st. louis symphony extra - january 17, 2015

8/10/2019 St. Louis Symphony Extra - January 17, 2015

1/16

27

CONCERT PROGRAMJanuary 17-18, 2015

David Robertson, conductorRichard Goode, pianoScott Andrews, clarinetKristin Ahlstrom, violinShawn Weil, violinDavid Kim, cello

LUTOSAWKSI Dance Preludes (1955) (1913-1994)

Allegro molto Andantino Allegro giocoso Andante Allegro molto

Scott Andrews, clarinet

MOZART Piano Concerto No. 17 in G major, K. 453 (1784) (1756-1791)

Allegro

Andante Allegretto; Presto

Richard Goode, piano

INTERMISSION

TIPPETT Fantasia concertante on a Theme of Corelli (1953) (1905-1998)Kristin Ahlstrom, violin

Shawn Weil, violin David Kim, cello

MOZART Symphony No. 41 in C major, K. 551, Jupiter (1788)

Allegro vivace Andante cantabile Menuetto: Allegretto Finale: Molto allegro


2/16

28

ACKNOWLEDGMENTS

These concerts are part of the Wells Fargo Advisors series.

David Robertson is the Beofor Music Director and Conductor.

Richard Goode is the Helen E. Nash, M.D. Guest Artist.

The concert of Sunday, January 18, is underwritten in part by a generous giftfrom Mrs. Emily R. Pulitzer.

Pre-Concert Conversations are sponsored by Washington University Physicians.

Large print program notes are available through the generosity of Link AuctionGalleries and are located at the Customer Service table in the foyer.


3/16

29

FROM THE STAGEScott Andrews, Principal Clarinet, on Lutosawskis Dance Preludes:These are tiny

little pieces, less than 10 minutes for all ve movements. I actually played itas my rst solo with the orchestra, along with Pistons Clarinet Concerto, in2007. Its very fun, rhythmic, based on the Polish folk tradition, but withouttaking direct quotations from folk music. He pulls all his rhythms and harmo-nies from that tradition, though.

Lutosawksi wrote this in the 50s, before he composed his Concertofor Orchestra, when he was still borrowing from Polish folk music before hemoved on to less tonal, more aleatoric procedures.

The solo part is simple enough to be played by amateurs and students.

It was originally written for clarinet and piano. Then with orchestration thepiano became more textural, with percussion and harp. He wrote anotherarrangement in the early 60s for chamber ensemble that was not as successful.

I was very excited to hear that Id be doing this with David Robertsonthis season. He has a nice touch with the rhythmic repertoire. Ive done ita number of times with piano in recital, but Im looking forward to exploreagain the orchestral textures. It really changes the piece.

Scott Andrews

DILIPVISHWANAT


4/16

30

Does genius have a particular age? Is talent that

comes to full fruition later in life any less validthan that which springs forth in youth? Thoseare questions posed by the contrasting compos-ers whose works are presented this weekend.Granted, Mozarts Piano Concerto No. 17, K. 453,is a work from the middle, more or less, of histoo-short life, and the Jupiter Symphony comesfrom the end. But as a boy, he was the prodigyof all prodigies, playing piano at age three, com-posing at ve, and touring Europe not long after.Lutosawski and Tippett, meanwhile, came to theserious study and pursuit of music later in lifeand more as a conscious choice than a preternat-ural outpouring. Yet they, too, became celebratedfor their great works, suggesting that, thoughbrilliance in music may be found while travelingmany different roads, its possible for those roads

to end up at the same destination.

WITOLD LUTOSAWKSIDance Preludes

FATE Wiltold Lutosawski was slow to come intohis full powers as a composer, but the reasons forhis late development were not so much musical

as political.Blame it on the era and milieu of the rst

few decades of his life. Born to a family of Polishlanded gentry in 1913, Lutosawski was still asmall child when, in 1918, his father and unclewere branded as counterrevolutionaries and exe-cuted by the Bolsheviks.

A pianist at age six and violinist at 13,Lutosawski wavered between music and math

studies, but nally took a Conservatory degree inpiano in 1936 and one in composition in 1937.Caught up soon after in World War II, he wascaptured by the Germans but escaped to Warsaw,where he made do not as a composer and classi-cal musician, but rather as a cafe pianist, at onepoint even forming a duo with another aspiringPolish composer, Andrzej Panufnik.

