CONCERT PROGRAM

November 9-11, 2012

Jun Mrkl, conductor Daniel Lee, cello Dominique Labelle, soprano Kai Rtel, mezzo-soprano Christoph Genz, tenor Stephen Powell, baritone St. Louis Symphony Chorus Amy Kaiser, director

SCHOENBERG
(1874-1951)

Friede auf Erden (Peace on Earth), op. 13 (1907)

St. Louis Symphony Chorus Amy Kaiser, director

(1732-1809)

HAYDN

Cello Concerto in D major, Hob. VIIb:2 (1783)

Allegro moderato Adagio Rondo: Allegro Daniel Lee, cello
INTERMISS I O N

MOZART
(1756-1791)

Requiem Mass in D minor, K. 626 (Sssmayr completion) (1791)

Introitus: Requiem Kyrie Sequenz Dies irae Tuba mirum Rex tremendae Recordare Confutatis Lacrimosa Offertorium Domine Jesu Hostias Sanctus Benedictus Agnus Dei Communio: Lux aeterna Dominque Labelle, soprano Kai Rtel, mezzo-soprano Christoph Genz, tenor Stephen Powell, baritone St. Louis Symphony Chorus Amy Kaiser, director
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ACKNOWLEDGMENTS
Jun Mrkl is the Jean L. and Charles V. Rainwater Guest Artist. Daniel Lee is the Sarah E. Rainwater Ward and Charles S. Rainwater Guest Artist. Amy Kaiser is the AT&T Foundation Chair. The St. Louis Symphony Chorus is supported in part by a grant from the Edward Chase Garvey Memorial Foundation. The concert of Friday, November 9, is the Dr. and Mrs. Richard G. Sisson Concert. The concert of Sunday, November 11, is the Thomas M. Peck Memorial Concert. The concert of Friday, November 9, is underwritten in part by a generous gift from Mr. and Mrs. David C. Farrell. The concert of Saturday, November 10, is underwritten in part by a generous gift from Ms. Lesley A. Waldheim. The concert of Sunday, November 11, is underwritten in part by a generous gift from Mrs. Ernest A. Eddy. 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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PEACE ON EARTH AND HEAVENLY PEACE

BY PA U L SC H I AVO

TIMELINKS
1783 HAYDN Cello Concerto in D major Treaty of Paris officially ends Americas Revolutionary War 1791 MOZART Requiem Mass in D minor, K. 626 In revolutionary France, Louis XVI swears allegiance to constitution 1907 SCHOENBERG Friede auf Erden (Peace on Earth), op. 13 Gustav Klimt paints Adele Bloch-Bauer I

The consolation music offers in times of sorrow is one of its most remarkable properties, and one of the most valued. Musical elegies are numerous, of course, and date to ancient times and probably to pre-history. But the most highly developed species of musical threnody is singing of the Requiem, the Latin mass for the deceased. Settings of the Requiem text have been made by innumerable composers over the centuries. One of the most beautiful and moving is that of Wolfgang Amadeus Mozart, which forms the second half of our concert. Lending poignancy to this already affecting music--Mozart wrote the Requiem during the last weeks of his life. The Requiem verses beseech eternal rest for the departed and peace to those who survive. There are, of course, other texts and other kinds of compositions that make similar pleas. Our concert begins with one of them, Arnold Schoenbergs Friede auf Erden, or Peace on Earth, a choral setting of a poem written for Christmas. Between these works we hear the D-major Cello Concerto of Franz Joseph Haydn. Haydn enjoyed a warm and mutually admiring relationship with Mozart, who could be a harsh critic of other musicians. The fact that Mozart considered Haydn a dear friend attests not only to Haydns fine character but also the quality of his music.

