Latest / St. Louis Symphony Orchestra Concert Rebroadcasts / Italian Splendor

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Italian Splendor · St. Louis Symphony Orchestra Concert Rebroadcasts

0:02
SPEAKER_02: Live from Powell Hall at the Jack C.
0:05
SPEAKER_02: Taylor Music Center, this is the St.
0:07
SPEAKER_02: Louis Symphony Orchestra.
0:08
SPEAKER_02: Tonight, music director Stefan Deneve will lead the orchestra in a program that opens with Hector Berlioz's Roman carnival overture.
0:16
SPEAKER_02: The concert continues with Franz Liszt's piano concerto number two in A major, Searle 125, featuring pianist Yephim Bromfman.
0:24
SPEAKER_02: After intermission, the concert continues with Andrea Tarotti's Liguria and will conclude with Otarino Raspigi's Pines of Rome.
0:32
SPEAKER_02: Good evening, I'm Jonathan All, and welcome to the first live broadcast of the St.
0:36
SPEAKER_02: Louis Symphony Orchestra's 2026-27 season on St.
0:40
SPEAKER_02: Louis Public Radio and simulcast on Classic 1073.
0:44
SPEAKER_02: You can listen to us online, see a copy of tonight's program notes, and much more at stlpr.org slash symphony.
0:53
SPEAKER_02: During the intermission, we'll talk with Stefan Deneve, SLSO principal cellist Daniel Lee, and Yafim Bromfman.
1:00
SPEAKER_02: Joining us now is commentator Lauren Eldridge Stewart.
1:02
SPEAKER_02: Good evening, Lauren.
1:03
SPEAKER_05: Good evening, Jonathan.
1:05
SPEAKER_02: And the work that opens tonight's program demonstrates Hector Berlioz's penchant for borrowing from himself.
1:11
SPEAKER_05: Yes, it does.
1:12
SPEAKER_05: The Roman Carnival Overture began life as a prelude to the second act of the composer's 1837 opera, Benvenuto Cellini, based on the life of the famed artist and author.
1:23
SPEAKER_05: It was written after the opera's premiere for the revivals Berlioz had hoped would follow, but the premiere was not successful, and any revivals were few and far between.
1:34
SPEAKER_05: Berlioz blamed the opera's lack of success on the conductor of the premiere, Francois-Antoine Habenek.
1:41
SPEAKER_05: Berlioz was especially livid at the slow temple of the Salterello in the second act, which made it difficult for the dancers.
1:48
SPEAKER_05: Critics blamed Berlioz for his clumsy handling of what should have been inspiring subject matter, saying that the opera should have been named Malvenuto Cellini.
1:58
SPEAKER_05: On February 3, 1844, Berlioz conducted his renamed Roman Carnival Overture in Paris as an independent concert piece to great ovations, with the audience demanding it be repeated on the spot.
2:11
SPEAKER_05: The overture opens with a wild flourish from the opera's Tarantella.
2:15
SPEAKER_05: Then an English horn plays a section based on Benvenuto's first act aria, O Teresa, whom I adore.
2:22
SPEAKER_05: A scherzo-like passage in the tempo of the opera Saltarello leads to the brilliant main saltorello theme, which dominates the rest of the work.
2:30
SPEAKER_05: It should be noted that this is the same Soltorello that had caused Berlioz such consternation at the premiere of the opera.
2:36
SPEAKER_05: But he got his due since conductor Habanek was in attendance and saw the great ovations Berlioz received when he conducted it his way.
2:44
SPEAKER_05: In his autobiography, Berlioz noted that when he passed Habanek on the way out that evening, he said, that is how it ought to go.
2:52
SPEAKER_05: And the conductor made no reply.
2:55
SPEAKER_02: You can see a copy of tonight's program notes at stlpr.org slash symphony.
3:00
SPEAKER_02: You're listening to the St.
3:01
SPEAKER_02: Louis Symphony Orchestra live from Powell Hall on St.
3:04
SPEAKER_02: Louis Public Radio and online at stlpr.org.
3:09
SPEAKER_05: The SLSO has announced the appointment of five new musicians: Principal Tuba, Bridget Conley, Principal Harp, Grace Repke, Associate Principal Trumpet Amri Barak, Second Clarinet, Kamalia Fraling, and Double Bass Teddy Gabrielades.
3:25
SPEAKER_05: We'll be hearing more from and about each of these musicians throughout the season, but let me tell you a bit more about Bridget Conley.
3:31
SPEAKER_05: Bridget Conley comes to St.
3:33
SPEAKER_05: Louis following a fellowship with the New World Symphony in Miami.
3:36
SPEAKER_05: Conley has built an extensive orchestral resume, performing with ensembles including the Philadelphia Orchestra, Cleveland Orchestra, Cincinnati Symphony Orchestra, Florida Orchestra, Britt Festival Orchestra, and Seraph Brass.
3:49
SPEAKER_05: A graduate of the Yale School of Music, she studied with Philadelphia Orchestra Principal Tuba Carol Jance.
3:54
SPEAKER_05: Her musical life extends well beyond the orchestra.
3:58
SPEAKER_05: Conley won the 2021 Leonard Falcone International Euphonium and Tuba Solo Artist Competition and received the New World Symphony's Judith Jonathan Fellowship for an outstanding woman musician.
4:10
SPEAKER_05: She also co-founded Sisters in Sound, an online platform offering free arrangements and recordings of music by early women composers for brass ensembles.
4:20
SPEAKER_02: And right now, St.
4:21
SPEAKER_02: Louis Symphony Orchestra President and CEO Marie Hélène Bernard is coming to say a few words as the opening weekend begins.
4:42
SPEAKER_04: And it is a pleasure to welcome you on our on the opening of our 147th season.
4:50
SPEAKER_04: We are deeply grateful for your presence and ongoing support.
4:54
SPEAKER_04: It's been one year since we reopened Power Hall at the newly created Jack C.
4:59
SPEAKER_04: Taylor Music Center.
5:02
SPEAKER_04: Bravo.
5:07
SPEAKER_04: And it's been quite a year.
5:08
SPEAKER_04: This past year reminded us what the SLSO and Powell Hall mean to St.
5:14
SPEAKER_04: Louis.
5:14
SPEAKER_04: Music is at the center of everything we do and part of the fabric of our region.
5:21
SPEAKER_04: You who keep music alive and give meaning to our work to serve community and to nurture a leading American orchestra here in St.
5:32
SPEAKER_04: Louis, one deeply rooted in our region, further establishing St.
