Latest / St. Louis Symphony Orchestra Concert Rebroadcasts / Debussy's La Mer

Transcript

Debussy's La Mer · St. Louis Symphony Orchestra Concert Rebroadcasts

• 0:02
  SPEAKER_02: From Powell Hall at the Jack C.
• 0:04
  SPEAKER_02: Taylor Music Center, this is the St.
• 0:06
  SPEAKER_02: Louis Symphony Orchestra.
• 0:07
  SPEAKER_02: Tonight, guest conductor Dahia Stasewska will lead the orchestra in a program that opens with Anna Meredith's Nautilus.
• 0:14
  SPEAKER_02: The concert continues with John Sibelius's scene with cranes from Kululema, Opus 44, No.
• 0:20
  SPEAKER_02: 2, followed by Luciano Berrios' folk songs, featuring soprano and nickel harpa player Aphrodite Patuledou.
• 0:27
  SPEAKER_02: After intermission, the concert continues with Patoledu's improvisation of the traditional Kalevala melody and Sibelius' Luanatar featuring Patuledou, and we'll conclude with Claude Debussy's La Mer.
• 0:39
  SPEAKER_02: Good evening.
• 0:40
  SPEAKER_02: I'm Roth Milam, and welcome to another broadcast of the St.
• 0:43
  SPEAKER_02: Louis Symphony Orchestra's 2026-27 season on St.
• 0:47
  SPEAKER_02: Louis Public Radio and Timelcast on Classic 107-3.
• 0:51
  SPEAKER_02: You can listen to us online, see a copy of tonight's program notes, and much more at stlpr.org slash symphony.
• 0:58
  SPEAKER_02: During our intermission, we'll have a chance to speak with Dalia Stasewska, principal percussionist Will James, and Aphrodite Patolito.
• 1:05
  SPEAKER_02: Now, joining us in the broadcast booth is our commentator, Lauren Eldrick Stewart.
• 1:09
  SPEAKER_02: Good evening to you, Lauren.
• 1:10
  SPEAKER_03: Good evening, Rod.
• 1:11
  SPEAKER_02: Well, the word eclectic to describe Anna Meredith, the composer of tonight's first work, Nautilus, is a bit of an understatement, isn't it, Lauren?
• 1:19
  SPEAKER_03: It is.
• 1:20
  SPEAKER_03: The words uncategorizable and genre-defying are more appropriate as she straddles the worlds of contemporary classical, art pop, film and TV soundtracks, electronica installations, and experimental rock.
• 1:33
  SPEAKER_03: A producer and performer of both electronic and acoustic music, Meredith performs on keyboards, electronics, percussion, and clarinet with her band, which includes cello, electric guitar, and drums.
• 1:45
  SPEAKER_03: In its extensive tours, the band's performances have received wild acclaim.
• 1:49
  SPEAKER_03: The New York Times described its show as sheer exhilaration, and NPR's Bob Boylan described its tiny desk concert as a stormy, ecstatic, endlessly danceable thrill to behold, adding that it was simply the most exhilarating one I've experienced.
• 2:04
  SPEAKER_03: But Meredith's music is also performed by symphony orchestras, including an appearance at the BBC Proms.
• 2:10
  SPEAKER_03: Nautilus began life as a piece for Meredith's band, which was produced as an EP in 2012 and was included on her first studio album, Varmints, in 2016.
• 2:20
  SPEAKER_03: But tonight's guest conductor, Dalia Stasewska, heard it live in concert.
• 2:25
  SPEAKER_03: At that point, she was the chief conductor designate of the Lazi Symphony Orchestra and wanted an orchestral version for her opening concert the following year.
• 2:33
  SPEAKER_03: Meredith obliged and had her guitarist Jack Ross arranger for orchestra.
• 2:37
  SPEAKER_03: It is that version we will hear tonight.
• 2:40
  SPEAKER_03: Meredith commented on her work.
• 2:42
  SPEAKER_03: Nautilus was written as a sort of call to arms for myself, and it was one of the first tracks I wrote when I started to work in electronics alongside my acoustic or orchestral writing.
• 2:52
  SPEAKER_03: This shift was my way to reclaim some power over my writing, making albums where I would be in complete control.
• 2:58
  SPEAKER_03: It's a lovely full circle for this piece to now be rearranged back to an orchestral form.
• 3:04
  SPEAKER_03: I came up with the rising line while stomping along a beach in Scotland and experimenting with placing my steps across different parts of the material to create the shift and feel you hear roughly two-thirds in.
• 3:15
  SPEAKER_03: It should be noted that Anna Meredith makes a click track available and that will be used tonight for percussion, brass, and string principles.
• 3:23
  SPEAKER_03: Click tracks are commonly used when the symphony accompanies a movie, but are not the norm in a traditional concert setting.
• 3:29
  SPEAKER_03: We will learn more when we talk with Will James during intermission.
• 3:34
  SPEAKER_02: You can see a copy of tonight's program notes at stlpr.org slash symphony.
• 3:39
  SPEAKER_02: You're listening to the St.
• 3:40
  SPEAKER_02: Louis Symphony Orchestra from Powell Hall on St.
• 3:42
  SPEAKER_02: Louis Public Radio and online at stlpr.org.
• 3:46
  SPEAKER_03: A few words about tonight's guest conductor.
• 3:49
  SPEAKER_03: Dahlia Stosewska is principal guest conductor of the BBC Symphony Orchestra, and she has established herself as a commanding musical voice, a boundary-pushing innovator, and a fearless activist and advocate for change.
• 4:01
  SPEAKER_03: Stasewska has conducted leading orchestras around the world, including recent performances with soloists including Augustine Hawlik, Yo-Yo Ma, and Carol Joms.
• 4:11
  SPEAKER_03: She is also a passionate opera conductor.
• 4:14
  SPEAKER_03: Her solo debut album with the BBC Symphony Orchestra, Dahlia's Mixtape, was nominated for a Gramophone Award.
• 4:21
  SPEAKER_03: Born in Ukraine, Stasewska grew up in Finland studying violin and composition at the Tompere Conservatoire before studying violin, viola, and conducting at the Sibelius Academy.
• 4:32
  SPEAKER_03: These concerts mark Dalia Stasewska's SLSO debut.
• 4:42
  SPEAKER_02: The first performance of this piece was on September 16, 2021, Dalia Stasewska conducting the Lati Symphony Orchestra in Lati, Finland.
• 4:50
  SPEAKER_02: The first SLSO performance is the concert that we're listening to tonight.
• 4:54
  SPEAKER_02: The instrumentation is two flutes, one doubling piccolo, two oboes, two clarinets, one doubling bass clarinet, two bassoons, four horns, four trumpets, three trombones, a tuba, a timpani, a percussion, and strings.
