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Rachmaninoff and Tchaikovsky · St. Louis Symphony Orchestra Concert Rebroadcasts

• 0:01
  SPEAKER_03: Live from Powell Hall at the Jack C.
• 0:04
  SPEAKER_03: Taylor Music Center, this is the St.
• 0:06
  SPEAKER_03: Louis Symphony Orchestra.
• 0:07
  SPEAKER_03: Tonight, music director Stefan Denev will lead the orchestra in a program that opens with Michael Tilson Thomas's Agnogram.
• 0:14
  SPEAKER_03: The concert continues with Sergei Rachmaninov's piano concerto number one in F sharp minor, Opus I, featuring pianist Daniel Trifanov.
• 0:22
  SPEAKER_03: After intermission, the concert will conclude with Piotr Ilyach Tychovsky's Symphony No.
• 0:27
  SPEAKER_03: 6 in B minor, Opus 74, Patetique.
• 0:30
  SPEAKER_03: Good evening.
• 0:31
  SPEAKER_03: I'm Rod Milam and welcome to another live broadcast of the St.
• 0:34
  SPEAKER_03: Louis Symphony Orchestra's 2026-27 season on St.
• 0:38
  SPEAKER_03: Louis Public Radio and Simulcast on Classic 1073.
• 0:41
  SPEAKER_03: You can listen to us online, see a copy of tonight's program notes and much more at stlpr.org slash symphony.
• 0:49
  SPEAKER_03: Now, during the intermission, we'll have a chance to speak with Stefan Deneve, SLSO Principal Trombone, Jonathan Rondazzo, and Daniel Trifanoff.
• 0:56
  SPEAKER_03: But right now, we get to speak to our commentator, Jonathan all.
• 0:59
  SPEAKER_03: Good evening, Jonathan.
• 1:00
  SPEAKER_03: Good evening, Rod.
• 1:01
  SPEAKER_03: Tonight's first work is Michael Tilson Thomas's Agnogram.
• 1:04
  SPEAKER_03: Jonathan, I've never heard that term before.
• 1:06
  SPEAKER_03: Have I been missing something?
• 1:07
  SPEAKER_05: Well, you can be excused for not knowing it because it's a term that Tilson Thomas made up.
• 1:13
  SPEAKER_05: The work is a 90th birthday tribute to Agnes Albert, a longtime patroness of the San Francisco Symphony, which Thomas led for 25 years.
• 1:22
  SPEAKER_05: He took the word Gram and preceded it with the first four letters of Albert's first name to get Agnogram, but he went even further in the music.
• 1:31
  SPEAKER_05: He assigned a note to each of eight letters in her first and last names, creating a scale from which all of the themes in the work are drawn.
• 1:38
  SPEAKER_05: Thomas commented on the work and its dedicate.
• 1:42
  SPEAKER_05: Agnogram is a portrait of Agnes Albert's sophisticated and undefatably enthusiastic spirit.
• 1:48
  SPEAKER_05: Agnes led a remarkable life.
• 1:50
  SPEAKER_05: For half a century, she was the San Francisco Symphony's friend, mentor, patroness, and muse.
• 1:56
  SPEAKER_05: She grew up performing music and mingling with the musicians of all ages.
• 2:01
  SPEAKER_05: She appeared as a soloist with Pierre Monteux on his last concerts as music director of the San Francisco Symphony.
• 2:08
  SPEAKER_05: She loved young people, and one of her enduring legacies is the SFS Youth Orchestra.
• 2:13
  SPEAKER_05: Agnogram is a humorous march for large orchestra.
• 2:16
  SPEAKER_05: The first part is in 6-8 and is kind of a mini concerto, giving brief opportunities to different sections of the orchestra, leading to a jazzy and hyper-rangy tune.
• 2:26
  SPEAKER_05: The second section, a trio in 2-4, evokes a sort of sly circus atmosphere.
• 2:31
  SPEAKER_05: In it, different groups of instruments are in different keys, leading to a sort of cacophony with alternately elegant and goofy percussion offerings.
• 2:39
  SPEAKER_05: There are subtle references to Schumann, Tchaikovsky, Verdi, and Irish lullabies, but all stick to notes associated with Albert's name.
• 2:47
  SPEAKER_05: The opening 6-8 jazzy tune reappears in canon, leading to a jubilant and noisy conclusion.
• 2:53
  SPEAKER_03: You can see a copy of tonight's program notes at stlpr.org slash symphony, and you're listening to the St.
• 3:00
  SPEAKER_03: Louis Symphony Orchestra live from Powell Hall here on St.
• 3:03
  SPEAKER_03: Louis Public Radio and online at stlpr.org.
• 3:06
  SPEAKER_05: A few words about composer and conductor Michael Tilson Thomas.
• 3:10
  SPEAKER_05: Born in Los Angeles, he studied conducting and composition with Ingolf Dahl at the University of Southern California, and as a young musician worked with artists including Igor Stravinsky and Aaron Copeland.
• 3:21
  SPEAKER_05: In his mid-20s, he became assistant conductor and later principal guest conductor of the Boston Symphony Orchestra.
• 3:27
  SPEAKER_05: He subsequently served as music director of the Buffalo Philharmonic, principal guest conductor of the Los Angeles Philharmonic, and principal conductor of the London Symphony Orchestra.
• 3:37
  SPEAKER_05: In 1987, he co-founded the New World Symphony, a postgraduate orchestral academy in Miami Beach, dedicated to preparing young musicians of diverse backgrounds for leadership roles in classical music.
• 3:49
  SPEAKER_05: He worked with more than 1,200 New World Symphony fellows, many of whom have gone on to major musical careers.
• 3:55
  SPEAKER_05: Stefan Deneve succeeded him as artistic director in 2022.
• 4:00
  SPEAKER_05: Thomas became music director of the San Francisco Symphony in 1995, ushering in a period of significant growth and heightened international recognition for the orchestra, championing contemporary and American composers alongside classical masters.
• 4:16
  SPEAKER_05: A 12-time Grammy winner, his discography includes more than 120 recordings, and his television work includes series for the BBC and PBS, the New York Philharmonics Young People's Concerts, and numerous televised performances.
• 4:31
  SPEAKER_05: His profile, Michael Tilson Thomas, Where Now Is, aired on PBS's American Master Series in the fall of 2020.
• 4:39
  SPEAKER_03: The instrumentation for our first piece is two flutes, both doubling piccolo.