5:37
SPEAKER_04: Louis as a national and global destination for art and culture.
5:50
SPEAKER_04: This season we celebrate the 100th anniversary of our Symphony Volunteer Association.
5:56
SPEAKER_04: You see them on the floor tonight.
6:13
SPEAKER_04: We thank you.
6:18
SPEAKER_04: We invite you to stay this evening after the concert for April Hardy and tolls to the new season.
6:25
SPEAKER_04: An opportunity for you to mingle with our musicians and Stefan, who will speak with you later in the program, and also to be together to celebrate an extraordinary 147th year, countdown to 150 is on its way.
6:42
SPEAKER_04: So I hope you enjoy the concert.
6:43
SPEAKER_04: Now please welcome our concertmaster, David Halen, and music director.
6:47
SPEAKER_04: Stefan Deneve, thank you.
6:52
SPEAKER_02: And while David Halen and Stefan Deneve are coming to the stage, Berlioz was born near Grenoble, France, and died in 1869 in Paris.
7:00
SPEAKER_02: The first performance of this work was February 3rd, 1844 in Paris with the composer conducting.
7:06
SPEAKER_02: The first SLSO performance was December 5th, 1907, Max Zach conducting.
7:11
SPEAKER_02: The most recent SLSO performance was October 14, 2017, with Marcus Stenz conducting.
7:17
SPEAKER_02: The instrumentation is for two flutes, one doubling piccolo, two obes, one doubling English horn, two clarinets, two bassoons, four horns, two trumpets, and two coronets, three trombones and timpani.
7:29
SPEAKER_02: And David Halen is now leading the tuning of the orchestra, and Stefan Deneve will come out shortly to conduct Hector Berlios' Roman Carnival Overture, Opus 9, here as the St.
7:42
SPEAKER_02: Louis Symphony Orchestra is starting its 2026-2027 season here at Powell Hall.
7:48
SPEAKER_02: And now Stefan Deneve is taking the stage.
7:51
SPEAKER_02: The orchestra rises, he shakes David Halen's hand, and he is now coming to the podium, gesturing to the orchestra and bowing to the audience, ready to start this season of the St.
8:01
SPEAKER_02: Louis Symphony Orchestra with Hector Baelios' Roman Carnival Overture.
17:31
SPEAKER_02: The St.
17:31
SPEAKER_02: Louis Symphony Orchestra was led by music director Stefan Denev.
17:36
SPEAKER_05: And a special acknowledgement of English horn player Callie Bannum.
17:40
SPEAKER_05: Special acknowledgement also for the violist, and now the entire orchestra has been invited to rise.
17:47
SPEAKER_05: Music director Stefan Deneve is now exiting the stage.
17:50
SPEAKER_02: A very big and raucous opening here to tonight's concert with Hector Berlioz's Roman Carnival Overture.
17:58
SPEAKER_02: And Stefan Deneve is coming back out, acknowledging our English horn soloist again.
18:04
SPEAKER_02: And now asking the entire orchestra to rise.
18:14
SPEAKER_05: Also, Stefan is patting his heart in acknowledgement and gesturing out into the balcony.
18:22
SPEAKER_02: Up next on tonight's program is Franz Liszt's piano concerto in A major, Searle 125, featuring pianist Yuphim Bromfman.
18:30
SPEAKER_02: Lauren, the next piece on tonight's program, which was composed by a pretty famous superpianist, what should we expect from tonight's performance?
18:37
SPEAKER_05: Well, Jonathan, believe it or not, what we're about to hear is actually fairly sedate for Liszt.
18:43
SPEAKER_05: Franz Liszt is well known as a virtuoso pianist, but he also garnered acclaim as a skillful composer.
18:49
SPEAKER_05: You would think that these facets of his identity might mean that he was a prolific composer of the piano concerto, but this form seems to have challenged him.
18:58
SPEAKER_05: He only completed two that are explicitly named as piano concerti, and both took him a long time.
19:04
SPEAKER_05: Although he started writing the piano concerto number two in a major in his twenties, he didn't premiere it until his forties.
19:11
SPEAKER_05: And as you might imagine, a lot can change over the course of 20 years, both on the European performance scene and within the composer's personal life.
19:19
SPEAKER_05: During his 20s, Liszt began a series of European tours that established his reputation as the preeminent recitalist of his time.
19:27
SPEAKER_05: In fact, my Washu colleague Dolores Pesche notes that the first use of the term recital to describe a concert given by a single performer or a small group can be linked back to a press release about an 1840 Liszt performance.
19:40
SPEAKER_05: These recitals were reputedly spectacular.
19:43
SPEAKER_05: The German critic Heinrich Heine called the resulting fervor Listomania.
19:48
SPEAKER_05: In contrast, by his 40s, Liszt had accepted the impressive but more stable position of Kapellmeister at Weimar and was in charge of an entire orchestra.
19:58
SPEAKER_05: One way of understanding what that shift means for the music that he composed is to consider that much of the music of his twenties was written while he was performing as an individual, whereas music that was revised in his forties was influenced by access to an orchestra and also a different set of concerns and priorities.
20:16
SPEAKER_05: Liszt also treated the concerto a bit differently than his peers, and it might be helpful to talk through where he picked it up to where he eventually took it.
20:24
SPEAKER_05: Typically, concertos were ordered in three movements: the first fast, the second slow, and the third even faster.
20:30
SPEAKER_05: Liszt collapses these distinctions into a fluid four movement statement, which is played without pause.
20:36
SPEAKER_05: The four movements might also be interpreted as six sections.
20:40
SPEAKER_05: So it's up to your ear tonight how you hear it.
20:43
SPEAKER_05: Another difference between the A-major concerto and others is noted by musicologist Anna Chalenza, who asserts that the restraint applied by the composer in adding flashier moments changes the relationship between soloist and ensemble from adversarial to collaborative.
20:59
SPEAKER_05: By sparing with technical devices such as scales and octaves and contrary motion, Liszt makes the soloist a responsive accompanist to the wood, winds, and strings rather than an overbearing virtuoso.
21:11
SPEAKER_02: Tonight, we'll hear Yephim Bronfman convey that balance.org/slash symphony.
21:20
SPEAKER_02: There you can also find a copy of the SLSO Noted program book.
21:25
SPEAKER_02: You're listening to the St.
21:26
SPEAKER_02: Louis Symphony Orchestra live from Powell Hall on St.
21:28
SPEAKER_02: Louis Public Radio and online at stlpr.org.
21:32
SPEAKER_02: David Halen is now standing in front of the orchestra as they are tuning, waiting for our soloist to join us this evening.
