Symphony Review: An optimistic universe in Mozart's "Requiem"

“The universe is optimistic.” Thus spake Music Director Stéphane Denève at the St. Louis Symphony Orchestra this past Saturday (November 9). The inspiration for that declaration, he said, was the fact that the final chord in the score of Mozart’s “Requiem” (the major work on the program) is ambiguous. It could be either major or minor, but the overtones suggest the former.

[Find out more about the music with my symphony preview.]

I see the Universe as being indifferent myself, but I can hear what he means in the music, especially in a performance as good as the one I witnessed Saturday night.

Erin Freeman
Photo courtesy of the SLSO

Under the direction of its new director Erin Freemen the SLSO Chorus sang with a mix of power and clarity that was a joy to hear. The latter was especially apparent in, for example, the contrapuntal sections of the “Kyrie” and “Sanctus,” in which the individual lines were lucidly delineated. Newly installed baffles behind the singers might have helped project their sound a bit more effectively than in the past, but that was just icing on the proverbial cake. This was and is a splendid group of singers of whom Freeman is clearly proud.

Mozart’s “Requiem,” like Verdi’s (which the SLSO performed back in April), is unabashedly theatrical but not in the same way. Verdi was all about heaven-storming drama while Mozart was more interested in consolation here on earth. That’s not to say that he neglected the drama entirely—the “Dies Irae” and “Rex Tremendae” can be pretty intimidating. But Mozart—and his pupil Franz Xaver Süssmayr (1766–1803), who completed the “Requiem” after Mozart’s death—tempered the cataclysmic with the comforting.

That means that a good “Requiem” must bring us the tenderness along with the terror, and Denève’s performance certainly did that. His uncanny knack for highlighting interesting details and finding nuances that aren’t always apparent in the work stood him in good stead here. When Mozart and Süssmayr called for drama, it was there, but so was the compassion. This was a finely tuned reading that got equally fine playing from the orchestra.

Dashon Burton
Photo by Hunter Hart

Kudos are also due to the soloists, both individually and as members of the quartet.  Bass-baritone Dashon Burton and tenor Josh Lovell made a strong impression in the “Tuba mirum” duet with trombonist Jonathan Reycraft, although Burton seemed to falter a bit on the cadenza. Soprano Joélle Harvey and mezzo Kelly O’Connor displayed the deepest connection with both the audience and the text. All four were extremely moving in the heartfelt “Benedictus.”

The evening opened with Mozart’s 1788 Adagio and Fugue in C minor, K. 546, for strings. This is a stark and emotionally charged work consisting of a newly composed Adagio followed by an arrangement of the Fugue in C minor, K. 426, for two pianos from 1783. It was a genuine showpiece for the rich, full-bodied sound of the SLSO strings. Articulation was clean and the lines of the fugue were clearly laid out.

Somber as the mood was at that point, it became a bit darker with the next work, the "Vier Präludien und ernste Gesänge" ("Four Preludes and Serious Songs") by Detlev Glanert (b. 1960). Published in 2005, the work is an arrangement/expansion for baritone and orchestra of the last thing Brahms wrote, the Op. 121 "Four Serious Songs."  The songs are pure Brahms, but the preludes that separate them are a mix of the two composers. It’s not difficult to hear the transitions, but even so they are handled tastefully and complement rather than detract from the original songs.

The texts, adapted from the Lutheran Bible but stripped of any explicitly religious content, are meditations on death as sometimes bitter, sometimes comforting, and always inevitable. It’s not until the final song, “Wenn ich mit Meschen und mit Engleszugen redete” (“If I could speak with the tongues of men and of angels”), that the tone becomes consoling. Based on I Corinthians 13, it delivers a message that some alleged Christians these days are ignoring: “And now these three remain: faith, hope, and love; but the greatest of these is love.”

This was all beautifully sung by Burton. He captured the mood of each song, from authoritative to soothing, with emotional honesty and vocal power. The orchestra did justice to Glanert’s demanding preludes, and Denève brought it all together in a poignant interpretation that included a long moment of silence at the end—a perfect choice.