• 4:44
  SPEAKER_03: Piccolo, two oboes, English horn, two clarinets, E-flat clarinet, bass clarinet, two bassoons, contra bassoon, four horns, three trumpets, three trombones, tuba timpani, percussion, harp, piano, and strings.
• 4:55
  SPEAKER_03: Stefan Deneve has taken the podium, and it looks like he's going to address the audience.
• 5:03
  SPEAKER_00: Good evening.
• 5:07
  SPEAKER_00: Bonsoir.
• 5:09
  SPEAKER_00: Wow.
• 5:10
  SPEAKER_00: You have no idea how much I enjoy your participation.
• 5:14
  SPEAKER_00: All the musicians of your Saint Louis Symphony Orchestra, and I welcome you very warmly as well.
• 5:22
  SPEAKER_00: And we are very excited with the long overdue debut tonight of one of the most sought-after pianists of his generation and such a poet, really somebody with an extraordinary vision, played with so much colours, with distinctive uh fragrance.
• 5:44
  SPEAKER_00: It's really special.
• 5:46
  SPEAKER_00: I speak, of course, of the one and only Daniel Twee Fonov.
• 5:58
  SPEAKER_00: He would perform with us the first kind of concert of another and the second part of our concert we will play for you by the symphony of Jacobski.
• 6:09
  SPEAKER_00: But to start with a piece by a great artist, a great composer.
• 6:17
  SPEAKER_00: I think about Michael Husan Thomas is often called affectionately MDD.
• 6:24
  SPEAKER_00: And it is also an homage because sadly Michael MTD left us and passed away a few months ago only in April.
• 6:34
  SPEAKER_00: And as I said, he wasn't many things.
• 6:38
  SPEAKER_00: He was a great conductor, a great composer, a great pianist, a great communicator, a great pedagogue.
• 6:45
  SPEAKER_00: And I have had the great privilege to know him quite well because I succeeded him as what is certainly his most important legacy, which is an institution, the New World Symphony in Miami.
• 7:03
  SPEAKER_00: So he founded this institution uh in 1987 and was the artistic director for 35 years and I succeeded him uh four years ago.
• 7:14
  SPEAKER_00: So as you know, this is my musical home here in St.
• 7:17
  SPEAKER_00: Louise.
• 7:18
  SPEAKER_00: I just added this uh position uh in Miami to my music directorship here, and I'm traveling a lot between St.
• 7:25
  SPEAKER_00: Louisa and Miami.
• 7:27
  SPEAKER_00: So if you don't know what is the New World Symphony, the New World Symphony is a full symphony orchestra of 87 uh members.
• 7:38
  SPEAKER_00: Those members recruited by auditions are young musicians who had graduated, very talented, and they enter in a fellowship of three years maximum.
• 7:50
  SPEAKER_00: And that's why the New World Symphony is a forever new orchestra, because every year a third of the orchestra is renewed with new fellows arriving.
• 7:59
  SPEAKER_00: And during those three years, the musicians, young musicians participate to a full symphonic season, a full chamber music season, but also receive coaches and coaching and masterclass, etc.
• 8:13
  SPEAKER_00: And they develop their skills as musicians and especially orchestral musicians, and uh also they develop their skills as leaders, and they have a chance to uh experiment a lot because over there we have a very interesting uh modern hall by Frank Gehry, the architect, which allows a lot of digital enhancement and uh kind of creative projects.
• 8:39
  SPEAKER_00: And uh the great idea for Michael was that those musicians they can audition during those three years, and if they win a position, they can live right away.
• 8:48
  SPEAKER_00: So there are actually as of today close to 1400 alumni uh all over the world, and of course in many orchestra in America, and here at the St.
• 9:00
  SPEAKER_00: Louis Symphony Orchestra, we have currently 18 musicians who have been fellows at the New World Symphony, and 17 tonight on stage, and I would like them to stand up now.
• 9:25
  SPEAKER_00: So Michael has inspired literally millions of people, and I hope he will delight us tonight, delight you with a piece called Agnegram, which is like he was full of good energy, lots of humor, parody, and bigger than life.
• 9:42
  SPEAKER_00: So this is an opportunity for me to tell him whoever he is mercy, thank you, Michael, for all you did for what you were, and um wish you a great evening in his company.
• 9:53
  SPEAKER_00: Thank you.
• 17:30
  SPEAKER_03: We just heard Michael Tilson Thomas's Agnogram.
• 17:34
  SPEAKER_03: The St.
• 17:34
  SPEAKER_03: Louis Symphony Orchestra was led by music director Stefan Deneve.
• 17:38
  SPEAKER_05: And Stefan Deneve is at the podium asking the orchestra to stand, holding up the score to his chest and patting it in recognition of his friend and the composer Michael Tilson Thomas.
• 17:50
  SPEAKER_05: In front of a very enthusiastic audience here at Powell Hall, Stefan Deneuve has left the podium.
• 17:58
  SPEAKER_05: And he's coming back as the applause continues here.
• 18:01
  SPEAKER_05: Stefan Deneuv making his way through the orchestra, asking the entire orchestra to stand and leading the orchestra in a moment before the audience here.
• 18:11
  SPEAKER_05: Hand to heart, bowing in front of the audience here is Stefan Denev.
• 18:20
  SPEAKER_03: Up next is Sergei Rachmaninov's piano concerto, number one in F-Sharp Minor, Opus One, featuring pianist Daniel Trifanoff.
• 18:28
  SPEAKER_03: Now, Jonathan, this concerto is the product of a teenage composer and a mature one.
• 18:33
  SPEAKER_03: How can both of these be true?
• 18:35
  SPEAKER_05: Well, there's actually an easy explanation.
• 18:37
  SPEAKER_05: Okay.
• 18:37
  SPEAKER_05: Rachmanonov completed the concerto in 1891 when he was just 18 years old and a student at the Moscow Conservatory.
• 18:44
  SPEAKER_05: He premiered it in the next year and it was cataloged as his Opus I.
• 18:49
  SPEAKER_05: By the end of the decade, he'd grown disenchanted with the concerto and withdrew it.
• 18:53
  SPEAKER_05: In 1917, after leaving Russia for good, he returned to it making major revisions.
• 18:59
  SPEAKER_05: In the intervening 26 years, he had gained maturity as a composer and was more than happy to have the new version performed.
• 19:06
  SPEAKER_05: After revising the concerto, Rachmaninoff was disappointed that it never gained the popularity of his second or third concertos.
• 19:13
  SPEAKER_05: He wrote to a friend, The first concerto is really good now.
• 19:17
  SPEAKER_05: All of the youthful freshness is there, and yet it plays itself so much more easily, and nobody pays any attention.
