CONCERT PROGRAM
March 23-24, 2013
David Robertson, conductor
Mark Sparks, flute
David Halen, violin
COPLAND Quiet City (1939-40)
(1900-1990)
Cally Banham, English horn
Thomas Drake, trumpet
CHRISTOPHER ROUSE Flute Concerto (1993)
(b. 1949)
Amhrán—
Alla Marcia—
Elegia—
Scherzo—
Amhrán
Mark Sparks, flute
INTERMISSION
BERNSTEIN Serenade (after Plato’s Symposium) (1954)
(1918-1990)
Phaedrus; Pausanias: Lento; Allegro marcato
Aristophanes: Allegretto—
Eryximachus: Presto
Agathon: Adagio
Socrates; Alcibiades: Molto tenuto; Allegro molto vivace
David Halen, violin
COPLAND Four Dance Episodes from Rodeo (1942)
Buckaroo Holiday
Corral Nocturne
Saturday Night Waltz
Hoe Down
23
ACKNOWLEDGMENTS
David Robertson is the Beofor Music Director and Conductor.
Mark Sparks is the Helen E. Nash, M.D. Guest Artist.
David Halen is the Sanford N. and Priscilla R. McDonnell Guest Artist.
The concert of Saturday, March 23, is the Joanne and Joel Iskiwitch Concert.
The concert of Saturday, March 23, is underwritten in part by a generous gift
from Mr. and Mrs. William C. Rusnack.
The concert of Sunday, March 24, is underwritten in part by a generous gift from
Jo Ann Taylor Kindle.
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.
24
FROM THE STAGE
Mark Sparks on Christopher Rouse’s Flute Concerto: “It’s a work I seem to be
returning to. It’s a piece that is written on a larger scale than flutists are used
to playing. It offers a larger and wider range of possibilities. Perhaps more
than any other concerto for flute, the solo instrument is given materials that
are on a level of the great violin and piano concertos. It may be the most
important concerto written for flute in the 20th century.
“I’m fortunate in that I have a nice friendship with the composer. Having
access to the composer is a really great thing. I can ask questions and get
answers right from the person who wrote it. That’s awesome.
“Chris places the soloist in an almost novelistic role. It’s a very dramatic
piece and you change characters, you change points of view. You can go from
elation to utter horror. Formally it’s cyclical, meaning you end up where you
started. I think of it as beginning at a fair, and you go into the haunted house
on a sunny day. You witness various things there. You go through different
psychological states. You return to where you started, but maybe you notice
this sunny day isn’t so sunny after all.
“It’s also Chris’s most likeable and approachable work. He takes
inspiration from British music, from dances and processionals. The most
melodic music comes from Irish tradition, Irish song. He evokes those kinds
of images—think of How Green Was My Valley.”
Mark Sparks
25
AMERICAN MASTERS
BY PA U L SC H I AVO
TIMELINKS
1939-42
COPLAND
Quiet City
Four Dance Episodes from
Rodeo
World War II expands
across the globe
1954
BERNSTEIN
Serenade (after Plato’s
Symposium)
Army-McCarthy hearings
help to bring down
Sen. Joseph McCarthy
and McCarthyism
1993
CHRISTOPHER ROUSE
Flute Concerto
Great Flood devastates
the Midwest
During the early years of the 20th century, the
United States emerged as a dominant power on
the world stage. Coincidentally or not, the same
period saw the creation of the first American
concert music of international importance,
and throughout the last century our nation’s
composers have solidified their standing as artists
of the highest caliber. Whereas England, France,
Germany, Russia, and many other nations have
produced outstanding creative musicians during
the past hundred years, no country has seen more
lively or original musical activity than ours. Much
of that activity has been in the fields of jazz and
other styles of popular music, but those idioms
have enriched the character and complexion
of American concert works, which also have
captured the world’s attention.
Our concert presents American music
from the last century. It features two revered
composers—Aaron Copland and Leonard
Bernstein—whose place in our nation’s cultural
history is assured, as well as a younger man
whose work attests to the continued vitality of
our still relatively young musical tradition.
26
AARON COPLAND
Quiet City
FROM THEATER TO CONCERT MUSIC In the spring
of 1939, Aaron Copland received a commission
to write incidental music for a new play by the
American dramatist Irwin Shaw. Entitled Quiet
City, Shaw’s work imagined nocturnal scenes
and the night thoughts of various characters in
a modern urban setting. Copland was becoming
quite accustomed to producing music on
dramatic themes. Already he had demonstrated
a theatrical flair with his highly successful ballets
El Salón México and Billy the Kid. The same
year, 1939, also saw the creation of film scores
for The City and Of Mice and Men, as well as
incidental music for another play, Five Kings, a
Shakespearean potpourri starring and directed
by Orson Welles.