The SLSO’s Mozart celebration concludes this weekend (Friday and Saturday, November 15 and 16, at 7:30 pm) with Mozart’s Symphony No. 1 in E-flat major, Symphony No. 31 (“Paris”), and Piano Concerto No. 20 in D minor, K. 466. Behzod Abduraimov will be the soloist. Performances take place at the Touhill Performing Arts Center at the University of Missouri–St. Louis. Saturday’s concert will be broadcast live on St. Louis Public Radio and Classic 107.3.

This article originally appeared at 88.1 KDHX, where Chuck Lavazzi is the senior performing arts critic.

Symphony Review: Nicholas McGegan brings a pair of theatrical hits by Beethoven and Mendelssohn to Powell

As our little group approached Powell Hall Friday night (March 10th), a tour bus pulled up with what appeared to be a group of students who were there to take in a St. Louis Symphony Orchestra concert. If so, their chaperones made a good choice.

[Find out more about the music with my symphony preview.]

With early music guru Nicholas McGegan (who has a long association with the SLSO) at the podium, this fast-paced and entertaining pair of works for orchestra and chorus by Beethoven and Mendelssohn would certainly have made for an ideal introduction to classical music and the whole SLSO experience. At just over 90 minutes (including intermission), it was a bit shorter than the typical evening at the symphony (normal run time is around 2 hours or so) and the music was listener friendly. No experience was required, and a good time was had by all.

Sarah Price

The evening began with the Beethoven’s “Selections from Egmont,” op. 84, composed on commission for an 1810 revival of Goethe’s 1788 tragedy. The play is a fictionalized account of the execution of Lamoral, Count of Egmont, Prince of Gavere (1522–1568), who was beheaded for resisting Spanish rule and the imposition of the Inquisition on the Netherlands. Running around a half-hour, Beethoven’s Op. 84 consists of a noble and emotionally charged overture along with two songs (for the fictional character of Clärchen, Egmont’s love interest), four entr’actes (scene change music), two bits of underscoring, and a final “Victory Symphony.” That last bit is essentially a repeat of the final 90 seconds of the overture and follows Egmont’s call for independence.

McGegan approached all this with that combination of unbridled joy and meticulous attention to detail which has characterized his work here in the past. The opening of the overture set the tone for the performance overall. Marked Sostenuto ma non troppo (“Sustained, but not too much,” literally), it was majestically slow—which made the gradual build to the main theme all the more commanding. The two-note “execution” violin motif just before the Allegro con brio coda was striking decisive and the coda itself was stirring, with nice accents by Ann Choomack on piccolo.

After a long pause for latecomers (who had, perhaps, not noticed that the concert started at 7:30 rather than 8) soprano Danielle Yilmaz gave a defiant performance of “Die Trommel gerühret” (“Beat the drums”), in which Clärchen declares her love and support for Egmont in militaristic terms. Clärchen’s other song, “Freudvoll und leidvoll” (“Full of joy, full of sorrow”), got an equally strong performance from soprano Sarah Price. She let us hear the emotional ambiguity of the lyrics, which move from waver between doubt (Andante con moto) and ecstasy (Allegro assai vivace) before finally settling on the latter.

Enrico Lagasca
Photo: Jiyang Chen

The entr’actes and underscore pieces were all neatly done, with some fine oboe solos by Jelena Dirks and excellent playing by the horns, especially in “Clärchen’s death.” The “Victory Symphony” brought it all to an electrifying finish.

The second half of the concert belonged to Mendelssohn’s 1843 revision of his setting for chorus and orchestra of Goethe’s 1799 dramatic poem “Die Erste Walpurgisnacht” (“The First Walpurgis Night”). In what was, surprisingly, the work’s first performance here, McGegan led the orchestra and chorus in a real barnburner of a performance. It was sung in English, as many of Mendelssohn’s choral works were even in his day. The multi-lingual composer knew he was a Hot Property in Britain and made sure his music would work just as well in English or German.