DESTINATION GENIUSBY DANIEL DURCHHOLZ

TIMELINKS

1784-88MOZARTPiano Concerto No. 17 in

G major, K. 453Symphony No. 41 in Cmajor, K. 551, JupiterRevolutionary ideas andactions stir in France

1953-55TIPPETTFantasia concertante on

a Theme of Corelli

LUTOSAWKSIDance Preludes

United States developshydrogen bomb


5/16

31

BornJanuary 25, 1913, Warsaw

DiedFebruary 9, 1994, Warsaw

First PerformanceJune 1963, at AldeburghFestival; Gervase de Peyerwas the clarinet soloist, andBenjamin Britten conductedthe English ChamberOrchestra

STL Symphony PremiereJanuary 26, 2007, Scott

Andrews was soloist, withVassily Sinaisky conductingthe only previousperformance

Scoringsolo clarinettimpanipercussionharppianostrings

Performance Timeapproximately 11 minutes

When the Communists took control ofPoland after the war, Lutosawskia modernist atheartsaw his work, notably 1949s SymphonyNo. 1, denounced as formalist and he wasforced to shy away from any experimental ten-

dencies. Instead, he drew inspiration from Polishfolk songs, a move the regime no doubt foundconsiderably more palatable.

FORTUNE As Stalinist restrictions receded in theearly 50s, however, Poland began to thaw cre-atively, and Lutosawski was free to test his wings,rst with his Concerto for Orchestra, which wasbased on folk elements, but also emphasizedform, thusas tactfully as possiblespitting inthe eye of authorities who had held him back.For his part, Lutosawski exuded extreme tact,claiming he had never felt compelled to composein one manner or another. Nevertheless, fromthat point forward, he mostly moved on to morepurely modernist works.

But not before composing his Dance Preludes

(1955), a brief work Lutos

awski referred to ashis farewell to folklore. The piece draws onve northern Polish folk songs (or indeed, folkrhythms, as no specic songs have ever been citedas direct source material). It was commissionedby Tadeusz Ochlewski, the director of PWM Edi-tion in Krakow, who wanted a cycle of folk-basedpieces for violin and piano that would be suitablefor players in secondary schools.

Vexed by composing the work for violin,Lutosawski turned instead to writing for theclarinet and piano. As for the level of skillrequired to play it, he found that a bit off, too.[The Dance Preludes] were appropriate for youngclarinetists, he said, but posed difculties forthe accompanists.

Somehow, the accompanists seem to havemanaged. Lutosawskiwho in later years took

his place among Polands preeminent compos-erssubsequently revised Dance Preludes fororchestra, and it has become one of his most fre-quently performed pieces.


6/16


7/16

33

SIR MICHAEL TIPPETTFantasia concertante on a Theme of Corelli

LATE Much like Witold Lutosawski, Britishcomposer Michael Tippett was a late bloomer.

He did not begin to study music seriously untilhis late teens and, also like Lutosawski, was inand out of the musical academyin Tippettscase, Britains Royal Academy of Music. Tippettdid not produce his rst substantial piece untilage 30, and another decade would pass beforeanyone took any real interest in his work.

Good things would come later in life: notjust success and acclaim, starting with his break-

through work, the opera The Midsummer Marriage,but a knighthood as well. Along with BenjaminBritten, Tippett today is recognized as Britainsmost signicant composer since World War II.

SPARK Tippetts Fantasia concertante on a Themeof Corelli was commissioned by the EdinburghFestival in 1953, to celebrate the tercentenary ofCorellis birth. Although Tippett was not particu-larly a fan or student of Corellis work, the com-bination of composer and subject matter was aninspired one, as Tippetts previous works showeda genius for building on elements of earlier stylesto achieve something new and exciting.

For Tippett, the spark that ignited his re forCorelli was a section of the composers Concertogrosso, op. 6, no. 2a solemn Adagio in F minor,

followed by a sprightly Vivace. A dedicated Jung-ian, Tippett saw within the excerpt a concept ofdark and light, which he would strive to recon-cile in nearly all of his lifes work.

Beginning with Corellis Baroque melody, thepiece offers seven variations before moving intoa fugue that cleverly incorporates part of Bachsorgan fugue in B minor, itself built on a musicalsnippet borrowed from Corelli). As the music

grows more lush, it moves thematically fromdarkness to light, climaxes in a rapturous sectionthat recalls his own The Midsummer Marriage, andreturns to Corellis melody from the opening.

