St. Louis Symphony Broadcast Program, May 4, 2013

7/30/2019 St. Louis Symphony Broadcast Program, May 4, 2013

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CONCERT PROGRAMMay 3-5, 2013

David Robertson, conductorChristine Brewer, soprano

Lucas Meachem, baritone

SUPP Overture to Ein Morgen, Mittag und Abend in Wien(1819-1895) (Morning, Noon and Night in Vienna) (1844)

SCHUBERT Symphony No. 8 in B minor, D. 759, Unfnished (1822) (1797-1828)

Allegro moderatoAndante con moto

INTERMISSION

ZEMLINSKY Lyrische Symphonie (Lyric Symphony), op. 18 (1922-23)(1871-1942)

Ich bin riedlos (I am restless)Mutter, der junge Prinz (Mother, the young Prince)Du bist die Abendwolke (You are the evening cloud)Sprich zu mir, Geliebter (Speak to me, my love)Berei mich von den Banden (Free me rom the bonds)Vollende denn das letzte Lied (Then nish the last song)

Friede, mein Herz (Peace, my heart)

Christine Brewer, sopranoLucas Meachem, baritone


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ACKNOWLEDGMENTS

David Robertson is the Beofor Music Director and Conductor.

Christine Brewer is the Ann and Lee Liberman Guest Artist.

The concert of Friday, May 3, is underwritten in part by a generous gift fromMr. and Mrs. Jerry E. Ritter.

The concert of Friday, May 3, is underwritten in part by a generous gift fromKay and John Bachmann.

The concert of Saturday, May 4, is underwritten in part by a generous gift from

Mr. and Mrs. William A. Sullins Jr.

The concert of Sunday, May 5, is underwritten in part by a generous gift fromMrs. Priscilla R. McDonnell.

Pre-Concert Conversations are presented by Washington University Physicians.

These concerts are presented by Mary Pillsbury.

These concerts are part of the Wells Fargo Advisors Series.

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


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TIMELINKS

1822SCHUBERTSymphony No. 8in B minor, D. 759,Unfnished

Franz Liszt makes hispiano debut

1844SUPPOverture to Ein Morgen,Mittag und Abend inWien(Morning, Noon andNight in Vienna)

Samuel Morse tapstelegraphic messagerom Washington, D.C.to Baltimore, What hathGod wrought?

1922-23ZEMLINSKYLyrische Symphonie(Lyric Symphony), op. 18First Dracula movie,Nosferatu, premieres inBerlin

This season, the St. Louis Symphony has

programmed a series of concerts focusing onVienna, the composers who lived and workedthere, and the music they created. Theseprograms have sampled the more popular strainof music that has ourished in the Austriancapital, which is sometimes described as lightclassical, in addition to weightier masterpiecescreated there. The Symphonys concerts thisweekend continue this examination of Viennas

rich musical heritage.The three composers represented on our

program include a Viennese native son, FranzSchubert; a musician who came to the city tomake his career, Franz von Supp; and a Vienna-born emigr, Alexander Zemlinsky. We hearSchuberts most famous orchestral work, hisUnnished Symphony, the inspired rst half of

a projected four-movement composition. Suppwas born in Dalmatia (present-day Croatia) to afather of Belgian heritage, but he became a masterof the Viennese light classical style second onlyto Johann Strauss, Jr. His overture known asMorning, Noon and Night in Vienna exemplieshis melodious work in that idiom. Zemlinsky wasa native of Vienna who settled in Prague, where hecomposed his sumptuous Lyric Symphony. With

texts by the Bengali poet Rabindranath Tagore,this work considers a perennially fascinatingsubject, the different aspects of love.

RETURN TO VIENNABY PAUL SCHIAVO


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FRANZ VON SUPPOverture toEin Morgen, Mittag und Abend in Wien(Morning, Noon and Night in Vienna)

A FAILED PLAY, A POPULAR OVERTURE Viennastradition of light classical music is so strongly

associated with Johann Strauss, Jr., that it is easyto lose sight of the fact that other musiciansalso made important contributions to this eld.Among them were Strausss father, also namedJohann Strauss; Franz Lhar, whose manyoperettas include the melodious and perenniallypopular The Merry Widow; and Franz von Supp,whose Overture to Ein Morgen, Mittag und Abend

in Wien opens our program.Although his rst and last compositionswere sacred music, Supp spent nearly all ofhis career in the theater. Initially he wrote onlyincidental music: overtures, as well as songsand the occasional interlude to augment spokendialogue. Eventually, however, he began writingtrue operettas, the rst by a Viennese composer,with elaborate arias and ensemble numbers.