The story deals with a group of German Druids who prefer to celebrate Beltane eve in the old-fashioned way, without interference from Christian authorities. Their solution is to scare the Christian forces away by disguising themselves as assorted imps, devils, and demons. The opportunities for high drama here are obvious, and Mendelssohn made the most of them in a score filled with big, commanding choruses and an orchestra unusually rich in brass and percussion parts. “It’s very high energy music,” observed McGegan in an interview for my video blog. “Mendelssohn lives in the era before decaf.”

The sturm und drang gets off to a rousing start with the turbulent “Overture: bad weather.” The “dark and stormy night” tone painting is reminiscent of the “Hebrides” Overture—not exactly surprising, since it was written at around the same time—and McGegan’s reading was so vivid you could almost feel the wind and rain. His entire podium presence, in fact, was a wonderful mix of precise cueing and physical enthusiasm.

There are a few solo numbers in “The First Walpurgis Night,” but the chorus is the real star of the show. Under the direction of Webster University’s Trent Patterson, the SLSO singers displayed just the right mix of power and precision that’s called for here. Their enunciation was admirably crisp, although it wasn’t obvious just how good it was until I heard the Saturday night broadcast, since Powell Hall’s acoustics can muddy things a bit.

That said, the soloists were impressive as well. Tenor Thomas Cooley was a radiant Druid welcoming the spring as well as a comically petrified Christian soldier who decided “onward” is not his preferred direction. Bass-baritone Enrico Lagasca was an imposing Priest, although he was having a bit of trouble with his high notes on Friday (I suspect allergies might have been the issue). In any case, he sounded fine in Saturday night’s broadcast.

The SLSO Chorus
Photo: Dilip Vishwanat for the SLSO

For my money, though, the most impressive performance was that of alto Victoria Carmichael (of the SLSO Chorus) as “An aged woman of the people” warning of the violence that can be expected from the Christians if the Druids are discovered: “On their ramparts they will slaughter / Mother, father, son, and daughter!” That’s potent stuff that calls for exactly the kind of forceful delivery it got from Carmichael.

It was good to see and hear the chorus in action again, especially in music that gives them a chance to display their strength as an ensemble. And I have always found McGegan to be a welcome presence on the podium. His association with the SLSO goes back a long way—to a 1986 “Messiah” in fact—so his rapport with the band has, by now, a kind of cozy familiarity.

Next at Powell Hall: Stéphane Denève conducts the St. Louis Symphony Orchestra and pianist Vikingur Ólafsson in a one-night-only preview of the program they will take on the orchestra's March European tour. The concert consists of Prokofiev's The Love for Three Oranges Suite, Grieg's Piano Concerto, and Rachmaninoff's "Symphonic Dances." The concert takes place on Thursday, March 16, at 7:30 pm. Stephanie Childress will conduct the SLSO Youth Orchestra and Concerto Competition winner Ayan Amerin in the Allegro non troppo from the Violin Concerto in D major by Brahms and the Symphony No. 5 by Shostakovich on Sunday, March 19 at 3 pm. The regular concert season resumes in mid-April.

This article originally appeared at 88.1 KDHX, where Chuck Lavazzi is the senior performing arts critic.

Symphony Preview: All Goethe all the time

Johann Wolfgang von Goethe (1749–1832) was, as the late Philip Weller notes in the Grove Dictionary of Music, “[O]ne of the most important literary and cultural figures of his age…recognized during his lifetime for his accomplishments of almost universal breadth.” This weekend (Friday and Saturday, March 10 and 11) Nicholas McGegan will conduct the St. Louis Symphony Orchestra, Chorus, and vocal soloists in a pair of big, dramatic works inspired by Goethe.

[Preview the music with my Spotify playlist.]

Goethe age 38 by Angelica Kauffmann
commons.wikimedia.org

The works in question are the overture and incidental music Beethoven composed on commission for an 1810 revival of Goethe’s 1788 tragedy “Egmont” and Mendelssohn’s 1843 revision of his setting for chorus and orchestra of the 1799 dramatic poem “Die Erste Walpurgisnacht” (“The First Walpurgis Night”). The two works have much in common, including the fact that they both deal with the issues of political and religious freedom. Which makes them rather relevant right now.

