CONCERT PROGRAM

September 20-22, 2013

David Robertson, conductor Wintley Phipps, narrator Kirill Gerstein, piano

SMITH The Star-Spangled Banner arr. Sousa/Damrosch IVES Three Places in New England (1874-1954) (Orchestral Set No. 1) (c. 1903-30)
The St. Gaudens in Boston Common Putnams Camp, Redding, Connecticut The Housatonic at Stockbridge

COPLAND Lincoln Portrait (1942) (1900-1990)

Wintley Phipps, narrator INTERMISSION

TCHAIKOVSKY Piano Concerto No. 1 in B-flat minor, op. 23 (1874-75) (1840-1893)

Allegro non troppo e molto maestoso; Allegro con spirito Andantino semplice Allegro con fuoco Kirill Gerstein, piano

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ACKNOWLEDGMENTS
David Robertson is the Beofor Music Director and Conductor. Kirill Gerstein is the Ellen Atwood Armstrong Guest Artist. The concert of Friday, September 20, is underwritten in part by a generous gift from Mr. and Mrs. Barry H. Beracha. The concert of Saturday, September 21, is underwritten in part by a generous gift from Dr. and Mrs. Timothy J. Eberlein. The concert of Sunday, September 22, is underwritten in part by a generous gift from the Edison Family Foundation. 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 Delmar Gardens and are located at the Customer Service table in the foyer.

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FROM THE STAGE

Timothy Myers, Principal Trombone, on Ives Three Places in New England: Its a work that really speaks to methe atmosphere it creates. The first movement is really kind of somber, threaded together with quoted or half-quoted or halfremembered tunes. You hear them and you think, Ive heard that. What is that? Impressionistic might not be the term that applies, but the third movement seems that way. Theres a hymn-like tune, a harmonic mist that is like walking by the river before the fog has lifted. Theres a lot about memory in this work. Ives is not trying to make a statement about memory, per se, but rather he gives the listener the opportunity to create a memory, in the very way that thoughts and feelings come at you in a random way to shape or inspire memory. He doesnt sort it out in any programmatic or symbolic fashion. He lets it happen. Its closer to the real experience of memory, rather than an organized statement. Its the experience itself.

Dilip Vishwanat

Timothy Myers

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AMERICAN MODERN, RUSSIAN ROMANTIC

BY PA U L SC H I AVO

TIMELINKS
1874-75 TCHAIKOVSKY Piano Concerto No. 1 in B-flat minor, op. 23 Charles Ives born in Danbury, Connecticut 1903-30 IVES Three Places in New England (Orchestral Set No. 1) World War I violently transforms the modern world 1942 COPLAND Lincoln Portrait Bataan and Corregidor fall to Japanese forces in the Philippines