• 5:11
  SPEAKER_02: The orchestra has tuned, and now we're awaiting the entrance of our guest conductor for the evening, Dalia Stasevska.
• 5:18
  SPEAKER_02: As she is coming in now, the orchestra has risen, the audience is acknowledging her with applause, and we'll have our first word of the evening.
• 5:26
  SPEAKER_02: And America is not listening.
• 11:32
  SPEAKER_03: And has turned to the audience joining the orchestra in a bow.
• 11:42
  SPEAKER_03: After applauding the orchestra once more, she is leaving the stage.
• 11:49
  SPEAKER_02: Up next is Jean Sebalius's Scene with Cranes from Kuolema.
• 11:55
  SPEAKER_02: Lauren Sibelius' love of nature, particularly birds, played a role in Scene with Cranes, didn't it?
• 12:02
  SPEAKER_03: Yes, it did.
• 12:03
  SPEAKER_03: In 1903, while working on incidental music for a play by his brother-in-law, R.
• 12:08
  SPEAKER_03: V.
• 12:08
  SPEAKER_03: Yernevelt, Sibelius began building his lifelong home on the banks of Lake Tusela, 24 miles north of Helsinki, Finland.
• 12:17
  SPEAKER_03: His view cave and a connection with nature, including swans, cranes, and geese, which served as inspiration throughout his career.
• 12:25
  SPEAKER_03: In 1906, from the six pieces he wrote for Kuolema, Sibelius created two independent concert works, Volstrees, which is frequently performed, and the lesser-known scene with cranes.
• 12:36
  SPEAKER_03: Scored for strings, two clarinets and timpani.
• 12:39
  SPEAKER_03: The main section of the piece portrays the beautiful Elsa as she looks at her reflection in a forest spring.
• 12:44
  SPEAKER_03: Later in the work, Elsa and her beloved Pavili see a flock of cranes flying overhead, which are represented by the pair of clarinets.
• 12:53
  SPEAKER_03: One crane veers off from the others, bringing the couple a baby.
• 12:57
  SPEAKER_03: As a footnote, Sibelius' biographer Eric Tajwasherna related an anecdote regarding the composer's death.
• 13:05
  SPEAKER_03: He was returning from his customary morning walk.
• 13:08
  SPEAKER_03: Exhilarated, he told his wife Aino that he had seen a flock of cranes approaching.
• 13:13
  SPEAKER_03: There they come, the birds of my youth, he exclaimed.
• 13:16
  SPEAKER_03: Suddenly, one of the birds broke away from the formation and circled once above Ainola.
• 13:22
  SPEAKER_03: It then rejoined the flock to continue its journey.
• 13:24
  SPEAKER_03: Two days later, in September 1957, Sibelius died at the age of 91.
• 19:44
  SPEAKER_02: OpenS44 number two.
• 19:46
  SPEAKER_02: The St.
• 19:46
  SPEAKER_02: Louis Symphony Orchestra was led by guest conductor Dalia Stateska.
• 19:51
  SPEAKER_03: And Dalia Stateska has invited a special applause for our concert master David Halen, principal cellist Danny Liu, and now an acknowledgement of our clarinetists, Robert Walker, and Kamalia Frillon.
• 20:06
  SPEAKER_03: She's invited the entire orchestra to rise and is now exiting the stage.
• 20:31
  SPEAKER_03: Berrio really drew from a wide range of locales and subjects in this anthology, but it's remarkably coherent, likely because he composed it for the voice of Kathy Berbarian.
• 20:41
  SPEAKER_03: Berbarian was a mezzosoprano at the forefront of 1950s and 1960s avant-garde music, who collaborated with composers such as John Cage, Igor Stravinsky, and Darius Mio.
• 20:54
  SPEAKER_03: Barrio married Barbarian when they were both young students in Milan, but at the point that Berriot was commissioned by Mills College in 1964 to write folk songs, their marriage was near its completion.
• 21:06
  SPEAKER_03: Nonetheless, the two continued to work together until her death in 1983.
• 21:11
  SPEAKER_03: The 1964 version of Folk Songs was composed for Small Ensemble and was arranged for Symphony Orchestra nearly a decade later.
• 21:19
  SPEAKER_03: We begin in the US with Black is the color of my true love's hair and I wonder as I wander.
• 21:25
  SPEAKER_03: These songs, which have at points been controversially attributed to folklorist John Jacob Niles, segue into an Armenian song translatable as The Moon Has Risen.
• 21:35
  SPEAKER_03: From Armenia, we travel to France with Little Nightingale, then across Italy with May the Lord Send Fine Weather, The Ideal Woman, Dance, and Song of Sadness.
• 21:46
  SPEAKER_03: We then return to France with Wretched as He and The Spinner, after which the cycle concludes with the Azerbaijan love song.
• 21:53
  SPEAKER_03: Unfortunately, the details of this love song remain shrouded by history.
• 21:58
  SPEAKER_03: Herbert Glass recounts That Barbarian transcribed the Azeri lyrics phonetically from an old 78 record, not knowing the language, and no one has been able to figure it out since.
• 22:09
  SPEAKER_03: Tonight's guest soloist, Aphrodite Patsolidu, seems especially well suited to perform this song cycle that was inspired by a singer of eclectic taste.
• 22:19
  SPEAKER_02: A reminder, you can follow along at home with your own program notes by going to stlpr.org slash symphony.
• 22:26
  SPEAKER_02: You're listening to the St.
• 22:27
  SPEAKER_02: Less Symphony Orchestra from Powell Hall on St.
• 22:29
  SPEAKER_02: Louis Public Radio and online at stlpr.org.
• 22:33
  SPEAKER_03: As the stage change continues, a few notes about our soloists.
• 22:36
  SPEAKER_03: Aphrodite Patoludu has been praised for her luminous, richly colored voice, compelling stage presence, and remarkable artistic versatility.
• 22:46
  SPEAKER_03: Equally at home in Mozart, Mahler, Strauss, and contemporary repertoire, her artistic practice extends beyond the classical stage, bringing music into dialogue with folk traditions, visual art, and the Swedish nickelharpa.
• 23:00
  SPEAKER_03: She has performed with world-renowned orchestras such as the Royal Concert Cabal Orchestra, Munich Philharmonic, and Orchestre Philharmonique de Radio France, among many others.
• 23:10
  SPEAKER_03: Her operatic roles include Elle in LeVoir Humain, Susanna in The Marriage of Figueroa, Belinda in Dido and Aeneas, and Sophie Shoel in Vice Rose.