21:40
SPEAKER_05: So while we're waiting, a few words about tonight's featured soloist.
21:43
SPEAKER_05: He's no stranger to the SLSO, and Euphreem Bronfman is internationally recognized as one of today's most acclaimed and admired pianists, standing among a handful of artists regularly sought by festivals, orchestras, conductors, and recital series.
21:57
SPEAKER_05: Born in Tajkent in the Soviet Union, And uh Bronze has worth on the break to the battle and also cast the best of the colours and Dow also.
44:00
SPEAKER_02: One of the things we were commenting on watching the theme Brockman play is this efficiency of motion.
44:05
SPEAKER_02: He does not move anything more than he has to, and he made all of those glorious sounds with an efficacy of technique that was just so impressive to watch.
44:15
SPEAKER_05: I mean, and now Brockman has re-entered the stage, and actually he's crossed over the podium to shake Danny Lee's hand personally.
44:23
SPEAKER_05: But yes, absolutely efficient, seemingly effortless, although we know that this was great effort.
44:35
SPEAKER_05: And now a few more bows with Deneuve and Bronfman hand in hand.
44:42
SPEAKER_05: And of course the audience is on their feet.
44:48
SPEAKER_02: And the applause is continuing at Powell Hall, and I'm sure Nifime Bronfman is going to have to come out at least one more time.
44:56
SPEAKER_05: And there he goes.
44:59
SPEAKER_05: And there goes Stefan, who's pulling a chair out, so it seems as if we're going to have an encore.
49:47
SPEAKER_02: Specifically the Paganini A Tude No.
49:49
SPEAKER_02: 2 in E-Flat.
49:50
SPEAKER_02: At least that's what the St.
49:51
SPEAKER_02: Louis Public Radio Classical Music Hive Mind came up with.
49:55
SPEAKER_02: We'll confirm that with Yofim when he's here.
49:57
SPEAKER_02: But a glorious uh encore here from a wonderful performance at Powell Hall.
50:02
SPEAKER_05: And such a treat as well.
50:04
SPEAKER_05: Yepim Bronfman is now exiting the stage amidst applause from both the audience and members of the orchestra.
50:12
SPEAKER_05: So many bows moving, waving in acknowledgment.
50:16
SPEAKER_05: And now Bronfman has re-entered the stage.
50:19
SPEAKER_02: And Bronfman tried to get Stefan to come up with him again, but Stefan put up a hand and said, no, no, this is about you.
50:26
SPEAKER_02: This is about you.
50:27
SPEAKER_02: And you see Brofman's back at the piano, hand over heart, bowing to the audience that is again on their feet here at Policy.
50:38
SPEAKER_05: And another brief cheer for the orchestra.
50:41
SPEAKER_05: He's turned, acknowledged them, and is now once again exiting the stage.
50:46
SPEAKER_02: A reminder that you can follow along at home with your own program notes by going to stlpr.org slash symphony.
50:53
SPEAKER_02: During the intermission, we'll talk with Stefan Deneve, Daniel Lee, and Yafim Bromfman.
50:58
SPEAKER_02: I'm Jonathan All, and you're listening to a live broadcast of the St.
51:00
SPEAKER_02: Louis Symphony Orchestra on St.
51:02
SPEAKER_02: Louis Public Radio.
51:07
SPEAKER_02: Live from Powell Hall at the Jack C.
51:09
SPEAKER_02: Taylor Music Center, this is the St.
51:11
SPEAKER_02: Louis Symphony Orchestra.
51:12
SPEAKER_02: I'm Jonathan All, along with Lauren Eldridge Stewart.
51:15
SPEAKER_02: Joining us now is music director Stefan Deneve.
51:18
SPEAKER_02: Stefan, good evening and welcome, and congratulations on a great start to the season.
51:23
SPEAKER_03: Good evening.
51:24
SPEAKER_03: Buenasser, whatever you want.
51:26
SPEAKER_03: Bonsoir.
51:27
SPEAKER_03: It's so wonderful to be back in Power Rule at the Jack City Law Music Center.
51:33
SPEAKER_03: And of course to play with this magnificent orchestra and such a soloist.
51:36
SPEAKER_03: I mean, I'm in heaven.
51:38
SPEAKER_02: So you last week you were in Forest Park with several thousand of your closest friends.
51:43
SPEAKER_02: Is that the start of the season, or is this the start of the season?
51:46
SPEAKER_02: Or do you have two starts to the season?
51:48
SPEAKER_03: I believe we have kind of two starts of the season, yes.
51:52
SPEAKER_03: The Forest Park concert became such an incredible tradition here.
51:56
SPEAKER_03: It started in 1968.
51:57
SPEAKER_03: And uh to see the audience growing year after year uh is something that is uh really uh just uh very very encouraging.
52:07
SPEAKER_03: And uh and it's wonderful to see a full hole tonight as well here in Powell.
52:11
SPEAKER_03: Feels almost intimate, I have to say, after after Forest Park.
52:15
SPEAKER_03: But uh uh yes, the energy is there, and uh I'm exhilarating because starting with Bellioz, with this very virtuosic Roman carnival, and to have the orchestra just delivering with such poise and virtuosity and energy, uh yes, it's a good start of the season, I believe.
52:33
SPEAKER_02: You and Euphine Braunfman have worked together many times.
52:36
SPEAKER_02: What in particular do you think he brings to list into this concerto?
52:40
SPEAKER_03: What I love is that it really comes from the kind of classical and then Chopin uh style.
52:47
SPEAKER_03: So uh it's a piece that goes toward the future because it's a kind of a symphonic poem with a uh uh a new kind of uh form and structure.
52:56
SPEAKER_03: But still inside of that, despite the belcanto magnificently played by our uh principal cello Daniel Lee, actually the the the piece is rooted still in uh uh extreme elegance.
53:10
SPEAKER_03: And what I love with um with the FEMA, because we call him FEMA, by the way, okay uh that's his diminutive name, uh is that he he he brings a very uh great uh uh kind of honesty and sincerity and simplicity.
53:24
SPEAKER_03: You know, it's very just uh beautifully sung, beautifully played, very delicate, and uh you really f understand that Liszt was a friend of Chopin when you hear that.
53:35
SPEAKER_02: Now uh you've conducted works by Andrea Tarotti before, uh specifically uh Solace in 2020.
53:42
SPEAKER_02: Uh how did Liguria come to your attention and how did you choose it for tonight?
53:46
SPEAKER_03: It's been a long time I want to do this piece actually, because when uh I met Andrea Tarodi, I uh I of course wanted to know more about her repertoire, and so I looked at um different pieces and this one actually captured my attention because it's very poetic.