Beginning in the second half of the 19th century and continuing into the 20th, a number of countries produced music that reflected national character to some degree. In Russia, composers such as Glinka, Mussorgsky, and Tchaikovsky brought folk melodies and a distinctly Russian lyricism to their operas and concert works. American composers followed suit somewhat later, after the start of the 20th century. Not surprisingly, their efforts partook of the modernist ideas that were then permeating musical life everywhere. Our concert celebrates both American modernism and Russian Romanticism. The first half of the program gives us music by two of our nations great composers. Each of their compositions vividly addresses quintessential American scenes and characters. Following intermission comes Tchaikovskys perennially popular First Piano Concerto, a justly famous expression of the Romantic spirit of this great Russian composer. CHARLES IVES Three Places in New England (Orchestral Set No. 1) AMERICAN ORIGINAL Although it was never his intention, Charles Ives has become an iconic figure in American culture: the artistic loner, original and uncompromising. An insurance executive who spent his weekends and vacations composing works of astonishing originality, Ives was ignored by the musical establishment of his day. As a result, he labored for years in artistic isolation, producing novel scores that he had little hope of ever hearing. Only near the end of his life did he know a measure of the respect he now is accorded. Among Ives masterpieces is the first of two works he called Orchestral Sets, also known as Three Places in New England. To the best of our knowledge (and many details of the composers biography remain uncertain), Ives sketched the
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pieces that comprise this triptych at different times between 1903 and 1911. In about 1912, he decided to join them into a New England Symphony. Ives later settled on the more neutral, less tradition-bound title, Orchestral Set, and completed scoring the work for large orchestra in 1914. It lay unheard for the next 15 years. In 1930 Ives re-scored the music for a smaller orchestra when the adventurous conductor Nicolas Slonimsky arranged its first performances. IVES MUSICAL IDEAS Of the many Ivesian traits that Three Places in New England embodies, two merit particular discussion. One is that each of its three constituent pieces reflects a specific scene, event, and idea. Ives rejected the notion of music, or any other art, as an abstract activity. Rather, he believed that creative work must reflect the larger currents and concerns of life. You cannot set art off in the corner and hope for it to have vitality, reality, and substance, he once stated. Consequently, almost all his music conveys some programmatic content. In Three Places in New England, the extra-musical ideas are especially vivid. The other salient quality of this work is its all-embracing eclecticism. Ives orchestral music often brings together an array of disparate materials: familiar chords and strange dissonances, melodies in conflicting keys, lines moving in different rhythms and speeds, instruments grouped into contrasting ensembles. Ives reveled in the idea of diverse, simultaneous sound worlds, and an exhilarating musical tumult seemed to him a true reflection of American life. (His boyhood memory of two brass bands approaching each other during a Fourth of July celebration, which he reproduced in the Putnams Camp movement of Three Places in New England, sheds some light on this predilection.) Ives tended especially to use traditional American melodies in such passages, a practice we find highly developed in Three Places in New England. THREE PLACES The compositions first movement evokes Boston Common, where a bas-relief by the sculptor Augustus Saint-Gaudens
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Born October 20, 1874, Danbury, Connecticut Died May 19, 1954, New York First Performance January 10, 1931, in New York, Nicolas Slonimsky conducted an orchestra composed of members of the Boston Symphony Orchestra STL Symphony Premiere December 17, 1970, Leonard Slatkin conducting Most Recent STL Symphony Performance January 19, 2003, Michael Stern conducting Scoring 3 flutes piccolo 2 oboes English horn 2 clarinets 2 bassoons contrabassoon 4 horns 2 trumpets, 3 trombones tuba timpani percussion harp celesta piano organ strings Performance Time approximately 19 minutes

Born November 14, 1900, in Brooklyn Died December 2, 1990, in Tarrytown, New York First Performance May 14, 1942, in Cincinnati, Andr Kostelanetz conducted the Cincinnati Symphony Orchestra and William Adams narrated STL Symphony Premiere February 7, 1947, Charles Galloway was narrator, with Vladimir Golschmann conducting Most Recent STL Symphony Performance April 16, 2005, at Carnegie Hall, Paul Newman was narrator, with David Robertson conducting Scoring narrator 2 flutes 2 piccolos 2 oboes English horn 2 clarinets bass clarinet 2 bassoons contrabassoon 4 horns 3 trumpets 3 trombones tuba timpani percussion harp celesta strings Performance Time approximately 14 minutes