These proved enormously successful, bringingthe composer wealth and fame.

Early in 1844, Supp composed incidentalmusic for a farce titled Ein Morgen, Mittag undAbend in Wien(Morning, Noon and Night in Vienna).The play closed after just three performances,but the overture Supp wrote for it has become apopular concert piece. Like many overtures, thisone begins with an introduction in slow tempo,here featuring a lyrical cello solo. The main bodyof the piece shows the inuence of Italian operacomposers, especially Rossini and Donizetti,whose music Supp knew and admired.

FRANZ SCHUBERTSymphony No. 8 in B minor, D. 759, Unfnished

WORTHY OF BEETHOVEN Franz Schubertcomposed the two movements of his SymphonyNo. 8 in the autumn of 1822, when he was 25years old. The composer still had six yearsremaining in his brief life in which he mighthave completed this work, and his failure to doso has never been satisfactorily explained. Somecommentators have attributed this to Schuberts

BornApril 18, 1819, Spalato,Dalmatia (now Split, Croatia)

DiedMay 21, 1895, Vienna

First PerformanceFebruary 26, 1844, in Vienna,conducted by the composer

STL Symphony PremiereJuly 7, 1971, Walter Susskindconducting at Tilles Park

Most Recent STL SymphonyPerformanceSeptember 19, 2012, WardStare conducting a ForestPark concert

Scoring2 futespiccolo2 oboes2 clarinets2 bassoons

4 horns2 trumpets3 trombonestimpanipercussionstrings

Performance Timeapproximately 9 minutes


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mounting discouragement in the face of publicindifference to his orchestral music, some toan alleged lack of condence. Other Schubertauthorities, however, have disputed these claims,and it seems unlikely that any of them ever willbe decisively accepted.

And so we can only accept the twomovements of the Unnished Symphony asthey standa mighty torso, to borrow thewords of the musicologist Alfred Einstein. Notuntil Brahms, writing nearly half a century afterSchubert, would a composer come to terms sosuccessfully with the implications of Beethovenssymphonic works. The deep pathos we encounter

in the B-minor Symphony, its broad tonal terrainand the ambitious scale of the movements allmark the Unnished Symphony as a worthysuccessor to Beethovens mature symphonies.

DEEP WATERS In the rst movement, Schubertcondenses the typical slow introduction to abrief statement for the cellos and basses. Solooboe and clarinet then give out what is ostensibly

the movements principal theme over a restlessaccompaniment in the strings. The celebratedsecond subject is introduced by the cellos.Although it promises a respite from the darktone that has prevailed to this point, Schubertsoon undercuts its lyrical character with a seriesof harsh chords and a passage that makes of thetheme something more substantial and powerful

than the waltz melody it initially appears to be.These two themes would provide excellentmaterial for Schubert to expand, but he insteadbases the movements central developmentsection entirely on the motif of the introduction,working this into a harrowing expression oftragedy. The recapitulation recalls the two longerthemes as we should expect, and the movement closes with a coda bringingnal consideration of the opening motif.

The ensuing movement also surprises us with strong developmentsof its themes. This is particularly true of the second subject, a long melodyintroduced by solo clarinet and extended by the oboe and ute. It seems utterlyplacid, but immediately the full orchestra takes it up with Beethovenian fury.By the time the movement reaches its peaceful conclusion it is clear that theseapparently still waters have run very deep indeed. Where the ow of Schubertsinspiration might have led from here we can only guess.

BornJanuary 31, 1797, Vienna

DiedNovember 19, 1828, Vienna

First PerformanceDecember 17, 1865, in Vienna,under the direction oJohann von Herbeck

STL Symphony PremiereMarch 11, 1910, Max Zachconducting

Most RecentSTL Symphony PerormanceOctober 24, 2009, DavidRobertson conducting theSymphony Gala

Scoring2 futes2 oboes2 clarinets2 bassoons2 horns

2 trumpets3 trombonestimpanistrings


WilhelmA

ugustRiedeR


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ALEXANDER ZEMLINSKYLyrische Symphonie (Lyric Symphony),op. 18

GREATNESS OBSCURED The third friend isthe one to whom I owe most of my knowledge

of the technique and problems of composing:Alexander Zemlinsky. I have always thought, andstill believe, that he was a great composer. Maybehis time will come earlier than we think.