• 19:24
  SPEAKER_05: When I tell them in America that I will play the first concerto, they do not protest, but I can see by their faces that they would prefer the second or third.
• 19:34
  SPEAKER_05: During intermission, we will hear our soloist Daniel Trifanoff's thoughts about Rachmaninoff's revisions and the virtues of the first concerto.
• 19:42
  SPEAKER_05: The concerto reflects his youthful energy and enthusiasm, and like Beethoven's sixth symphony that we heard last week, Rachmaninoff was also influenced by his love of nature.
• 19:52
  SPEAKER_05: He wrote the bulk of it in the summer of 1890 while staying at an idyllic country estate.
• 19:57
  SPEAKER_05: In a letter he described his surroundings.
• 20:00
  SPEAKER_05: The steppe was a seemingly infinite sea of fields of wheat, rye, and oats stretching in every direction to the horizon, wavering and shimmering like water in the balmy summer haze.
• 20:10
  SPEAKER_05: In the concerto, one can hear the influences of Grieg and Tchaikovsky.
• 20:14
  SPEAKER_05: It also reflects Rachmaninoff's Russian heritage and his penchant towards romanticism.
• 20:19
  SPEAKER_05: The Vivace first movement opens with a brief fanfare by horns, clarinets, and bassoons before the piano enters with a commanding burst of downward octaves in a manner reminiscent of Grieg's piano concerto.
• 20:31
  SPEAKER_05: The strings introduce the lyrical main theme, which the piano takes up and develops.
• 20:36
  SPEAKER_05: The piano has an extended cadenza before the strings briefly join to conclude the movement on a jubilant note.
• 20:42
  SPEAKER_05: The nocturne-like Adante's second movement opens with a horn solo reminiscent of Tchaikovsky.
• 20:48
  SPEAKER_05: Much of the movement is a monologue by the piano, sometimes with light orchestral accompaniment.
• 20:53
  SPEAKER_05: Rachmanonoff's lush pianistic writing is evident throughout the movement, as well as in the Allegro Vivace finale.
• 21:00
  SPEAKER_05: There are ample opportunities in it to show off the soloist's virtuosity before the high-energy conclusion.
• 21:07
  SPEAKER_03: You can see a copy of tonight's program, Nota, and much more at stlpr.org slash symphony.
• 21:12
  SPEAKER_03: You're listening to the St.
• 21:13
  SPEAKER_03: Louis Symphony Orchestra live from Powell Hall on St.
• 21:16
  SPEAKER_03: Louis Public Radio and online at stlpr.org.
• 21:20
  SPEAKER_05: A few words about tonight's featured soloist, Daniil Trifunoff has made a spectacular ascent of the classical music world as a solo artist, champion of the concerto repertoire, chamber and vocal collaborator, and composer.
• 21:34
  SPEAKER_05: Described by the Times of London as without question the most astounding pianist of our age, Trifunoff is also a Grammy Award winning artist for his 2018 album, Transcendental, and has five Grammy nominations.
• 21:48
  SPEAKER_05: His career highlights include acclaimed performances with the world's leading orchestras, world premieres, solo recitals, and a season long tenure as the New York Philharmonics artist in residence.
• 22:00
  SPEAKER_05: We also want first prize and the grand prize in the twenty eleven telecompany competition.
• 22:06
  SPEAKER_03: We now are opening the entrance and we have it of Daniel Trifanoff, our soloist order on the box mode and all the open number one in Farn 13.
• 22:18
  SPEAKER_03: pianist Daniel Trifanoff.
• 22:20
  SPEAKER_03: This is the St.
• 22:21
  SPEAKER_03: Louis Symphony Orchestra here on St.
• 22:23
  SPEAKER_03: Louis Public Radio.
• 53:56
  SPEAKER_03: We just heard Sergei Rachmaninov's piano concerto number one in F sharp minor, Opus One, featuring pianist Danil Trivanov.
• 54:05
  SPEAKER_03: The St.
• 54:05
  SPEAKER_03: Louis Symphony Orchestra was led by music director Stefan Denev.
• 54:08
  SPEAKER_05: And Daniil Trivanov bowing to the audience here after an embrace with Stefan Deneve.
• 54:13
  SPEAKER_05: Stefan Deneve is now acknowledging Associate Principal Horn Thomas Yostline for his solo work in that piece.
• 54:20
  SPEAKER_05: And now conductor and soloist join hands and bow together in front of the audience here.
• 54:25
  SPEAKER_05: Stefan Deneve uh stepping aside and letting our soloists get the applause.
• 54:29
  SPEAKER_05: And now both of them are leaving the stage in a really rousing read of Rachmaninoff's first piano concerto.
• 54:38
  SPEAKER_05: Audience still on their feet, and soloist and conductor are coming back to the stage.
• 54:43
  SPEAKER_05: Stefan Deneu clapping with uh baton in one hand and uh palm in the other.
• 54:47
  SPEAKER_05: Trivanov is acknowledging the orchestra and clapping along with them.
• 54:52
  SPEAKER_05: And now the entire orchestra stands as Stefan Deneve and Trivanov are bowing together again as the applause continues here at Powell Hall, both from the audience and from Stefan Denev.
• 55:03
  SPEAKER_03: Some very enthusiastic applause by him.
• 55:04
  SPEAKER_05: Stefan's following uh Trivanov off the stage, applauding at him as as he leaves the stage here.
• 55:12
  SPEAKER_03: The audience oh on their feet really enjoying that walking performance.
• 55:16
  SPEAKER_05: We did have an encore last night.
• 55:18
  SPEAKER_05: The odds of an encore again tonight are very high.
• 55:21
  SPEAKER_05: And here comes Daniel Fubenoff coming back to no longer deny the audience's requests for more, and he's sitting down to the panel.
• 55:30
  SPEAKER_01: Peter Villa Robash Walter is the voice of the
• 1:00:57
  SPEAKER_05: That was our soloist of the evening, Daniel Trivanov, performing Valsa Dor, The walls of the hand as an encore here.
• 1:01:06
  SPEAKER_05: It's written by April Villa Lobo, who was in 1932 as part of the circle of walls.
• 1:01:14
  SPEAKER_05: Daniel Kruvanov performed Roman and number one.
• 1:01:17
  SPEAKER_05: The Encore is the Vault of the Door, the Waltz of the Home by Dilla Lobo.
• 1:01:21
  SPEAKER_05: And Daniel Truvenov cracked out on the stage bowling in front of the enthusiastic audience here out of the wall.