• 23:21
  SPEAKER_03: As a visual artist, she creates special projects inspired by her passion for dark romantic themes.
• 23:27
  SPEAKER_03: These concerts mark Aphrodite Patolito's SLSO debut.
• 23:32
  SPEAKER_02: Composer Luciano Berrio was born in 1925 and died in Italy in 2003.
• 23:39
  SPEAKER_02: This is the first SLSO performance of this piece.
• 23:42
  SPEAKER_02: Instrumentation, soprano, two flutes, ovo, three clarinets, bassoon, horn, trumpet, trombone, percussion, harp, and string.
• 23:51
  SPEAKER_02: The orchestra has tuned, and we now have the entrance of our solo Aphrodite Papolito and our guest conductor Dalios Nathanska for our next work.
• 24:00
  SPEAKER_02: John Oberrios both songs entering Soprano Aphrodite Pottolito.
• 24:04
  SPEAKER_02: This is the simple symphony orchestra.
• 24:43
  SPEAKER_05: He's a lemps or something rosy hair.
• 27:44
  SPEAKER_05: Jesus was in a coast hole with wise men and farmers and shepherds and all.
• 46:01
  SPEAKER_02: You just heard of Luciano Burial's folk songs featuring Soprano Aphrodite Patolido.
• 46:06
  SPEAKER_02: The St.
• 46:07
  SPEAKER_02: Louis Symphony Orchestra was led by Dahlia Stasewska.
• 46:11
  SPEAKER_03: And guest solo is Aphrodite Patoledu.
• 46:14
  SPEAKER_03: Receiving enthusiastic applause, she has shaken the hand of concertmaster David Halen.
• 46:20
  SPEAKER_03: And after applauding her from the podium, Dahlia Stasewska embraced her, and now they have left the stage.
• 46:26
  SPEAKER_02: It's not going to be the last time we're going to see her on stage either.
• 46:29
  SPEAKER_02: She's coming up after our intermission tonight with two different pieces that we're going to listen to as well.
• 46:35
  SPEAKER_03: Looking forward to it.
• 46:35
  SPEAKER_03: And here she is coming back onto the stage now to take a few more bows.
• 46:41
  SPEAKER_03: So many bows waving in the orchestra, and the audience is on their feet.
• 46:50
  SPEAKER_03: And now the orchestra is on their feet.
• 46:53
  SPEAKER_02: A lot of different solo-esque performances from Danny Lee in the cello section as well.
• 47:00
  SPEAKER_02: A reminder, you can follow along at home with your own program notes.
• 47:03
  SPEAKER_02: All you have to do is go to stlpr.org slash symphony.
• 47:08
  SPEAKER_02: So during our intermission, we'll have a chance to speak with Dalias Dasewska, Will James, and Aphrodite Paptalidi.
• 47:13
  SPEAKER_02: I'm Rod Milam, and you're listening to a broadcast of the St.
• 47:16
  SPEAKER_02: Louis Symphony Orchestra on St.
• 47:18
  SPEAKER_02: Louis Public Radio.
• 47:23
  SPEAKER_02: From Paul Hall at the Jacksie Taylor Music Center, this is the St.
• 47:27
  SPEAKER_02: Louis Symphony Orchestra.
• 47:28
  SPEAKER_02: I'm Rod Milam, along with Lauren Eldridge Stewart.
• 47:31
  SPEAKER_03: Joining us now is Guest Conductor Dahlia Stasewska.
• 47:34
  SPEAKER_03: Good evening, Dahlia, and bravo on the first half of the concert.
• 47:36
  SPEAKER_03: Thank you very much, and good evening.
• 47:39
  SPEAKER_00: How did you put the program together?
• 47:41
  SPEAKER_00: I put the program together on two themes, nature and folklore.
• 47:47
  SPEAKER_00: I wanted to start with uh Sibelius's um scene with cranes that is quite rarely played, but I really wanted to play it outside Finland, where it's of course a very famous piece.
• 48:00
  SPEAKER_00: Cranes are rare birds in Finland and they carry with them a lot of um legends and mysticism, and they appear also in our epic story Kalevala, that uh is a collection of uh Finnish folklore and legends.
• 48:17
  SPEAKER_00: So they mean a lot to the area where things are.
• 48:23
  SPEAKER_00: And uh I wanted it to combine together with uh Luannotar, another piece by Sibelius for soprano and orchestra.
• 48:30
  SPEAKER_00: Luanotar is uh freely translated a goddess of nature.
• 48:35
  SPEAKER_00: She lands on a water or on an ocean, and uh bird lands on her knee, carrying an egg, and then the egg breaks, and from those elements that come from the egg, she creates the earth, the land, the stars, the moon, and so on.
• 48:54
  SPEAKER_00: So even though it's not the crane who brings the egg, but still there's a lot of continuation in the in the story.
• 49:01
  SPEAKER_00: And of course, we finished the concert with La Mer, the ocean on which the goddess of the nature landed and started to create everything that we see around us.
• 49:11
  SPEAKER_00: So this was the kind of the heart of this concert.
• 49:16
  SPEAKER_00: Then later I also wanted, because part of this creation, of course, is human, and uh the oldest thing that we know that human carries is a song, because with the song we tell the stories, it's a folklore.
• 49:31
  SPEAKER_00: So of course uh I wanted to having such an amazing singer offered it uh joining for Luan Notar to do with her burial uh folk songs because this song cycle needs a really special singer who understands how to sing with a chest voice and not an operatic voice, so it was just a perfect combination.
• 49:52
  SPEAKER_00: And we opened the the concert with Anna Meredith's Nautilus that in a way it's a folklore of our time.
• 49:58
  SPEAKER_00: So this is how we put together the program.
• 50:01
  SPEAKER_03: Well, it has been amazing thus far.
• 50:03
  SPEAKER_03: I have to ask you a little bit more about Nautilus.
• 50:06
  SPEAKER_03: Um, how did Anna Meredith first come to your attention?
• 50:09
  SPEAKER_00: Just by coincidence, I went to listen to her show in Helsinki.
• 50:15
  SPEAKER_00: Many, many years ago she was performing there with her band, and uh I was completely blown away with her music and with her incredible artistry, and uh I sneaked backstage and uh immediately just said who I was and I said that I'm uh just becoming a chief conductor of Lachti Symphony Orchestra, and I want to start my whole tenure with her piece, Nautilus.
• 50:41
  SPEAKER_00: Can you please arrange it for me?
• 50:42
  SPEAKER_00: And she said to me yes, and this is how we got this uh amazing orchestration version.
• 50:49
  SPEAKER_00: But I really heard from her music that she she thinks very symphonically about the music, and many of her pieces could be really great arrangements to the orchestra.
