Ganz conducting Most recent STL Symphony performance: September 8, 2011, Ward Stare conducting the Forest Park Concert Scoring: Two flutes, two oboes, two clarinets, two bassoons and contrabassoon, four horns, two trumpets, three trombones, timpani, and strings Performance time: Approximately five minutes

In Context 1837-42 Queen Victoria crowned in Westminster Abbey; field of photography revolutionized with announcement of daguerreotype process, named for inventor Louis Daguerre; Tchaikovsky born Russia was an extremely late-blooming country when it came to concert music, so when Mikhail Glinka began to achieve considerable national and international acclaim in the mid-19th century, he was the first Russian composer to do so. His reputation as the father of Russian art Glinka composing Ruslan and Lyudmila, music was cemented through the posthumous gratitude portrait by Ilya Repin and acknowledgment he received from many famous Russian composers of the generations that followed. Ruslan and Lyudmila, composed between 1837 and 1842, is the second of Glinkas two operas and is based on Pushkins poem of the same name, an irreverent and complex variation on the Sleeping Beauty myth. Though the full opera has achieved a comfortable place in the repertoire only in its native land, where it is deeply revered and frequently performed, its infectiously energetic overture is a popular concert piece the world over.

Serge Rachmaninoff Piano Concerto No. 1 in F-sharp minor, op. 1

Born: Oneg, Novgorod District, Russia, April 1, 1873 Died: Beverly Hills, March 28, 1943 First performance: March 17, 1892 at the Moscow Conservatory (first movement only), Rachmaninoff was the soloist, Vasily Safonov conducted; the revised version was first performed on January 18, 1919, in New York, Rachmaninoff was the pianist, Modest Altschuler conducted the Russian Symphony Orchestra STL Symphony premiere: December 29, 1911, Arthur Shattuck was soloist, with Max Zach conducting the early version of the work Most recent STL Symphony performance: April 27, 2012, Stephen Hough was soloist, with Hans Graf conducting Scoring: Solo piano with pairs of flutes, oboes, clarinets, and bassoons, four horns, two trumpets, three trombones, timpani and other percussion, and strings Performance time: Approximately 27 minutes

In Context 1890-91 Anton Chekhov visits Russian penal colony at Sakhalin and writes on inhumane conditions there; Tchaikovskys ballet The Sleeping Beauty premieres at the Mariinsky Theatre in St. Petersburg; Prokofiev born in Ukraine Rachmaninoff began life as the privileged child of a wealthy and aristocratic Russian family, spending his first eight years at one of his mothers five country houses and receiving his education from private tutors. His musical training began early; both of his parents were Rachmaninoff amateur pianists, and his mother started teaching him the instrument when he was just four years old. Rachmaninoffs extraordinary talent showed itself quickly, and the family arranged for Anna Ornatskaya, an advanced teacher from St. Petersburg, to take over his instruction. The young Rachmaninoffs idyllic situation was not to last, however, as his father was rapidly squandering the familys fortune and giving away its properties to settle his debts. By 1882, the money ran out. The family was forced to sell its final estate and move into an apartment in St. Petersburg, where Rachmaninoff enrolled in the conservatory with the help of a scholarship. But the next few years were disastrous. Rachmaninoffs sistera talented singer died in a diphtheria epidemic, his parents separated, and in 1885, distressed and distracted, he failed all of his non-musical subjects. Rachmaninoffs prospects were saved when his mother sent him to the Moscow Conservatory to live and study with Nikolay Zverev. Notoriously demanding and strict, Zverev enforced a comprehensive regimen of practice and cultural education, teaching Rachmaninoff music history and theory, sending him to concerts, and introducing him to leading musicians of the day. Soon Rachmaninoff was excelling once again, and by 1888, he had started composing and was accepted to the conservatorys senior department. The Music The Piano Concerto No. 1 has a dual history. It was originally written, in 1890 and 1891, when the teenaged Rachmaninoff was in his final year of studies. Encouraged by his teachers to use an existing work