54:01
SPEAKER_03: It's uh it's really in a way impressionistic somehow, but it's a mix of things because uh it sounds Italian by some aspects, but it's also Scandinavian by others.
54:10
SPEAKER_03: You know, there's some Sibelusian feeling here and there.
54:13
SPEAKER_03: Uh and uh and I really wanted to do it since a long time, and I think it's a great complement to uh Pines of Rome.
54:19
SPEAKER_03: Often you do fountains of Rome before, and I think this piece has almost the same kind of poetry and sound world.
54:26
SPEAKER_03: So uh I'm excited to play it uh to perform it for the first time here at the St.
54:31
SPEAKER_03: Louis Symphony Orchestra.
54:32
SPEAKER_02: It's always a treat to see the St.
54:34
SPEAKER_02: Louis Symphony Orchestra doing outreach and being in the community.
54:37
SPEAKER_02: And my wife and I were at uh Energizer Park and we saw the brass in percussion do the national anthem.
54:42
SPEAKER_02: And I have to ask you, on the back of your kit was your name and the number 13.
54:46
SPEAKER_02: What's the significance of 13 when you're out in the community like that?
54:50
SPEAKER_03: It's not a lucky number only, it's actually because I'm the 13th music director.
54:55
SPEAKER_03: Can you imagine?
54:56
SPEAKER_03: This orchestra is the second oldest orchestra in the country.
54:59
SPEAKER_03: Uh 147th season that we are starting.
55:03
SPEAKER_03: And uh I'm very honored actually to be uh the 13th one.
55:07
SPEAKER_03: There will be a 14th, you know, but uh uh it's definitely uh a great number to uh to to be with with this amazing, amazing orchestra.
55:16
SPEAKER_02: Great music on the pitch in the concert hall at Forest Park.
55:19
SPEAKER_02: Stefan Deneu, thank you so very much.
55:21
SPEAKER_03: We love our community, you know.
55:22
SPEAKER_03: So we offer music everywhere.
55:24
SPEAKER_03: I was also at some community concert as an uh audience member in different places and churches and wash you.
55:32
SPEAKER_03: I think it's wonderful that we serve the whole community and and we we have so many other concerts.
55:37
SPEAKER_03: So please join us everywhere.
55:39
SPEAKER_03: We are here for you.
55:41
SPEAKER_03: Thank you so much.
55:42
SPEAKER_05: And after the intermission, Stefan Deneve will lead the orchestra in Andrea Tarotti's Liguria and Autorino Verspighi's Pines of Rome.
55:50
SPEAKER_05: Joining us now is SLSO principal cellist Daniel Lee.
55:53
SPEAKER_05: Welcome, Danny.
55:54
SPEAKER_05: Hey, how are you?
55:55
SPEAKER_05: I'm pretty good.
55:55
SPEAKER_05: How are you?
55:56
SPEAKER_00: Very good.
55:57
SPEAKER_05: Have you recovered from your solo?
56:00
SPEAKER_00: Yeah, I'm uh I'm relaxed.
56:02
SPEAKER_00: I have more left.
56:03
SPEAKER_00: But solo or not, it's always so much fun and exhilarating to be back.
56:09
SPEAKER_00: You know, I usually in summer I I no one would believe I'm a musician and I rarely play.
56:15
SPEAKER_00: There's no music going.
56:16
SPEAKER_00: I'm doing something completely different.
56:18
SPEAKER_00: And then the first two weeks we do the park concert.
56:22
SPEAKER_00: I love Forest Park, first of all.
56:24
SPEAKER_00: During the summer I run it, so uh I know all the ends.
56:27
SPEAKER_00: I take a new path every time I do it.
56:29
SPEAKER_00: It's one of the gems of St.
56:31
SPEAKER_00: Louis.
56:31
SPEAKER_00: So uh it's actually one of my favorite things to do is actually do the opening night in Forest Park.
56:36
SPEAKER_00: It's it's for me very f festive, and I have two young baby girls, and I can't wait for them to be old enough to come join the park and have a family outing and uh that's gonna be fabulous.
56:49
SPEAKER_05: I can I can already see it.
56:51
SPEAKER_05: Um so let me ask you a few questions about the piano concerto.
56:55
SPEAKER_05: Sure.
56:55
SPEAKER_05: So we have here a really unusually intimate dialogue between the piano and the principal cello.
57:02
SPEAKER_05: Could you tell us more about the role that the cello plays in that moment?
57:06
SPEAKER_00: Um It seems to me Liszt liked uh cellist or something.
57:10
SPEAKER_00: I really set the cellist up for a nice uh moment there.
57:14
SPEAKER_00: I think what makes it very special is actually what happens before I actually enter.
57:19
SPEAKER_00: The pianist has a cadenza and asks this question, and you're left hanging, like wondering what's gonna happen.
57:26
SPEAKER_00: And I just have to simply play what's on the music.
57:29
SPEAKER_00: What Liz wrote is it's the setup that makes it extremely special.
57:34
SPEAKER_05: Now, I've always considered the cello to have this like sort of really warm and intimate sound, and then you have it juxtaposed with this concert grand.
57:44
SPEAKER_05: Are there any challenges in sort of achieving a balance between the two?
57:48
SPEAKER_00: Sure.
57:49
SPEAKER_00: I think the lower your registers are, you have to have more core in the sound to be able to project and cut through.
57:56
SPEAKER_00: It helps when you have some first principle understanding of the physics of how the cello works, then you can set it up so that it projects and you also have to know some basics, but it a lot of it has to do with just physics, understanding some principles there.
58:12
SPEAKER_05: Well, definitely achieved.
58:14
SPEAKER_05: So another sort of technical question then, how much of the interpretation is sort of established in advance?
58:21
SPEAKER_05: Um, and then how much of it then develops in, say, this last week of rehearsals with Bromf.
58:26
SPEAKER_00: So when I have uh uh an exposed part like a solo, I will usually first study the context.
58:32
SPEAKER_00: So I'll look at the score and see what the architecture is, the structure.
58:36
SPEAKER_00: So if it's a four-bar phrase, where do I enter within the four-bar phrase?
58:39
SPEAKER_00: Is it a six-bar phrase?
58:41
SPEAKER_00: Just the basic structure.
58:43
SPEAKER_00: And then uh do all the basic, learn the notes, you know, the basic stuff.
58:48
SPEAKER_00: And have some general plan idea.