• 50:59
  SPEAKER_00: So I'm happy to have this one.
• 51:01
  SPEAKER_03: Well, we're so glad that you brought the piece our way.
• 51:04
  SPEAKER_03: Although you grew up in Finland, you were born in Ukraine and you care deeply about its people.
• 51:08
  SPEAKER_03: Could you tell us a bit about your role in Ukrainian relief efforts?
• 51:13
  SPEAKER_00: I try since the full-scale war, and actually I already go back ten years since 2014.
• 51:20
  SPEAKER_00: I've tried to help Ukraine as much as I can just um by doing a lot of humanitarian work.
• 51:28
  SPEAKER_00: We have gathered with my two two little brothers over 200,000 euros, and with those money we have brought from first aid to stoves, to woolen socks, clothes for kids, anything you can imagine, what is necessary at these times, and uh bought vans for the first responders and just drove sometimes ourselves and sometimes with the help of uh volunteers.
• 51:55
  SPEAKER_00: But also I try to just talk about it a lot around the world that people wouldn't forget about Ukraine and about the importance of the support because this is a really a fight for democracy and the values that I know also to American people are so important, and though it feels that it's really far away, it's actually closer than we think.
• 52:19
  SPEAKER_00: We are all connected, and something that might fall there can have a long-lasting effect on us, also.
• 52:26
  SPEAKER_00: So you can think about it like that that if Putin with Russian people wins there, it gives a sign that any dictator can take anything that they want by force, destroy whole culture, do horrific things that they are doing there, and send a message to other dictators that are watching very closely at this time.
• 52:47
  SPEAKER_00: And also it gives a sign that you can rule the world by just grabbing everything from people and having this almost kleptocracy, you know.
• 52:57
  SPEAKER_00: So I think that's why we sometimes have to think a little bit out of the box actually how close this uh matter is to all of us.
• 53:07
  SPEAKER_00: And uh I thank American people for the support and I hope that you keep Ukrainians uh in your hearts and help in any way you can.
• 53:17
  SPEAKER_00: And one of the most important ways to help is to not look away, read the news and know what's going on and talk about it.
• 53:25
  SPEAKER_00: This means so much to Ukrainians.
• 53:28
  SPEAKER_03: Well, we certainly thank you for sharing your efforts, also educating us, and also for sharing your artistry.
• 53:34
  SPEAKER_03: But speaking of artistry, we gotta get you back to the stage.
• 53:37
  SPEAKER_03: So thank you so much for taking a little moment, coming down to talk to us.
• 53:42
  SPEAKER_03: Thank you.
• 53:43
  SPEAKER_02: And joining us now is SLSO principal percussionist Will James.
• 53:47
  SPEAKER_02: Welcome, thank you very much for coming with us during intermission.
• 53:50
  SPEAKER_02: Absolutely, thanks for having me.
• 53:52
  SPEAKER_02: So, from what I understand in tonight's work, Anna Meredith Nautilus, you and several other of the principals used a click track.
• 53:59
  SPEAKER_02: Now, that's something conductor uses when the orchestra accompanies a movie, but I've never heard of that being used in a symphonic setting.
• 54:06
  SPEAKER_02: Was that the first time that you've had to do that in a symphonic setting as well?
• 54:10
  SPEAKER_01: Uh my memory could be wrong, but I do think it's the first time we've used it when we are not trying to sync up with a visual when it's strictly an audio medium.
• 54:20
  SPEAKER_01: I think the clear DJ sort of influence of that piece sort of dictates the precision.
• 54:26
  SPEAKER_01: And it's really like we absolutely could have played the piece without a click track, but I think it helps just with the precision needed, and it's a tool, so why not use it?
• 54:37
  SPEAKER_02: Can you explain it a little bit more for the audience what a click track is?
• 54:41
  SPEAKER_02: Because it's it's a little in the weeds, but you're the professional.
• 54:44
  SPEAKER_01: Well, it's it's essentially a metronome, and we all have wireless packs that go to headphones, and we can control how loud or how soft it is, but it's essentially just like you, you know, if you took piano lessons and you practice with a metronome, it's exactly the same thing.
• 54:59
  SPEAKER_02: So, in addition to the click track, are there any other challenges for the percussion section just for this particular concert?
• 55:05
  SPEAKER_01: Yeah, the Berio that we just finished, that was a I had not performed that before, and I immediately fell in love with that piece.
• 55:13
  SPEAKER_01: It was it's very moving and like very varied, and it's not a long piece, but it it lots of variation within it.
• 55:21
  SPEAKER_01: Uh, and we Alan and I essentially play more or less the exact same setup, but we sort of trade and alternate between the two of us.
• 55:30
  SPEAKER_01: And when I saw the part and started studying it, it doesn't dictate this in the part or in the score, but I thought this would be something really cool if we were as antiphonal as we could be logistically on stage.
• 55:43
  SPEAKER_01: So we purposely set up very far apart from each other to sort of have a stereo effect.
• 55:49
  SPEAKER_01: Generally in the orchestra, you don't want to do that because if you want to play with someone, you want them to be very close by.
• 55:56
  SPEAKER_01: But the way it's written, we sort of alternate and trade back and forth.
• 56:01
  SPEAKER_01: And for the audience, and when we had dress rehearsal, I was told it was effective.
• 56:07
  SPEAKER_01: Uh, you sort of get this stereo effect of back and forth, especially with the snare drums at the end, it's like sort of left ear, right ear, left ear, right ear.
• 56:15
  SPEAKER_02: So we've talked before about the challenges um in your job that are involved in assigning the instrumentation for pieces.
• 56:23
  SPEAKER_02: Do you have a ballpark estimate as to how many different instruments are used in general, not just tonight's concert, which were a lot, and then you you you had to assign yourself a gramophone last uh during the last concert.
• 56:35
  SPEAKER_02: Do you have any idea of how many different instruments are used over the course of a season?
• 56:39
  SPEAKER_01: Oh no, I it would be impossible.
• 56:42
  SPEAKER_01: I mean, I could maybe do like a a search in my a word doc at the end to see how many different instruments, but you know, that's part of the reason I was drawn to percussion, is every week is different, and every every piece is different, and you're playing different instruments, and you're using a lot of the same techniques, but you know, I see that as a benefit of my instrument is uh I I get to play tambourine, I get to play snare drum, I get to play bass drum, I get to play mallet instruments, um, and sort of be musically expressive on all of them.
• 57:14
  SPEAKER_02: Sometimes at the same time, I was busy trying to figure out where's that sound coming from?
• 57:18
  SPEAKER_02: We have a large TV screen, and I still couldn't tell.