• 1:01:29
  SPEAKER_05: Or if you remember tapping along with the audience here before that on core.
• 1:01:35
  SPEAKER_05: by Daniel Truven.
• 1:01:38
  SPEAKER_03: The audience still on their feet hooting and hollering for the entire performance with the Rachmaninoff and that last piece by the Aaron Lov
• 1:01:52
  SPEAKER_05: The crowd is still going here.
• 1:01:53
  SPEAKER_05: There could be another callback.
• 1:01:54
  SPEAKER_05: That would be four.
• 1:01:56
  SPEAKER_05: I haven't been calling it very well.
• 1:01:58
  SPEAKER_05: We're so enamored with the music, we're not going to call the callbacks, but we do know that he's coming back out onto the stage here again from the audience here.
• 1:02:06
  SPEAKER_05: at Powell Hall, turns and acknowledges the orchestra, And then back to the audience here.
• 1:02:12
  SPEAKER_05: Daniel Trivanov performed Sergei Rachmaninov's piano concerto number one and then his encore, the Valsa Dor by Etor Vila Lobosh.
• 1:02:21
  SPEAKER_03: A reminder: you can follow along at home with your own program notes.
• 1:02:25
  SPEAKER_03: All you have to do is go to stlpr.org slash symphony.
• 1:02:29
  SPEAKER_03: During our intermission, we'll speak with Stefan Deneve, Jonathan Rondazzo, and Daniel Trivanov.
• 1:02:34
  SPEAKER_03: I'm Rod Milam, and you're listening to a live broadcast of the St.
• 1:02:37
  SPEAKER_03: Louis Symphony Orchestra on St.
• 1:02:39
  SPEAKER_03: Louis Public Radio.
• 1:02:44
  SPEAKER_03: Live from Powell Hall at the Jackson Taylor Music Center.
• 1:02:47
  SPEAKER_03: This is the St.
• 1:02:47
  SPEAKER_03: Louis Symphony Orchestra.
• 1:02:48
  SPEAKER_03: I'm Rod Milam, along with Jonathan Hall.
• 1:02:51
  SPEAKER_05: Joining us now is Music Director Stefan Deneau.
• 1:02:53
  SPEAKER_05: Thank you so much and bravo on the first half of the concert.
• 1:02:56
  SPEAKER_00: Thank you very much.
• 1:02:58
  SPEAKER_00: I I can't lie.
• 1:03:00
  SPEAKER_00: This is why we do music, why we believe in humanity.
• 1:03:04
  SPEAKER_00: To have somebody playing at that level, playing with such a depth uh with such a holo, actually really continue the tradition of the uh greatest Russian pianist.
• 1:03:14
  SPEAKER_00: And uh and I believe Rakmanov would have loved him playing like that.
• 1:03:18
  SPEAKER_00: It's amazing.
• 1:03:19
  SPEAKER_05: Can you put in the words specifically what the Notarnoff does?
• 1:03:24
  SPEAKER_05: Give you that emotion and that feeling.
• 1:03:26
  SPEAKER_00: I'm not sure I can do it with words because it's just precedent.
• 1:03:29
  SPEAKER_00: I just spoke with him just a minute ago how we were actually commenting if I missed a truth.
• 1:03:35
  SPEAKER_00: Oh, I think that was really, really good to the and he was very, very happy uh with a channel how he could uh explore exploring that you heard of what the uncle what is amazing is that it's above to uh in such a magical way.
• 1:03:52
  SPEAKER_00: You know, remember a channel is a instrument.
• 1:03:55
  SPEAKER_00: Every sound that you hit is actually a sound decaying.
• 1:03:59
  SPEAKER_00: And yes, yes, uh the magic to make a feeling like a channel is singing like a finger card.
• 1:04:06
  SPEAKER_00: It's just amazing, and of course for him to see that even a question.
• 1:04:10
  SPEAKER_00: So it's just not at another level.
• 1:04:12
  SPEAKER_05: Rachmaninoff was really disappointed in uh how the public received his first piano control compared to second and third, or more popular ones.
• 1:04:20
  SPEAKER_05: What's your take on that?
• 1:04:21
  SPEAKER_05: How Rachmaninoff 1 fits into all three of his computer stuff?
• 1:04:25
  SPEAKER_00: I love this one, and uh I haven't done my piano myself.
• 1:04:28
  SPEAKER_00: I'm a pianista, not at that level, but and I very often um play for my own pleasure the with the solo of the second movement.
• 1:04:38
  SPEAKER_00: I'm very attached to this concept of for me uh the the five of them because I was up to the Paganini, are all different worlds, and uh that's what I like very much with Rag Panino.
• 1:04:49
  SPEAKER_00: Actually, really they're all very different.
• 1:04:51
  SPEAKER_00: Uh and the fourth is a fabulous and kind of pretty more daddy stick to uh more American and then the Paganini is just another crazy atmosphere.
• 1:05:00
  SPEAKER_00: So um I think the first revised because we play the revised version is definitely uh absolutely at the same level as all the other ones, and of course the second one and third that are the most famous.
• 1:05:12
  SPEAKER_05: Getting to another emotional thing, as you mentioned uh you had a personal connection with Michael Tolson Thomas and performing Enagram was a way to memorialize him.
• 1:05:22
  SPEAKER_05: I don't think the SLSO has performed a work by him.
• 1:05:25
  SPEAKER_05: Can we expect more?
• 1:05:26
  SPEAKER_00: There are more PCs that I would like to perform here.
• 1:05:28
  SPEAKER_00: There is, for instance, uh a masterwork of his uh called From the Diary of Anne Frank, which is amazing.
• 1:05:35
  SPEAKER_00: And I also recanted another piece for flute solo and orchestra called Notturno, which is great.
• 1:05:41
  SPEAKER_00: So, yeah, there are more pieces of Michael that I would like to bring here.
• 1:05:44
  SPEAKER_00: Uh and I must say it was a privilege and an honor to become a friend of Michael.
• 1:05:48
  SPEAKER_00: I really met him often the last, let's say, four, four years of his life, and he was an incredible artist and one of the greatest communicators I ever encountered.
• 1:05:57
  SPEAKER_05: I think you and the orchestra did him proud tonight.
• 1:06:00
  SPEAKER_05: So moving over to the Tchaikovsky, the Sixth Symphony that last night we saw so filled with emotion and passion of the orchestra and audience experiencing it together.
• 1:06:10
  SPEAKER_05: I have to ask, are you as emotionally exhausted by the time you get to the end of that piece as one might think?