The protagonist of Goethe’s play is the historical Lamoral, Count of Egmont, Prince of Gavere (1522–1568), who was beheaded for resisting Spanish rule and the imposition of the Inquisition on the Netherlands. In Goethe’s fictionalized version of events, Egmont becomes a heroic defender of individual freedom who, before his execution, delivers a rousing speech demanding national independence.  

The story appealed tremendously to Beethoven, a dedicated republican (in the classical sense of “anti-monarchist”) who was chafing at the occupation of Vienna by the French in 1809. That appeal and Beethoven’s great admiration for Goethe combined to produce a noble and emotionally charged overture along with two songs (for the fictional character of Klärchen, Egmont’s love interest), four entr’actes (scene change music), two bits of underscoring, and a final “Victory Symphony.” That last bit is essentially a repeat of the final 90 seconds of the overture and follows Egmont’s call for independence.

In an interview on my YouTube channel, McGegan described the entire score as “top-rate Beethoven…right up there in the vintage period of middle Beethoven.” Chronologically it falls between the Sixth (“Pastoral”) Symphony and the exuberant Seventh, which the authors of the Grove entry on Beethoven describe as time of “ever-increasing technical virtuosity.” Certainly the combination of high drama, lyricism, and tragedy in these ten short movements is immensely appealing even if you’re not familiar with the play. Which, of course, most of us are not.

Goethe loved the music but was less impressed by Beethoven himself when they finally met in the summer of 1812 at Teplitz. McGegan notes that he found the composer “a little bit feral,” while Beethoven, for his part, found the elegant writer “too much of a toady…too courtly for his taste.” It’s a reminder, I suppose, that it’s not always wise to meet one’s heroes in person.

Beethoven in 1803
Painted by Christian Horneman

After intermission the full chorus joins the band for the local premiere of the English language version of “The First Walpurgis Night." Once again the issue is freedom in general and freedom from religious persecution in particular.

But first a bit of history. “Walpurgis Night” refers to the evening of the feast day of Saint Walpurga, a British healer who (to quote McGegan) “ended up in Germany as a sort of missionary to the Goths and all those tribes who wore horns on their heads.” After her canonization her name was tacked on to the ancient Celtic festival of Beltane, traditionally celebrated on May 1st. It’s one of the old cross-quarter days, so called because they fall between the equinoxes and solstices. Beltane comes between the Vernal Equinox and the Summer Solstice.

The business of rebranding the old pagan holidays was common as the early Church went about the business of “Christianizing” the heathens. As marketing decisions go it was pretty smart. It’s much easier to convert folks if you don’t mess with their holidays. As the Encyclopedia Britannica relates:

Walburga [sic] is traditionally associated with May 1 because of a medieval account of her being canonized upon the translation of her remains from their place of burial to a church circa 870. Although it is likely that the date of her canonization is purely coincidental to the date of the pagan celebrations of spring, people were able to celebrate both events under church law without fear of reprisal.

“The First Walpurgis Night” deals with a group of German Druids who prefer to celebrate Beltane eve in the old-fashioned way, without interference from Christian authorities. Their solution is to scare the Christian forces away by disguising themselves as assorted imps, devils, and demons. “Help, my comrades,” sings a Christian guard (naturally, he’s a tenor), “see a legion / Yonder comes from Satan’s region!” Thrown into panic by the combination of the Druid’s costumes and their own imaginations, the would-be persecutors take it on the lam, leaving the Druids free to celebrate spring in their own way, thanks very much.

All this unfurls in nine scenes plus an overture that sets the scene. There are parts for solo alto, tenor, and bass-baritone, but for the most part the story of “The First Walpurgis Night” is told by the chorus. “It’s a really good sing for the choir,” observes McGegan. “It’s very high energy music…Mendelssohn lives in the era before decaf.” It’s also quite an entertaining and highly theatrical work, so it will be good to hear it sung in English.  Projected translations are great, but they can create a slight distance between the music and the audience.