58:51
SPEAKER_00: 80%, but the rest of the 20% is done with my colleagues, with the maestro, with the art the soloists, my colleagues also play some of the motives.
59:02
SPEAKER_00: So all of that plays a role.
59:04
SPEAKER_00: And it really depends on how focused I am listening to what what is going on, and that that's what making music is.
59:11
SPEAKER_00: So you just sort of soak it all in and put it out there.
59:15
SPEAKER_05: So we're hearing this program for the first time, but you've been sitting with this program and we're going from Verile's all the way down to Raspegie.
59:23
SPEAKER_05: What's one detail that you think that we might not pull out, but that you hope we'll pull out?
59:30
SPEAKER_00: Well, you know, like I said, the first two weeks after no music, I come back.
59:34
SPEAKER_00: It's just wow, I love being here.
59:36
SPEAKER_00: It's amazing.
59:37
SPEAKER_00: And rehearsal, we did the Raspegie rehearsal.
59:40
SPEAKER_00: The last three minutes, uh, I was talking to my wife who plays in the section.
59:46
SPEAKER_00: I was like, isn't that just so amazing that the way it ends?
59:49
SPEAKER_00: I was thinking about like these huge battleships and coming to save this nation, you know, free them.
59:56
SPEAKER_00: Or and meanwhile, my wife was like, actually, honey, my my cat passed away.
1:00:01
SPEAKER_00: I was envisioning his spirit going up to heaven.
1:00:04
SPEAKER_00: So, you know, so two totally different visions.
1:00:07
SPEAKER_00: But music is for everybody.
1:00:08
SPEAKER_00: You can have it, it's everybody's own adventure.
1:00:11
SPEAKER_05: Well, I'm gonna take that quote with me and let you get back to your post.
1:00:15
SPEAKER_05: Thank you for coming down to talk with us.
1:00:17
SPEAKER_05: That was Principal Cellist Daniel Lee.
1:00:20
SPEAKER_05: And joining us now is tonight's featured soloist, Euphreem Brothman.
1:00:23
SPEAKER_05: Good evening.
1:00:23
SPEAKER_01: Hello, good evening, good to be here.
1:00:25
SPEAKER_05: And bravo on your performance.
1:00:26
SPEAKER_01: Thank you very much.
1:00:27
SPEAKER_01: Thank you.
1:00:28
SPEAKER_05: So the summer before Stefan Denev took over as the music director of the SLSO, you helped him select a new Steinway for the orchestra.
1:00:36
SPEAKER_05: How does it sound to you now?
1:00:38
SPEAKER_01: I love the piano.
1:00:39
SPEAKER_01: It's really uh I actually sometimes you know I select pianos and I come and I come to the orchestra a few years later.
1:00:46
SPEAKER_01: The piano I select, I tried, I said, oh no, who selected this piano?
1:00:51
SPEAKER_01: But in in this case, I'm very happy.
1:00:54
SPEAKER_01: You know, I'm pretty, you know, very I'm very happy when I get a good piano, and I'm very uh unhappy when I don't succeed in getting a good piano.
1:01:04
SPEAKER_01: That's a bad feeling.
1:01:05
SPEAKER_01: It happened a few times because I've done it a lot.
1:01:08
SPEAKER_01: One never knows how a piano is going to adjust to the new environment and different hall.
1:01:13
SPEAKER_01: You make selection in a room in New York which is uh, you know, not like a concert hall.
1:01:20
SPEAKER_01: So each each concert concert hall has a different uh feature to it and with different qualities, and not every piano will adjust well to it, you know.
1:01:30
SPEAKER_01: So it's it's a little bit of a gamble.
1:01:33
SPEAKER_05: Could you tell us a bit about your history with this piano concerto?
1:01:39
SPEAKER_01: Oh my god, I've had it uh throughout my whole life, on and off.
1:01:44
SPEAKER_01: Actually, I haven't played it for several years.
1:01:46
SPEAKER_01: I think I remember I had one performance during early pandemic in a virtual concert.
1:01:52
SPEAKER_01: But before that it was uh, you know, occasionally, but for some reason, um this concerto went out of fashion a little bit.
1:02:02
SPEAKER_01: So but you know, those things come and go in cycles.
1:02:07
SPEAKER_01: You know, the piano literature is so huge that some composers are overlooked maybe for a few years, sometimes for 20, 30 years, and then they come back.
1:02:16
SPEAKER_01: Don't forget that Beethoven nobody performed in the 19th century for 100 years.
1:02:21
SPEAKER_01: Liszt actually insisted on playing him, and he's the one who performed Beethoven sonata in public.
1:02:28
SPEAKER_01: He was the first one.
1:02:30
SPEAKER_01: Liszt was uh not only a great composer, but he was also a great personality.
1:02:34
SPEAKER_01: He did so much for music, and he was also a great teacher, and he was a great performer, he was a great composer, and he was a great friend to everybody, to Chopin, to Mendelssohn, to Schumann.
1:02:48
SPEAKER_01: They all uh revered him, and of course Paganini.
1:02:51
SPEAKER_01: Those caprice I played uh arranged by Elise for piano.
1:02:55
SPEAKER_01: So he was a great personality, and he was must have been an amazing pianist, probably the greatest of the 19th century, and he he gave a new level to the piano life.
1:03:07
SPEAKER_01: So now I forgot the question you asked, but I hope I understood that.
1:03:11
SPEAKER_05: But you did answer it indeed.
1:03:12
SPEAKER_05: And also you asked another question that we had.
1:03:15
SPEAKER_05: We were hoping that we got your encore piece right, but it sounds like we did.
1:03:19
SPEAKER_05: Um, the Paganini A Tudes.
1:03:21
SPEAKER_05: Yes.
1:03:22
SPEAKER_05: Back to the piano concerto, as I was looking it up, I was a little puzzled that he actually didn't perform it at the premiere.
1:03:32
SPEAKER_05: Do you have any guesses as to why he wouldn't, given that he's, you know, such a formidable pianist in his own right?
1:03:38
SPEAKER_01: He had many sublime and extraordinary students who probably that's a good question, and I I must tell you that I don't know why he did that.
1:03:47
SPEAKER_01: I never discovered him.
1:03:49
SPEAKER_01: But I think that probably my guess is he wanted to one of his students to have a uh limelight to promote them uh maybe he was very helpful in people's lives, and so that's my guess.
1:04:02
SPEAKER_01: But but I'm sure he he played a lot of his work.
1:04:06
SPEAKER_01: He wrote so much piano music that you can uh you can play 36 recitals, 36 recitals, two hours long, only with his music.