• 1:06:17
  SPEAKER_00: Actually, yes.
• 1:06:18
  SPEAKER_00: I mean music energizes me, so I'm never really uh physically too uh devastated after a performance, whatever it is, but emotionally, yes.
• 1:06:27
  SPEAKER_00: It is very draining because it speaks about uh of course, once again about life and death and as the big question.
• 1:06:34
  SPEAKER_00: I have to say this is an incredible journey and I admire the orchestra so strongly.
• 1:06:40
  SPEAKER_00: I mean uh the whole orchestra is amazing and uh and it's touching for me that we have renewed some sections.
• 1:06:46
  SPEAKER_00: For instance, the brass section is made of very, very talented young players and they create incredible sounds, and we are in a good shape.
• 1:06:55
  SPEAKER_00: So I am very privileged and happy to have this journey of this amazing symphony with our orchestra.
• 1:07:01
  SPEAKER_05: We know this is your last concert of this calendar year, so we want to wish you a happy birthday later this month.
• 1:07:07
  SPEAKER_05: Hope you and your family have a great Thanksgiving and a wonderful Christmas season.
• 1:07:10
  SPEAKER_05: Thank you.
• 1:07:11
  SPEAKER_05: Thank you so much, Stefan.
• 1:07:12
  SPEAKER_05: Thank you very much.
• 1:07:13
  SPEAKER_05: After the intermission, Stefan Deneve will lead the orchestra in Tchaikovsky's Symphony No.
• 1:07:18
  SPEAKER_05: 6 in B minor, Opus 7, Patatique.
• 1:07:21
  SPEAKER_05: Joining us now is Principal Trombone Jonathan Rondazzo.
• 1:07:24
  SPEAKER_05: Jonathan, welcome and congratulations on having an excellent first name that you spell correctly.
• 1:07:30
  SPEAKER_04: Thank you.
• 1:07:30
  SPEAKER_04: You would be surprised how many people get that remembered.
• 1:07:33
  SPEAKER_05: From one Jonathan to another, I completely understand.
• 1:07:36
  SPEAKER_05: So you and Principal Trump and Stephen Franklin are the co-curators of the next Live at the Sheldon concert on November 19th.
• 1:07:42
  SPEAKER_05: You'll be there, Stephen, Principal Keyboard, Peter Henderson, playing in various configurations.
• 1:07:47
  SPEAKER_05: How did you go about curating that concert and deciding what to play?
• 1:07:52
  SPEAKER_04: Great question.
• 1:07:53
  SPEAKER_04: So uh we actually started with an all-American program, and as you could imagine, the repertoire for trumpet, trombone, and piano is very small.
• 1:08:02
  SPEAKER_04: So through searching, we actually found some other pieces that we wanted to play instead.
• 1:08:08
  SPEAKER_04: And we I think we really put together a program that has a lot of variety in it and something that a lot of people will enjoy.
• 1:08:16
  SPEAKER_05: There are some world premieres.
• 1:08:17
  SPEAKER_05: What's that like premiering a work, and what do you hope to bring uh to an audience?
• 1:08:22
  SPEAKER_04: Thank you.
• 1:08:22
  SPEAKER_04: Uh, we're really excited to play, especially Dean Weeb is the student composer.
• 1:08:27
  SPEAKER_04: He wrote In the Shadow of a Reflection.
• 1:08:29
  SPEAKER_04: We've been in talks with him, and he's been very receptive to our feedback, and it's been sort of a almost a collaboration in creating this piece.
• 1:08:36
  SPEAKER_04: So we're really looking forward to performing that.
• 1:08:38
  SPEAKER_05: I'm fascinated by that collaboration because for a composition student at university to have members of the St.
• 1:08:45
  SPEAKER_05: Louis Symphony Orchestra play their piece, I'm happy to hear that that's a collaboration and not uh we're doing you a favor, kid, by playing your music.
• 1:08:53
  SPEAKER_05: So has it really been a good back and forth of musical equals to say?
• 1:08:57
  SPEAKER_04: Absolutely.
• 1:08:58
  SPEAKER_04: He gave us a first draft, we gave him some feedback and some suggestions, and he made some changes, and they've been great, and we're we're really looking forward to it.
• 1:09:07
  SPEAKER_05: I think that's a great program, and the symphony's been doing this with Mizou for a while now, so there have been these world premieres of student works at these chamber concerts, right?
• 1:09:15
  SPEAKER_05: That's correct, yeah.
• 1:09:16
  SPEAKER_05: So, in addition to this chamber concert that you're gonna be doing at the Sheldon, you're also a member of the STL Trombones.
• 1:09:22
  SPEAKER_05: What can you tell us about that ensemble?
• 1:09:24
  SPEAKER_04: So that ensemble started in the early 2000s of the St.
• 1:09:27
  SPEAKER_04: Louis Symphony Trombone section.
• 1:09:29
  SPEAKER_04: And when I joined the orchestra, I became part of that.
• 1:09:33
  SPEAKER_04: And it is a chamber group.
• 1:09:35
  SPEAKER_04: We play in the community and abroad.
• 1:09:37
  SPEAKER_04: We do recitals, masterclasses, and we actually have a recital coming up on Sunday, November 22nd at Ledoux Chapel.
• 1:09:45
  SPEAKER_04: And we're going to be performing with the organist of the church there, David Irwin, and that is at 3 p.m.
• 1:09:52
  SPEAKER_05: And what's the STL Trombones website so people can get more information?
• 1:09:56
  SPEAKER_04: It is stltrombones.com.
• 1:09:58
  SPEAKER_05: I'm glad it was available.
• 1:10:00
  SPEAKER_05: Yeah.
• 1:10:00
  SPEAKER_05: That was a group that you took to Missouri State not too long ago.
• 1:10:03
  SPEAKER_05: Correct, yeah.
• 1:10:04
  SPEAKER_05: What's the importance of teaching and holding master classes and teaching the next generation of musicians?
• 1:10:10
  SPEAKER_05: What does that do for you?
• 1:10:11
  SPEAKER_05: So much.
• 1:10:12
  SPEAKER_04: I mean, we all, all four of us really enjoy teaching and working with that next generation.
• 1:10:17
  SPEAKER_04: It's inspiring to us to see just how interested so many of these students are in music, and we hope that we can inspire them to want to pursue this.
• 1:10:27
  SPEAKER_05: You're a professional orchestral musician.
• 1:10:29
  SPEAKER_05: What does the chamber music experience do for you in your musical journey and just what you enjoy doing?