So wrote Arnold Schoenberg, himself oneof the great composers of the 20th century,in acknowledging several persons who hadsignicantly inuenced his artistic development.That the nal sentence of his tribute to Zemlinskyseems more hopeful than condent reects theobscurity into which the object of Schoenbergsadmiration had already fallen by the time it waswritten, in 1949. Seven years earlier, Zemlinskyhad died exiled and penniless in New York. Fornearly a decade before that, his works had beenproscribed by the Nazisrst in Germany, laterin Austria and nally throughout Europe.

That ban alone might have cast Zemlinskyswork into obscurity, but the composer alsohad been overtaken by the rapid evolution ofmusical styles during the second quarter ofthe last century. As complex and imaginativeas it was, his idiom was hardly modern by thestandards then being set by Stravinsky, Bartk,and Schoenberg himself, and this became evenmore true when musical activity resumed in

Europe following the end of World War II. Tothe young composers of the post-War avant-garde, then excitedly building on the ideas of themost advanced early modernists, Zemlinskyslate-Romantic style seemed anachronistic.And yet Schoenberg, whom those sameyoung musicians revered, believed rmly thatZemlinskys day indeed would comeif not

soon, at least eventually.

A FRIEND OF MAHLER Zemlinsky was born in1871, in Vienna. As a young man, he distinguishedhimself as a student at the Vienna Conservatoryand soon gained entry into the highest musicalcircles of the Austrian capital. He attracted theattention of Brahms, who offered advice andencouragement to a degree he rarely bestowed on

BornOctober 14, 1871, Vienna

DiedMarch 15, 1942, Larchmont,New York

First PerformanceJune 2, 1942, in Prague, underthe composers direction

Scoringsolo soprano and baritonevoices4 futes2 piccolos3 oboesEnglish horn3 clarinetsE-fat clarinetbass clarinet3 bassoonscontrabassoon4 horns3 trumpets

3 trombonestubatimpanipercussionharmoniumcelestaharpstrings



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young composers. Later Zemlinsky became intimate with the director of theVienna Opera, Gustav Mahler. He was frequently a guest in Mahlers homeand seems to have been one of the few musicians to enjoy anything like a realfriendship with the difcult and self-absorbed composer and conductor.

With Mahlers encouragement, Zemlinsky also pursued a conducting

career, and the keen musicianship he brought to this work won himengagements throughout Europe. In 1911, he became director of the majoropera company in Prague. There he achieved performances of legendarybeauty. Igor Stravinsky, reminiscing in his old age, recalled: I remembera Marriage of Figaro conducted by him [Zemlinsky] in Prague as the mostsatisfying operatic experience of my life.

Zemlinsky did not neglect composition, however. Though he surelywould have been more prolic if not for his conducting duties, he nevertheless

produced a substantial body of music: four string quartets and various otherchamber pieces; some half a dozen symphonic works; a full-length ballet;incidental music for Shakespeares Cymbeline; choral pieces; and many songs.But his foremost ambition rested with opera. I am a man of the theater,Zemlinsky once declared, and the seven operatic scores he completedconstitute the core of his output.

OPERATIC SYMPHONY Zemlinskys talent for theatrical music informs even hisnest orchestral composition, his Lyric Symphony. Sketched during the summer

of 1922 and completed over the course of the next year, this work consists ofseven songs for solo soprano and baritone with orchestral accompaniment,linked by interludes and played without pause. That structure resembles theone Gustav Mahler had used in his song-symphony Das Lied von der Erde.And just as Mahler had looked to Asia for the texts of that work, setting Chinesepoems (in German translation), so Zemlinsky based his Lyric Symphony onverses by the Indian writer Rabindranath Tagore. (Winner of the 1913 NobelPrize for literature, Tagore enjoyed an international following during the earlydecades of the 20th century.) But whereas Mahler conceived Das Lied von derErde as a fusion of symphony and German art song, Zemlinsky combinedsymphonic writing with the sound of opera. The composer asserted that hewrote his Lyric Symphony for voices suitable to the theater: a heroic baritoneand dramatic soprano.