1:04:17
SPEAKER_05: Wow.
1:04:17
SPEAKER_01: That's how much music he wrote, and a lot a lot of it and all of it is fantastic and fascinating and very modern.
1:04:24
SPEAKER_01: You know, he was really ahead of his time.
1:04:26
SPEAKER_01: And I think his time now is coming back again.
1:04:28
SPEAKER_01: That's what I was going to tell you.
1:04:29
SPEAKER_01: That this season, all of a sudden, I have many performances of this concerto, it's different orchestras.
1:04:36
SPEAKER_01: They all of a sudden there is now interest in it.
1:04:38
SPEAKER_01: I don't know.
1:04:39
SPEAKER_01: You see what the cycles mean, you know, they you know they come and go.
1:04:44
SPEAKER_05: Well, you have given us an education in this intermission.
1:04:47
SPEAKER_05: Uh, we do have to let you go, but I just wanted to stop and thank you for coming and talking to us.
1:04:53
SPEAKER_05: And also thank you for this tremendous performance that you've offered us.
1:04:56
SPEAKER_01: Thank you so much.
1:04:56
SPEAKER_01: It's a pleasure to be here and great to get to know you.
1:04:59
SPEAKER_01: Thank you.
1:05:00
SPEAKER_01: Yes.
1:05:00
SPEAKER_01: Thank you very much.
1:05:01
SPEAKER_05: That was tonight's featured soloist, Yephim Bronfman.
1:05:05
SPEAKER_02: The next piece on tonight's program is Liguria by Andrea Tarotti.
1:05:10
SPEAKER_02: It continues with an Italian theme, Lauren.
1:05:12
SPEAKER_05: Yes, it does.
1:05:13
SPEAKER_05: But whereas the themes of Berlioz's Roman Carnival overture are drawn from an opera, Liguria is a bit more impressionistic in origin.
1:05:21
SPEAKER_05: In fact, the composer Andrea Tarotti likens her creative process to visual art, and she often paints as a precursor to writing music.
1:05:29
SPEAKER_05: Liguria also has a little bit in common with the second work on tonight's program, Liszt Piano Concerto No.
1:05:36
SPEAKER_05: So Cameron Kelsall described Tarotti's work as a tone poem, which is a stylistic description that links her to Liszt, who first popularized the term.
1:05:44
SPEAKER_05: Tone poems or symphonic poems are usually one movement pieces that convey the mood of a poem, painting, or other expressive media through music.
1:05:52
SPEAKER_05: It transports us to a place, and Toroti describes this place through sound.
1:05:57
SPEAKER_05: Although the music is performed without pause, There are six sections indicated in the manuscript: Waves, Horizon, Blue Path, Colors, Mountains, and Stars.
1:06:07
SPEAKER_05: In her notes for Liguria, composer Andrea Tarotti writes about the inspiration for the six sections of the piece.
1:06:14
SPEAKER_05: On the northwest coast of Italy by the Ligurian Sea are five small fishing villages clinging to the steep cliffs.
1:06:21
SPEAKER_05: These are called Real Majare, Manorula, Cornelia, Renazza, and Monterosso, and between the villages are paths connecting them through the mountains.
1:06:31
SPEAKER_05: In August 2011, I visited this area, and as soon as we arrived, I knew that I wanted to write music about it.
1:06:38
SPEAKER_05: The result is a work that can be described as a walking tour among the small villages.
1:06:43
SPEAKER_05: Real Maggiore with its high waves, Monarulo with its clock tower, Moneroso, where some bathers stressfully hurried to secure a place on the beach and opened up their colorful beach umbrellas, as if in a scene in a Fellini film.
1:06:57
SPEAKER_05: Venatza with its watchtower and cliffs, and lastly Cornelia, where the night sky was filled with stars.
1:07:05
SPEAKER_02: A reminder that you can follow along with your own program notes by going to stlpr.org slash symphony.
1:07:11
SPEAKER_02: You're listening to the St.
1:07:12
SPEAKER_02: Louis Symphony Orchestra live from Paul Hall on St.
1:07:15
SPEAKER_02: Louis Public Radio and online at stlpr.org.
1:07:20
SPEAKER_02: And concertmaster David Halen is standing in front of the orchestra as they tune, waiting for the entrance of Stefan Deneve.
1:07:28
SPEAKER_02: One thing that I think is just worth noting this that the orchestra, because it's opening weekend, they are not in their usual concert black.
1:07:36
SPEAKER_02: They've traded that for ties and tails and fancy dresses.
1:07:39
SPEAKER_02: So the orchestra is celebrating the opening weekend, not just with their enthusiastic playing, but also with how they're dressed.
1:07:46
SPEAKER_02: A detail that doesn't necessarily come across quite as well on the radio.
1:07:50
SPEAKER_05: This is true, but such style.
1:07:52
SPEAKER_05: And we now have the entrance of music director Stefan Deneuve.
1:07:57
SPEAKER_02: And he is at the podium, bowing to the audience.
1:08:02
SPEAKER_02: And he's going to say some words.
1:08:18
SPEAKER_03: Okay, we'll add one more tonight.
1:08:23
SPEAKER_03: Since our program is related to Italy, even if we have only one Italian composer tonight, we study in Rome with Berliu and we'll end in Rome thanks to Otto Rino Resp and these Pines of Rome depicting four places in Rome that have these beautiful trees.
1:08:43
SPEAKER_03: And a little fun fact first.
1:08:57
SPEAKER_03: I promise you.
1:08:59
SPEAKER_03: No, no, no, no.
1:09:00
SPEAKER_03: It's just that uh the first movement depicts our children playing at a villaborget, they are maybe as if you thought that uh you know the noble loud uh just low voice of the double bit was not appropriate to depict all these children.
1:09:16
SPEAKER_03: But don't worry, when they join also with Lowrass and Tubba into a second movement that's a correct effect with the light and with an urb of the catacombs, and here we'll get some beautiful uh uh melody uh from religious sound tooth, for instance.
1:09:36
SPEAKER_03: And after that, uh the panel will introduce a uh three beautiful sunset in the room.
1:09:48
SPEAKER_03: That uh we are now enrolling the uh tiny column.
1:09:54
SPEAKER_03: And uh with the let's go to the end set of and of uh uh cut on the water with a very beautiful uh roving, dreaming uh toll up and at the end of this third movement uh had an incredible idea of uh uh wanting to uh uh uh make the sound of 19 gas at night.
1:10:26
SPEAKER_03: And not in the baroque type, you would use uh you know flute uh different ways to imitate the bird.