commemorates the 54th Massachusetts Infantry, the first Black regiment to fight in the Civil War. Ives had long admired this work, and it inspired a musical reverie about the soldiers it portrays.The piece quotes fragments of three familiar melodies: Stephen Fosters Old Black Joe and the Civil War songs Marching through Georgia and The Battle Cry of Freedom. Putnams Camp takes us to a spot near Ives home town of Danbury, Connecticut, where, in the winter of 1778-79, General Israel Putnam and a detachment of Continental soldiers spent the darkest days of the Revolution. In a preface to the score, Ives related a programmatic story about this music. It tells of a boy attending an Independence Day picnic at the site. Falling asleep, he dreams of the Revolutionary troops who had camped there, then awakens to the sounds of the celebration. In addition to its famous collision of different marches, the music quotes a number of patriotic songs in a multilayered, almost hallucinatory, collage. One Sunday morning in June 1908, Ives and his wife strolled beside the Housatonic River as it flowed past the picturesque village of Stockbridge, Massachusetts. We walked in the meadows along the river, Ives later recalled, and heard the distant singing from the church across the river. The mist had not entirely left the river bed, and the colors, the running water, the banks and trees were something that one would always remember. The third of the composers Three Places in New England captures this scene in one of the most remarkable pieces of impressionist nature music ever composed, with strains of hymn tunes sounding through a mist of shimmering orchestral sonorities. AARON COPLAND Lincoln Portrait COMPOSER AND PATRIOT Aaron Copland was born a generation after Charles Ives, and his career, while not easy, entailed none of the stoicism and artistic isolation required of Ives. Copland achieved not only fame for his work but a unique positionhe grew to be recognized
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essentially as Americas national composer. Using American folk tunes for their emotional resonance, Copland expressed a deeply felt pride in our country and its people. Copland wrote Lincoln Portrait shortly after the attack on Pearl Harbor, hoping that the piece would help to boost patriotic sentiment and morale at a time when the nations fortunes seemed at low ebb. In paying tribute to the 16th president,Copland decided to use Lincolns own words and to have these spoken, rather than sung, against a background of evocative orchestral music that would draw a simple but impressive frame around the words of Lincoln. LINCOLN IN MUSIC AND WORDS Copland intended the long orchestral prelude to suggest something of the mysterious sense of fatality that surrounds Lincolns personality, and later, toward the end of the passage, something of his gentleness and simplicity of spirit. Here the composer, who often worked with American folk melodies, uses a variant of the song Springfield Mountain. The second section is livelier, reflecting the background of the colorful times in which Lincoln lived, Copland noted. Stephen Fosters Camptown Races weaves its way through this musical collage, as does a recollection of Springfield Mountain. Lincoln speaks through his writings in the final portion of the piece, the several quotations connected and given biographical context by means of short phrasesHe was born in Kentucky ... and this is what he said ...which Copland added to the text. The haunting Springfield Mountain tune sounds again, and the final piece of narration, taken from the Gettysburg Address, provides the occasion for a sonorous climax. PYOTR ILYICH TCHAIKOVSKY Piano Concerto No. 1 in B-flat minor, op. 23 A MISPERCEIVED MASTERPIECE The history of music is replete with accounts of works that have been thoroughly misunderstood on first hearing. Rarely, however, has a composition that now enjoys nearly universal popularity been greeted with such scathing condemnation as Tchaikovskys First Piano Concerto received on Christmas Eve in 1874. Tchaikovsky had composed this work during the preceding month but wished to solicit the opinion of an expert pianist before committing it to print. His choice was Nikolay Rubinstein, the greatest Russian virtuoso of the day, who met Tchaikovsky before a Christmas party to hear the concerto. This audience did not go as the composer hoped. Rubinstein listened to Tchaikovskys music in icy silence, then proceeded to denounce it with a torrent of abuse. The concerto was unplayable and worthless, he declared. Passages were so clumsy, so fragmented and poorly conceived as to be beyond rescue. The whole was vulgar and badly written. Any uninformed person hearing this, the composer recalled, would have concluded that I was a senseless, talentless fool who had the impertinence to submit his scribblings to a great musician.
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Born May 7, 1840, Kamsko-Votkinsk, Russia Died November 6, 1893, St. Petersburg First Performance October 25, 1875, in Boston, Hans von Blow was soloist, with Benjamin Johnson Lang conducting the Boston Symphony Orchestra STL Symphony Premiere March 5, 1908, Rudolph Ganz was soloist, with Max Zach conducting Most Recent STL Symphony Performance April 17, 2011, Yefim Bronfman was soloist, with David Robertson conducting Scoring solo piano 2 flutes 2 oboes 2 clarinets 2 bassoons 4 horns 2 trumpets 3 trombones timpani strings Performance Time approximately 32 minutes

