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CONCERT PROGRAMMay 1-4, 2014

Carlos Izcaray, conductorJuliet Petrus, sopranoRyan Belongie, countertenorNmon Ford, baritoneSt. Louis Symphony Chorus

Amy Kaiser, directorThe St. Louis Children’s Choirs

Barbara Berner, artistic director

STEVE REICH The Four Sections (1987) (b. 1936) Strings (with Winds and Brass)— Percussion— Winds and Brass (with Strings)— Full Orchestra

INTERMISSION

ORFF Carmina burana (1936) (1895-1982) FORTUNA IMPERATRIX MUNDI (Fortune, Empress of the World) O Fortuna— Fortune plango vulnera PRIMO VERE (In Springtime) Veris leta facies— Omnia Sol temperat— Ecce gratum UF DEM ANGER (On the Green) Tanz— Floret silva— Chramer, gip die varwe mir— Reie— Were diu werlt alle min

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IN TABERNA (In the Tavern) Estuans interius— Olim lacus colueram— Ego sum abbas— In taberna quando sumus COUR D’AMOURS (The Court of Love) Amor volat undique— Dies, nox et omnia— Stetit puella— Circa mea pectora— Si puer cum puellula— Veni, veni, venias— In trutina— Tempus est iocundum— Dulcissime— BLANZIFLOR ET HELENA (Blanziflor and Helena) Ave formosissima— FORTUNA IMPERATRIX MUNDI (Fortune, Empress of the World) O Fortuna

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ACKNOWLEDGMENTS

These concerts are part of the Wells Fargo Advisors Series.

Carlos Izcaray is the Ann and Lee Liberman Guest Artist.

Amy Kaiser is the AT&T Foundation Chair.

The concert of Thursday, May 1, is underwritten in part by a generous gift from Dr. and Mrs. Gordon Philpott.

The concert of Friday, May 2, is underwritten in part by a generous gift from Mr. and Mrs. Jerry E. Ritter.

The concert of Saturday, May 3, is underwritten in part by a generous gift from Mrs. Ann Lux.

The concert of Sunday, May 4, is underwritten in part by a generous gift from Mr. and Mrs. Ted W. Beaty.

Pre-Concert Conversations are sponsored by Washington University Physicians.

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.

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TIMELINKS

1936ORFFCarmina buranaOlympic Games held in Berlin as showcase for Nazi Germany

1987STEVE REICHThe Four SectionsThe Simpsons cartoon first appears as a segment of The Tracey Ullman Show

The Modernist revolution that transformed music during the early decades of the 20th cen-tury was conducted in the name of liberty. Claude Debussy explicitly sought greater freedom of har-mony than was granted by traditional practice; Arnold Schoenberg desired the “emancipation of dissonance.” The early Modernists also worked to unshackle rhythm from the restraints that had long been placed upon it in Western music. Stravinsky’s landmark The Rite of Spring brought pounding, driving, irregular rhythms to the forefront of his musical thinking, and did so to thrilling effect. The influence of that achievement was immediate and enormous. Within a few years, composers as diverse as Bartók, Prokofiev, Antheil, Milhaud, and Gershwin were, in their own ways, making rhythmic invention a conspic-uous part of their work.

The liberation of rhythm from its relatively secondary status in Western concert music would continue to have strong ramifications throughout the century. The “primitivist” use of powerful and angular rhythms established by The Rite of Spring remained a viable option for many composers, and we find this at the heart of Carl Orff’s cantata Carmina burana. There is more to this work than just assertive metrical throbbing, but the rhyth-mic power of its great opening chorus establishes the tone of the entire composition and remains its most memorable element.

Rhythm plays a different but equally impor-tant role in Steve Reich’s The Four Sections. During the course of his career, Reich has cultivated a style featuring short repetitive patterns within a larger texture of steady rhythmic pulsation. The result is a unique kind of music—not one with contrasting themes, developments or other events, but often an all but seamless sonic fabric that changes slowly over time. Each of the four movements of The Four Sections presents such a fabric, the richness and subtlety of which com-mand our attention.