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ARNOLD SCHOENBERG Friede auf Erden (Peace on Earth), op. 13 PEACE ON EARTH Composed in 1907, Arnold Schoenbergs Friede auf Erden is a setting for large chorus of a Christmas poem by the Swiss writer Conrad Meyer (1825-1898). These verses begin by evoking the nativity scene of shepherds carrying to the Madonna and infant Jesus the angelic salute of the works title, Peace on Earth. The text goes on to acknowledge mankinds violent history, but it returns to the theme of the Born opening stanza, envisioning a future when peace Vienna, September 13, 1874 finally will prevail on earth. Schoenberg initially Died scored the music for unaccompanied choir, but it Los Angeles, July 13, 1951 proved exceptionally difficult to sing in this form. First Performance (A projected performance, scheduled for Vienna December 9, 1911, in Vienna, in 1907, had to be cancelled because the chorus Franz Schreker conducted could not cope with the harmonically dense the combined forces of writing.) Several years later Schoenberg added the Vienna Philharmonic an instrumental accompaniment as an aid to Chorus, the Vienna the singers, but he instructed that it should not Lehrergesang Society Chorus, and the Vienna sound prominent. On the contrary ... it [should] Tonknstler Orchestra disappear in the sound of the chorus. STL Symphony Premiere Schoenberg is remembered chiefly in This week connection with the dissolution of traditional harmony about a hundred years ago, and the Scoring mixed chorus eventual replacement of that harmony with a kind of tonally abstract music that led composers Performance Time approximately 8 minutes into some arcane and hermetic compositional byways during the middle decades of the 20th century. But the Austrian musician was not born a revolutionary, and he did not come to his radical break with key-centered harmony suddenly. Rather, Schoenberg moved gradually from a late-Romantic musical ethos indebted to Wagner, Strauss, and Mahlerthe starting point for his artistic journeythrough a kind of harmonic twilight in his middle years to the atonal work of his maturity. Friede auf Erden stands at the cusp of this second phase of Schoenbergs development. The works harmonic language seems to press the boundaries of conventional possibilities, and for brief periods to spill beyond them. But the composer still uses dissonance as an expressive inflection within an overall context of tonal harmonies, rather than as a means to efface such harmonies altogether, as he would in his later work. Whenever the music threatens to lose its way altogether, Schoenberg pulls it back to more familiar ground, and in the final moments all the straining harmonic tensions resolve to a bright D-major chord.

Man Ray

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FRANZ JOSEPH HAYDN Cello Concerto in D major, Hob.VIIb:2 A CONCERTO RESTORED Although his Cello Concerto in D major has long been among Haydns most familiar works in concerto form, its origins remain somewhat obscure. We do not know with certainty when or for whom the composer wrote this music, though it seems likely that it dates from the 1780s and was intended for Anton Kraft, an accomplished cellist with the Esterhzy court orchestra, which Haydn directed for some thirty years. The concerto unfolds in the customary three movements. The first, whose duration comprises more than half of the entire work, begins with an extended orchestral exposition, the usual opening in a Classical-period concerto. Only with this accomplished does the solo instrument join in exploring the thematic ideas set forth by the orchestra. The music doesnt convey the robust and often brilliant character we generally find in the initial movements of Haydns symphonies. Rather, its melodies express more a relaxed elegancea refined, one might even say courtly, lyricism. In the slow central movement, the musings of the soloist establish a relaxed atmosphere, which occasional interjections from the orchestra fail to dispel. Haydn then concludes the work with a brief rondo-form finale. Its principal theme, which returns repeatedly between episodes of contrasting material in the classic rondo manner, is stated by the cello in the opening measures.This melody is simplicity itself, but Haydn nevertheless manages to discover in it considerable interest. Each reappearance finds the theme slightly varied: decorated with new instrumental figuration or, at one point, colored with somber minorkey harmonies. The intervening episodes offer vigorous passagework for the soloist. The concerto closes in high spirits.