• 1:10:36
  SPEAKER_04: That's a great question.
• 1:10:38
  SPEAKER_04: So chamber music for me has always been an area where I can explore more color and a more intimate setting with my colleagues.
• 1:10:47
  SPEAKER_04: You can learn so much from having to really listen more carefully, and all of that really ties into being a great orchestral player.
• 1:10:57
  SPEAKER_05: So it does make you a better orchestral player to do champion music on the side.
• 1:11:00
  SPEAKER_05: Well, that's great.
• 1:11:01
  SPEAKER_05: We're so happy to spend some time with you and learn about these other projects that you're doing, and we're looking forward to the Tchaikovsky.
• 1:11:07
  SPEAKER_05: Thanks so much.
• 1:11:07
  SPEAKER_05: Thanks for having me.
• 1:11:08
  SPEAKER_05: That was SLSO principal trombone Jonathan Rondazzo.
• 1:11:11
  SPEAKER_03: Following a rehearsal on Thursday, I had a chance to speak with tonight's featured soloist Daniel Trifanoff and began by asking him what it's like working with Stefan Denev and the orchestra as he makes his debut this weekend.
• 1:11:24
  SPEAKER_01: Well, I'm very excited to be for the first time in the city with orchestra.
• 1:11:29
  SPEAKER_01: I've never been here before, and it's always exciting to discover new places, especially places with so much history as here.
• 1:11:37
  SPEAKER_01: So far, I'm enjoying my time with the orchestra and with Maestro Deneuve.
• 1:11:41
  SPEAKER_01: We just had a rehearsal with first concerto of Rachmaninov, which is perhaps not as often played concerto of Rachmaninov as his second or third, but it's quite incredible, especially for how old he was.
• 1:11:53
  SPEAKER_01: When he wrote it, he was graduating the conservatory, and there is already so much maturity of orchestration.
• 1:12:00
  SPEAKER_01: Of course, he reworked it later, and we're playing the second version, which is a little bit shorter.
• 1:12:07
  SPEAKER_01: He often did that with some of his works, is that he would revise them later, taking out some of the parts which he felt were perhaps not as necessary, sometimes even overdoing it to the point of making it a little bit too short and removing some parts that are otherwise really pity.
• 1:12:24
  SPEAKER_01: But in the case of this concerto, I think he really balanced it out with this second version, that it's one of my favorite works of his.
• 1:12:34
  SPEAKER_03: Why is the first one of your favorites of his as opposed to the second or the third?
• 1:12:39
  SPEAKER_01: Perhaps with this concerto, it's still a lot of harmonic search of Rahmaninov, that he later he would already set more on his style.
• 1:12:50
  SPEAKER_01: But as often happens with composers, is that earlier on they are in a process of search for their language.
• 1:12:58
  SPEAKER_01: And in case of Rahmaninov, we can already hear very much his language here.
• 1:13:03
  SPEAKER_01: But at the same time, there are also some harmonic trips that he does to the landscapes that are a little bit different from what he would do later.
• 1:13:13
  SPEAKER_01: There is perhaps some impressionistic elements in some of the harmonies, but also we can hear some of the influence of Tchaikovsky, especially in orchestration.
• 1:13:23
  SPEAKER_01: There are some perhaps bale elements, especially in the final movement, which is very dance-like, and the the way he orchestrated the orchestra and how it interplays with the piano, it's uh really brings to mind the bale music of Tchaikovsky, but through the musicality of Rachmanin.
• 1:13:42
  SPEAKER_01: So it's of course very different music, but it has some of that Tchaikovsky pipe.
• 1:13:48
  SPEAKER_03: What particular challenges are there for you in the first piano concerto?
• 1:13:54
  SPEAKER_01: In general, Rachmaninov concerti are very well written in terms of how pianistic they are.
• 1:13:59
  SPEAKER_01: They sound very difficult, but at the same time, there are some other concerti which might sound as difficult or even less, but in fact they might be more difficult to play just because they might not be as pianistic.
• 1:14:16
  SPEAKER_01: If I would talk about difficulties, well, there is a very tight ensemble with orchestra actually.
• 1:14:21
  SPEAKER_01: Is that pianists need to be aware of everything that's happening in the texture of orchestra?
• 1:14:25
  SPEAKER_01: It's quite busy orchestration with a lot of counterpoints in the and a lot of interplay between different orchestral groups, and especially when it's in fast tempo, one needs to be paying attention to everything while playing the piano.
• 1:14:38
  SPEAKER_01: That's perhaps would be a challenge.
• 1:14:41
  SPEAKER_03: Well, you're a composer yourself.
• 1:14:44
  SPEAKER_03: What got you interested in composition?
• 1:14:46
  SPEAKER_01: I would say composition got me interested in piano.
• 1:14:49
  SPEAKER_01: Oh it was our way around.
• 1:14:51
  SPEAKER_01: Is that I started as I wanted to compose some music.
• 1:14:54
  SPEAKER_01: I was five or six years old, and uh it was just the piano was the instrument that was at home.
• 1:14:59
  SPEAKER_01: Uh, it was in fact uh synthesizer of my father, who is also a composer.
• 1:15:05
  SPEAKER_01: It's on his synthesizer that I first tried to compose, and then my parents saw interest, so they brought me to music school.
• 1:15:12
  SPEAKER_03: Very interesting.
• 1:15:13
  SPEAKER_03: I saw a video of you playing when you were eight.
• 1:15:15
  SPEAKER_03: I didn't realize you were a composer at five.
• 1:15:19
  SPEAKER_01: Yeah, it's still mostly a hobby for me, actually.
• 1:15:23
  SPEAKER_01: I don't regularly compose, but from time to time, I also like to do transcriptions of our music, which I want to hear on the piano, which for one of our reasons does not exist on piano.
• 1:15:33
  SPEAKER_03: That was tonight's featured soloist Daniel Trifanoff.
• 1:15:36
  SPEAKER_03: Our concert tonight concludes with Pietor Ilyas Tchaikovsky's symphony number six in B minor, Opus 74, Patetique.
• 1:15:44
  SPEAKER_03: Jonathan, it's well known that Tchaikovsky frequently was not happy with his compositions, but that does not appear to be the case with what turned out to be his final symphony.
• 1:15:53
  SPEAKER_05: You are correct, it is not the case.
• 1:15:55
  SPEAKER_05: In 1891, Tchaikovsky began a Sixth Symphony, but when it wasn't living up to his expectations, not only did he abandon it, but he tore it up.