RHYTHM UNCHAINEDBY PAUL SCHIAVO

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STEVE REICHThe Four Sections

A NEW STYLE One of the most conspicuous developments in music during the late 20th cen-tury was the emergence of a style that, through analogy to comparable developments in visual art, came to be called Minimalist. Beginning in the late 1960s, a handful of breakaway com-posers abandoned the abstruse harmonies and tangled rhythms that had become the hallmark of late-modern music and pared their composi-tions down to a few essential elements: neutral, static harmonies; brief repeating melodic fig-ures; and clear rhythmic patterns within a steady pulse. At its experimental beginnings in the late 1960s, Minimalist music was confined to lofts and garages in lower Manhattan. But as its cre-ators expanded the scope and scale of their work, the idiom made its way into symphony halls and opera houses across the country, and the Minimalist style emerged as a vehicle for ambi-tious, expressive composition.

Steve Reich, one of Minimalism’s leading lights, began his career in the late 1960s, writing music of extreme austerity: slight instrumenta-tion and bare-bones textures, harmonies that were sparse or absent entirely, and the most limited melodic materials. From the start, his pieces were given over largely to compositional formats that typically involved brief melodic fragments repeating obsessively but changing slowly over time, the relationships between different instrumental or vocal parts changing as they did so. Such “processes,” as Reich calls them, characterize the classic Minimalist style, a style Reich has expanded in significant ways but never really abandoned.

During the 1980s, Reich produced a number of extended orchestral compositions, includ-ing Variations, Tehillim, The Desert Music, Three Movements, and The Four Sections, which we hear now. Reich composed this piece in 1987 to fulfill a commission from the San Francisco Symphony Orchestra. Reich explains that the work’s title has multiple connotations. It refers to the four families of orchestral instruments (strings, wood-winds, brass and percussion). It also references

Born October 3, 1936, New York

Now ResidesNew York

First PerformanceOctober 7, 1987, in San Francisco, Michael Tilson Thomas conducted the San Francisco Symphony Orchestra

STL Symphony PremiereThis week

Scoring4 flutespiccolo4 oboes4 clarinetsbass clarinet4 bassoonscontrabassoon4 horns 4 trumpets4 trombones tubatimpanipercussion2 pianos2 synthesizersstrings

Performance Timeapproximately 25 minutes

Alic

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the four movements that comprise the piece. Finally, the title alludes to four harmonic sections within each movement.

WEBS OF COUNTERPOINT Each of the four movements features a different group of instruments. Strings dominate in the first, with woodwinds and brass lending support. Percussion comes to the fore in the second movement, as woodwinds do in the third. The finale brings the full orchestra into concerted play. Each movement uses interlocking melodic figures to produce a rich web of contrapuntal patterns.

The first movement begins with the first violins divided to play a three-part canon, each group playing the same melodic idea a few moments apart, as in a round. Soon the second violins add three more parts to the canon, as do the violas shortly afterwards. The resulting nine-voice canon produces chang-ing melodic impressions as the different instrumental lines rise and fall. Reich underscores this development by having cellos and woodwinds trace the con-tours of the melodies resulting from the combined canonic figures. Meanwhile, brass, synthesizers, and basses sustain chords implied by the moving parts. Occasionally Reich varies the melodic figures, but only slightly, and he always retains the thoroughly contrapuntal texture. As a result, the music changes in a subtle, almost subliminal, way. The repetition of short ideas, the continual echoing, the steady, softly pulsating overall rhythm, and the generally static harmonies impart a sense of serenity to the proceedings.

That serenity is broken by several ringing chords, sounded by two vibra-phones and a piano, followed by a series of clockwork repeated notes. So begins the second movement, which finds these instruments plus a second piano and two bass drums forming an angular music of interlocking motifs. The third movement uses different woodwind instruments in a somewhat faster tempo. Small groups give way in the final section to a larger ensemble, with flutes and clarinets supported by oboes, trumpets, and the full string section.