• 57:21
  SPEAKER_01: Yeah, the writing was very ahead of its time when he he wrote that, and I I fell in love with that piece very quickly.
• 57:29
  SPEAKER_01: Um, and uh the singer was incredible.
• 57:32
  SPEAKER_02: So besides performing, you're an educator as well.
• 57:36
  SPEAKER_02: Can you tell how you educate the next round of percussionists that are coming up?
• 57:41
  SPEAKER_01: I really want to give back and sort of be a part of and share my experience.
• 57:46
  SPEAKER_01: But, you know, I have a family, and that's also a big importance to me.
• 57:51
  SPEAKER_01: So I found teaching hard in person because that's hours away, usually in the evening, from them.
• 57:59
  SPEAKER_01: So I I wrote a book and I have a video series called The Repertoire, that is sort of a performance series of the excerpts commonly asked in auditions, and then they're all accompanied by a spoken tutorial where I explain like my rationale between why I play this, and it's a lot of walking through, and it's a sort it's essentially a lesson in video form that students can um pay to have access to, and it's it's been really valuable.
• 58:30
  SPEAKER_02: So you say that takes you away from your family, do and or either one of your children musicians as well?
• 58:35
  SPEAKER_01: Yeah, my daughter just started middle school this year, and uh she switched from violin to flute, so we're about a month into learning the flute.
• 58:44
  SPEAKER_01: But she's she's really enjoyed it.
• 58:46
  SPEAKER_01: So yeah, it they're having fun with it.
• 58:48
  SPEAKER_02: You've not converted her into a percussionist yet?
• 58:51
  SPEAKER_01: No, well, the flute's a lot easier to transport than percussion instruments are.
• 58:55
  SPEAKER_02: Fair enough.
• 58:56
  SPEAKER_02: All right.
• 58:56
  SPEAKER_02: Will James, the principal percussionist for the St.
• 58:59
  SPEAKER_02: Louis Symphony Orchestra.
• 59:00
  SPEAKER_02: Thanks for spending some time with us during uh intermission.
• 59:03
  SPEAKER_01: You have 35 more instruments to Yeah, I'm gonna go do an inventory to make sure we have the right instruments on stage for the second half.
• 59:09
  SPEAKER_02: All right, well, thank you very much for taking some time with us right now.
• 59:11
  SPEAKER_02: You're welcome.
• 59:12
  SPEAKER_02: So after rehearsal on Thursday, I had a chance to sit down with Soprano and Nickelharpa player Aphrodite Patolidu and began by asking her how her experience has been working with Dalia Stasewska and the SLSO musicians.
• 59:26
  SPEAKER_04: Oh, I absolutely loved it.
• 59:28
  SPEAKER_04: I mean, uh me and Dahlia go back to oh, I cannot even remember.
• 59:31
  SPEAKER_04: We started doing Les Illuminations by Britain together in Berlin, and then we moved to this program, and this is the second time we do it.
• 59:39
  SPEAKER_04: We did it in Rotterdam Philharmonic already.
• 59:42
  SPEAKER_04: But to be here, and I have to say that when we started rehearsing Luanotar, and I heard my voice in this hall, I said to everyone, is there a microphone open?
• 59:52
  SPEAKER_04: Because the acoustics is unbelievable.
• 59:54
  SPEAKER_04: And they told me, no, this is the acoustics.
• 59:56
  SPEAKER_04: It's supernatural, but we never have this as singers, to be able to hear ourselves so well that it actually threw me off for some bars.
• 1:00:04
  SPEAKER_04: I thought, what is going on?
• 1:00:05
  SPEAKER_04: The acoustics is just incredible and and the orchestra is amazing.
• 1:00:10
  SPEAKER_04: And it's not just the fact that they are amazing musicians, they are also amazing people, super kind, and it it's a great pleasure to make music with them.
• 1:00:18
  SPEAKER_02: You champion the instrument, the nickel harp.
• 1:00:20
  SPEAKER_02: Could you describe the instrument itself and how you came about playing that particular instrument?
• 1:00:26
  SPEAKER_04: I first picked up the nickel harp in 2020.
• 1:00:30
  SPEAKER_04: 21 maybe.
• 1:00:31
  SPEAKER_04: It was my COVID project.
• 1:00:34
  SPEAKER_04: And I found out about this instrument in such a millennial way, honestly.
• 1:00:38
  SPEAKER_04: At the time I was doing a project in which I was researching about paraticarias that had their roots into folk music.
• 1:00:47
  SPEAKER_04: And what I would do is that I would choose them and sing them back into folk music.
• 1:00:52
  SPEAKER_04: So for example, the trees on the mountains are cold and grey.
• 1:00:56
  SPEAKER_04: It's an a Palachian song.
• 1:00:59
  SPEAKER_04: And of course, it also appears in uh Susanna, the opera.
• 1:01:03
  SPEAKER_04: So I would turn that back into folk.
• 1:01:06
  SPEAKER_04: And also another example would be uh Melangeve descend jusqu'au sol de la Tour from Pelliers et Melisandre.
• 1:01:14
  SPEAKER_04: I turned that one into uh a Greek polyphonic epirotic song for Dress the Fesh Pilat on the 2020 year.
• 1:01:23
  SPEAKER_04: And while doing those, I realized I need to support my voice in an instrument, and I only played the piano and the guitar, both of which, once you press the notes, it it dies out.
• 1:01:34
  SPEAKER_04: So I realized, okay, I need something sustained.
• 1:01:37
  SPEAKER_04: And then I tried the violin and it just wouldn't work.
• 1:01:40
  SPEAKER_04: Not for me nor my neighbors.
• 1:01:42
  SPEAKER_04: It's just it was incredibly painful for everyone.
• 1:01:47
  SPEAKER_04: So I just googled bode instrument with frets.
• 1:01:50
  SPEAKER_04: And then I got the result of Nickelharpa.
• 1:01:52
  SPEAKER_04: And next question was, okay, who is teaching that?
• 1:01:55
  SPEAKER_04: And next thing I knew, I was writing to all of your hands on in Uppsala in Sweden because the instrument really survived there after the medieval times.
• 1:02:03
  SPEAKER_04: During medieval times it used to be all over Europe.
• 1:02:06
  SPEAKER_04: But then they decided it was too difficult, so they went for the herdigurdi.
• 1:02:10
  SPEAKER_04: And after that came Viola da gamba and violin, as we know today.
• 1:02:14
  SPEAKER_04: But in Sweden, they kept the tradition alive and they developed the instrument.
• 1:02:19
  SPEAKER_04: Eric Zalstrom, for example, was responsible for creating new tunes for the instrument and also making it lighter and adding more strings.