• 1:16:04
  SPEAKER_05: By early 1893, he was inspired to begin again, and things went much better.
• 1:16:09
  SPEAKER_05: He wrote to his brother Anatole, I am now totally occupied with the new work, and it is hard for me to tear myself away from it.
• 1:16:17
  SPEAKER_05: I believe it comes into being as the best of my works.
• 1:16:21
  SPEAKER_05: I must finish it as soon as possible, for I have to wind up a lot of affairs and go to London.
• 1:16:27
  SPEAKER_05: He also vowed not to tear it up.
• 1:16:29
  SPEAKER_05: As he was writing it, Tchaikovsky told his nephew, Vladimir Davidov, that his Sixth Symphony had a program, but he refused to reveal it, saying, Let him guess it who can.
• 1:16:40
  SPEAKER_05: And he referred to it as his program symphony.
• 1:16:42
  SPEAKER_05: Now there's been a lot of discussion in the music world about what the composer's intentions were.
• 1:16:47
  SPEAKER_05: Some feel that it was about his own life and death, but there is no consensus.
• 1:16:51
  SPEAKER_05: When it was time to send it to his publisher, he was not satisfied with the subtitle Program Symphony, but still hadn't come up with a better one.
• 1:16:59
  SPEAKER_05: His brother Modeste suggested Patatique, which in Russian means passionate, which seemed most appropriate.
• 1:17:06
  SPEAKER_05: The form of the Sixth Symphony is an outlier in its construction.
• 1:17:10
  SPEAKER_05: The work begins on a solemn note with an adagio introduction featuring bassoon and horn.
• 1:17:15
  SPEAKER_05: The remainder of the movement is an Allegro non tropo containing the movement's two main themes.
• 1:17:20
  SPEAKER_05: There's no slow movement, as the Allegro Congrazia second movement is a graceful dance in 5-4-meter.
• 1:17:27
  SPEAKER_05: Also, a march-like Allegro Molto Vivace movement ending with a blaze of brass and timpani.
• 1:17:33
  SPEAKER_05: It's not the finale, but the third movement, which can leave the listener thinking the performance is over.
• 1:17:38
  SPEAKER_05: The symphony concludes with an adagio lamentoso that rather than ending in triumph seems to end in despair, with some likening it to a requiem.
• 1:17:48
  SPEAKER_05: Tchaikovsky dedicated his Sixth Symphony to his nephew Davidoff and conducted its premiere on October 28, 1893, in St.
• 1:17:56
  SPEAKER_03: Petersburg, just nine days before his death.org/slash symphony, and it's there that you can also find a complete listing of this season's broadcasts.
• 1:18:20
  SPEAKER_03: You're listening to the St.
• 1:18:21
  SPEAKER_03: Louis Symphony Orchestra live from Powell Hall on St.
• 1:18:24
  SPEAKER_03: Louis Public Radio and online at stlpr.org.
• 1:18:28
  SPEAKER_03: Piator Ilyas Tchaikovsky was born in 1840 and died in 1893 in St.
• 1:18:33
  SPEAKER_03: Petersburg, Russia.
• 1:18:35
  SPEAKER_03: The first performance of this piece was October 28, 1893, the composer conducting in St.
• 1:18:40
  SPEAKER_03: Petersburg.
• 1:18:41
  SPEAKER_03: The first SLSO performance was January 9, 1906, Alfred Ernst was conducting, and the most recent SLSO performance was May 4th, 2019, with Leonard Slatkin conducting.
• 1:18:52
  SPEAKER_03: Instrumentation for this work is three flutes, one doubling piccolo, pairs of oboes, clarinets, and bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion, and strings.
• 1:19:04
  SPEAKER_05: As intermission winds down, we have a note about the SLSO family.
• 1:19:08
  SPEAKER_05: At the SLSO's annual meeting on Wednesday, double bassist Sarah Hogan Kaiser received the Mabel Dorn Reader Honorary Chair.
• 1:19:15
  SPEAKER_05: Kaiser, who's performed with the SLSO since 2004, grew up in the St.
• 1:19:19
  SPEAKER_05: Louis area, and also performed in the St.
• 1:19:21
  SPEAKER_05: Louis Youth Symphony Orchestra.
• 1:19:24
  SPEAKER_05: The position was established by the Mabel Dorn Reader Foundation in July 2010.
• 1:19:28
  SPEAKER_05: It is awarded, based on excellence in artistry and leadership within the orchestra and community, to a member of the SLSO for a five-year period and is accompanied by a one-time stipend for professional development.
• 1:19:40
  SPEAKER_05: Kaiser was selected to receive the honorary chair for her extraordinary contributions as a musician and her deep commitment to the SLSO's education and community program, and in particular her investment in the student experience in the youth orchestra.
• 1:19:56
  SPEAKER_03: As the orchestra tunes, we're getting ready for our final work of the evening.
• 1:20:00
  SPEAKER_03: Pitor Ilias Travkowski's Symphony No.
• 1:20:06
  SPEAKER_05: Considering what Stefan Deneve said during our interview during intermission, this is a very emotional work.
• 1:20:12
  SPEAKER_05: We're going to get a lot from the orchestra, a lot from Stefan Deneve this evening.
• 1:20:16
  SPEAKER_05: Stefan Deneve is at the podium bowing a little solemnly to the orchestra, which could be a precursor for what we're going to hear.
• 1:20:23
  SPEAKER_03: This is St.
• 1:20:24
  SPEAKER_03: Louis Public Radio.
• 2:07:03
  SPEAKER_03: You just heard the work in the other company.
• 2:07:06
  SPEAKER_03: Symphony number six in B minor open seventy-four.
• 2:07:11
  SPEAKER_03: The single symphony orchestra was led by Stefan Denov.
• 2:07:14
  SPEAKER_05: And Stefan Deneuve is shaking the hand of David Halen, our concertmaster.
• 2:07:19
  SPEAKER_05: And now asking the entire orchestra to stand as he bows from the podium here in front of a very enthusiastic audience here at the Powell Hall.
• 2:07:28
  SPEAKER_05: The orchestra remains standing, and Stefan Deneuve exiting the stage for sure to come back very, very shortly for an arousing read of uh Tchaikovsky's symphony for as we heard from uh Stefan during uh the intermission for a very emotional work.
• 2:07:44
  SPEAKER_05: He feels energized by the music, but also emotionally exhausted because of how much he puts into it.
• 2:07:50
  SPEAKER_05: He's currently acknowledging principal Basume and Runio for the solo work.