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ThoMas haRdy

Born Rohrau, Austria, March 31, 1732 Died Vienna, May 31, 1809 First Performance Unknown, but undoubtedly given by the cellist Anton Kraft and the Esterhzy court orchestra under the composers direction, probably in the 1780s STL Symphony Premiere February 16, 1912, Boris Hambourg was soloist, with Max Zach conducting Most Recent STL Symphony Performance September 12, 2002, Yo-Yo Ma was soloist, with Keith Lockhart conducting Scoring solo cello 2 oboes 2 horns Strings Peformance Time approximately 25 minutes

WOLFGANG AMADEUS MOZART

Requiem Mass in D minor, K. 626

Born Salzburg, January 27, 1756 Died Vienna, December 5, 1791 First performance At the estate of Count Franz Georg Walsegg, near Vienna, under the Counts direction, December 14, 1793 STL Symphony Premiere December 12, 1958, with soprano Irene Jordan; contralto Jean Madeira; tenor Lesley Chabay; baritone, Mack Harrell; Washington University Choir Mens Glee Club; Washington University Womens Glee Club; and Edouard van Remoortel conducting Most Recent STL Symphony Performance February 27, 2010, with soprano Celena Shafer; mezzo-soprano Marianna Pizzolato; tenor Alek Shrader; bass Luca Pisaroni; St. Louis Symphony Chorus, Amy Kaiser, director; Roberto Abbado conducting Scoring four solo voices and chorus 2 bassett horns 2 bassoons 2 trumpets 3 trombones timpani organ strings Performance Time approximately 48 minutes

HISTORY AND LEGEND No work of Mozarts has acquired so heavy a gloss of legend and romantic fiction as has his final composition, the Requiem Mass. The composer was scarcely in his grave, the unfinished Requiem still on his desk, before various persons began to speculate on the coincidence of his writing a setting of the Latin Missa pro Defunctis while he himself was fatally ill, and to embellish, in light of this, what they knew about his final days. Since the 19th century, the Requiem legend has grown so familiar and, to those sentimentally inclined, so appealing, that it now requires some effort to consider objectively the work and the circumstances in which it was composed. The facts concerning those circumstances are as follows. By 1791 Mozarts fortunes were at low ebb. He was heavily in debt and reduced to accepting what were for him second-rate assignments: writing dance music and orchestrating old music. Two opera commissions he received that year failed to ease his burdens. La clemenza di Tito, performed in September in Prague, was not a success. A month later, The Magic Flute was produced in Vienna. Though it was well received, Mozart profited little from its success. Several months earlier, Mozart had received another commission. In July, an anonymous gentleman requested composition of a Requiem mass, stipulating somewhat peculiarly that the composer attempt to discover neither the occasion for its performance nor his patrons identity. Mozart accepted the assignment and in October, with the two operas and several other pieces finally behind him, began concentrated work on the Requiem. But by November 20 he had fallen seriously ill and took to bed. Two weeks later, on December 5, he died, his work on the mass only partly done. Not wishing to forfeit the fee that had accompanied the Requiem commission, Constanze Mozart, the composers widow, asked one of her husbands students, Franz Xaver Sssmayr, to complete the score. Thanks to his
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efforts, she was able to deliver the mass as promised. Mozarts anonymous benefactor was one Count Franz Georg Walsegg, a dilettante musician who indulged in the dubious practice of commissioning works from competent composers and passing them off as his own. He had lost his wife, and the Requiem he purchased from Mozart was to be performed in her memory at his estate, the Count taking credit for its composition. Mozart knew nothing of his intentions. The web of lore surrounding the Requiem had assumed substantial form as early as 1798, when the first account of Mozarts life was published. It stated that the composer was beset with presentiments of his death even before he began writing the Requiem and became convinced that in doing so he was actually composing his own funeral music. Other writers proceeded to elaborate the story. Otto Jahn, the eminent 19th-century Mozart biographer, described Count Walseggs messenger as a tall, thin, grave-looking man, dressed from head to foot in grey and calculated from his very appearance to make a striking and weird impression. So weird, in fact, that Mozart is supposed to have believed that he was actually a spectral emissary from the next world. Other chroniclers had the composer working feverishly at the Requiem on his death bed, dictating passages with his dying breath, or having the pen with which he was writing fall from his hand as he sank into a final coma. SACRED POLYPHONY About the music itself: the major church compositions of Mozarts maturityMass in C minor, K. 427, is the other work in this category hark back to the contrapuntal idiom of the Baroque period. It is well known that Mozart developed a strong interest in the music of J. S. Bach shortly after his arrival in Vienna in 1781, and how deeply this influenced him. Imitative counterpoint became an increasingly important element in his instrumental works, culminating in the great fugal passages of the last symphonies. And since fugue was traditionally a province of liturgical music, Mozart would have felt even more inclined to exercise his skill as a contrapuntist in composing the Requiem. It is not surprising, then, that the opening phrases of the Introit are given out in imitative counterpoint, or that the Kyrie is set as a double fugue of great brilliance and power. More contrapuntal writing is heard elsewhere in the work. But Mozart did not intend the Requiem only to revive the polyphonic style of the past, and his score offers more than contrapuntal artifice. The Dies irae, traditionally the most dramatic section of the Requiem, here takes the form of a thundering chorus; Rex tremendae and Domine Jesu, also choral movements, are in their own way scarcely less urgent. In the Tuba mirum, a trombone is deputized for the trumpet of the Last Judgement, and there is highly expressive writing for the solo vocal quartet in this movement, as well as in the Recordare and Agnus Dei.
Program notes 2012 by Paul Schiavo