BornJanuary 2, 1905, London

DiedJanuary 8, 1998, London

First PerformanceAugust 29, 1953, at theEdinburgh Festival, thecomposer conducted theBBC Symphony Orchestra

STL Symphony PremiereOctober 21, 2005, withviolinists Heidi Harris andKristin Ahlstrom, and cellist

Melissa Brooks, NicholasMcGegan conducting theonly previous STL Symphonyperformance

Scoring2 solo violinssolo cello2 string orchestras

Performance Time

approximately 19 minutes


8/16

34

WOLFGANG AMADEUS MOZARTSymphony No. 41 in C major, K. 551 Jupiter

SPEED If the rapidity with which Mozart wrotethe Piano Concerto No. 17, one of a dozen that

he wrote in the span of two years, is astonishing,the pace at which he composed his nal threesymphoniesNo. 39 in E-at major, No. 40 in Gminor, and No. 41 in C major (a.k.a. Jupiter)ispositively dumbfounding.

All threeeach of them supreme works,among the best and most brilliant symphonies pro-duced by anyone everwere written in the span ofroughly two months in the summer of 1788. And he

did this while the quotidian disasters that plaguedhis life continued apace. He still had to teach; hiswife was ill; one of their children, a daughter, hadrecently died; Viennese society, which once hadcelebrated him, had tired of his work and his grat-ing personality; and he was forever in dire straitsnancially. How was it possible to juggle all of thisat once? It still boggles the mind.

So, too, does the fact that all three sympho-nies were written without a commission or aparticular future performance in mind. The stuffapparently just poured out of him.

LAST The origin of the sobriquet Jupiter isunknown, though it is assumed that the noblesweep of the music, especially the grandeur ofthe rst movement, put listeners in mind of the

Roman king of the gods.The middle two movements are exceptionalas well, but it is the fourth movements nale thatis most beloved and revered. In it, Mozart holdsnothing back, presenting no fewer than six distinctthemes that nally unite in breathtaking fashion.

Mozart could not have known that thiswould be his last symphony, but perhaps it istting that it was. With it, he reached the zenith

of his work, and its hard to imagine where hewould have gone from this point forward. But itsimpossible to say that he wouldnt have found away to top it. Mozart seemingly always managedto take music to a higher level, and might have yetagain had his early death not rendered the ques-tion moot.

Program notes 2015 by Daniel Durchholz

First PerformanceUnknown

STL Symphony PremiereDecember 30, 1910, Max Zach

conducting

Most Recent STL SymphonyPerformanceFebruary 12, 2011, BernardLabadie conducting

Scoringflute2 oboes2 bassoons

2 horns2 trumpetstimpanistrings

Performance Timeapproximately 31 minutes


9/16

35

DAVID ROBERTSONBEOFOR MUSIC DIRECTOR AND CONDUCTOR

A passionate and compelling communicator withan extensive orchestral and operatic repertoire,

American conductor David Robertson has forgedclose relationships with major orchestras aroundthe world. In fall 2014, Robertson launches his10th season as Music Director of the 135-year-oldSt. Louis Symphony. In January 2014, Robertsonassumed the post of Chief Conductor and Artis-tic Director of the Sydney Symphony Orchestrain Australia.

To celebrate his decade-long tenure with

the St. Louis Symphony in 2014-15, Robertsonshowcases 50 of the orchestras musicians insolo or solo ensemble performances through-out the season. Other highlights include a con-cert performance of VerdisAda featuring videoenhancements by S. Katy Tucker (one of a seriesof such collaborations during the season), anda return to Carnegie Hall with a program fea-turing the music of Meredith Monk. In 2013-

14, Robertson led the St. Louis Symphony ina Carnegie Hall performance of Brittens PeterGrimes on the Britten centennial that AnthonyTommasini, in the New York Times, selected asone of the most memorable concerts of the year,and in the spring Nonesuch Records releaseda disc of the orchestras performances of twoworks by John Adams: City Noir and the Saxo-phone Concerto. The recording received twoGrammy nominations, including Best Orches-tral Performance, in December.

Robertson is a frequent guest conductorwith major orchestras and opera houses aroundthe world. In his inaugural year with the SydneySymphony Orchestra, he led the ensemble in aseven-city tour of China in June 2014. He also ledthe summer 2014 U.S. tour of the National Youth

Orchestra of the United States of America, a proj-ect of Carnegie Halls Weill Music Institute, incities including Boston and Chicago, culminatingin a concert at Walt Disney Concert Hall in LosAngeles. In the fall of 2014, David Robertson con-ducted the Metropolitan Opera premiere of JohnAdamss The Death of Klinghoffer.

