CONCERT PROGRAM

November 23-25, 2012

David Robertson, conductor Gil Shaham, violin

J. STRAUSS, JR. Geschichten aus dem Wienerwald (1825-1899) (Tales from the Vienna Woods), op. 325 (1868)
Kurt von Eckroth, zither

(1732-1809)

HAYDN Symphony No. 104 in D major, London (1795)

Adagio; Allegro Andante Menuet: Allegro Finale: Spiritoso
INTER M I SS I O N

BEETHOVEN Violin Concerto in D major, op. 61 (1806)

(1770-1827) Allegro ma non troppo Larghetto Rondo: Allegro Gil Shaham, violin

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ACKNOWLEDGMENTS
David Robertson is the Beofor Music Director and Conductor. Gil Shaham is the Carolyn and Jay Henges Guest Artist. The concert of Friday, November 23, is underwritten in part by a generous gift from Mrs. Emily R. Pulitzer. The concert of Saturday, November 24, is underwritten in part by a generous gift from Larry and Cheryl Katzenstein. The concert of Saturday, November 24, is underwritten in part by a generous gift from Dr. and Mrs. Philip Needleman. The concert of Sunday, November 25, is underwritten in part by a generous gift from Mrs. Laura R. Orthwein. 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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FROM THE STAGE

St. Louis Symphony First Violin Jessica Cheng on Gil Shaham: First of all, he is always very passionate about what he is playing. You never feel like hes playing halfway. Hes always at about 200 percent. Hes also a very nice person, and that counts. As great as he is, there doesnt seem to be any ego. I first played with him when I was about 14. His Sibelius recording had just come out and I was listening to it all the time. I remember when I met him I called him Mr. Shaham. He said, Please, call me Gil. That made quite an impression on a 14-year-old violinist. He always has such a round, rich sound. Playing with him you know there will be a give and take between Gil and the orchestra, but he knows what he wants and what he wants to make out of the sound. He is the soloist, after all, so he comes here with something to say about the music and we want to complement him in every way we can.

Gil Shaham

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CITY OF MUSIC
BY PA U L SC H I AVO

TIMELINKS
1795 HAYDN Symphony No. 104 in D major, London Napoleon achieves increased political power in France 1806 BEETHOVEN Violin Concerto in D major, op. 61 Ingres paints Napoleon I on His Imperial Throne 1868 J. STRAUSS, JR. Geschichten aus dem Wienerwald (Tales from the Vienna Woods), op. 325 Brahmss Ein deutsches Requiem premieres

Viennathe name is almost synonymous with music. The cradle of musics classical tradition, the Austrian capital was home at various times to Haydn, Mozart, Beethoven, Brahms, Bruckner, and Mahler. In Vienna Franz Schubert, a native son, spent his brief life pouring forth songs, piano pieces, and symphonies. In Vienna Alban Berg, another life-long resident, wrote his haunting Violin Concerto. There the Strauss family filled the air with waltzes. What Paris has been to painters and London to writers, so Vienna has been to composers. Viennas rich musical heritage encompasses both serious and light music. Although the symphony, string quartet, piano sonata, and German art song are intimately connected with the composers who lived and worked there, music in the city has hardly been confined to such elevated compositional genres. Popular songs, dances, and theater music have also flourished there, giving expression to the spirit of gaiety and elegance that characterized the Austrian capital from the late 18th through the early 20th centuries. The best of this lighter Viennese fare displays a degree of artistry worthy of the more exalted genres of concert music. Our concert presents three works by composers who made Vienna home. The last in the great line of symphonies by Franz Joseph Haydn and the Violin Concerto of Beethoven represent the classical school of Viennese music, which flourished during the half-century around 1800. But we begin with a composition by the acknowledged master of what has come to be called Viennas light classical style, Johann Strauss the younger.