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JUN MRKL

JEAN L. AND CHARLES V. RAINWATER GUEST ARTIST

Jean-BapTisTe MilloT

Jun Mrkl has long been known as a highly respected interpreter of the core Germanic repertoire from both the symphonic and operatic traditions, and more recently for his refined and idiomatic Debussy, Ravel, and Messiaen. His long-standing relationships at the state operas of Vienna, Berlin, Munich, and Semperoper Dresden have in recent years been complemented by his Music Directorships of the Orchestre National de Lyon (2005-11) and MDR Symphony Orchestra Leipzig (to 2012). He guests with the worlds leading orchestras, including: Cleveland Orchestra, Philadelphia Orchestra, NHK Symphony Orchestra, Czech Philharmonic, Munich Philharmonic, Oslo Philharmonic, Tonhalle Orchester Zrich.
Jun Mrkl most recently conducted the St. Louis Symphony in November 2011.

DANIEL LEE

SARAH E. RAINWATER WARD AND CHARLES S. RAINWATER GUEST ARTIST

Daniel Lee received the prestigious Avery Fisher Career Grant in 2001.

Korean-American cellist Daniel Lee continues to gain recognition as one of his generations most significant artists. Concerto appearances with the St. Louis Symphony have included Strausss Don Quixote and Esa-Pekka Salonens Mania. In February 2009, following his performance of Elgars Cello Concerto with the St. Louis Symphony, the St. Louis Post-Dispatch proclaimed that Lee made the concerto his own in a beautiful and deeply touching display of interpretive and musical virtuosity. Lee opened the 2009-10 St. Louis Symphony season performing the St. Louis premiere of Osvaldo Golijovs Azul for Cello and Orchestra with David Robertson conducting. Most recently, Daniel Lee performed Dvoks Cello Concert, with Peter Oundjian conducting, in April 2012.

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DOMINIQUE LABELLE Dominique Labelle has fearlessly plumbed the technical and emotional depths of music, turning in performances possessed of conviction without exhibitionism (De Telegraf), that have the audience hanging on every note (Boston Globe). Recent engagements included Stravinskys Les Noces with the St. Louis Symphony and David Robertson; Handels Messiah with Kent Nagano and the Orchestre Symphonique de Montreal; Yehudi Wyners Fragments from Antiquity with the Lexington Symphony; and performances with conductor Nicholas McGegan with the Philharmonia Baroque Orchestra, Gttingen Handel Festival, and the National Arts Centre Orchestra. Another favorite collaborator is Hungarian conductor Ivn Fischer, with whom she performed the Countess Almaviva in Mozarts The Marriage of Figaro at Teatro Perez Galdos in Las Palmas and in Budapest, Bachs B-minor Mass in Washington, D.C., St. Matthew Passion with the Royal Concertgebouw Orchestra in Amsterdam, and a Mozart Requiem with the Orchestra of St. Lukes at Carnegie Hall. Her most recent recording is in the title role of Handels Atalanta, with McGegan and the Philharmonia Baroque Orchestra. Visit Labelle at dominiquelabelle.com KAI RTEL Estonian mezzo-soprano Kai Rtel studied at the Georg Ots Music School in Tallinn and then at the Koninklijk Conservatorium in The Hague and the Dutch National Opera Academy, graduating from the masters program with Special Honors. While studying in the Netherlands she was supported by Eesti Kultuurkapital. Rtel won First Prize in the National Competition for Young Classical Singers in Estonia three years in a row in 2001, 2002, and 2003. In the 2012-13 season Rtel returns to Royal Opera House as Wellgunde in Der Ring des Nibelungen. Other highlights include a world premiere for Vlaamse Opera and her City of Birmingham Symphony Orchestra debut with Beethovens Mass in C. In upcoming seasons she will make debuts with Nederlandse Opera, Tehtre du Capitole Toulouse, Dallas Opera, and with Netherlands Radio Philharmonic Orchestra at the Royal Concertgebouw in Amsterdam.
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Dominique Labelle most recently performed with the St. Louis Symphony in September 2011.