Copland produced the music for Shaw’s
drama as requested, but the play was withdrawn
after two trial performances. In the summer of
1940, the composer reworked the score’s main
musical ideas into a piece for small orchestra,
and in this form Quiet City was played for the first
time in January 1941.
The work is scored for a small ensemble of
strings, English horn, and trumpet, the latter
treated essentially as a solo instrument. (In the
play, the main protagonist plays the trumpet,
his music serving, as Copland stated, “to arouse
the conscience of his fellow players and of the
audience.”) The opening measures have the
string choir and English horn outlining widely
spaced chords, creating an impression of great
stillness, and a three-note motif that proves the
thematic germ for the entire piece. Soon the
trumpet counters with nervous repeated notes
and more rhapsodic phrases. The music slowly
builds in intensity, at last reaching a stirring
climax. From here it returns to its original mood
and material, closing quietly and pensively.
27
Born
November 14, 1900, Brooklyn,
New York
Died
December 2, 1990, Tarrytown,
New York
First Performance
January 28, 1941, at New
York’s Town Hall, Daniel
Saidenberg conducted the
Saidenberg Little Symphony
STL Symphony Premiere
December 26, 1942, Vladimir
Golschmann conducting
Most Recent STL Symphony
Performance
December 12, 2008, David
Robertson conducting
Scoring
English horn
trumpet
strings
Peformance Time
approximately 10 minutes
CHRISTOPHER ROUSE
Flute Concerto
Born
February 15, 1949, Baltimore,
Maryland
Now resides
Baltimore
First performance
October 27, 1994, in Detroit,
Carol Wincenc played the
featured flute part with the
Detroit Symphony Orchestra;
Hans Vonk, who later became
Music Director of the St.
Louis Symphony, conducted
STL Symphony Premiere
April 8, 2005, Mark Sparks
was soloist, with David
Robertson conducting
Most Recent STL Symphony
Performance
March 20, 2013, Sparks and
Robertson combining again
on the just completed
California tour
Scoring
solo flute
3 flutes
2 oboes
2 clarinets
2 bassoons
contrabassoon
4 horns
2 trumpets
3 trombones
tuba
harp
timpani
percussion
strings
Performance Time
approximately 28 minutes
A ROMANTIC AT HEART Christopher Rouse has
achieved a remarkable dual success, writing
music that is highly respected within his
profession and deeply appreciated by concert
audiences. Although he is well schooled in the
modern techniques of his craft, communication
has always been Rouse’s principal concern.
Indeed, Rouse has said that compositional
technique is always “less important than my need
to express, which must mean that I’ve always been
a Romantic at heart.” A neo-Romantic, perhaps,
but by any description, the beauty and intense
expressiveness of Rouse’s music has won acclaim
from critics and music-lovers alike. In 1993 his
Trombone Concerto received the Pulitzer Prize.
Rouse now holds a faculty position at the Juilliard
School and serves as composer-in-residence with
the New York Philharmonic Orchestra.
Rouse composed his Flute Concerto in
1993 for the stellar flutist Carol Wincenc. The
composer explains that the work was inspired
largely by the rich musical tradition of the
British Isles. “Although both of my parents’
families immigrated to America well before the
Revolutionary War,” the composer observes in a
preface to his concerto, “I nonetheless still feel a
deep ancestral tug of recognition whenever I am
exposed to arts and traditions of the British Isles,
particularly those of Celtic origin.” He goes on
to say that “the kinship I feel with this heritage—
reflected in musical sources as distinct as Irish
folk songs, Scottish bagpipe music and English
coronation marches—never fails to summon forth
from me a profoundly intense reaction of both
recognition and homesickness.”
SONG, DANCE, MARCH, ELEGY The concerto’s
five movements form an arch design. At each end
are very similar movements titled “Amhrán,” the
Gaelic word for “song.” True to that meaning,
these opening and closing portions of the
composition have the solo instrument singing
almost in the manner of an Irish folk song over
eloquent, slow moving harmonies.
28
The heart of the concerto, in every sense,
is the third movement. Rouse conceived it as a
requiem for James Bulger, a child whose abduction
and murder by a pair of 10-year-old English boys
shocked all of Britain and the composer, who
responded with this great elegiac outpouring.
On each side of that centerpiece comes lively
music: a march as the second portion of the
work, and, as the fourth, a scherzo with rhythms
suggesting a jig. Although clearly referring to
traditional kinds of music, Rouse refracts the
characteristic sound of his models through the
prism of his own sensibility.