Each movement of the work proceeds in a quicker tempo, and the finale moves at a rapid clip. Here the music entails several strands of melody woven in counterpoint. Each consists of repeating patterns and has a distinct instru-mental color. They combine in increasingly complex ways as the movement builds to a climactic conclusion.

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CARL ORFF Carmina burana

SONGS OF LIFE AND LOVE In 1803, a remark-able manuscript was discovered in a medieval Benedictine monastery at Beuren, in southern Germany. This document was not a religious text but a collection of secular songs and poems writ-ten by wandering students and minstrels during the 12th and 13th centuries. The verses, in Latin, Old French, and Middle-High-German, touched a broad range of topics. They satirized the clergy and nobility, celebrated the passing seasons, complained of poverty, greed, and corruption, praised the pleasures of wine and song, and above all sang the joys and sorrows of love—all while expressing a fatalistic view of human des-tiny controlled by a “wheel of fortune.” By turns blatant and refined, the language of these poems reflected the varied backgrounds and social sta-tions of their authors, and the verses revealed a freshness that is striking even today. They were published in 1847 under the title Carmina burana (“Beuren Songs”). In 1935 they came to the attention of an obscure German composer named Carl Orff.

A COMPOSER’S SEARCH Orff is one of the more curious figures of 20th-century music. He received a solid if unremarkable musical training and, like so many composers of his generation, absorbed the influence first of the German late-Romantics—particularly Strauss and the young Schoenberg—and later of Stravinsky. But his inter-ests soon spread beyond the concerns of modern composition. During his 20s, he became involved with the theater and soon became fascinated with the possibility of combining the various arts to produce a spectacle whose total effect was greater than the sum of its parts, an idea similar to Wagner’s concept of the Gesamtkunstwerk (the “complete art work”).

At about the same time, Orff developed a strong interest in early music, particularly that of the medieval and Renaissance periods. Finally, in 1924, he began an association with the dancer Dorothee Gunther and with her established an educational method aimed at “reviving the

BornJuly 10, 1895, Munich

DiedMarch 29, 1982, Munich

First PerformanceJune 8, 1937, in Frankfurt am Main, by the Frankfurt Opera under the direction of conductor Bertil Wetzelsberger

STL Symphony PremiereJanuary 21, 1961, with soprano Donna Precht, tenor Kenneth Wikowsky, baritone Jay Willoughby, the Legend Singers and the Sumner High School A Cappella Choir, director Kenneth Billups, Edouard Van Remoortel conducting

Most Recent STL Symphony PerformanceMay 8, 2011, with soprano Cyndia Sieden, tenor Richard Troxell, baritone David Adam Moore, St. Louis Symphony Chorus under the direction of Amy Kaiser, The St. Louis Children’s Choirs under the direction of Barbara Berner, David Robertson conducting

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Scoring3 solo voices mixed choruschildren’s chorus3 flutes2 piccolos3 oboesEnglish horn3 clarinetsE-flat clarinetbass clarinet2 bassoonscontrabassoon4 horns3 trumpets3 trombonestubatimpanipercussion2 pianoscelestastrings

Performance Timeapproximately 65 minutes

natural unity of music and movement.” Orff’s work in this area, and in early music education generally, continued for decades, resulting in the famous Orff-Schulwerk teaching program, which employs simple percussion instruments and rhythmic movement, a practice now widely used throughout the world.

Far from remaining isolated, these interests came together in a fascinating synthesis in Orff’s creative work. He sought new ways to dramatize concert music, presenting staged versions of ora-torios and other pieces. His own compositions relied increasingly on modal melodies derived from medieval plainchant, and on the percussion instruments and simplicity of utterance that char-acterize Orff-Schulwerk. Orff plainly was search-ing for a vehicle by which to bring these disparate elements together in a telling and original way. He found it in Carmina burana.