• 1:02:27
  SPEAKER_04: So the instrument as we know it today has 16 strings, four of which you play, and the rest are sympathetic strings.
• 1:02:36
  SPEAKER_04: That's what creates this beautiful sound, this eerie sound that you hear.
• 1:02:40
  SPEAKER_02: After intermission, you will perform Sibelius' Luanatar with the orchestra, but as a prelude to that, you're going to sing and play the Nicolharpa.
• 1:02:49
  SPEAKER_02: It's an improvisation on a traditional Kalevala theme.
• 1:02:52
  SPEAKER_02: What led you to suggest that combination?
• 1:02:55
  SPEAKER_04: Well, the choice that Sibelius did for his Luanatar is that he took text from the traduction of the Kalevala, which is the Finnish epic poem.
• 1:03:04
  SPEAKER_04: Now, the same introduction of this huge poem, the Kalevala, starts with what is my motto in life, to be honest.
• 1:03:12
  SPEAKER_04: The very first lyrics say, I am wanting, I am thinking to arise and go forth singing.
• 1:03:19
  SPEAKER_04: And these are the words of whoever is reciting the Kalevala, because the tradition is that people would gather around the fire and hold hands and actually recite the poems.
• 1:03:30
  SPEAKER_04: The runo, basically.
• 1:03:32
  SPEAKER_04: I thought, oh, we gotta have this.
• 1:03:34
  SPEAKER_04: We gotta have this in the beginning of Runatar because it everything belongs in the same chapter.
• 1:03:39
  SPEAKER_04: Then I started going really deeply into it and trying to translate and understand the cadence and also the alliterations.
• 1:03:47
  SPEAKER_04: It's such a beautiful language finish.
• 1:03:49
  SPEAKER_04: It sort of started flowing as I was improvising.
• 1:03:54
  SPEAKER_04: It sort of created itself.
• 1:03:56
  SPEAKER_04: You know, it happens like this when you are in this creative mode.
• 1:03:59
  SPEAKER_04: You're not sure how you got there.
• 1:04:02
  SPEAKER_04: Probably you remember bits here and there, but somehow things are unraveling when you keep on speaking the text, and it kind of becomes like a trance the more you do it.
• 1:04:11
  SPEAKER_04: And then you find the cadence and the bowing, and you'll hear the rest.
• 1:04:15
  SPEAKER_04: What I did do very consciously though is that I used Sibelius' theme, Da ti-da da ti da ti da pum.
• 1:04:25
  SPEAKER_04: You will hear that when I play, and then you will hear me singing exactly the same theme.
• 1:04:29
  SPEAKER_04: And I also wanted to connect the two, sort of creating a connection between history and then what Sibelius created.
• 1:04:37
  SPEAKER_04: So I also play the opening theme of the string section, and it goes ataka into Sibelius.
• 1:04:44
  SPEAKER_04: So it all sounds as if there is air and electricity in the atmosphere.
• 1:04:49
  SPEAKER_04: I I hope you will hear that too.
• 1:04:51
  SPEAKER_02: That was tonight's featured soloist Aphrodite Patolidou, and our concert continues with Aphrodite Patoledu's improvisation on a traditional Calavela melody featuring Patoledu.
• 1:05:03
  SPEAKER_02: Our concert continues with Aphrodite Patolito's improvisation on a traditional Kaleavala melody featuring Patoledu as soprano vocalist and nickel harpa player.
• 1:05:13
  SPEAKER_02: It's going to be followed without pause by Jean Sabeles' Juanatar Opus 70 featuring Soprano Patolido.
• 1:05:20
  SPEAKER_02: So, Lauren, the next two works on tonight's program are based on the Kalevala.
• 1:05:25
  SPEAKER_02: Could you refresh our memory of this epic tale?
• 1:05:28
  SPEAKER_03: Absolutely.
• 1:05:29
  SPEAKER_03: The Kalavala is a collection of poetry that offers a creation narrative for Finland and the surrounding region.
• 1:05:36
  SPEAKER_03: First published in 1835, with subsequent editions in 1849 and 1862, it came into being along the same timeline as an emerging Finnish national identity.
• 1:05:47
  SPEAKER_03: These poems, first collected by Ilias Lonro, have inspired many musicians across a wide range of genres.
• 1:05:55
  SPEAKER_03: To begin, as she described in her interview, guest soloist Aphrodite Patu.
• 1:06:00
  SPEAKER_03: Will offer an improvised prelude based on the delivery style of the Kalevala.
• 1:06:05
  SPEAKER_03: Listen here for what her interpretation indicates about rhythm and melody.
• 1:06:10
  SPEAKER_03: She'll accompany herself on nickelharpa, an instrument with deep roots in the region.
• 1:06:15
  SPEAKER_03: After this prelude, the orchestra and Patuliru will perform Luanatar, Opus 70, by Jean Sibelius.
• 1:06:23
  SPEAKER_03: Luanatar is a tone poem depicting the opening scene of the Kalevala.
• 1:06:27
  SPEAKER_03: Luanatar, who represents the spirit of nature and is variably called daughter of the heavens and mother of the water, is lonely in the heavens and decides to descend to the ocean.
• 1:06:38
  SPEAKER_03: After calling for companionship, a bird lays unhatched eggs on her knee.
• 1:06:43
  SPEAKER_03: As time goes on, the eggs become unbearably hot, and Luanatar recoils from the heat, breaking them apart.
• 1:06:50
  SPEAKER_03: The contents become the quintessential atmospheric elements.
• 1:06:54
  SPEAKER_03: Earth, sky, sun, moon, and stars.
• 1:06:57
  SPEAKER_03: Due to its difficulty, Luanatar isn't performed frequently, so we're in for a treat tonight.
• 1:07:04
  SPEAKER_03: Just as Barrio wrote folk songs with Kathy Barbarian in mind, Sibelius composed Luanotar for a specific voice, that of Finnish soprano Aino Akte.
• 1:07:14
  SPEAKER_03: But even she expressed reservations after reviewing the score, writing that Luanotar is brilliant and magnificent.
• 1:07:22
  SPEAKER_03: It has swept me off my feet.
• 1:07:23
  SPEAKER_03: But at the same time, I am frightened that I will not be equal to its demands, for it is madly difficult, and my otherwise sure sense of pitch may fail me.
• 1:07:33
  SPEAKER_02: You're listening to a broadcast of the St.
• 1:07:35
  SPEAKER_02: Louis Symphony Orchestra on St.
• 1:07:37
  SPEAKER_02: Louis Public Radio or online at stlpr.org.