Zemlinsky took the poems that comprise the symphonys text from acollection Tagore titled The Gardener, which appeared in a German translationin 1914. The seven poems Zemlinsky selected are united by the theme of love,and their placement in the Lyric Symphony describes an arc that rises from

yearning and desire to a peak of romantic union, then on to the bittersweetinevitability of parting.The symphony begins with an orchestral prelude that intimates loves

power, as well as a certain exoticism in its chant-like initial motif. (That gurewill reappear dramatically late in the work.) This leads directly to the rstsong, where surging orchestral music reects the restlessness the baritonesoloist professes. Soprano and baritone alternate in singing the remainingsongs. These range in tone from girlish excitement in Mutter, der junge Prinz(Mother, the young Prince), to quiet rapture in Sprich zu mir, Geliebter


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(Speak to me, my love), to desperate struggle in the ensuing Befrei mich vonden Banden (Free me from the bonds), and sad but wise acceptance in thenal two songs. The extraordinarily rich orchestral music that surrounds thevocal lines conveys not only the mood of each song but, throughout the work,a kind of perfumed oriental sensuality.

Program notes 2013 by Paul Schiavo


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DAVID ROBERTSONBEOFOR MUSIC DIRECTOR AND CONDUCTOR

David Robertson has established himself asone of todays most sought-after American

conductors, and has forged close relationshipswith major orchestras around the world throughhis exhilarating music-making and stimulatingideas. In fall 2012, Robertson launched hiseighth season as Music Director of the 133-year-old St. Louis Symphony. In January 2014, whilecontinuing as St. Louis Symphony music director,Robertson also will assume the post of ChiefConductor and Artistic Director of the SydneySymphony in Australia.

In September 2012, the St. Louis Symphonyand Robertson embarked on a European tour,which included appearances at Londons BBCProms, at the Berlin and Lucerne festivals, andculminated at Pariss Salle Pleyel. In March2013 Robertson and his orchestra returnedto California for their second tour of the

season, which included an intensive three-dayresidency at the University of California-Davisand performance at the Mondavi Center for thePerforming Arts, with violinist James Ehnes assoloist. The orchestra also performed at venuesin Costa Mesa, Palm Desert, and Santa Barbara,with St. Louis Symphony Principal Flute, MarkSparks, as soloist.

In addition to his current position with the

St. Louis Symphony, Robertson is a frequentguest conductor with major orchestras andopera houses around the world. During the2012-13 season he appears with prestigious U.S.orchestras such as the New York Philharmonic,Los Angeles Philharmonic, and San FranciscoSymphony, as well as internationally with theRoyal Concertgebouw Orchestra, Vienna Radio

Symphony Orchestra, Israel Philharmonic, andEnsemble Intercontemporain.Born in Santa Monica, California, David

Robertson was educated at Londons RoyalAcademy of Music, where he studied hornand composition before turning to orchestralconducting.

David Robertson and the St.Louis Symphony return to

Carnegie Hall with a concertperormance o BrittensPeter Grimes in November2013.


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CHRISTINE BREWERANN AND LEE LIBERMAN GUEST ARTIST

Grammy Award-winning American sopranoChristine Brewers appearances in opera, concert,

and recital are marked by her own unique timbre,at once warm and brilliant, combined witha vibrant personality and emotional honestyreminiscent of the great sopranos of the past.Her range, golden tone, boundless power, andcontrol make her a favorite of the stage as well asa sought-after recording artist.

Brewers 2012-2013 season highlightsincluded her role as Sister Aloysius in theworld premiere of Douglas J. Cuomos Doubt atMinnesota Opera, based on the Pulitzer Prizeand Tony Award-winning play and popular lmby John Patrick Shanley. An equally excitingconcert season included Brewer singingStrausss Four Last Songs with the Kansas CitySymphony, Eugene Symphony Orchestra, andthe Deutsches Symphony Orchestra. Brewer also

performed Brnnhildes Immolation Scene fromGtterdmmerungwith the University of Kentuckyas well as with the Orchestra Philharmonique duLuxembourg, rounding out her concert seasonwith Brittens War Requiem with the SeattleSymphony Orchestra.

Highlights of Brewers 2011-12 seasonincluded opening the Atlanta SymphonyOrchestras 67th season with a program featuringBeethovens Symphony No. 9 and the ImmolationScene from Wagners Gtterdmmerung. Asuperlative Strauss singer (New York Times),she also sang the German composers Four LastSongs with the St. Louis Symphony and DavidRobertson, besides featuring his music alongsidethat of Marx, Thomson, Ives, and Smith in recitalwith pianist and frequent collaborator Craig

Rutenberg, at New Yorks Alice Tully Hall.On the opera stage, Brewer is highlyregarded for her striking portrayal of the titlerole in Strausss Ariadne auf Naxos. Attractingglowing reviews with each role, the soprano hasperformed Wagners Tristan und Isolde, GlucksAlceste, the Dyers Wife in Strausss Die Frau ohneSchatten, and Lady Billows in Brittens AlbertHerringat Santa Fe Opera.