A NEW BEGINNING Orff composed his setting of Beuren monastery verses in 1935-36. Upon com-pleting it, he wrote to his publisher: “Everything I have written to date ... can be destroyed. With Carmina burana, my collected works begin.” Hearing the composition, one can understand how Orff might have been tempted to make this extreme declaration, for the sound of Carmina burana was virtually unprecedented. Its pound-ing and repetitive rhythms, simple motifs, ele-mental harmonies, and huge orchestral sound blocks convey a pagan and often quite orgias-tic energy. In an audacious gambit, Orff delib-erately abandoned Western music’s traditional techniques of counterpoint and thematic devel-opment in favor of a deliberately primitive rhet-oric. This aimed unapologetically for physical and emotional sensation rather than aesthetic response. “In all my work,” Orff wrote later, “my final concern is not with musical but with spiri-tual exposition.” Carmina burana may indeed turn its back on “musical exposition” as this is usually conceived, but its raw emotive power cannot be ignored.

Framing Carmina burana is a massive chorus, “O Fortuna,” whose allusion to both hap-piness and woe, “power and poverty alike,” sets out a broad canvas of human experience to be

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filled by the intervening numbers. These are divided into three large sections. The first, “In Springtime,” is a hymn to reawakening nature and love. “In the Tavern” treats the pains and pleasures of hedonistic abandon. “The Court of Love,” the work’s final section, celebrates love and sensuality. A reprise of the opening chorus brings the work full circle to conclude as it began.

Carmina burana was first heard in 1937, and it immediately brought Orff international attention. It has since become one of the most frequently per-formed of modern choral works, its impact undiminished in the decades since Orff composed it.

Program notes © 2014 by Paul Schiavo

St. Louis Symphony Chorus

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CARLOS IZCARAYANN AND LEE LIBERMAN GUEST ARTISTSpanish-Venezuelan conductor Carlos Izcaray has received accolades throughout Europe and North and South America. A representative of the new Venezuelan musical generation, throughout his career he has premiered numerous instru-mental, choral, and operatic works by compos-ers from the whole cultural spectrum, becoming thus a champion of both new music and rarely performed compositions. He is equally distin-guished as a passionate performer of the stan-dard repertoire.

After a very successful podium debut with the Venezuela Symphony Orchestra in 2003, Izcaray was immediately invited back to lead the ensemble in its 75th Anniversary Season. In 2007, he went on to international stature by winning the very first James Conlon Conducting Prize in the history of the Aspen Music Festival and School, and was later Finalist and Laureate at the Eighth Toscanini International Conducting Competition in 2008. In 2012 he conducted his American opera debut in performances of Carmen with Opera Theatre of St. Louis.

JULIET PETRUSJuliet Petrus, soprano, is emerging as a singer highly sought after in the worlds of opera, oper-etta, concert, and recital. The 2013-14 season has proven to be an exciting one for Petrus. Her Alice Tully Hall at Lincoln Center debut with I Sing Beijing received great acclaim. She recently also completed a tour throughout the U.S., also sing-ing Chinese repertoire.

In the summer of 2011, Petrus made her first trip to Bejiing as a participant in the inaugural season of I Sing Beijing, a program that has led to her concert premieres in Washington, D.C., and Paris, France. While in China, she made her debut at both the National Center for the Performing Arts debut in Beijing, and Tianjin Concert Hall in Tianjin. During her five-week long visit in China, Petrus studied Western and Chinese Opera and Mandarin, working with famed Metropolitan Opera Bass, Hao Jiang Tian.

Carlos Izcaray is a former Principal Cello with the Venezuela Symphony Orchestra.

A native of Farmington, Michigan, Juliet Petrus makes her St. Louis Symphony debut this week.

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Ryan Belongie makes his St. Louis Symphony debut this week.

Nmon Ford debuts with the St. Louis Symphony in Carmina burana.