• 1:07:41
  SPEAKER_02: You can see a copy of tonight's program notes and a complete listing of SLSO broadcasts at stlpr.org slash symphony.
• 1:07:49
  SPEAKER_02: You can also find a link to the SLSO noted program book so you can follow along at home just like the audience here in Powell Hall.
• 1:07:57
  SPEAKER_02: John Sabalius was born in 1865 in Finland and died in 1957.
• 1:08:03
  SPEAKER_02: The first performance of this piece was September 10th, 1913.
• 1:08:07
  SPEAKER_02: Herbert Brewer conducting the Gloucester Festival Orchestra in Gloucester, England.
• 1:08:12
  SPEAKER_02: The first and most recent SLSO performance was March 27, 2009, followed by three subsequent performances in March and April of 2009.
• 1:08:21
  SPEAKER_02: David Robertson conducting, and the instrumentation on this particular piece is soprano, two flutes, two oboes, two clarinets, bass clarinet, two bassoons, four horns, two trumpets, three trombones, two timpani, two harps, and strings.
• 1:08:39
  SPEAKER_02: The orchestra has tuned, and we're awaiting the entrance of our soloist Aphrodite Patuledou and guest conductor Dalia Stasewska, who will lead the orchestra in Aphrodite Patuledu's improvisation on a traditional Kalevala melody featuring Patuledu as soprano vocalist and nickel harper player.
• 1:08:56
  SPEAKER_02: And that will be followed without pause by Jean Sibelius's Luanatar Opus 70, also featuring Soprano Patuledu.
• 1:21:38
  SPEAKER_02: The sequel symphony orchestra was led by guest conductor Dalia Stastewska.
• 1:21:43
  SPEAKER_03: And among enthusiastic applause, Patoledu has embraced Sotesta.
• 1:21:50
  SPEAKER_03: He has taken the hand of concert master David Hale, taken a deep bow, and exited the stage followed by Seth.
• 1:21:58
  SPEAKER_03: But the applause is continuing.
• 1:22:01
  SPEAKER_03: And the applause both from the audience and from the orchestra.
• 1:22:05
  SPEAKER_03: Now the two of them are re-entering the stage.
• 1:22:12
  SPEAKER_03: And hand over heart is once again taking a bow.
• 1:22:19
  SPEAKER_03: The audience is on their feet, and now the orchestra is on their feet.
• 1:22:25
  SPEAKER_03: And then the are taking a bow.
• 1:22:35
  SPEAKER_02: Her picking up her nickel harpa and taking it offstage as the audience is on their feet as well as the orchestra.
• 1:22:45
  SPEAKER_02: Lauren, the final work on tonight's program, Claude W.C.'s La Mer, was strongly influenced by the composer's love of the sea, wasn't it?
• 1:22:54
  SPEAKER_03: It was.
• 1:22:54
  SPEAKER_03: In fact, as WC began the work in 1903, he wrote to a colleague, You perhaps do not know that I was destined for the life of a sailor, and that it was only by chance that I was led away from it.
• 1:23:06
  SPEAKER_03: But I still have a great passion for the sea.
• 1:23:08
  SPEAKER_03: He had fond memories of time spent at Cannes as a boy and being mesmerized by the Mediterranean.
• 1:23:15
  SPEAKER_03: As an adult, he frequented ocean resorts and often repeated his sentiments concerning his old friend the sea, always innumerable and beautiful.
• 1:23:23
  SPEAKER_03: However, his actual experiences sailing on the sea were limited to two crossings of the English Channel.
• 1:23:29
  SPEAKER_03: Debusy was also influenced by the portrayal of the sea in art by two early painters, J.M.W.
• 1:23:35
  SPEAKER_03: Turner, who lived from 1775 to 1851, and Katsushiku Hokusai, who lived from 1760 to 1849.
• 1:23:44
  SPEAKER_03: In fact, Debussy printed Hokusai's The Great Wave of Kanagawa on the title page of La Mer's score.
• 1:23:52
  SPEAKER_03: La Maire followed on the heels of Debussy's opera Peleus and Melison, which initially received mixed reviews, with some considering it too modern, although over time it achieved great popularity.
• 1:24:05
  SPEAKER_03: Trying not to be button-holed into any particular form, the composer referred to the work as three symphonic sketches.
• 1:24:13
  SPEAKER_03: SLSO assistant principal double bass Alec Belcher in a video interview described it as a tone poem that tries to paint a picture of the sea.
• 1:24:22
  SPEAKER_03: Debbie C uses every musical effect that he can to make you feel like you're on a beach, that you're out on a boat, or maybe are in the middle of a rough storm.
• 1:24:31
  SPEAKER_03: The three movements are titled From Dawn to Noon on the Sea, Play of the Waves, and Dialogue of the Wind and the Sea.
• 1:24:39
  SPEAKER_03: From Dawn to Noon on the Sea portrays the gradual awakening of the sea at dawn, building from a shimmering start to a full orchestral climax as the sun reaches its zenith.
• 1:24:49
  SPEAKER_03: Play of the waves captures the playful, unpredictable motion of the waves.
• 1:24:54
  SPEAKER_03: The music is light, vibrant, and filled with intricate textures reflecting the sea's constantly changing nature.
• 1:25:01
  SPEAKER_03: Dialogue of the wind and the sea is more tempestuous as it depicts the interaction of the wind and the sea.
• 1:25:07
  SPEAKER_03: It features wide contrast, sweeping themes, and strong orchestral surges, ending with a forceful and evocative portrayal of the sea's majesty.
• 1:25:16
  SPEAKER_03: La Mer was premiered October 15, 1905, conducted by Camille Chevillard at the Concert La Moreau in Paris to mixed reviews.
• 1:25:25
  SPEAKER_03: His friend, the critic Pierre Lalot, son of composer Edouard Lalot, complained that it lacked logic and that he did not see or smell the sea.
• 1:25:36
  SPEAKER_03: An extra musical reason for the lack of enthusiasm was that Debussy was still experiencing public disapproval for leaving his wife without a divorce, causing her to attempt suicide, and having an affair with the wife of a wealthy financier leading to the birth of their child.
• 1:25:52
  SPEAKER_02: But three years later, Debuty conducted the work in a series of concerts where it was much better received, and it has continued to please to this day.org.
• 1:26:09
  SPEAKER_02: You can follow along with your own program by going to stlpr.org slash symphony.
• 1:26:15
  SPEAKER_02: Claude Debussy was born in France in 1862 and died in 1918 in Paris.
• 1:26:22
  SPEAKER_02: The first performance of this piece was October 15, 1905, and the first SLSO performance was January 23rd, 1913, Max Zach was conducting.