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JOHANN STRAUSS, JR. Geschichten aus dem Wienerwald (Tales from the Vienna Woods), op. 325 KING OF THE WALTZ Viennas tradition of refined popular music found its ideal expression in the waltz, and the most celebrated composer of that genre was Johann Strauss, Jr. It is not surprising that Strauss should have brought Viennese popular music to its pinnacle of sophistication. He was born not just into a musical family but into one for whom the Viennese popular style Born was a native tongue. His father, also named October 25, 1825, Vienna Johann Strauss (1804-49), was a violinist, Died orchestra leader, and composer who became the June 3, 1899, Vienna citys leading purveyor of light music during the First Performance second quarter of the 19th century. Unknown, but almost certainly The younger Johann Strauss followed in 1868, in Vienna, by the Johann his fathers footsteps, gaining renown as both a Strauss Orchestra, under the violinist and a composer. His skill in fashioning composers direction polkas, quadrilles, and especially waltzes STL Symphony Premiere established him as the worlds pre-eminent April 17, 1905, Alfred Ernst composer of dance music and earned him his conducting unofficial title, The Waltz King. It also won him Most Recent the respect of some of the best musical minds STL Symphony Performance of his day. Both Brahms and Wagner, Strausss January 12, 1975, Gerhardt greatest German contemporaries, were among Zimmermann conducting his admirers. When Brahms was introduced to Scoring Strausss daughter, he honored her request for 2 flutes piccolo his autograph by sketching the famous melody 2 oboes of her fathers waltz On the Beautiful Blue Danube 2 clarinets and adding: Not, alas, by yours truly, J. Brahms. 2 bassoons Excepting only On the Beautiful Blue Danube, 4 horns the most famous Strauss waltz is Tales from the 3 trumpets Vienna Woods. In this work, which dates from 3 trombones tuba 1868, Strauss transcends the usual function timpani and character of the waltz, creating music that percussion is as much a small tone poem as a dance piece. harp It begins with an introductory paragraph, a zither compressed piece of nature music with which strings we seem to awaken in the wooded countryside Performance Time outside the Austrian capital. (Did Mahler have this approximately 11 minutes passage subconsciously in his ear as he wrote the opening of his Symphony No. 1, another musical evocation of woodland at dawn?) The waltz melodies that follow include one of Strausss most famous themes, a poignantly nostalgic tune that perfectly evokes Old Vienna at the height of its Hapsburg-empire elegance.
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FRANZ JOSEPH HAYDN Symphony No. 104 in D major, London FROM VIENNA TO LONDON Franz Joseph Haydn was born in the Austrian village of Rohrau, but at age eight he came to Vienna as a member of the choir at St. Stephens Cathedral. Such an opportunity afforded him a solid education, especially in music, and when Haydn outgrew his usefulness as a choir boy he was able to support himself (although just barely) as a freelance composer, player, and teacher. Eventually he gained a position as resident composer and conductor of a fine orchestra at the court of Nikolaus, Prince Esterhzy, one of the most prominent and wealthy peers of the Hapsburg Empire and a lover of music. Prince Nikolaus divided his time between Vienna and his splendid rural estate, which he built to rival Versailles. His musical entourage traveled with him, so Haydn also spent about half the year in the capital and half in the nearby countryside. This arrangement evidently suited the composer. Certainly it did nothing to inhibit his creativity. During his three-decade tenure at the Esterhzy court, Haydn composed an extraordinary quantity of music: operas, string quartets and other chamber music, piano pieces, and more than 80 symphonies. But Haydns crowning achievements in the field of the symphony were written not for the Esterhzy court nor even for Vienna, where his compositions eventually became widely known and admired. In 1791-92 and again in 179495 Haydn obtained leave from his duties to the Esterhzy family in order to visit London, where he presented numerous concerts of his music. For these events Haydn wrote his final 12 symphonies, works that represent the genre at the peak of its early development. INDUCING RAPTURE Haydns last symphony dates from the spring of 1795. It has become known as the London Symphony, though that designation would equally describe any of the composers last dozen symphonies. Moreover,

Thomas hardy

Born March 31, 1732, Rohrau, Austria Died May 31, 1809, Vienna First Performance On or about April 13, 1795, in London, conducted by the composer STL Symphony Premiere January 7, 1909, Max Zach conducting Most Recent STL Symphony Performance October 24, 2004, Harry Bicket conducting Scoring 2 flutes 2 oboes 2 clarinets 2 bassoons 2 horns 2 trumpets timpani strings Performance Time approximately 29 minutes

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this is a composition very much in the Viennese classical manner, with nothing English about the music. The symphony received its first performance in April of that year, at which time a London newspaper, the Morning Chronicle, praised both the symphony and its rendition: This wonderful man never fails, the anonymous reviewer wrote of Haydn; and the various powers of his inventive and impassioned mind have seldom been conceived with more accuracy by the Band, or listened to with greater rapture by the hearers, than they were this evening. Audiences have been listening to the London Symphony with rapture for more than two centuries since then. It has long been among the most popular of Haydns compositions. The work follows the four-movement plan that by this time had become Haydns standard symphonic format. Haydn precedes the Allegro that constitutes the main body of the first movement with a solemn introduction in slow tempo, a feature of all but one of the symphonies the composer wrote for England. The ensuing Allegro begins with a melody that is by turns graceful and exuberant. Following a transitional passage, the music reaches a brief pause. Here Haydn surprises us, returning to his principal theme instead of presenting a second, contrasting idea. The single subject proves quite sufficient. Much of the movement, in fact, is based on a brief fragment of the melody beginning with four repeated notes. Nothing could be more characteristic of Haydns inventiveness than the diverse uses he finds for this unassuming motif. The second movement reveals again Haydns delight in the unexpected. Although the theme presented by the strings appears disarmingly simple, it offers a succession of surprises: sudden pauses, unexpected turns of melody and harmony, abrupt dynamic contrasts. It also contains unsuspected dramatic possibilities, as Haydn reveals in the movements central minor-key episode. Robust off-beat accents enliven the third movements minuet, to which the flowing central section provides a well-considered contrast. The finale centers on a melody whose rustic character is emphasized by the sustained drone that accompanies it. Haydn ingeniously combines this theme with several subsidiary motifs during the course of the movement, and he closes his career as a symphonist on a jubilant note.