Tchaikovsky, whose correspondence and diary reveal endless self-doubts concerning his musical abilities, might easily have accepted this judgment from one of the most respected musicians of the time. Instead, he proudly insisted that he would not alter a single note. He withdrew his dedication of the concerto to Rubinstein and offered it instead to the celebrated German pianist-conductor Hans von Blow, who praised the music and played the premiere performance, in Boston, in October 1875. On this and subsequent occasions the concerto won overwhelming approval, and it remains among the most popular and widely known works in the orchestral repertory. Ironically, one of its early champions was Nikolay Rubinstein, who admitted that his initial estimate of the concerto was mistaken and whose performances of it very much pleased Tchaikovsky. LYRICISM AND VIRTUOSITY The concertos famous opening passage, with its memorable theme accompanied by crashing chords from the piano, is actually an introduction to the first movements true principal subject, which is based on a Ukrainian folk song. In contrast to the robust energy of this idea, the two themes that follow tap the vein of lyricism that was such a conspicuous part of Tchaikovskys talent. The middle movement offers a pair of moods and tempos: a warmly romantic theme introduced by the flute, then a change of tempo and a new, dance-like melody. A return to the initial material rounds the movement into a satisfying ABA format. The finale again has the flavor of Ukrainian folk song, which is imparted through the vigorous main subject. Development of this and the more cantabile second theme proves highly energetic and calls forth displays of brilliant passagework from the soloist.
Program notes 2013 by Paul Schiavo

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DAVID ROBERTSON
BEOFOR MUSIC DIRECTOR AND CONDUCTOR

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 2013, Robertson launches his ninth season as Music Director of the 134-year-old St. Louis Symphony. While continuing as St. Louiss music director, in January 2014 Robertson assumes the post of Chief Conductor and Artistic Director of the Sydney Symphony Orchestra in Australia. In 2012-13, Robertson led the St. Louis Symphony on two major tours: his first European tour with the orchestraits first European engagements since 1998in fall 2012, which included critically-acclaimed appearances at Londons BBC Proms, at the Berlin and Lucerne festivals, and at Pariss Salle Pleyel; and a spring 2013 California tour which included a three-day residency at the University of California-Davis and performances at the Mondavi Center for the Performing Arts and venues in Costa Mesa, Palm Desert, and Santa Barbara. Highlights of his 2013-14 season with St. Louis include a return to Carnegie Hall on the centennial of Benjamin Brittens birth for a concert performance of the opera Peter Grimes, and the recording earlier in the fall of a St. Louis Symphony co-commission, John Adamss Saxophone Concerto. Nonesuch Records will release the disc featuring the concerto, along with the orchestras performance of Adamss City Noir, in 2014. Born in Santa Monica, California, Robertson was educated at Londons Royal Academy of Music, where he studied horn and composition before turning to orchestral conducting. David Robertson is the recipient of numerous awards and honors.

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Michael Tammaro

David Robertson returns to Powell Hall to conduct works by Gershwin and John Adams, October 5-6, 2013.

WINTLEY PHIPPS Wintley Phipps is a world-renowned vocal artist, education activist, motivational speaker, pastor, and CEO and Founder of the U.S. Dream Academy. For his work at the U.S. Dream Academy he has received numerous service awards, among them: the Excellence in Mentoring for Program Leadership Award from MENTOR/National Mentoring Partnerships; the Oprah Winfrey Angel Network Use Your Life Award; and Philanthropist of the Year Award from the National Center for Black Philanthropy, Inc. For more than 28 years he has traveled the world delivering messages of hope, advocacy, and equality to many thousands of people. A video of Phipps performing Amazing Grace has enjoyed over seven million views on YouTube. A two-time Grammy Award nominee, Phipps is no stranger to performing in front of distinguished audiences. In addition to President Barack Obama, other notable listeners have included former presidents Jimmy Carter, Ronald Reagan, George H.W. Bush, Bill Clinton, George W. Bush, former South African President Nelson Mandela, Mother Teresa of Calcutta, and Oprah Winfrey. Phipps is also an internationally recognized speaker on behalf of the Dream Academy and young people, having completed speaking engagements in Europe, Australia, Asia, Africa, and North and South America. In recognition of his positive global impact through speaking, the National Speakers Association awarded Phipps the prestigious Master of Influence Award. Born in the Republic of Trinidad and Tobago, Phipps moved to Montreal at an early age and then studied at Oakwood University in Huntsville, Alabama, where he received his bachelor of arts degree in theology. He went on to earn a Masters of Divinity from Andrews University in Berrien Springs, Michigan. Phipps has three sons with his wife, Linda Diane Galloway Phipps, and currently serves as the senior pastor for the Palm Bay SeventhDay Adventist Church in Palm Bay, Florida.