David Robertsonconducted the Symphonyin its Grammy-nominated

recording of John AdamssCity Noirand SaxophoneConcerto.

MICHAEL

TAMMARO


10/16

36

RICHARD GOODEHELEN E. NASH, M.D. GUEST ARTIST

Richard Goode has been hailed for music-mak-ing of tremendous emotional power, depth, and

expressiveness, and has been acknowledgedworldwide as one of todays leading interpret-ers of Classical and Romantic music. In regularperformances with the major orchestras, recitalsin the worlds music capitals, and through hisextensive and acclaimed Nonesuch recordings,he has won a large and devoted following.

Goode began his 2014-15 season performingMozarts Concerto in A major (K.488) to open

Lincoln Centers Mostly Mozart Festival. He willbe featured in ve appearances at Carnegie Hall,including a recital in the main hall, as a solo-ist with the Boston Symphony Orchestra underthe baton of Andris Nelsons, in two chambermusic concerts with young artists from MarlboroMusic Festival, and conducting a master class onDebussy piano works. He will appear as soloistwith orchestras including the Los Angeles Phil-

harmonic, and the Milwaukee and San Diegosymphonies. In addition, this season includesrecitals at the Concertgebouw in Amsterdam,Wigmore Hall in London, the Celebrity Series ofBoston, Cal Performances in Berkeley, the Phila-delphia Chamber Music Society, the UniversityMusical Society in Ann Arbor, at Shriver Hall inBaltimore, in Toronto at the Royal Conservatory,at the Schubert Club in St. Paul, Spivey Hall inAtlanta, Yale School of Music, Dartmouth College,Duke Performances, Middlebury College, andin other major series in the U.S. and Europe. Inaddition, Goode will present master classes at topconservatories and universities around the world.

Richard Goode served, together with Mit-suko Uchida, as co-Artistic Director of the Marl-boro Music School and Festival in Marlboro, Ver-

mont, from 1999 through 2013. He is marriedto the violinist Marcia Weinfeld, and, when theGoodes are not on tour, they and their collectionof some 5,000 volumes live in New York City.

Richard Goode mostrecently performed withthe St. Louis Symphony in

March 2009.

STEVE

RISKIND


11/16

37

Scott Andrews mostrecently performed as asoloist with the orchestra in

April 2013.

Kristin Ahlstrom andhusband Peter Hendersonlive in St. Louiss South Citywith their sweet and cleverterrier mix, Zinni.

DILIP

VISHWANAT

DILIP

VISHWANAT

SCOTT ANDREWS

A sought-after collaborative musician, ScottAndrews has performed with many of todaysleading artists, and as an avid proponent of new

music he has performed with organizationssuch as Composers in Red Sneakers, the AurosGroup for New Music, and Boston Musica Viva.Andrews has been Principal Clarinet of the St.Louis Symphony since 2005. Before joining theSymphony, Andrews had been a member of theBoston Symphony Orchestra for 11 years.

Andrews was for many years the WoodwindDepartment Chair at Boston Conservatory and a

faculty member of the Tanglewood Music Centerin Lenox, Massachusetts. June 2013 markedhis third season as co-Director of the MissouriChamber Music Festival, an annual collaborativefestival in Webster Groves, Missouri, which hefounded with his wife, pianist Nina Ferrigno. Hejoined the faculty of the Pacic Music Festival inSapporo, Japan, in July 2013.

KRISTIN AHLSTROM

Kristin Ahlstrom joined the St. Louis Symphonyin 1996 and was appointed to the Associate Prin-cipal Second Violin chair in 2001. She had for-merly been a member of the Colorado Symphony

Orchestra after completing both her Bachelor andMaster of Music degrees in Violin Performanceat Indiana University-Bloomington. Her violinteachers at Indiana included Henryk Kowalski,Josef Gingold, and Stanley Ritchie. She studiedchamber music with Rostislav Dubinsky and, asa member of the Kono Quartet, was a nalist inthe Osaka (Japan) International Chamber MusicCompetition. Ahlstrom spent two summers per-

forming with the National Repertory Orchestraand was a featured soloist both seasons. Havinggrown up in Manchester, Missouri, she is a proudSt. Louis Symphony Youth Orchestra alumna.

Since 2001, as a member of the Sun ValleySummer Symphony, Ahlstrom has performed inboth chamber music recitals and orchestral con-certs in Idaho.