Portrait of Mendelssohn by
James Warren Childe, 1839
en.wikipedia.org

About the English translation: it's not clear whether the chorus will be singing the one the multilingual Mendelssohn had prepared when he composed the work or the one William Bartholomew did in 1899. Either way, it will make the work that much more accessible.

The guest choral conductor this weekend is Trent Patterson, Director of Choral Studies and Music Education at the Webster University Department of Music.  Patterson is also the choral director at Emmanuel Episcopal Church in Webster Groves, where four Webster music students serve as Scholar Singers in the Emmanuel Choir.

The Essentials: Nicholas McGegan conducts the St. Louis Symphony Orchestra and Chorus in Beethoven’s overture and incidental music to “Egmont” and Mendelssohn’s “The First Walpurgis Night.” Soloists in the Beethoven are sopranos Sarah Price and Danielle Yilmaz. For the Mendelssohn the solo singers are alto Victoria Carmichael, tenor Thomas Cooley, and bass-baritone Enrico Lagasca. Performances are Friday at 7:30 pm and Saturday at 8 pm, March 10 and 11 at Powell Symphony Hall in Grand Center. The Saturday concert will be broadcast live on St. Louis Public Radio and Classic 107.3.

This article originally appeared at 88.1 KDHX, where Chuck Lavazzi is the senior performing arts critic.

Review: The SLSO sets sail for Chorus Director Amy Kaiser's retirement with an opulent 'Sea Symphony'

At the top of the St. Louis Symphony Orchestra (SLSO) concert last Sunday, May 1st, SLSO CEO Marie Hélène Bernard and a representative from the office of Mayor Tishaura Jones took the stage to announce that forthwith, May 1st would be Amy Kaiser Day in St. Louis. And they handed retiring SLS Chorus Director Kaiser a sizeable proclamation to make it official.

[Find out more about the music with my symphony preview.]

Amy Kaiser (center) and her proclamation

Stéphane Denève celebrated the event by conducting a blockbuster concert that began with the local premiere of the full orchestra versions of Jessie Montgomery’s “Starburst” and Debussy’s “Nocturnes” and concluded with an opulent performance of Vaughan Williams’s mammoth “Sea Symphony.”

I’m not kidding about the “mammoth” part. Composed between 1903 and 1909 and first performed in 1910, The “Sea Symphony” calls for a massive orchestra (around 90 musicians last Sunday), a full chorus, and soprano and baritone soloists. Laid out in four movements and running over an hour, it might not be quite as gargantuan as Mahler’s Symphony No. 8 (the “Symphony of a Thousand”)—which premiered the same year—but it comes close.

Like the Mahler Eighth, it’s a true choral symphony in which the chorus is not an add-on but rather an integral part of the ensemble. “The chorus gets very few breaks,” writes Kaiser in the program notes, and what they’re called upon to sing is at times fiercely difficult. The composer’s overlapping vocal lines often combine to create a thick contrapuntal texture that sounds difficult to navigate, especially with the syncopation necessary to match the irregular stanzas of Walt Whitman’s “free verse” poetry. Some small ensemble sections demand subtle transparency, and the third movement scherzo has a rapid main theme that rattles on like a Gilbert and Sullivan patter song.

L-R: Stephen Powell and Karie Van Kooten

It calls, in short, for a solidly professional ensemble of singers and direction that is both exacting and sensitive to the work’s wide emotional range. Which is to say that it calls for the St. Louis Symphony Chorus and Amy Kaiser.

Let me not mince words: this was a bravura performance of a big, difficult work. The SLS Chorus has always been impressive, but they truly outdid themselves this time. From the bold, sweeping declamation of the opening “Behold the sea itself” to the final, pianississimo chords of “Oh farther sail,” the singers captured the epic sweep of this music perfectly.

The many passages that linger in my memory include the moment in the first movement  where the women’s chorus softly sings of “all intrepid sailors and mates, / And all that went down doing their duty” and the vast pantheistic hymn, “This vast similitude spans them”, that forms the climax of the second movement. The full chorus put down their books and sang the passage from memory, giving it an extra theatrical kick.  There were also stretches of transcendent beauty in the episodic but ultimately profoundly moving final movement, with its elliptical meditation on death as the ultimate exploratory voyage to Hamlet’s “undiscovered country from whose bourn no traveler returns.”