LEONARD BERNSTEIN
Serenade (after Plato’s Symposium)
IN PRAISE OF LOVE Leonard Bernstein’s Serenade
for solo violin with strings and percussion
is widely regarded as the late composer and
conductor’s finest concert piece. Bernstein wrote
it, in 1954, after re-reading Plato’s Symposium,
one of the Greek thinker’s famous philosophical
dialogues. In that work, Plato recounts a
conversation among a group of inquiring minds
that has gathered over dinner in ancient Athens
to consider the nature of love. Although the titles
of the five movements that comprise Serenade
clearly refer to the Symposium, Bernstein denied a
literal correspondence between Plato’s work and
his own. He admitted only that “the music, like
the dialogue, is a series of related statements in
praise of love, and generally follows the Platonic
form through the succession of speakers at the
banquet.” Each movement grows out of musical
ideas presented in the previous one, and each is
dominated by the solo violin.
SOBER DIALOGUE, HEDONISTIC REVEL Bernstein
identified Plato’s speakers in the headings of
each movement. The opening presents Phaedrus,
who begins the proceedings with a lyrical ode to
Eros, and then Pausanias, whose description of
the dualistic quality of love—earthly and celestial,
physical and spiritual—is mirrored in a movement
based on two contrasting themes. In the second
29
Born
August 25, 1918,
Lawrence, Massachusetts
Died
October 14, 1990,
New York City
First Performance
September 12, 1954, in Venice,
Isaac Stern was the featured
violinist, the composer
conducted
STL Symphony Premiere
February 20, 1982, Jacques
Israelievitch was soloist, with
Leonard Slatkin conducting
Most Recent STL Symphony
Performance
May 6, 2007, James Ehnes was
soloist, with Michael Christie
conducting
Scoring
solo violin
harp
percussion
strings
Performance Time
approximately 31 minutes
First performance
May 28, 1943, in Boston,
Arthur Fiedler conducted the
Boston Pops Orchestra
STL Symphony Premiere
August 18, 1973, the complete
Four Dance Episodes was
first conducted by Aaron
Copland
Most Recent STL Symphony
Performance
October 26, 2000, David
Amado conducted a Kinder
Konzert
Scoring
3 flutes
2 piccolos
2 oboes
English horn
2 clarinets
bass clarinet
2 bassoons
4 horns
3 trumpets
3 trombones
tuba
timpani
percussion
harp
piano
celesta
strings
Performance Time
approximately 18 minutes
movement, the playwright Aristophanes invokes
the mythology of love.
Next comes the physician Eryximachus,
who proposes bodily harmony as a model for
lovers’ compatibilities. Bernstein described the
music for this third movement as “an extremely
short fugato scherzo, born of a blend of mystery
and humor.” By contrast, the ensuing movement,
inspired by Agathon’s speech praising love’s
charms, is a simple aria in slow tempo.
The finale begins with a weighty prologue,
representing Socrates’s speech on the demonic
power of love. This is interrupted, however, by
the entrance of Alcibiades, who leads a band of
drunken followers. They turn the gathering into
a hedonistic revel that Plato seems to suggest is
as true to the spirit of love as any of the sober
discourses that have gone before. “If there is a
hint of jazz in the celebration,” Bernstein wrote
of this final part of his score, “I hope it will not
be taken as anachronistic Greek party music, but
rather the natural expression of a contemporary
American composer imbued with the spirit of
that timeless dinner party.”
AARON COPLAND
Four Dance Episodes from Rodeo
A FRONTIER BALLET Aaron Copland is probably
best known for three ballet scores he composed
from 1938 to 1946. The first was Billy the Kid,
the last the justly famous Appalachian Spring.
The central portion of this ballet triptych
originated in 1942 when Agnes de Mille, the
American dancer and choreographer, asked
Copland to write music for a new ballet set on
a western ranch. Having already composed one
cowboy ballet, Copland was reluctant to accept
the assignment. But de Mille persuaded him by
promising that her work would be unlike Billy
the Kid: no legendary outlaws, no high drama,
just a simple and universal story in a pastoral
American setting.
That story could hardly have been more
elemental. A cowgirl raised at Burnt Ranch
competes for the attention of the young ranch
hands. Her search for romance culminates at
a Saturday night barn dance, where she finally
30
gains a suitor. Rodeo, originally subtitled “The Courting at Burnt Ranch,”
debuted in October 1942 and enjoyed an immediate success. The freshness
of de Mille’s choreography certainly accounted for some of the work’s appeal,
but Copland’s music was no less important. Among other things, Rodeo gave
further evidence of the fertility of the composer’s use of American folk music,
from which he also drew for his celebrated scores for Billy the Kid, Lincoln
Portrait, Appalachian Spring, and other works.