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LUDWIG VAN BEETHOVEN Violin Concerto in D major, op. 61 IN VIENNA, A NEW PATH Beethoven was born and raised in Bonn, but he moved to Vienna permanently in 1792. There he quickly established himself as the foremost pianist in a city that could boast many fine keyboard players. His emergence as an important composer came more slowly. On his arrival in the Austrian capital Beethoven undertook studies with Haydn, and the earliest compositions he completed there closely reflected the older mans style. But by the end of the decade Beethoven was finding his own distinct manner, and soon he confided to a friend his determination to pursue a new path in his music. The musical landscape to which that path led came clearly into view in 1804, when Beethoven unveiled his Symphony No. 3, which he called Heroic Symphony, or Eroica. True to that title, it embodied music of unprecedented power and scale. The composer now moved boldly to consolidate the gains achieved in this symphony, producing other works whose dimensions and expressive fervor greatly exceeded the norms established by Haydn, Mozart, and other composers of the preceding period. Those works came in a torrent of creativity that reached its height in 1806. That year produced Beethovens Fourth Symphony and much of his Fifth, the three great Razumovsky String Quartets, the Fourth Piano Concerto, a new version of the opera Leonore (including the popular Leonore Overture No. 3) and, not least, the composers Violin Concerto. MORE THAN A SHOWPIECE Beethoven wrote this work as a favor for a violinist named Franz Clement, who performed it during a concert on December 23 of the same year. Clement was then one of the most respected musicians in Vienna and, by all accounts, a virtuoso of no mean ability. In fact, Beethoven reportedly did not finish the piece until just before the concert and Clement, astonishingly, played the solo part without benefit of practice or a rehearsal.
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Born December 16, 1770, Bonn Died March 26, 1827, Vienna First Performance December 23, 1806, in Viennas Theater-an-der-Wien; Franz Clement, for whom Beethoven had written the piece, was the soloist STL Symphony Premiere February 27, 1905, Fritz Kreisler was soloist, with Alfred Ernst conducting Most Recent STL Symphony Performance September 7, 2012, Christian Tetzlaff was soloist, with David Robertson conducting at Pariss Salle Pleyel at the conclusion of the recent European tour Scoring solo violin flute 2 oboes 2 clarinets 2 bassoons 2 horns 2 trumpets timpani strings Performance Time approximately 42 minutes

Violinists who have struggled with the works demanding passagework are, naturally, skeptical about this anecdote. Yet this concerto is neither a virtuoso showpiece nor an occasional composition produced quickly to flatter a renowned performer. The music suggests not only a high level of inspiration but the type of conscientious effort that generally attended the creation of Beethovens finest works. It is the first of the great 19th-century German concertos for the violin. Those that followed it, the concertos of Mendelssohn, Bruch, and Brahms, could scarcely have been conceived without the precedent of its expansive dimensions and elevated character. ORGANIC STRUCTURE AND SHEER MOMENTUM The work opens with four notes sounded quietly by the timpani. This motif proves more than just a fanfare for more lyrical ideas. It returns in different guises again and again throughout the first movement, a thread linking its various themes and sections. Its unifying influence is important, for the movement unfolds on a broad scale, as the lengthy orchestral exposition promises. A passage suggesting leisurely improvisation brings the solo instrument to the proceedings, and the violin now joins in exploring and developing the melodic ideas the orchestra has already set forth. Everything that follows derives from the handful of themes laid out during the initial paragraph. The result is perhaps Beethovens most successful resolution of the conflict inherent in the classical-period concerto between the highly individual posture of a virtuoso soloist and the desire for an organic musical structure based on the principle of thematic development. In contrast to the extended and complex first movement, the ensuing Larghetto reveals a simple and quite economical premise: a set of variations on a hymn-like theme first intoned by the muted string choir. Over each successive statement of this subject the soloist spins increasingly ornate countermelodies, its line soaring high above the orchestra. A deep serenity prevails. Only in approaching the cadenza, the featured performers soliloquy, do we encounter a moment of harmonic tension typical of Beethoven. The finale, which follows without pause, features a dance-like principal theme whose recurrences alternate with several contrasting episodes. The latter offer a variety of musical references: hunting calls from the orchestral winds; robust double-stops in the solo part that suggest a gypsy violin; and a minor-key lament in a rather operatic vein. Even more than Beethovens considerable skill in binding these diverse musical ideas into a coherent whole, the sheer momentum of the musicits feeling of inevitable progression through each idea and finally to the concluding measuremakes this one of the most satisfying finales of any concerto.