1:10:34
SPEAKER_03: But uh this piece was written in the 1920s, and there was a new technology at the time which is uh the gravophoto, the photograph.
1:10:43
SPEAKER_03: And uh the brilliant idea uh cutting the edge to uh use a real recording of uh birds made in the 1910s.
1:10:53
SPEAKER_03: And I thought it would be quite interesting to offer you uh that experience nowadays that nobody would put a sound file or before I need, but uh look behind me.
1:11:03
SPEAKER_03: There is a beautiful phonograph here, you see a gramophone.
1:11:07
SPEAKER_03: And I would like to thank uh Terry Bear from the Antique Phonograph Society, which is afterwards, for lending us a bit of and so you will have here suddenly uh the realistic editors from here in 1924, the original 78, and um you will have here some hundred years old birds of thinking and after that it's beautiful now.
1:11:33
SPEAKER_03: Thank you.
1:11:38
SPEAKER_03: And after that, all waves lead to Rome, and we'll end with the famous time to the uh Capitolic Hill from the Apian Wave.
1:11:48
SPEAKER_03: And I have a little surprise for you to be sure that indeed all ways the Roman Empire would lead to Rome.
1:11:56
SPEAKER_03: You'll see that.
1:11:57
SPEAKER_03: But to start with, a recent piece by the living composer, obviously, Andrea Tarodi, who sounds Italian but actually is Italian descenses with each other.
1:12:09
SPEAKER_03: And he was inspired by another place in beautiful Italy, the five fishing villages are called Cinqueter in Liguria, hence the title of the piece of Liguria.
1:12:21
SPEAKER_03: And uh uh here uh you will actually we it could have been called Il Mare, the sea, because uh we start with a depiction of the high wave over there, so you will hear a lot of uh wavy feelings between the percussion, the brass, the string, the harp, etc.
1:12:41
SPEAKER_03: And uh following that uh we will more depict the calmer sea on the horizon, and you have a beautiful uh corangle solo again with a caliban.
1:12:51
SPEAKER_03: And uh after that uh the orchestra will go into what we call arpeggio, like a lot of uh calm notes uh of a chord, and this uh certainly depicts as well the uh sentiere azzurro, which is the blue path when you are in this cinque terre and you see the sea from the cliff.
1:13:11
SPEAKER_03: And uh it's really shimmering and very hypnotic and beautiful.
1:13:16
SPEAKER_03: Then the music gets a bit faster, uh, and you will hear uh clearly some uh gato, you know, the strings are plugged uh fast, and some uh uh uh xylophone I was playing with different rhythms.
1:13:28
SPEAKER_03: And uh uh there uh Andrea said that she tried to depict the sun batteries uh that are uh aggressively trying to find the place and move quickly the colorful uh sun beach umbrellas, and uh it sounds almost like Nino Rotata from a felini movie, something like that.
1:13:48
SPEAKER_03: Uh the waves come back and it ends uh with something very poetic, beautiful, where uh we will have the feeling, I hope, that we are uh under the stars.
1:13:59
SPEAKER_03: Uh coppola that is also like uh so beautiful.
1:14:03
SPEAKER_03: And uh here you will hear some uh tremolos, very fast strings that they call porticello.
1:14:09
SPEAKER_03: They play uh uh very uh close to the bridge, which makes this uh unreal sound, and you hear some hotels, uh just bows, which is special, and something another fun fact uh uh uh tam with uh rubber just uh uh uh which makes a kind of uh almost a wolf sound.
1:14:28
SPEAKER_03: Uh it's so beautifully orchestrated.
1:14:31
SPEAKER_03: I think it's uh really sound both Italian and Scandinavian, and uh I hope you will love the piece as much as we do playing for you.
1:14:39
SPEAKER_03: It's so great to be back in this wonderful Giacopello Music Center and our beloved power hall.
1:14:45
SPEAKER_03: So thank you for being there with us and have a great season with your St.
1:14:50
SPEAKER_03: Louis Symphony Orchestra.
1:27:15
SPEAKER_05: And Stefan Deneuve has shaken the hand of concertmaster David Halen, invited the entire orchestra to rise, and is now exiting the stage.
1:27:29
SPEAKER_05: And now a stage reentry.
1:27:32
SPEAKER_05: And it looks like he's looking for some folks.
1:27:35
SPEAKER_05: Ah, yes, this entire percussion section.
1:27:38
SPEAKER_05: We've heard some very interesting percussion in this piece.
1:27:44
SPEAKER_05: And once again the orchestra.
1:27:46
SPEAKER_05: And also an acknowledgement of the score.
1:27:48
SPEAKER_05: Speaking of Tarotti's history as a visual artist, the score has a really riveting design.
1:27:56
SPEAKER_02: Our concert will conclude with Otterino Raspigi's Pines.
1:28:00
SPEAKER_02: Of Rome.
1:28:01
SPEAKER_02: Lauren, this work is the second of three symphonic poems that the composer wrote as part of his Roman Festivals trilogy.
1:28:08
SPEAKER_05: Yes, the first is Fountains of Rome, written in 1916, and the third is Roman Festivals from 1928.
1:28:14
SPEAKER_05: Composed in 1924, Pines of Rome is in four continuous movements, each depicting a different pine tree at various hours and in different Roman locations.
1:28:24
SPEAKER_05: In a performance note, Raspoggi wrote that he used nature as a point of departure in order to recall memories and visions.
1:28:31
SPEAKER_05: The centuries-old trees that dominate so characteristically the Roman landscape become testimony for the principal events in Roman life.
1:28:39
SPEAKER_05: In the first Pines of the Villa Borghese, children play under the trees in the Villa Borghese Gardens.
1:28:57
SPEAKER_05: The exuberance of children at play comes to a climax with a wild whooping conclusion, so extraordinary, the first audience booed.
1:29:06
SPEAKER_05: The dirge-like second movement, Pines Near a Catacomb, describes the gloomy underground tune with quotations of ancient plain song chants by the trombones.
1:29:14
SPEAKER_05: An off-stage trumpet intones a songtous chant from the Roman Catholic Lieber Usualis.
1:29:20
SPEAKER_05: The third movement, Pines of the Guniculum, centers on the atmosphere of a moonlit night on a distant hill.
1:29:26
SPEAKER_05: And for the final movement, for Pines of the Appian Way, Respeky provided this very detailed caption: Misty Dawn on the Appian Way, Pine Trees guarding the magic landscape, the muffled ceaseless rhythm of unending footsteps.
1:29:40
SPEAKER_05: In this movement, Respeky scored parts for the ancient brass instrument, the Buccino.