Wintley Phipps most recently performed with the St. Louis Symphony in February 2013.

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KIRILL GERSTEIN
ELLEN ATWOOD ARMSTRONG GUEST ARTIST

In January 2010, Kirill Gerstein was named the recipient of the 2010 Gilmore Artist Award. Only the sixth pianist to have been so honored, the Gilmore Award is awarded to an exceptional pianist who, regardless of age or nationality, possesses broad and profound musicianship and charisma and who desires and can sustain a career as a major international concert artist. He has since shared his Gilmore prize by commissioning boundary-crossing new works by Brad Mehldau and Chick Corea. Highlights of Gersteins 13-14 season in North America include a subscription debut with the New York Philharmonic; re-engagements with the Cleveland Orchestra, the Chicago, San Francisco, Detroit, Cincinnati, and Houston symphonies; recitals in Boston, Toronto, Denver, Princeton, and at Duke University; and return visits to the Aspen Music Festival and School and the Grant Park Music Festival. Internationally, he has been re-engaged by Londons Philharmonic and Philharmonia Orchestras as well as by the Czech Philharmonic and the Finnish Radio, and also appears with the Danish Radio, Dresden Philharmonic, Melbourne Symphony, and the Santa Cecilia Orchestra in Rome. Born in 1979 in Voronezh, Russia, Gerstein attended one of the countrys special music schools for gifted children and taught himself to play jazz by listening to his parents extensive record collection. He came to the U.S. at 14 to study jazz piano as the youngest student ever to attend Bostons Berklee College of Music, but also continued his classical studies. At the age of 16 he decided to focus on classical music and moved to New York City to attend the Manhattan School of Music, where he earned Bachelors and Masters of Music degrees. Gerstein became an American citizen in 2003 and is currently a professor of piano at the Musikhochschule in Stuttgart.

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Marco Borggreve

Kirill Gerstein most recently performed with the St. Louis Symphony in December 2012.

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, what is cantabile? Cantabile: Program notes author Paul Schiavo mentions a cantabile theme in Tchaikovskys Piano Concerto No. 1. The Italian word may be translated as singable, or in a singing style. It may also refer to a slow or moderate tempo, which for a superb melodist such as Tchaikovsky, is just how his orchestral songs should be played.

THE PRINCIPALS JOB:

TIMOTHY MYERS, PRINCIPAL TROMBONE
Im mostly responsible for organizing who plays what when in our section. Im deciding who plays what part for each piece, while making sure the work load is not too great or too small. Most of the time, the composers score the trombones in threes, and there are four of us. [Each work on this weekends program calls for three trombones.] The principal plays the solo parts most of the time. Theres also the matter of coordinating things with other sections, especially other brass sections, which all can be sorted out without the conductor being involvedthe conductor already has plenty of things to do such things as articulations, perhaps balance issues.

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Dan Dreyfus

YOU TAKE IT FROM HERE

If these concerts have inspired you to learn more, here are suggested source materials with which to continue your explorations. Jan Swafford, Charles Ives: A Life with Music W. W. Norton Currently the best biography of the composer Howard Pollack, Aaron Copland: The Life and Work of an Uncommon Man Henry Holt A magisterial biography Pyotr Ilyich Tchaikovsky, Tchaikovsky: Letters to His Family (An Autobiography) Cooper Square Press Tchaikovskys letters provide the most valuable source of information about his life and psyche David Brown, Tchaikovsky: The Crisis Years Gollancz The second volume of the four-volume life-and-works study by the leading Tchaikovsky scholar covers the First Piano Concerto, among much else

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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DONOR SPOTLIGHT
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