Rachmaninoff

as a model, Rachmaninoff chose Griegs Piano Concerto, and the stylistic and structural similarities are clearly evident, starting with the bombastic opening fanfarea very short orchestral introduction followed by virtuosic, cascading double octaves for the soloist. But after a single performance of the first movement with the conservatory orchestra, Rachmaninoff decided the work needed revisions before he could play it again. This did not happen for more than 25 years. Finally, in 1917after he had already completed the beloved Second and Third concertos as well as two symphoniesRachmaninoff returned to his first work in the genre. The revisions were extensive and affect the entirety of the piece, but they mainly address issues of orchestration, texture, and balance, with the aim to achieve greater clarity. The structure and thematic material was for the most part retained (though Rachmaninoff did replace the tutti section that comes about a third of the way through the first movement, much of the cadenza, and the opening of the finale). It was a great disappointment to Rachmaninoff when the revised Concerto No. 1 received a tepid response from the public. I have rewritten my First Concerto, the composer told a friend. It is really good now. All the youthful freshness is there, and yet it plays itself so much more easily. And nobody pays any attention. When I tell them in America that I will play the First Concerto, they do not protest, but I can see by their faces that they would prefer the Second or Third. As Rachmaninoff himself pointed out, it is the youthfulness and impetuosity of the Concerto No. 1which the composer could easily have removed or toned down during his revisions and chose not tothat are its greatest strengths. In stark contrast to most of Rachmaninoffs music, there is not an abundance of long-breathed, hummable melody. Instead, there is the sense of a brilliant young composer balancing his many inspirations and finding his own voice. His incredible technical skill at the piano is evident in the finger-tangling figurations, wide leaps, and rapid-fire octaves. The sonorous booming of Russian church bells can be heard in the pianos tolling chords at the end of the first flourish that opens the piece, as well as throughout the cadenza. And in addition to the obvious debt to Grieg, one is often reminded of other Romantic predecessors of Rachmaninoff, including Chopin (listen to the delicate, Nocturne-like lyricism of the slow movement), Schumann (the rapidly shifting episodic passages and the playful tinklings in the upper register toward the end of the slow movement), Glinka (the striking allusion to the overture that began tonights program just before the works conclusion), and Tchaikovsky (who had heard and expressed his admiration for some of Rachmaninoffs student work). But Rachmaninoffnotably unaffected by the rapid and fundamental changes in musical expression in the early decades of the 20th century was not trying to imitate or fit in, and would not have been bothered if listeners heard other composers in his work. In my own compositions, the composer wrote late in his life, no conscious effort has been made to be original, or Romantic, or Nationalistic, or anything else. I write down on paper the music I hear within me, as naturally as possible.

Serge Rachmaninoff Piano Concerto No. 3 in D minor, op 30

Born: Oneg, Novgorod District, Russia , April 1, 1873 Died: Beverly Hills , March 28, 1943 First performance: November 28, 1909, in New York; the composer was the piano soloist, Walter Damrosch conducted the New York Symphony STL Symphony premiere: January 27, 1928, Vladimir Horowitz was soloist, with Bernardino Molinari conducting Most recent STL Symphony performance: September 27, 2008, Yefim Bronfman was soloist, with David Robertson conducting Scoring: Solo piano and an orchestra of double woodwinds (pairs of flutes, oboes, clarinets, and bassoons), four horns, two trumpets, three trombones, tuba, timpani and other percussion, and strings Performance time: Approximately 39 minutes