DANCE AND FOLK MUSIC Shortly after Rodeo opened, Copland adapted a
concert suite of four dances from his ballet score. The first of these dances,
“Buckaroo Holiday,” uses two authentic folk melodies: “If he be a Buckaroo by
His Trade” (an old cowboy song that Copland introduces by way of a trombone
solo); and “Sis Joe.” Rhythmic dislocations, sudden pauses, and unprepared
shifts of harmony impart a comic touch to the music. After treating each tune
separately, Copland combines them in complex counterpoint.
The ensuing “Corral Nocturne” is a tender interlude in an asymmetrical
5/4 meter and marked by evocative woodwind solos. Copland stated that he
wanted this music to convey the sense of loneliness felt by the ballet’s young
heroine. “Saturday Night Waltz,” the third movement, hints at the sound of
country fiddlers tuning up, as well as at the cowboy tune “Old Paint.” The
final dance, “Hoe Down,” has long been the most popular portion of Rodeo.
Here Copland quotes two squaredance tunes, “Bonypart” and “McLeod’s
Reel,” using the sound of country fiddling to impart a lively rural atmosphere.
Program notes © 2013 by Paul Schiavo
31
DAVID ROBERTSON
Michael Tammaro
BEOFOR MUSIC DIRECTOR AND CONDUCTOR
David Robertson and the
St. Louis Symphony just
completed their California
tour.
David Robertson has established himself as
one of today’s most sought-after American
conductors, and 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-yearold St. Louis Symphony. In January 2014, while
continuing as St. Louis Symphony music director,
Robertson also 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 London’s BBC
Proms, at the Berlin and Lucerne festivals, and
culminated at Paris’s Salle Pleyel. In March
2013 Robertson and his orchestra returned
to California for their second tour of the
season, which included 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 also performed 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, Vienna Radio
Symphony Orchestra, Israel Philharmonic, and
Ensemble Intercontemporain.
Born in Santa Monica, California, David
Robertson was educated at London’s Royal
Academy of Music, where he studied horn
and composition before turning to orchestral
conducting.
32
MARK SPARKS
HELEN E. NASH, M.D. GUEST ARTIST
Mark Sparks was appointed Principal Flute of
the St. Louis Symphony by the late Hans Vonk in
2000. He is a frequent soloist with the Symphony
and other orchestras and has performed in
the United States, Europe, Scandinavia, South
America, and Asia. He has appeared as Guest
Principal Flutist with many ensembles, including
the New York Philharmonic, Chicago Symphony,
Pittsburgh Symphony, Detroit Symphony, and
the Bergen (Norway) Philharmonic. In addition
to these performances of the Rouse Concerto
with the St. Louis Symphony, Sparks has recently
performed the piece in Singapore and Taiwan,
with plans underway for both the Chinese and
Korean premieres.
Prior to his appointment in St. Louis, Sparks
was Associate Principal Flute with the Baltimore
Symphony under David Zinman, and Principal
Flute of the San Antonio Symphony and the
Memphis Symphony.
This summer Sparks returns to the Aspen
Music Festival and School where he is an artistfaculty member and Principal Flute of the Aspen
Chamber Symphony. He also will be teaching
his fourth annual master class at Missouri’s
Innsbrook Institute, and will join the faculty of
the Pacific Music Festival in Sapporo, Japan.
Sparks is an enthusiastic teacher and
maintains a private studio in St. Louis. Sparks
has recorded two solo albums, appearing on the
Summit and AAM labels, and a new recording of
French repertoire for flute and piano is planned
for release in 2013.
Born in 1960 and raised in Cleveland and
St. Louis, Sparks graduated Pi Kappa Lambda
from the Oberlin Conservatory as a student of
Robert Willoughby, winning the 1982 Oberlin
Concerto Prize.
Prior to attending Oberlin, Sparks studied
with former St. Louis Principal Flute Jacob
Berg and trained in the St. Louis Symphony
Youth Orchestra.
Mark Sparks most recently performed as a
soloist with the St. Louis Symphony in April 2012.
33
Mark Sparks will give
the Chinese and Korean
premieres of Rouse’s Flute
Concerto.
DAVID HALEN
SANFORD N. AND PRISCILLA R. MCDONNELL GUEST ARTIST
David Halen joined the
faculty of the University of
Michigan in the fall of 2012.