1:29:45
SPEAKER_05: These two soprano parts and two tenor parts are played by trumpets and the two bass parts by trombones.
1:29:52
SPEAKER_05: The four trumpets will play from the dress circle balcony, two on house left and two on house right.
1:29:57
SPEAKER_02: The two trombones will be in the middle.org.
1:30:07
SPEAKER_02: You can see a copy of tonight's program notes and a complete listing of SLSO broadcasts at stlpr.org slash symphony.
1:30:17
SPEAKER_02: Well, the orchestra has tuned, and Stefan Deneuve should be coming out in just a moment for the final work on tonight's concert, Pines of Rome by Otarino Raspidi.
1:52:43
SPEAKER_02: You just heard Otorino Respighi's Pines of Rome.
1:52:47
SPEAKER_02: The St.
1:52:47
SPEAKER_02: Louis Symphony Orchestra was led by music director Stefan Deneve.
1:52:52
SPEAKER_05: And the audience immediately leapt to their feet.
1:52:56
SPEAKER_05: Maestro Deneve has invited the orchestra to arise.
1:52:59
SPEAKER_05: He's shaking the hand of concertmaster David Halen and Associate Concert Master Aaron Schreiber.
1:53:11
SPEAKER_05: And he's now headed off the stage.
1:53:15
SPEAKER_05: But I think that the audience is not going to be quite satisfied with that.
1:53:20
SPEAKER_02: This will be brief, and there are so many exposed, beautiful solo passages in Raspegi's Pines of Rome that I'm sure that many individuals and sections are going to be acknowledged.
1:53:32
SPEAKER_02: And he's starting with clarinet.
1:53:35
SPEAKER_05: Oh yes, principal clarinet is Scott Andrews.
1:53:40
SPEAKER_05: Also Principal Trumpet Stephen Franklin.
1:53:45
SPEAKER_05: Another for English horror player Callie Bannham.
1:53:50
SPEAKER_05: And principal keyboardist Peter Henderson.
1:53:55
SPEAKER_05: Also our new principal harpist, Grace Ripkee.
1:54:00
SPEAKER_05: A lot of love for the percussionist, particularly Alan Stewart, who, in addition to playing the gramophone, also played a range of other percussion instruments.
1:54:10
SPEAKER_05: Another for the brass and also the horns.
1:54:18
SPEAKER_02: The entire Woodwin section, and uh well deserved as there are so many intricate parts there.
1:54:24
SPEAKER_02: All three of the keyboards.
1:54:25
SPEAKER_02: Now, in addition to piano, there's also a cellested and organ on this piece, and all three of the keyboardists are acknowledged.
1:54:33
SPEAKER_02: Oh, the double basses get some love.
1:54:35
SPEAKER_02: You always love to see that.
1:54:37
SPEAKER_02: And the cellos, now the violas, we're moving through the string section.
1:54:42
SPEAKER_02: And the violins as well.
1:54:50
SPEAKER_02: Pointing at uh the brass in the in the balcony.
1:54:54
SPEAKER_02: And now the entire orchestra.
1:55:02
SPEAKER_02: And the applause is not letting up here at Powell Hall.
1:55:04
SPEAKER_02: Pines of Rome, definitely one of the war horses of the repertoire, incredibly popular among audiences for as long as it's been around.
1:55:14
SPEAKER_02: And uh tonight's uh uh performance at Powell Hall is is no different.
1:55:19
SPEAKER_05: Indeed, speaking of being a war horror, in this month's blog, SLSO conductor laureate Leonard Flackman related that when he was asked what he would use as an interest music for a concert, and his answer was the last 30 seconds or so of Respeebs Pines of Rome.
1:55:35
SPEAKER_05: If you're going to be heroic, this is the way to do it.
1:55:38
SPEAKER_02: Scott Andrews got another recognition, uh, that big solo clarinet part uh being recognized again in his performance.
1:55:45
SPEAKER_02: Another handshake for David Halen.
1:55:51
SPEAKER_02: And Stefan Deneuve gesturing to the entire orchestra, now back to the audience, waving with both hands in appreciation.
1:55:59
SPEAKER_02: The two-handed wave continues as he exits the stage here at Powell Hall.
1:56:06
SPEAKER_02: You are listening to the St.
1:56:07
SPEAKER_02: Louis Symphony Orchestra live from Powell Hall on St.
1:56:09
SPEAKER_02: Louis Public Radio, simulcast on Classic 1073 and online at stlpr.org.
1:56:16
SPEAKER_02: Tonight we heard the following works Otorino Raspigi's Pines of Rome, which is preceded by Andrea Tarotti's Liguria.
1:56:22
SPEAKER_02: Before that, we heard Franz Liszt's piano concerto number two in A major, serious, and we began the evening with Hector Berlios' Roman Carnival Overture.
1:56:32
SPEAKER_05: You're invited to join St.
1:56:33
SPEAKER_05: Louis Public Radio for the next broadcast of the St.
1:56:36
SPEAKER_05: Louis Symphony Orchestra.
1:56:37
SPEAKER_05: Dahlia Stasewska will lead the orchestra in Anna Merit's Nautilus, John Sibelius's Scene with Cranes, Luciano Berrio's folk songs, featuring soprano and nickel harpa player Aphrodite Patulido, Patulido's arrangement of the traditional Calabella melody, and Sibelius's Lunitar, featuring Patulido, and Claude Debussy's LaMaire.
1:57:01
SPEAKER_05: That's the next broadcast of the St.
1:57:02
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1:57:04
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1:57:06
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1:57:09
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1:57:11
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1:57:19
SPEAKER_02: The St.
1:57:19
SPEAKER_02: Louis Symphony Orchestra broadcast is produced by Mary Edwards and Rod Milam, with audio engineered by Kyle Pike.
1:57:25
SPEAKER_02: Additional assistance is provided by Herbert Glass, Tim Munro, Emma Pyle, Yvonne Frindle, Greg Monteneau, Eric Dundan, Maggie Bailey, Rachel Madison, Calvin Hinton, Gino Belosi, Madeline Painter Talla, and Alex Rice.
1:57:40
SPEAKER_02: Also, a special thank you goes out to all the musicians of the St.
1:57:44
SPEAKER_02: Louis Symphony Orchestra and local 2197.
1:57:47
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1:57:49
SPEAKER_02: Louis Symphony Orchestra, our production of St.
1:57:51
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1:57:54
SPEAKER_02: And I'm Jonathan Hall.
1:57:56
SPEAKER_02: Please join us again next week.