• 1:26:33
  SPEAKER_02: The most recent SLSO performance was May 3, 2024, with Stefan Deneve conducting the SLSO at the Stiefle Theater.
• 1:26:41
  SPEAKER_02: Instrumentation for the piece is two flutes, piccolo, two oboes, English horn, two clarinets, three bassoons, and more.
• 1:26:48
  SPEAKER_02: We now have the entrance of our guest conductor Dalias Dasewska, who's going to lead the orchestra in claw WC's La Mer.
• 1:26:55
  SPEAKER_02: You're listening to the St.
• 1:26:56
  SPEAKER_02: Louis Symphony Orchestra broadcast on St.
• 1:26:58
  SPEAKER_02: Louis Public Radio.
• 1:51:50
  SPEAKER_02: We just heard Claude W.
• 1:51:52
  SPEAKER_02: C.'s La Mer.
• 1:51:53
  SPEAKER_02: The St.
• 1:51:54
  SPEAKER_02: Louis Symphony Orchestra was led by guest conductor Dalia Stasevska.
• 1:51:59
  SPEAKER_03: And after applauding the orchestra, literally in a semicircle, she's descended from the podium, shaking the hand, and embraced concertmaster David Halen.
• 1:52:08
  SPEAKER_03: Now she's mounted the podium again and invited the orchestra to rise.
• 1:52:14
  SPEAKER_03: And she's taking a few bows as she receives a standing ovation from the audience.
• 1:52:21
  SPEAKER_02: Audience still on their feet here at Powell Hall in Midtown St.
• 1:52:24
  SPEAKER_02: Louis as we round up the concert for this evening.
• 1:52:27
  SPEAKER_02: They're very appreciative for the second concert of the season of the 2026-2027 season.
• 1:52:33
  SPEAKER_02: I think we're going to see another uh appearance by Dahlia Stasewska, and there she is right now with hoops and hollers from everybody in the audience.
• 1:52:42
  SPEAKER_03: And lots of bows moving in the orchestra.
• 1:52:47
  SPEAKER_03: Stasewska is now gazing out into the audience.
• 1:52:50
  SPEAKER_03: She's taking another bow.
• 1:52:55
  SPEAKER_03: And has once again descended from the podium and is exiting the stage.
• 1:53:02
  SPEAKER_03: And as the bows continue to furiously move, um, basically calling her back out onto the stage, Susewska has come out for a third time.
• 1:53:16
  SPEAKER_03: She appears to be joking a little bit with Countermaster David Halen.
• 1:53:24
  SPEAKER_03: And is once again taking a bow.
• 1:53:26
  SPEAKER_03: She's invited the orchestra to rise and is gesturing towards each section.
• 1:53:32
  SPEAKER_03: Redirecting the applause toward the orchestra.
• 1:53:46
  SPEAKER_03: And she is once again exiting the stage.
• 1:53:51
  SPEAKER_02: You're listening to the St.
• 1:53:52
  SPEAKER_02: Louis Symphony Orchestra from Powell Hall on St.
• 1:53:55
  SPEAKER_02: Louis Public Radio, simulcast on Classic 1073 and online at stlpr.org.
• 1:54:01
  SPEAKER_02: You can hear this concert in person tomorrow afternoon at 3 at Powell Hall.
• 1:54:06
  SPEAKER_02: Tonight, we heard the following works: Claude Debussy's La Mer.
• 1:54:10
  SPEAKER_02: Before that, John Sebalius's Luanatar, Opus 70, featuring Soprano and Nickelharpa player Aphrodite Patolito, which was preceded by Patolito's improvisation on the traditional Kalevala melody.
• 1:54:23
  SPEAKER_02: We also heard Luciano Berio's folk songs, also featuring Soprano Aphrodite Patolito.
• 1:54:28
  SPEAKER_02: Before that, Sabalius is scene with cranes from Kuolema, Opus 44 No.
• 1:54:33
  SPEAKER_02: 2.
• 1:54:33
  SPEAKER_02: And we began the evening with Anna Meredith's Nautilus.
• 1:54:37
  SPEAKER_03: You're invited to join St.
• 1:54:39
  SPEAKER_03: Louis Public Radio for the next live broadcast of the St.
• 1:54:42
  SPEAKER_03: Louis Symphony Orchestra, Saturday, October 17th, two weeks from tonight.
• 1:54:46
  SPEAKER_03: Guest conductor Christina Posk will lead the orchestra in Ulo Kriegel's Proteus Pulse, Wolfgang Amadeus Mozart's Piano Concerto No.
• 1:54:55
  SPEAKER_03: 21, Caracol 467, featuring pianist Marie Ange Ngucci and Robert Schumann's Symphony No.
• 1:55:03
  SPEAKER_03: 3 in E Flat Major, Opus 97, Rhenish.
• 1:55:07
  SPEAKER_03: That's the next live broadcast of the St.
• 1:55:09
  SPEAKER_03: Louis Symphony Orchestra, two weeks from tonight at 7.30 p.m.
• 1:55:13
  SPEAKER_03: on St.
• 1:55:13
  SPEAKER_03: Louis Public Radio.
• 1:55:15
  SPEAKER_02: We invite you to share your thoughts about our live broadcasts of the St.
• 1:55:18
  SPEAKER_02: Louis Symphony Orchestra season.
• 1:55:19
  SPEAKER_02: You can find us online at stlpr.org and on social media.
• 1:55:24
  SPEAKER_02: Just search for and like the St.
• 1:55:25
  SPEAKER_02: Louis Public Radio Facebook page.
• 1:55:27
  SPEAKER_02: The St.
• 1:55:28
  SPEAKER_02: Louis Symphony Orchestra broadcast is produced by Mary Edwards with audio engineered by Kyle Pike.
• 1:55:33
  SPEAKER_02: Additional assistance is provided by Yvonne Frindel, Ian Smith, Paul Schiavo, Tim Munro, Greg Monteneux, Eric Dundan, Maggie Bailey, Rachel Madison, Calvin Hinton, Gino Belosi, Madeline Painter Tala, and Alex Rice.
• 1:55:47
  SPEAKER_02: Also, a special thank you goes to all the musicians of the St.
• 1:55:50
  SPEAKER_02: Louis Symphony Orchestra and Local 2197, broadcast of the St.
• 1:55:54
  SPEAKER_02: Louis Symphony Orchestra, or production of St.
• 1:55:57
  SPEAKER_02: Louis Public Radio.
• 1:55:58
  SPEAKER_02: I am Lauren OJ.
• 1:55:59
  SPEAKER_02: And I'm Rod Milam.
• 1:56:01
  SPEAKER_02: Please join us again in two weeks.