In Context 1909 Russian troops invade Persia in support of ruling Shah; Matisses Dance commissioned for stairwell of Moscow mansion; Diaghilevs Ballets Russes takes Paris by storm In the 18 years between the completion of the Piano Concerto No. 1 and the composition of the Piano Concerto No. 3 in 1909, Rachmaninoff had survived the darkest period of his career and re-emerged as one of Russias greatest composers. In 1897, his First Symphony was premiered under the leadership of Alexander Glazunov Rachmaninoff with disastrous consequences. By all accounts, the piece was under-rehearsed and incompetently played; Glazunov may also have been drunk. In any case, the response was scathing. Composer/ critic Csar Cui wrote that if there were a conservatory in Hell, and if one of its talented students were to compose a program symphony based on the story of the Ten Plagues of Egypt, and if he were to compose a symphony like Mr. Rachmaninoffs, then he would have fulfilled his task brilliantly and would delight the inhabitants of Hell. Rachmaninoff was so devastated by the experience that he fell into an artistic paralysis and wrote almost nothing for three years. Finally, after autosuggestive therapy (an alternative to hypnosis based on the belief that if a patient believes his condition is improving, it will improve in reality) with psychologist Nikolai Dahl, Rachmaninoff triumphantly resurfaced from his creative hibernation in 1901 with the Piano Concerto No. 2, perhaps his most popular and enduring work. After that, his life and career dramatically improved. He was happily married in 1902, had his first child in 1903, and accepted the directorship of the Bolshoi Theater for two seasons beginning in 1904. After his tenure there ended and his conducting responsibilities lessened, compositions began to flow once more, including the Second Symphony (190607), the First Piano Sonata (1907), and The Isle of the Dead (1909). The Third Piano Concerto was written in the summer of 1909 in preparation for his first American tour. It was premiered in New York on November 28 of that year, and became the composers own favorite among his concertos.

Peter Joslin ArenA PAl

Rachmaninoff

The Music Although the Third is the most technically demanding for the soloist of Rachmaninoffs concertos (and one of the most demanding in the entire repertoire), it is the least overtly virtuosic, the least showy, of the four. It is Rachmaninoffs most seamless marriage of piano and orchestra, and its three movements proceed with remarkable dramatic tautness, producing the effect of a single, unbroken journey. The first movement seems almost to begin mid-sentence with a simple, hushed theme characteristic of the composers melodic stylemoving in narrow intervals and hovering around a central tonethat Rachmaninoff claimed simply wrote itself. After the soloist subjects the theme to kaleidoscopic exploration above a more earthbound orchestral foundation, the songlike second theme appears with melodramatic passion. After the unsettling development section leads to a shattering climax, the cadenzaan amazingly varied and dramatic creation and one of Rachmaninoffs most amazing achievementssuddenly coalesces from scraps of melody and forms the heart of the movement. The orchestra then quietly rejoins the piano, and the opening theme returns to usher in a brief, unsettled coda. The second movement, titled an Intermezzo even though it offers no escape from the tension of the outer movements, is based on a single melody that assumes a variety of guises, from the languor of its first appearance to the hysterics of the central section. After a brief return to the melody in its original form, the soloist suddenly bursts into a rhapsodic passage that acts as a bridge to the final movement, which proceeds without pause. The Finale begins with a fanfare full of impossibly quick figurations for the soloist that immediately demonstrates the level of virtuosity required in this movement. Underlined by nervy snippets of march-like rhythm that alternate with episodes of searching lyricism, the movement gradually increases in intensity and forward momentum until the march wins out for good, the soloist and orchestra hurtling through the final pages to the dazzling histrionics of the concertos clamorous conclusion.

Ludwig van Beethoven Symphony No. 5 in C minor, op. 67

Born: Bonn, December 16, 1770 Died: Vienna, March 26, 1827 First performance: December 22, 1808, in Vienna, the composer conducting STL Symphony premiere: December 5, 1907, Max Zach conducting Most recent STL Symphony performance: March 11, 2010, David Robertson conducting Scoring: Two flutes and piccolo, two oboes, two clarinets, two bassoons and contrabassoon, two horns, two trumpets, three trombones, timpani, and strings Performance time: Approximately 31 minutes