Program notes 2012 by Paul Schiavo

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DAVID ROBERTSON

BEOFOR MUSIC DIRECTOR AND CONDUCTOR

David Robertson leads the St. Louis Symphony on a California tour in spring 2013.

A consummate musician, masterful programmer and dynamic presence, David Robertson has established himself as one of todays most sought-after American conductors. A passionate and compelling communicator with an extensive orchestral and operatic repertoire, he has forged close relationships with major orchestras around the world through his exhilarating music-making and stimulating ideas. In fall 2012, Robertson launched his eighth season as Music Director of the 133-year-old St. Louis Symphony. In January 2014, Robertson will assume the post of Chief Conductor and Artistic Director of the Sydney Symphony in Australia. In September 2012, the St. Louis Symphony and Robertson embarked on a European tour, which included appearances at Londons BBC Proms, at the Berlin and Lucerne festivals, and culminated at Pariss Salle Pleyel. In March 2013 Robertson and his orchestra return to California for their second tour of the season, which includes an intensive three-day residency at the University of California-Davis and performance at the Mondavi Center for the Performing Arts, with violinist James Ehnes as soloist. The orchestra will also perform at venues in Costa Mesa, Palm Desert, and Santa Barbara, with St. Louis Symphony Principal Flute, Mark Sparks, as soloist. In addition to his current position with the St. Louis Symphony, Robertson is a frequent guest conductor with major orchestras and opera houses around the world. During the 2012-13 season he appears with prestigious U.S. orchestras such as the New York Philharmonic, Los Angeles Philharmonic, and San Francisco Symphony, as well as internationally with the Royal Concertgebouw Orchestra, Symphonieorchester des Bayerischen Rundfunks, Vienna Radio Symphony Orchestra, Israel Philharmonic, and Ensemble Intercontemporain. Born in Santa Monica, California, David Robertson was educated at Londons Royal Academy of Music, where he studied horn and composition before turning to orchestral conducting.
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michael Tammaro

GIL SHAHAM

CAROLYN AND JAY HENGES GUEST ARTIST

In the 2012-13 season, Gil Shaham continues his long-term exploration of Violin Concertos of the 1930s, including Barber, Bartk 2, Berg, Britten, Prokofiev 2, and Stravinsky in performances with the New York Philharmonic, Boston Symphony, Chicago Symphony, San Francisco Symphony, Kansas City Symphony, and abroad with the Orchestre de Paris and the NHK Symphony. In addition to taking on this breadth of repertoire he will perform with the Los Angeles Philharmonic, Philadelphia Orchestra, Pittsburgh Symphony, and Seattle Symphony in romantic and classical repertoire for which he is also acclaimed. He continues to concertize in recital including tours in the U.S., Europe, and Japan with pianist Akira Eguchi, as well as focusing on solo violin performances. Highlighted in these tours are two new works recently written for him, a solo suite by William Bolcom and a duo by Avner Dorman. Shaham has more than two dozen concerto and solo CDs to his name, winning him multiple Grammys, a Grand Prix du Disque, Diapason dOr, and Gramophone Editors Choice. His recent recordings are produced on the Canary Classics label, which he founded in 2004; they include Elgars Violin Concerto with the Chicago Symphony, Tchaikovskys Piano Trio in A with Yefim Bronfman and Truls Mrk, The Prokofiev Album, Mozart in Paris, and works by Haydn and Mendelssohn. The coming season will feature the release of the first of a series of the 1930s concertos, as well as a recording of Hebrew Melodies with his sister, pianist Orli Shaham, which will include the new Dorman work written for the artists. Gil Shaham was awarded an Avery Fisher Career Grant in 1990 and in 2008 he received the coveted Avery Fisher Award. He plays the 1699 Countess Polignac Stradivarius. He lives in New York City with his wife, violinist Adele Anthony, and their three children.