MiRJaM RausBeRg

Kai Rtel makes her United States debut in these concerts with the St. Louis Symphony.

Christoph Genz debuts with the St. Louis Symphony this week.

CHRISTOPH GENZ Born in Erfurt, Germany, tenor Christoph Genz received his first musical training as a member of the St. Thomas Boys Choir in Leipzig. He continued his studies in musicology at Kings College Cambridge where he was also a member of Kings College Choir. He studied voice under Hans-Joachim Beyer at the Hochschule fr Musik und Theater in Leipzig and with Elisabeth Schwarzkopf. He won first prize at the International Singing Competition in Grimsby, England and the first prize at the International J.S.BachCompetition in Leipzig. Plans for 2012 include a tour with Thomanerchor Leipzig/Gewandhausorchestra to South Korea, Japan, and England (St. Matthew Passion), a tour with La Petite Bande under the direction of Sigiswald Kuijken (St. Matthew Passion), an opera production at the Schwetzingen Festival as well as concerts and recitals at Musikverein Vienna, Leipzig Gewandhaus, and in Cologne, Paris, and Amsterdam. STEPHEN POWELL Stephen Powells engagements for the 2012-13 season currently include singing as Francesco Foscari in I due Foscari in a return to Los Angeles Opera; Iago in a fully-staged production of Otello with the Jacksonville Symphony Orchestra, under Fabio Mechetti; in Carmina Burana in his debut with Cleveland Orchestra; and in Bachs Mass in B minor with the Atlanta Symphony, under Robert Spano. He debuts with the Nashville Symphony Orchestra in Carmina Burana, with Atlanta Opera as Enrico in Lucia di Lammermoor, and with the Fort Worth Symphony in Beethovens Symphony No. 9. He also sings as soloist with the American Symphony Orchestra at Carnegie Hall in Franz Schmidts The Hunchback of Notre Dame.

chRisTian pollaRd

nancy hoRowiTz

Stephen Powell most recently sang with the St. Louis Symphony and Chorus in April 2012.
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AMY KAISER AT&T FOUNDATION CHAIR One of the countrys leading choral directors, Amy Kaiser has conducted the St. Louis Symphony in Handels Messiah, Schuberts Mass in E-flat, Vivaldis Gloria, and sacred works by Haydn and Mozart as well as Young Peoples 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 Chicagos Grant Park Music Festival and more than fifty performances with the Metropolitan Opera Guild. Principal Conductor of the New York Chamber Symphonys School Concert Series for seven seasons, Kaiser also led many programs for the 92nd Street Ys acclaimed Schubertiade. She has conducted over twenty-five operas, including eight contemporary premieres.

Amy Kaiser, an alumna of Smith College, was awarded the Smith College Medal for outstanding professional achievement.