In Context 1807-08 Great Britain bans slave trade; Napoleon forms alliance with Russias Czar Alexander I; Beethovens Symphony No. 4 premieres Legendary works of art tend to breed an intimidating mystique, an insulating aura of unassailable greatness that does more to distance the work from its audience than to encourage its appreciation. Many of the people who wait in line every day to catch a 15-second glimpse of the Mona Lisa do so not because they expect to be captivated by Beethoven Leonardos mastery, but simply to be able to say theyve seen it. Readers stagger their way through Ulysses, a few finding inspiration in Joyces linguistic command, many breathing a sigh of relief to have finally turned the last page. In all fairness, Beethovens Fifth should battle against the same forces of misunderstanding. Its opening measures are as familiar as anything in music history, and as musicologist George Grove wrote, it is the only [symphony] which is sufficiently well known to have broken the barriers of a repulsive nomenclature, and to have become familiar, outside a certain more or less initiated circle, by its technical name. It has been featured in countless movies, television shows, and commercials. Today it can be heard ringing out in concert halls not just from the stage, but also from the speakers of unscrupulous audience members cellular phones. It has even been used as political propaganda in the darkest of times: During World War II, the Allies co-opted its opening bars to begin radio broadcasts because the short-short-short-long rhythm spells V (for victory) in Morse code. In response, Goebbels forbid the broadcast of any performance of Beethovens Fifth in Germany, despite the works important place at the heart of the Germanic symphonic tradition, which was itself so beloved and so hideously exploited by the Nazi regime. Consequently, writers and scholars are fond of claiming that currentday audiences, with ears desensitized by over-familiarity and clich, appreciate but little of the shocking originality contained in Beethovens famous symphony. This is rubbishan academic delusion utterly divorced from the exhilarating reality of hearing music so immediate in its impact and so consuming of its listeners attention. If anything, the symphonys effect on a new listener is amplified by the incredible discovery of what comes after the ubiquitous first eight notes.

Beethoven

The Music Beethovens work on this symphony began in 1804, just after the completion of the Eroica Symphony, but a series of interruptions prevented him from finishing it until four years later. One of the most productive periods in Beethovens career, those four years, in addition to the Fifth Symphony, saw the completion of the Fourth Symphony and most of the Sixth, the Fourth Piano Concerto, the Violin Concerto, the first two versions of Fidelio, the op. 59 Razumovsky String Quartets, the Appassionata Piano Sonata, and the Mass in C. In December 1808, at an ill-fated but well-chronicled four-hour-long concert at the Theater an der Wien in Vienna, the Fifth Symphony finally received its premiere performance along with much of the symphonic music listed above. There were many difficulties. The musicians were second-rate and underrehearsed, the music was fiendishly difficult, the program was far too long, and the heating system in the theater was broken. And yet, despite the poor performance and terrible conditions, Beethovens revolutionary new music had a powerful effect on the exhausted, freezing audience. Many listeners were at first confused by the daring and unfamiliar sound of Beethovens genius, but soon the Fifth was hailed as a masterpiece and entered the standard repertoire. It has never left. When describing this music, hyperbole is inevitable. From the first note to the last, the tension is unflagging, the sense of forward motion irresistible. And despite going through a number of Beethovens typical, violently scribbled revisions, the Fifth feels like a more seamless, unified whole than virtually any other symphony in the repertoire. Ingenious irregularities are conspicuous: The enigmatic oboe cadenza toward the end of the first movement; the exuberant surge without pause from the dark, foreboding Scherzo into the gleaming C-major finale; and the thunderous addition of trombones and contrabassoon in the final movement, for the first time ever in a symphony, are but a few examples. In so many ways, Beethoven broke away from the traditional idea of the Classical symphony, and yet his Fifth has become a definitive example of the expressive power of the form. This is precisely because one does not have to be an expert to feel the incendiary power of the music. Despite its familiarity, Beethovens Fifth will continue to awe and energize listeners, both new and experienced, as long as there are orchestras to play it. Countless words have been written in analysis of the piece, explaining its form, orchestration, harmonies, thematic structure, and historical significance, but ultimately none of it is essential. Its greatness requires no explanation.

Program notes 2012 by Jay Goodwin

Live at Powell Hall

From Rach Fest to Rock n Roll
Friday, May 11 at 7:30pm Music of Led Zeppelin

Amped up by a rock band and vocalist Randy Jackson singing the Robert Plant/Led Zeppelin catalogStairway to Heaven, Kasmir, Black Dog, Immigrant Songthe St. Louis Louis Symphony performs an evening of the most classic classic rock.

Friday, June 22 at 8pm Classical Mystery Tour

Classical Mystery Tour is going to take you away to more than 30 of the Beatles greatest hits, with a Fab Four on stage with the St. Louis Symphony. Follow the evolution of the band that changed the world from Hard Days Night to Sgt. Pepper to Abbey Road. Classical Mystery Tour returns to Powell Hall for one night only after sold-out performances in 2010.