Christine Brewer mostrecently perormed with

the St. Louis Symphony inJanuary 2012.


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LUCAS MEACHEM

Baritone Lucas Meachem has established himselfas an internationally sought-after performerwhose compelling lyric baritone voice and

dramatic interpretations have led him to theworlds most important operatic stages.

Meachems 2012-13 season began witha tour of Tchaikovskys Iolanta with sopranoAnna Netrebko, with performances in elevenof Europes most important musical centersincluding Vienna, Munich, Paris, Berlin, andAmsterdam. Meachem then returned to the LyricOpera of Chicago to sing Marcello in La bohme,followed by performances as the title role in DonGiovanni with Cincinnati Opera. Maintaining hisbusy concert schedule, Meachem performed thisseason in gala concerts with the Natchez Festivaland the San Antonio Symphony. Meachemconcludes the season this summer performingthe title role in The Barber of Sevillewith the MillCity Opera in Minneapolis.

In the 2011-12 season, Meachem reprisedhis role as Don Giovanni at the San FranciscoOpera. At the beginning of 2012 in Palm Beach,he performed in Romo et Julietteas Mercutio. Hereprised his role as Figaro in The Barber of Sevilleat the San Diego Opera. He then went to Europewhere he performed as Wolfram von Eschenbachin Tannhuser.

Lucas Meachem has been a winner in many

competitions across the United States including:the Mario Lanza, Jessie Kneisel, West PalmBeach Opera, Opera Index, George London, andthe Bel Canto competitions. He has also been awinner in the Metropolitan National CouncilCompetition in Charlotte, North Carolina and inNew Haven, Connecticut, and was the recipientof an Encouragement award at the Regional

Metropolitan National Council Competition inAtlanta, Georgia.

Lucas Meachem mostrecently perormed with the

St. Louis Symphony in May2008.


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IICH BIN FRIEDLOS

Ich bin friedlos, ich bin durstig nach fernen Dingen.Meine Seele schweift in Sehnsucht,den Saum der dunklen Weite zu berhren.O groes Jenseits, o ungestmes Rufen Deiner Flte.Ich vergesse, ich vergesse immer,da ich keine Schwingen zum Fliegen habe,da ich an dieses Stck Erde gefesselt binfr alle Zeit.

Ich bin voll Verlangen und wachsam,ich bin ein Fremder im fremden Land;Dein Odem kommt zu mirund raunt mir unmgliche Hoffnungen zu.Deine Sprache klingt meinem Herzen vertraut

wie seine eigne.O Ziel in Fernen, o ungestmes Rufen deiner Flte.Ich vergesse immer, ich vergesse,da ich nicht den Weg wei,da ich das beschwingte Ro nicht habe.

Ich bin ruhlos, ich bin ein Wanderer in meinem Herzen.Im sonnigen Nebel der zgernden Stunden,welch gewaltiges Gesicht von dir wird Gestaltin der Blue des Himmels.O fernstes Ende, o ungestmes Rufen deiner Flte.

Ich vergesse, ich vergesse immer,da die Tren berall verschlossen sind in dem Hause,wo ich einsam wohne.

II AM RESTLESS

I am restless. I am athirst for far-away things.My soul goes out in a longingto touch the skirt of the dim distance.O Great Beyond, O the keen call of thy ute!

I forget, I ever forget,that I have no wings to y,that I am bound in this spotevermore.

I am eager and wakeful,I am a stranger in a strange land.Thy breath comes to mewhispering an impossible hope.Thy tongue is known to my heart

as its very own.O Far-to-seek, O the keen call of thy ute!I forget, I ever forget,that I know not the way,that I have not the winged horse.

I am listless, I am a wanderer in my heart.In the sunny haze of the languid hours,what vast vision of thine takes shapein the blue of the sky!O Farthest end, O the keen call of thy ute!

I forget, I ever forget,that the gates are shut everywhere in the housewhere I dwell alone!