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ST. LOUIS SYMPHONY CHORUS 2012-2013

Amy Kaiser Director Leon Burke, III Assistant Director Gail Hintz Accompanist Susan Patterson Manager Nancy Davenport Allison Rev. Fr. Stephan Baljian Stephanie A. Ball Nick Beary Rudi J. Bertrand Annemarie Bethel-Pelton Paula N. Bittle Jerry Bolain Michael Bouman Richard F. Boyd Keith Boyer Pamela A. Branson Bonnie Brayshaw Marella Briones Daniel Brodsky Buron F. Buffkin, Jr. Leon Burke, III Cherstin Byers Leslie Caplan Maureen A. Carlson Victoria Carmichael Mark Cereghino Jessica Klingler Cissell Rhonda Collins Coates Timothy A. Cole Derek Dahlke Laurel Ellison Dantas Deborah Dawson Mary C. Donald Ladd Faszold Jasmine Fazzari Heather Fehl Robin Fish, Jr. Alan Freed Mark Freiman Amy Telford Garcs Lara Gerassi Megan E. Glass Susan Goris Karen S. Gottschalk Jacqueline Gross Cole Gutmann Susan H. Hagen Ariel Halt Cliff Hardy Nancy Helmich Ellen Henschen Jeffrey Heyl Lori Hoffman Matthew S. Holt Allison Hoppe Heather Humphrey Kerry Jenkins Stephanie JonesEngelmeyer Madeline Kaufman Paul V. Kunnath Kendra Lee Debby Lennon Gregory C. Lundberg Gina Malone Jamie Lynn Marble Kellen Markovich Jan Marra Lee Martin Alicia Matkovich Dan Mayo Rachael McCreery Elizabeth Casey McKinney Scott Meidroth Claire Minnis Brian Mulder Johanna Nordhorn Duane L. Olson Nicole Orr Heather McKenzie Patterson Susan Patterson Matt Pentecost Brian Pezza Shelly Ragan Pickard Sarah Price Valerie Christy Reichert Kate Reimann David Ressler Gregory J. Riddle Patti Ruff Riggle Stephanie Diane Robertson Terree Rowbottom Paul N. Runnion Jennifer Ryrie Susan Sampson Patricia A. Scanlon Mark V. Scharff Samantha Nicole Schmid Paula K. Schweitzer Lisa Sienkiewicz Janice Simmons-Johnson John William Simon Charles G. Smith Shirley Bynum Smith Joshua Stanton Samuel Stengler David Stephens Benna D. Stokes Denise M. Stookesberry Greg Storkan Maureen Taylor Michelle D. Taylor Justin Thomas Natanja Tomich Pamela M. Triplett David R. Truman Greg Upchurch Robert Valentine Kevin Vondrak Samantha Wagner Nancy M. Walther Keith Wehmeier Nicole Weiss Paul A. Williams Dennis Willhoit Christopher Wise Mary Wissinger Susan Donahue Yates Elena Zaring Carl S. Zimmerman

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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, what does Hob. VIIb:2 mean? Hob. VIIb:2: Hob is the abbreviation for the Hoboken catalogue, which is not kept in New Jersey; rather, Dutch musicologist Anthony van Hoboken compiled the definitive catalogue of Haydns works into two volumes, so Haydn works are given Hob. numbers, followed by Roman numerals and then an Arabic figure.

MY INSTRUMENT:

JAMES MEYER ON THE BASSET HORN

The basset horn produces a veiled sound. Its dark, and absorbs dissonances very well. Mozart uses it that way in many exposed sectionsthese are very poignant moments in the Requiem. You couldnt do it with any other instrument. Its not a prominent sound, but Mozart orchestrates very well for it. He gets the other instruments out of the way so you can hear it. Technically speaking, it is a tenor clarinet, with an extended low register not unlike the modern bass clarinet. Its difficult to control, acoustically unstable. It needs to be approached with great care. It works beautifully in the Requiem. It couldnt have a better home for its fundamental qualities.

Basset Horn
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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. Allen Shawn, Arnold Schoenbergs Journey Harvard University Press Humanizes a man famous for obsessiveness, and places music in context of life and times Esterhzy Castle in Fertod Haydn Room @ Esterhaza Search youtube A handsome video tour of where Haydn lived and worked, as well as the concert hall where the Cello Concerto in D major premiered H. C. Robbins Landon, 1791: Mozarts Last Year Schirmer Books An in-depth account of the period in which Requiem was composed

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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AUDIENCE INFORMATION
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