Live at Powell Hall

American Songs
Sunday, May 13 at 2pm MICHAEL FEINSTEIN

Michael Feinstein

Known as the Ambassador of the Great American Songbook, Michael Feinstein has warmed the hearts of many for years. The multi-platinum selling and Grammy Award-nominated artist uses the influences of Gershwin and Sinatra in his songwriting and performing. For one night only, Michael Feinstein and the STL Symphony will captivate you with all your jazz and pop standard favorites! Presented by the Thomas A. Kooyumjian Family Foundation Sponsored by Novus

Friday, May 18 at 7:30pm RHAPSODY IN BLUE A popular sensation since its premiere, George Gershwins extraordinary Rhapsody in Blue melds jazz and classical creating a musical kaleidoscope of America. Hear talented rising star Sarina Zhang in her STL Symphony debut performing Gershwins showy masterpiece as well as the orchestra performing toe-tapping hits from Bernsteins sizzling West Side Story.
Sarina Zhang

St. Louis Symphony Youth Orchestra

2011-2012 Season Finale
Sunday, May 20 at 3pm Ward Stare, conductor Shelby Nugent, horn

SCHUBERT GLIRE RACHMANINOFF

Symphony No. 8, Unfinished Horn Concerto Symphonic Dances

The St. Louis Symphony Youth Orchestra completes another stellar season with the Winner of the Symphony Concerto Competition, Shelby Nugent, performing the highly virtuosic Glire Horn Concerto. The Orchestra also bids farewell to Resident Conductor Ward Stare, who becomes Music Director of the Macon Symphony Orchestra next season, and Youth Orchestra Manager Peggy Neilson, retiring after nearly 27 years of devoted service to the YO and the St. Louis Symphony. The Youth Orchestra receives support from the G.A. Jr. and Kathryn M. Buder Charitable Foundation Sponsored by Fitzs Root Beer Supported by the Fox Performing Arts Charitable Foundation

The St. Louis Symphony Salutes Its Retiring Members Jenny Lind Jones Haruka Watanabe Bradford Buckley

Jenny Lind Jones

Haruka Watanabe

Bradford Buckley

Thank you for a combined 128 years of service, commitment, and beautiful music.

Corporate Donor Spotlight: Mosby Building Arts

An Interview with Scott Mosby, President of Mosby Building Arts and host of The KMOX Home Improvement Show with Scott Mosby Why do you love home remodeling and sharing your expert home advice with others? My birth announcement was a blueprint, so I was literally born into remodeling. My father, Sam Mosby, was a carpenter who started our company in 1947, and his work ethic of leaving a home better than you found it still guides our company to this day. Remodeling also requires continuous education, which is why I commonly refer to my home improvement show as a university for your home. I learn as much from listeners and homeowners as they learn from me.

Scott Mosby

Your company has been designing, remodeling, and repairing homes for 65 years, how has it been successful for so long? By making a commitment to doing it right the first time, which means we stay educated on the best practices for sustainable value, and we treat everyones home as if it were our own. Both internally and to our clients, we say what well do and do what we say. Great customer service is just as important as good design and craftsmanship. First and foremost, we are in the business of building relationships, which is why we have so many loyal homeowners who let no one but Mosby take care of their homes. Their trust and respect is important to us, and I believe that integrity is the key to our longevity. Why is it so important to you to support such organizations as the St. Louis Symphony and Rebuilding Together St. Louis? We all share a common vision that every person deserves a safe and enriched quality of life. I am honored to be the spokesman for the volunteer organization Rebuilding Together St. Louis, whose renovation projects make a true difference in peoples lives. Mosby Building Arts is also thrilled to be a sponsor of the St. Louis Symphony this year. The Symphony is a long-standing cultural jewel in our community and plays an instrumental role in delighting and educating St. Louisans of all ages. It is truly impressive to see how many organizations are dedicated to making St. Louis a great place to live. For help regarding your home, call 314-909-1800 or visit callmosby.com.