RYAN BELONGIECountertenor Ryan Belongie has recently made his debuts with the Lyric Opera of Chicago as the Mago Cristiano in Rinaldo and the Canadian Op-era Company as Athamas in Semele. He returns to Canadian Opera Company this season to cover Lychas in Hercules.  Recent engagements include Katte for the Metropolitan Opera’s workshop of Scott Wheeler’s The Sorrows of Frederick and Ot-tone in L’incoronazione di Poppea for Berkeley West Edge Opera. Concert highlights include Messiah with Kansas City Symphony, Seattle Symphony, and Alabama Symphony; Mass in B minor with the American Festival Chorus and the Bach In-stitute at Valparaiso University; Chichester Psalms with the Grant Park Orchestra and Chorus; and St. Matthew Passion with Utah Festival Opera and the Grand Rapids Symphony. Previous highlights include Oberon in A Midsummer Night’s Dream with Wolf Trap Opera and Didymus in Theodora with Opera Bergen, Norway. He is a graduate of the prestigious Merola Opera Program and the Adler Fellowship at San Francisco Opera.

NMON FORDA featured soloist on the 2010 Grammy Award-winning Transmigrations (Telarc) and the four-time 2006 Grammy Award-winning (including “Best Classical Recording”) Songs of Innocence and of Experience (Naxos), Panamanian-American artist Nmon Ford enjoyed many suc-cessful major debuts this season, most recently with Long Beach Opera in the title role of a new production of Ernest Bloch’s Macbeth, Opéra National de Bordeaux as Jochanaan in a new production of Salome by Dominic Pitoiset, and Michigan Opera Theater as Zurga in the Zandra Rhodes production of The Pearl Fishers. After per-forming Mahler’s Lieder eines fahrenden Gesellen with Orchestre National des Pays de la Loire (ONPL), conducted by John Axelrod, he was immediately reengaged by the ONPL for Mahler’s Kindertotenlieder and Fauré’s Requiem. He appeared at Teatro Comunale di Bologna in the title role of Pier Luigi Pizzi’s production of Don Giovanni, followed by Escamillo in Carmen at the Szeged Open-Air Festival in Hungary.

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AMY KAISERAT&T FOUNDATION CHAIROne of the country’s leading choral direc-tors, Amy Kaiser has conducted the St. Louis Symphony in Handel’s Messiah, Schubert’s Mass in E-flat, Vivaldi’s Gloria, and sacred works by Haydn and Mozart as well as Young People’s Concerts. She has made eight appearances as guest conductor for the Berkshire Choral Festival in Sheffield, Massachusetts, Santa Fe, and at Canterbury Cathedral. As Music Director of the Dessoff Choirs in New York for 12 seasons, she conducted many performances of major works at Lincoln Center. Other conducting engagements include concerts at Chicago’s Grant Park Music Festival and more than fifty performances with the Metropolitan Opera Guild.

Principal Conductor of the New York Chamber Symphony’s School Concert Series for seven seasons, Kaiser also led many programs for the 92nd Street Y’s acclaimed Schubertiade. She has conducted over twenty-five operas, including eight contemporary premieres.

BARBARA BERNERBarbara Berner conducts the advanced touring ensemble, Concert Choir, and oversees all aspects of the children’s choirs program as Artistic Director. Under Berner’s direction, Concert Choir has performed at Carnegie Hall, the national American Choral Directors Association convention in Los Angeles, the Oregon Bach Festival, and at the White House. In June 2013, Berner had the honor of conducting the National Children’s Festival Chorus at Lincoln Center in New York City and Concert Choir performed as a featured ensemble.

She received a Bachelor of Arts degree with honors from Principia College and a Master of Music degree from Ithaca College. Barbara Berner was awarded an Artist/Teacher and Master Teacher Diploma from the Institute for Choral Teacher Education, where she studied conduct-ing with Dr. Doreen Rao, and holds an Advanced Certificate from the Kodály Pedagogical Institute in Kecskémet, Hungary.

Amy Kaiser celebrates her 20th anniversary as St. Louis Symphony Chorus Director in the 2014-15 season.

Barbara Berner has prepared Concert Choir for 80 performances with the St. Louis Symphony.