David Halen is living a dream that began as
a youth the first time he saw the St. Louis
Symphony perform in Warrensburg, Missouri.
Halen began playing the violin at the age of six,
and earned his bachelor’s degree at the age of
19. In that same year, he won the Music Teachers
National Association Competition and was
granted a Fulbright scholarship for study at the
Freiburg Hochschule für Musik in Germany, the
youngest recipient ever to have been honored
with this prestigious award. In addition, Halen
holds a master’s degree from the University of
Illinois at Champaign-Urbana.
Halen was named Concertmaster in
September 1995, without audition, by the
orchestra, and with the endorsement of then
Music Directors Leonard Slatkin and Hans Vonk.
During the summer he teaches and performs
extensively, including his role as Concertmaster
at the Aspen Music Festival and School. In 2007
he was appointed Distinguished Visiting Artist at
Yale University, and at the new Robert McDuffie
Center for Strings at Mercer University in Macon,
Georgia. In the fall of 2012, Halen joined the
faculty of the University of Michigan, where he is
Professor of Violin.
As co-founder and artistic director of
the Innsbrook Institute, Halen coordinates a
weeklong festival, in June, of exciting musical
performances and an enclave for aspiring
artists. In August, he is artistic director of the
Missouri River Festival of the Arts in Boonville,
Missouri. His numerous accolades include the
2002 St. Louis Arts and Entertainment Award
for Excellence, and honorary doctorates from
Central Missouri State University and the
University of Missouri-St. Louis.
David Halen plays on a 1753 Giovanni
Battista Guadagnini violin, made in Milan, Italy.
He is married to Korean-born soprano Miran
Cha Halen and has a 16-year-old son. He was
most recently a soloist with the Symphony in
February 2012.
34
A BRIEF EXPLANATION
You don’t need to know what “andante” mean or what a glockenspiel is to
enjoy a St. Louis Symphony concert, but it’s fun to know stuff. For example,
what does it mean for composer Christopher Rouse to be “neo-Romantic,”
as program notes author Paul Schiavo suggests?
Neo-Romantic: Let’s look again at Rouse’s comment about compositional
technique being “less important than my need to express….” To put this into
context, compare Igor Stravinsky’s oft-quoted declaration “music is, by its
very nature, essentially powerless to express anything at all.” Stravinksy,
modernist, neo-classicist, puts a distance between himself and the
Romantics. Think of all that is expressed, or that we perceive to be expressed
by Beethoven, who kicks off the Romantic era. We don’t get that so much
from Classicists such as Mozart, Haydn, or Stravinsky. They’re more about
the purity of the composition, music as music. But the composers on this
program, Copland, Bernstein, and Rouse, all are expressing ideas and moods
and feelings in their music. They’ve gone back to Romantic inclinations, but
without ignoring how music and life have changed. They are Romantics of
their time, Romantics in an un-Romantic age.
PRACTICING:
DAVID HALEN, CONCERTMASTER
“If I know the piece, I know the problem areas, so it’s my job to isolate the
difficulties. Once isolated, I begin finding answers to the challenges that exist
there. For example, determining what patterns of fingering will work best and
most efficiently with the left hand while at the same time developing bowing
that will be most convenient for the right
hand. You practice to best perform these
independent functions of your two hands.
Think of patting your head and rubbing
your stomach. It’s a little bit like that.
“Every piece is like learning something
new. Although with some individual
composers, Beethoven for instance, you can
find similar solutions in different pieces.
One thing only years of experience will teach
you is a method to find answers. You are able
to re-visit problems on multiple occasions.
Having a fresh mind is important, as is
looking for inspiration. It’s music, after all,
not a mathematical equation. You’re seeking
a beauty that is unique.”
David Halen
35
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.
Aaron Copland and Vivian Perlis, Copland:
1900 through 1942 and Copland: Since 1943
St. Martin’s Press
A lively, fascinating, and eminently
readable autobiography by America’s
iconic composer
christopherrouse.com
Christopher Rouse’s website offers a wealth
of information about the composer’s
music and activities
Thomas Wolfe, Radical Chic & Mau-Mauing
the Flak Catchers
Picador
“Radical Chic” has become a classic of
New Journalism, in which the white-suited
scribe attends Leonard Bernstein’s athome fundraiser for the Black Panthers in
1970. What emerges is a satiric portrait of
Bernstein and the times in which he lived.
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
36
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37
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WOMEN’S RESTROOM
HANDICAPPED-ACCESSIBLE
MEN’S
RESTROOM
MEN’S
RESTROOM
RESTROOM
FAMILYFAMILY
RESTROOM
ELEVATOR
ELEVATOR
38