12/16

38

SHAWN WEIL

A native of Chicago, Shawn Weil joined the St.Louis Symphony in April 2005. He received hisBachelor of Music degree and the Performance

Diploma from Indiana University. From 1998-2002 he was a Fellow at the New World Sym-phony. As an active educator and mentor, Weilhas been on the violin faculty of the EasternMusic Festival in North Carolina since 2003.From 2002-03, Weil served on the faculty of theacclaimed Opus 118: Harlem Center for Strings inManhattan. He has been a violinist with the SunValley Summer Symphony, in Idaho, since 2002.

Weil is frequently involved with the Educa-tion and Community programs of the Symphony.He has also performed as part of the SymphonysPulitzer Arts Foundation concert series. He is amember of the 442s, an acoustic instrumentalquartet combining jazz, classical, folk, and rockn roll material. The 442s rst recording wasreleased in spring 2014.

DAVID KIM

A native of Dallas, Texas, David Kim holds bach-elors and masters degrees from the JuilliardSchool. While at Juilliard on full scholarship,he studied with Harvey Shapiro. Other teachersincluded Ronald Leonard, Stephen Geber, and

David Finckel. He also served as Principal Cellistof the Juilliard Orchestra and with the New YorkString Orchestra under Jaime Laredo.

Kim joined the St. Louis Symphony in 1999,appointed by the late Hans Vonk. He was namedAssistant Principal Cello of the Symphony in2014. Recent chamber music performances out-side of Powell Hall include concerts at the Pulit-zer Arts Foundation, Saint Louis Art Museum,

Innsbrook Institute, and Sheldon Concert Hall.Kim also works extensively with the CommunityMusic School of Webster University and the St.Louis Symphony Youth Orchestra.

A St. Louisan for 14 years, he enjoys golng,following baseball, grilling steaks, and spendingtime with his son, Alexander, and his wife, utistNadine Hur.

Shawn Weil performs withthe multiple-genre-crossoverensemble, the 442s.

David Kim plays on an 1810Joseph Panormo cello.

DILIP

VISHWANAT

DILIP

VISHWANAT


13/16

39

PLAYING LUTOSAWSKI:SCOTT ANDREWS, PRINCIPAL CLARINET

Dance Preludes is not difcult techni-cally, although the middle movementies around the instrument, but its

all within reach of many players pos-sibilities. The challenge is rhythmic,although the rhythms are not complex.Being part of folk traditions, rhythmicshifts occur in duples, and triples. Thesoloist goes from 2/4 to 3/4 to 5/4, butthe orchestra doesnt shift, or shifts notas much and not at the same time. Thestrong beats can throw off the interplay

between accompaniment and soloist.Lutosawski throws you a few curves.

A BRIEF EXPLANATIONYou dont need to know what andante means or what a glockenspiel is toenjoy a St. Louis Symphony concert, but its always fun to know stuff. For

example, why is it that the original performances of Mozarts last three greatsymphonies are unknown?

Mozarts lastness:it boggles the mind, as Daniel Durchholz says, that musics rstfreelancer would create such important works without commissionMozartwas a bad businessman, but he wasnt a foolnor did he write about them inhis voluminous letters. There are a number of theories: he wrote SymphonyNos. 39, 40, and 41 for a summer concert series that was cancelled in 1788hewas in a career slump so such a cancellation was not uncommon for him; or,

he planned on taking them to London on a trip with Handel and make moneyfrom a more appreciative audience; or he was waiting to perform them as a longsymphonic sequence. Another theory is based on romantic belief: Mozart wrotethese for himself; they are his most revealing and least commerce drivenhereis Mozart heart, mind, spirit, and soul. As for me, I think theres a musty oldprogram lying in a Viennese attic somewhere. Find it and youve hit the jackpot.

Scott Andrews

DILIPVISHWANAT


14/16

40

YOU TAKE IT FROM HEREIf these concerts have inspired you to learn more, here are suggested sourcematerials with which to continue your explorations.