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Amy KaiserDirector

Leon Burke IIIAssistant Director

Gail HintzAccompanist

Susan PattersonManager

Nicholas W. BearyAnnemarie Bethel-PeltonPaula N. BittleJerry BolainJoy BolandMichael H. BoumanRichard F. BoydKeith BoyerDaniel P. BrodskyBuron F. Buffkin, Jr.Leon Burke IIICherstin ByersPeggy CantrellLeslie A. CaplanMaureen A. CarlsonVictoria A. CarmichaelMark P. CereghinoSteven ChemtobJessica Klingler CissellRhonda Collins CoatesTimothy A. ColeDerek DahlkeLaurel Ellison DantasDeborah DawsonZachary K. DevinMary C. DonaldStephanie M. EngelmeyerJamie Lynn ErosStephen ErosLadd FaszoldHeather FehlRobin D. Fish, Jr.Alan E. FreedMark Freiman

Amy Telford GarcésAmy GatschenbergerLara GerassiLisa Nicole GinesMegan E. GlassSusan GorisKaren S. GottschalkTyler GreenSusan H. HagenClifton D. HardyRebecca L. HatlelidNancy J. HelmichEllen HenschenJeffrey E. HeylMatthew HoltAllison HoppeHeather HumphreyKerry H. JenkinsStephanie JohnsonMadeline KaufmanElena KorpalskiPaul V. KunnathDebby LennonGregory C. LundbergGina MaloneAlicia A. MatkovichPatrick MattiaDaniel MayoRandy D. MayoRachael McCreeryCelia McManusScott MeidrothKatherine MenkeJei MitchellKendra Lee MuirBrian K. MulderJohanna NordhornDuane L. OlsonNicole OrrSusan Parton-StanardHeather McKenzie Patterson

Susan PattersonMatt Pentecost

Brian PezzaShelly Ragan PickardSarah PriceValerie Christy ReichertKate ReimannGregory J. RiddlePatti Ruff RigglePaul J. RobinsonTiara Dione RooksMichelle Suzanne RoseTerree RowbottomNathan Tulloch RugglesPaul N. RunnionJennifer RyrieMark V. ScharffLisa A. SienkiewiczJanice Simmons-JohnsonJohn William SimonCharles G. SmithShirley Bynum SmithAdam D. StefoJ. David StephensMaureen E. TaylorMichelle D. TaylorDaniel James TerryRobyn Danielle TheisonNatanja TomichDewayne TrainerPamela M. TriplettDavid R. TrumanGreg UpchurchKevin VondrakSamantha Dane WagnerNancy Maxwell WaltherKeith WehmeierNicole C. WeissAlexander WeymannDennis WillhoitPaul A. WilliamsMary M. WissingerKate YandellSusan Donahue YatesCarl S. Zimmerman

ST. LOUIS SYMPHONY CHORUS 2013-2014

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Barbara BernerArtistic Director

Billie DerhamAccompanist

Jodi KratzerChoir Manager

Erica AncellMeher AroraEmma BaylisKierstin BirmesDeborah BlackmonMariana BlessingDanielle BoulangerAdrienne BrownEmily BrownJo Jo BuckleyAdrianna CalhounDemetri CaseBlaine ClarkJacquelyn CooperRebecca CunninghamGrace DanielsIsabelle DeBoldThalia Dimitriou

Annie DonnellZoey FleisherMelissa FrankSamantha FreseKatherine GalvinAaron GarnerTaylor GibbsClaire GoldenCalista GoldwasserCarmen GreinerElizabeth GrossmanClara GruneisenMilana GurtAllison HarrellGea HenryShirley HwangDiana JacobsmeyerJordan JonesJennifer KeeneyMenea KefalovCassandra KellerAlyssa KimAnne KooKatherine KrosleyOlivia Leek

Magda LijowskaTara LinnemanAllyson LotzRiley MajzunLisa MillarJanine NormanPamela PetterchakDawson RenSamantha RobbinsKyra RubenJocelyn SandersHannah SchultzEmma SeversonAleesha ShiLynn SochaEmily TanCatie TodismanEmily TonnerHannah TonnerAddie TrippeerDiana VazquezSydney WahlHadley WillsonSydney Winders

THE ST. LOUIS CHILDREN’S CHOIRS 2013-2014CONCERT CHOIR

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