TEXT AND TRANSLATION ZEMLINSKYS LYRIC SYMPHONY

IIMUTTER, DER JUNGE PRINZ

Mutter, der junge Prinz mu an unsrer Tre vorbeikommenwie kann ich diesen Morgen auf meine Arbeit Acht geben?Zeig mir, wie soll mein Haar ich echten;zeig mir, was soll ich fr Kleider anziehen?

Warum schaust du mich so verwundert an, Mutter?Ich wei wohl, er wird nicht ein einzges Mal zu meinem

Fenster aufblicken.Ich wei, im Nu wird er mir aus den Augen sein;nur das verhallende Fltenspielwird seufzend zu mir dringen von weitem.

Aber der junge Prinz wird bei uns vorberkommen,und ich will mein Bestes anziehn fr diesen Augenblick.

Mutter, der junge Prinz ist an unsrer Tre vorbeigekommen,und die Morgensonne blitzte an seinem Wagen.

Ich strich den Schleier aus meinem Gesicht,ri die Rubinenkette von meinem Halse und warf sieihm in den Weg.

Warum schaust du mich so verwundert an, Mutter?Ich wei wohl, da er meine Kette nicht aufhob.Ich wei, sie ward unter den Rdern zermalmtund lie eine rote Spur im Staube zurck.Und niemand wei, was mein Geschenk war, und wer es gab.

Aber der junge Prinz kam an unsrer Tr vorberund ich hab den Schmuck von meiner Brustihm in den Weg geworfen.

IIMOTHER, THE YOUNG PRINCE

O mother, the young Prince is to pass by our door,how can I attend to my work this morning?Show me how to braid up my hair;tell me what garment to put on.

Why do you look at me amazed, mother?I know well he will not glance up once at my window;I know he will pass out of my sight in the twinkling of

an eye;only the vanishing strain of the utewill come sobbing to me from afar.But the young Prince will pass by our door,and I will put on my best for the moment.

O mother, the young Prince did pass by our door,and the morning sun ashed from his chariot.

I swept aside the veil from my face,I tore the ruby chain from my neckand ung it in his path.

Why do you look at me amazed, mother?I know well he did not pick up my chain;I know it was crushed under his wheelsleaving a red stain upon the dust,and no one knows what my gift was nor to whom.But the young Prince did pass by our door,and I ung the jewel from my breast before his path.


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IIIDU BIST DIE ABENDWOLKE

Du bist die Abendwolke,Die am Himmel meiner Trume hinzieht.Ich schmcke dich und kleide dich

Immer mit den Wnschen meiner Seele;Du bist mein Eigen, mein Eigen.Du, die in meinen endlosen Trumen wohnt.

Deine Fe sind rosigrotvon der Glut meines sehnschtigen Herzens,du, die meine Abendlieder erntet,deine Lippen sind bitters

vom Geschmack des Weins aus meinen Leiden.Du bist mein Eigen, mein Eigen.Du, die in meinen einsamen Trumen wohnt,

Mit dem Schatten meiner Leidenschafthab ich deine Augen geschwrzt,gewohnter Gast in meines Blickes Tiefe.Ich hab dich gefangen und dich eingesponnen,Geliebte, in das Netz meiner Musik.Du bist mein Eigen, mein Eigen.Du, die in meinen unsterblichen Trumen wohnt.

IIIYOU ARE THE EVENING CLOUD

You are the evening cloudoating in the sky of my dreams.I paint you and fashion you

ever with my love longings.You are my own, my own,Dweller in my endless dreams!

Your feet are rosy-redwith the glow of my hearts desire.Gleaner of my sunset songs!

Your lips are bitter-sweetwith the taste of my wine of pain.

You are my own, my own,Dweller in my lonesome dreams!

With the shadow of my passionhave I darkened your eyes.Haunter of the depth of my gaze!I have caught you and wrapt you,my love, in the net of my music.

You are my own, my own,Dweller in my deathless dreams!

IVSPRICH ZU MIR GELIEBTER

Sprich zu mir, Geliebter,sag mir mit Worten, was du sangest.Die Nacht ist dunkel,die Sterne sind in Wolken verloren.Der Wind seufzt durch die Bltter.Ich will mein Haar lsen,mein blauer Mantel wird dich umschmiegen wie Nacht.Ich will deinen Kopf an meine Brust schlieen,und hier, in der sen Einsamkeitla dein Herz reden.Ich will meine Augen zumachen und lauschen,ich will nicht in dein Antlitz schauen.