Gil Shaham most recently performed with the St. Louis Symphony for the New Years Eve Concert of 2010.

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A BRIEF EXPLANATION
You dont need to know what andante means or what a glockenspiel is to enjoy a St. Louis Symphony concert, but its always fun to know stuff. For example, whats up with D major? D major: You may notice that the Haydn Symphony and the Beethoven Violin Concerto are written in D major. How come? For the concerto, D major is an especially pleasing key for the structure of the violin. With strings tuned G D A E, the open strings resonate especially well with the D. How important is this? Well, Beethoven, Mozart, Paganini, Brahms, Tchaikovsky, Prokofiev, Stravinsky, and Korngold all wrote brilliant violin concertos in D major. As for Haydn, of his 104 symphonies he wrote 23 in D major. Whatever works.

MY INSTRUMENT: ZITHER

GUEST ARTIST KURT VON ECKROTH

I have been playing zither, as an entertainer, since the age of 16. A Wisconsin native, I learned the instrument from a Bavarian immigrant living in Milwaukee. The zither is an Alpine instrument found in Bavaria, Switzerland, Austria and parts of Czechoslovakia. It is properly called the concert zither to set it apart from other brethren such as the Japanese Kyoto. A zither is defined as a fretted, no necked, instrument. It is composed of roughly 40 horizontal strings, five of which are fretted and played by the left hand and plucked by the thumb of the right hand. The remaining fingers of the right hand play the open accompaniment and bass strings. The fingerboard is tuned like a viola and the remaining open strings are tuned in the circle of fifths. It can, therefore, be played in any key. The 1949 classic film The Third Man contains a theme played on the zithera song that became so popular that it became a top-selling American single. The instrument, just like a harp, is very soft. Further, it is extremely difficult to play, and even harder to play well. But the zither has a unique sound no longer often heard today. You hear it in these concerts on Strausss Tales from the Vienna Woods.
Zither
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YOU TAKE IT FROM HERE

If these concerts have inspired you to learn more, here is suggested source material with which to continue your explorations. Stanley Kubrick, director, 2001: A Space Odyssey DVD A prehistoric bone cast into the sky becomes a spaceship in Earth orbit; music changes from Richard Strauss to Johann Strauss, Jr. Charles Rosen, The Classical Style: Haydn, Mozart, Beethoven A bona fide classic and National Book Award winner Paul Hofmann, The Spell of the Vienna Woods: Inspiration and Influence from Beethoven to Kafka Henry Holt & Co. An exploration of one of the legendary sources of imaginations

Read the program notes online at stlsymphony.org/planyourvisit/programnotes Keep up with the backstage life of the St. Louis Symphony, as chronicled by Symphony staffer Eddie Silva, via stlsymphony.org/blog The St. Louis Symphony is on

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CORPORATE DONOR SPOTLIGHT

EDWARD JONES
At Edward Jones, we believe music and the arts enrich our lives, nurture our spirits, and help make St. Louis a finer place to live. Thats why weve ardently supported the St. Louis Symphony for more than twenty years. About Edward Jones Edward Jones provides financial services for individual investors in the United States and, through its affiliate, in Canada. Every aspect of the firms business, from the types of investment options offered to the location of branch offices, is designed to cater to individual investors in the communities in which they live and work. In the St. Louis area, Edward Jones employs more than 4,800 people. What does Edward Jones look for when choosing organizations to support? The Edward Jones Charitable Foundation, which manages the firms charitable giving, provides funding to help improve the quality of life in the communities where our associates live and work. Specifically, we sponsor organizations that make our community a better place to live as well as those to which our associates contribute their time and money. Why does Edward Jones support the St. Louis Symphony? The St. Louis Symphony helps set St. Louis apart. From hosting worldrenowned musicians to presenting school programs to performing music ranging from Beethoven to Disney, the St. Louis Symphony has developed a well-rounded arts program that touches thousands of lives. What value does Edward Jones receive by supporting the St. Louis Symphony? With Midwestern roots and our headquarters located in St. Louis, Edward Jones is linked to the vibrancy of this community. We want our city to be a place where people are proud to live, work and raise their families, which translates directly into recruiting and retaining quality people. The St. Louis Symphony effectively helps make St. Louis that kind of place. Why should other organizations support the St. Louis Symphony? The St. Louis Symphony is good for our community in myriad ways. Economically, it provides jobs, generates revenue and supports tourism. Emotionally, it drives creativity, relaxation and interaction. Culturally, it enhances the quality of life for those who live in the region. During challenging economic times like these, the St. Louis Symphony needs corporate support more than ever.

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AUDIENCE INFORMATION
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POWELL HALL
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