Tom Service, A Guide to Witold LutosawskisMusicGoogle the title, which will take you toServices blog on theguardian.comIn that cheeky Guardianstyle, Service gives anamiable overview of one of the great composersof the 20th century, with terric music clips

Piero Melograni, translated by Lydia G.Cochran, Wolfgang Amadeus Mozart: ABiographyUniversity of Chicago PressSo many Mozart biographies to choosefrom, including Paul Johnsons slim-volumemyth-debunker bio, and Maynard Solomonsdoorstop-size psychological assessment ofthe composer; try Melograni, ably translated

by Chochran, he debunks a few myths, hetries to understand the Mozartean mind, but most of all, he weaves a terricstory about a fascinating character, for those of you who still read hardcopybooks, it wont weigh you down

bbc.co.uk/music/artists, Sir Michael TippettGoogle: BBC Music TippettClips, tracks, links, video & audio from the BBC

Read the program notes online. Go tostlsymphony.org. Click Connect, thenProgram Notes.

Learn more about this season of anniversaries with videos and podcasts. ClickConnect, then 10-50-135.

Keep up with the backstage life of the St. Louis Symphony, as chronicled bySymphony staffer Eddie Silva, via stlsymphony.org/blog

Download our NEW APP! Buy tickets to concerts anywhere, anytime. Exploreupcoming performances, listen to podcasts, watch video, and share up-to-the-minute information about concerts, programs, and promotions.The new STLSymphony app is available for iPhone and Android. Search STL Symphony inyour app store.

The St. Louis Symphony is on


15/16

41

AUDIENCE INFORMATION

BOX OFFICE HOURS

Monday-Saturday, 10am-6pm;closed Sunday. Concert Hours: Friday

morning Coffee Concerts open 9am;all other concerts open 2 hours prior toconcert through intermission.

TO PURCHASE TICKETS

Box Ofce: 314-534-1700Toll Free: 1-800-232-1880

Online: stlsymphony.orgFax: 314-286-4111

A service charge is added to alltelephone and online orders.

SEASON TICKET EXCHANGE POLICIES

If you cant use your season tickets,

simply exchange them for anotherWells Fargo Advisors subscriptionconcert up to one hour prior to yourconcert date. To exchange your tickets,please call the Box Ofce at 314-534-1700 and be sure to have your tickets

with you when calling.

GROUP AND DISCOUNT TICKETS314-286-4155 or 1-800-232-1880

Any group of 20 is eligible fora discount on tickets for selectOrchestral, Holiday, or Live at PowellHall concerts. Call for pricing.

Special discount ticket programs areavailable for students, seniors, and

police and public-safety employees.Visit stlsymphony.org for moreinformation.

POLICIES

You may store your personalbelongings in lockers located on the

Orchestra and Grand Tier Levels at acost of 25 cents.

FM radio headsets are available atCustomer Service.

Cameras and recording devices aredistracting for the performers andaudience members. Audio and videorecording and photography are strictly

prohibited during the concert. Patronsare welcome to take photos before theconcert, during intermission, and afterthe concert.

Please turn off all watch alarms, cellphones, pagers, and other electronicdevices before the start of the concert.

All those arriving after the start of the

concert will be seated at the discretionof the House Manager.

Age for admission to STL Symphonyand Live at Powell Hall concerts

varies, however, for most events therequired age is ve or older. All patrons,regardless of age, must have their owntickets and be seated for all concerts.

All children must be seated with anadult. Admission to concerts is at thediscretion of the House Manager.

Outside food and drink are notpermitted in Powell Hall. No food ordrink is allowed inside the auditorium,except for select concerts.

Powell Hall is not responsible for

the loss or theft of personal property.To inquire about lost items, call314-286-4166.

POWELL HALL RENTALS

Select elegant Powell Hall for your nextspecial occasion. Visit: stlsymphony.org.Click About Us, then Hall Rental formore information.


16/16

42

BOUTIQUE

WHEELCHAIR LIFT

BALCONY LEVEL(TERRACE CIRCLE, GRAND CIRCLE)

GRAND TIER LEVEL

(DRESS CIRCLE, DRESS CIRCLE BOXES,GRAND TIER BOXES & LOGE)

MET BAR

TAXI PICK UPDELMAR

ORCHESTRA LEVEL(PARQUET, ORCHESTRA RIGHT & LEFT)

WIGHTMAN

GRAND

FOYERTICKET LOBBY

CUSTOMER

SERVICE

POWELL HALL

LOCKERS

WOMENS RESTROOM

MENS RESTROOM

ELEVATOR

BAR SERVICES

HANDICAPPED-ACCESSIBLE

FAMILY RESTROOM

Please make note of the EXIT signs in the auditorium. In the case of an emergency,proceed to the nearest EXIT near you.

st. louis symphony extra - january 17, 2015

Documents