• 2:07:55
  SPEAKER_05: And now Principal Clariness Scott Andrews standing to take a bow.
• 2:08:01
  SPEAKER_05: And principal over Steel Dirk and Fluidist Calvin Mayman all getting some acknowledgement.
• 2:08:08
  SPEAKER_05: And now all of the woodman section is standing as the four crowd reacts in turn.
• 2:08:15
  SPEAKER_05: And now all of the horn section is asked to rise.
• 2:08:20
  SPEAKER_05: And now Stefan De Neves are pointing to the trumpets, and all three of them stand.
• 2:08:25
  SPEAKER_05: And now the low brass, the trombones and tuba also getting their acknowledgement here at Powell Hall.
• 2:08:31
  SPEAKER_05: A principal Tiffany Shannon Wood getting some acknowledgement as well as the other two members of the percussion section.
• 2:08:39
  SPEAKER_05: And now the uh cellos have risen to take a vow.
• 2:08:44
  SPEAKER_05: Four, four, four, four, followed by the violas.
• 2:08:47
  SPEAKER_05: I think we can see where this is heading.
• 2:08:50
  SPEAKER_05: Oh, the double basses.
• 2:08:52
  SPEAKER_05: You went out of order.
• 2:08:53
  SPEAKER_05: You went out of order.
• 2:08:54
  SPEAKER_05: The double basses are now standing.
• 2:08:55
  SPEAKER_05: And now the second violins.
• 2:08:59
  SPEAKER_05: And then the first violin.
• 2:09:01
  SPEAKER_05: And now the entire orchestra is on their feet.
• 2:09:04
  SPEAKER_05: Stefan DeNov is accepting the applause from the audience on behalf of the entire orchestra for bowing and now leaving the stage.
• 2:09:17
  SPEAKER_05: As we heard uh Tchaikovsky's symphony for number T4 at Hall Hall.
• 2:09:24
  SPEAKER_05: You know, an interesting note.
• 2:09:25
  SPEAKER_05: Um there is an instrument that is not listed in the official score that we heard tonight.
• 2:09:30
  SPEAKER_05: Okay.
• 2:09:31
  SPEAKER_05: There is a four or five note passage.
• 2:09:34
  SPEAKER_05: It was originally written for bassoon in the first movement that goes from that slow four section into the allegro four.
• 2:09:39
  SPEAKER_05: And it is immensely soft.
• 2:09:42
  SPEAKER_05: Tchaikovsky wrote four six piano marking.
• 2:09:45
  SPEAKER_05: Most modern orchestras now have that play on bass claret so far.
• 2:09:48
  SPEAKER_05: Even though not in the score, we had our base claret for just that little passage.
• 2:09:54
  SPEAKER_05: It's it's a sign of the attention to detail that orchestras put into making sure things are just right.
• 2:10:01
  SPEAKER_05: And that is one of the things that a lot of them do with Trikowski.
• 2:10:05
  SPEAKER_05: And the St.
• 2:10:05
  SPEAKER_05: Louis Symphony Orchestra just did it tonight.
• 2:10:08
  SPEAKER_05: Did it tonight?
• 2:10:08
  SPEAKER_05: Stefan Denev back at the podium, receiving more applause from the audience as uh we're winding up tonight's concert.
• 2:10:16
  SPEAKER_03: You've been listening to the St.
• 2:10:17
  SPEAKER_03: Louis Symphony Orchestra live from Powell Hall on St.
• 2:10:20
  SPEAKER_03: Louis Public Radio and Simulcast on Classic 1073 and online at stlpr.org.
• 2:10:26
  SPEAKER_03: Tonight we heard the following works Pietar Ilya Tchaikovsky Symphony No.
• 2:10:30
  SPEAKER_03: 6 in B minor, Opus 74, Patatik.
• 2:10:33
  SPEAKER_03: Before that, Sergei Rachmanov's piano concerto number one in F sharp minor, Opus 1, featuring pianist Daniel Trifanov.
• 2:10:41
  SPEAKER_03: And we began the evening with Michael Tilson Thomas's Agnogram.
• 2:10:44
  SPEAKER_05: You are invited to join St.
• 2:10:46
  SPEAKER_05: Louis Public Radio for the next live broadcast of the St.
• 2:10:49
  SPEAKER_05: Louis Symphony Orchestra one week from tonight.
• 2:10:51
  SPEAKER_05: Guest conductor David Afkam will lead the orchestra in Felix Mendelssohn's Psalm 114 when Israel Out of Egypt came, and Igor Stravinsky's Symphony of Psalms, both featuring the St.
• 2:11:03
  SPEAKER_05: Louis Symphony chorus of Aaron Freeman, director, as well as Dmitry Shostakovich's Symphony No.
• 2:11:09
  SPEAKER_05: 8.
• 2:11:09
  SPEAKER_05: That's the next live broadcast of the St.
• 2:11:12
  SPEAKER_05: Louis Symphony Orchestra, one week from tonight, here on St.
• 2:11:15
  SPEAKER_05: Louis Public Radio.
• 2:11:16
  SPEAKER_03: We invite you to share your thoughts about our live broadcast of the St.
• 2:11:20
  SPEAKER_03: Louis Symphony Orchestra season.
• 2:11:21
  SPEAKER_03: You can find us online at stlpr.org and on social media too.
• 2:11:26
  SPEAKER_03: Just search for and like the St.
• 2:11:28
  SPEAKER_03: Louis Public Radio Facebook page.
• 2:11:30
  SPEAKER_03: The St.
• 2:11:30
  SPEAKER_03: Louis Symphony Orchestra broadcast is produced by Mary Edwards with audio engineered by Kyle Pike.
• 2:11:35
  SPEAKER_03: Additional assistance is provided by Paul Sciavo, Greg Montanoo, Eric Dundan, Maggie Bailey, Rachel Madison, Calvin Hinton, Gina Balazzi, Madeline Painter Tala, and Alex Rice.
• 2:11:46
  SPEAKER_03: Also, a special thank you goes to all the musicians of the St.
• 2:11:49
  SPEAKER_03: Louis Symphony Orchestra and the whole two one nine seven live broadcasts of the St.
• 2:11:53
  SPEAKER_03: Louis Symphony Orchestra or production of St.
• 2:11:55
  SPEAKER_03: Louis Public Radio.
• 2:11:56
  SPEAKER_03: I'm Jonathan Hall.
• 2:11:57
  SPEAKER_03: And I'm Rod Mylan.
• 2:11:58
  SPEAKER_03: Please join us again next week.