Wenn deine Worte zu Ende sind,wollen wir still und schweigend sitzen.Nur die Bume werden im Dunkel stern.Die Nacht wird bleichen,der Tag wird dmmern,

Wir werden einander in die Augen schauen

und jeder seines Weges ziehn.Sprich zu mir, Geliebter.

IVSPEAK TO ME, MY LOVE

Speak to me, my love!Tell me in words what you sang.The night is dark.The stars are lost in clouds.The wind is sighing through the leaves.I will let loose my hair.My blue cloak will cling round me like night.I will clasp your head to my bosom;and there in the sweet lonelinessmurmur on your heart.I will shut my eyes and listen.I will not look in your face.

When your words are ended,we will sit still and silent.Only the trees will whisper in the dark.The night will pale.The day will dawn.

We shall look at each others eyes

and go on our different paths.Speak to me, my love!


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VBEFREI MICH VON DEN BANDEN

Befrei mich von den Banden deiner Se, Lieb!Nichts mehr von diesem Wein der Ksse.Dieser Nebel von schwerem Weihrauch erstickt mein Herz.

ffne die Tre, mach Platz fr das Morgenlicht.Ich bin in dich verloren,eingefangen in die Umarmungen deiner Zrtlichkeit.Befrei mich von deinem Zauberund gib mir den Mut zurck,dir mein befreites Herz darzubieten.

VFREE ME FROM THE BONDS

Free me from the bonds of your sweetness, my love!No more of this wine of kisses.This mist of heavy incense sties my heart.

Open the doors, make room for the morning light.I am lost in you,wrapped in the folds of your caresses.Free me from your spells,and give me back the manhoodto offer you my freed heart.

VIVOLLENDE DENN DAS LETZTE LIED

Vollende denn das letzte LiedUnd la uns auseinandergehn.

Vergi diese Nacht, wenn die Nacht um ist.Wen mh ich mich mit meinen Armenzu umfassen? Trume lassen sich nicht einfangen.Meine gierigen Hnde drcken Leere an mein HerzUnd es zermrbt meine Brust.

VITHEN FINISH THE LAST SONG

Then nish the last songand let us leave.Forget this night when the night is no more.

Whom do I try to clasp in my arms?Dreams can never be made captive.My eager hands press emptinessto my heart and it bruises my breast.

VII

FRIEDE, MEIN HERZ

Friede, mein Herz,la die Zeit fr das Scheiden s sein,la es nicht einen Tod sein,sondern Vollendung.La Liebe in Erinnrung schmelzenund Schmerz in Lieder.La die letzte Berhrung deiner Hnde sanft sein,wie die Blume der Nacht.Steh still, steh still, o wundervolles Ende,fr einen Augenblick,und sage deine letzten Worte in Schweigen.Ich neige mich vor dir,ich halte meine Lampe in die Hhe,um dir auf deinen Weg zu leuchten.

VII

PEACE, MY HEART

Peace, my heart,let the time for the parting be sweet.Let it not be a deathbut completeness.Let love melt into memoryand pain into songs.Let the last touch of your hands be gentlelike the ower of the night.Stand still, O Beautiful End,for a moment,and say your last words in silence.I bow to youand hold up my lampto light you on your way.


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Box Ofce: 314-534-1700Toll Free: 1-800-232-1880Online: stlsymphony.org

Fax: 314-286-4111A service charge is added to alltelephone and online orders.

SEASON TICKET EXCHANGE POLICIES

If you cant use your season tickets,simply exchange them for another

Wells 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 TICKETS

314-286-4155 or 1-800-232-1880 Anygroup of 20 is eligible for a discount ontickets for select Orchestral, Holiday,or Live at Powell Hall concerts. Callfor pricing.

Special discount ticket programs areavailable for students, seniors, andpolice 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.

Infrared listening headsets are availableat Customer 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

vary, however, for most events therecommended age is ve or older. Allpatrons, regardless of age, must havetheir own tickets and be seated for all

concerts. All children must be seatedwith an adult. Admission to concerts isat the discretion 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/rentalsfor more information.


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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

LOCKERS

WOMENS RESTROOM

MENS RESTROOM

ELEVATOR

BAR SERVICES

HANDICAPPED-ACCESSIBLE

FAMILY RESTROOM

POWELL HALL

Documents

St. Louis Symphony Broadcast Program, May 4, 2013