Vaughan Williams doesn’t give the soloists as much to do by comparison, but soprano Katie Van Kooten and baritone Stephen Powell more than did justice to their roles. Van Kooten’s big, clear voice rang out in “Token of all brave captains” in the first movement and Powell showed impressive gravitas in the opening of the second movement, “On the beach at night alone.”  Their duet in the final movement is essentially a love song for the sailor and his soul, and it was sung with a rapturous intensity.

As for the orchestra, their playing was nothing short of heroic. The expressive range of the instrumental writing is no less vast than that of the choral and no less challenging. Maestro Denève deserves a laurel wreath as well for keeping the composer’s sprawling and sometimes discursive music on, if you’ll pardon the expression, an even keel.

Stéphane Denève conducts the SLSO
Photo courtesy of the SLSO

The concert opened with Montgomery’s “Starburst.” When I heard the SLSO play it in 2020, I described Jannina Norpoth’s string orchestra arrangement of “Starburst” as a delightful sonic explosion. Norpoth’s expansion for full orchestra was a bigger explosion with brighter colors, and just as delightful.

In between Montgomery’s high-flying pyrotechnics and Vaughan William’s profound emotional depths came a luminous reading of Debussy’s “Nocturnes.” First performed in 1901, this set of three tone poems owes something to both the literary poems of Henri de Regnier and a set of paintings by James McNeill Whistler also titled “Nocturnes.” Unlike Whistler’s relatively realistic paintings (his “Arrangement in Grey and Black No. 1” is the one commonly referred to as “Whistler’s Mother”), Debussy’s “Nocturnes” are more akin to the paintings of Monet, which are less about photo-realism and more about producing an impression on the viewer. Hence the term “Impressionism.”

The opening movement, “Nuages” (“Clouds”) uses slow rising and falling motifs in the strings and a haunting mini-melody in the cor Anglais (played with great sensitivity by Cally Banham) to suggest drifting patches of gray in an overcast sky. A soft tympani roll at the end suggests a storm might be in the offing. Denève wisely held the first downbeat until he had total silence in the hall, allowing those first notes to emerge almost imperceptibly out of the ether.

“Fêtes” (“Festivals”) chases the clouds away with bucolic dances and, after another of Denève’s judicious moments of silence, a nocturnal procession that begins softly on muted trumpets against a backdrop of pianississimo harp and strings, as though approaching from a distance. That procession quickly builds to another whirling celebration.

Finally, with “Sirènes” (“Sirens”), we have a mysterious moonlit seascape over which is heard (in the composer’s words) “the mysterious song of the Sirens as they laugh and pass on.” Members of the women’s chorus play the sirens, singing their wordless song with great clarity and superb breath control, in perfect balance with the orchestra, fo rwhich I must credit both Kaiser and Denève. In her program notes, Kaiser observed that Denève wanted “a very light, almost innocent sound…very fluid, like water flowing.” He definitely got what he wanted, and it was lovely.

Most artists would prefer to retire with a performance that will be remembered for its excellence. Amy Kaiser has achieved that. Ave atque vale.

Next at Powell Hall: Stéphane Denève conducts the orchestra and Kevin McBeth’s IN UNISON Chorus in the world premiere of Nathalie Joachim’s “Family.” Also on the program: Bruch’s Violin Concerto No. 1 (with soloist Akiko Suwanai) and Mahler’s Symphony No. 1. Performances of this final concert of the season are Friday at 7:30 pm and Saturday at 8 pm, May 6 and 7. The Saturday concert will be broadcast live, as usual, on St. Louis Public Radio and Classic 107.3.

This article originally appeared at 88.1 KDHX, where Chuck Lavazzi is the senior performing arts critic.

Symphony Preview: Beyond the sea

All good things, they say, must come to an end. This weekend (April 30 and May 1) Stéphane Denève conducts the St. Louis Symphony Orchestra (SLSO) in a program that pays tribute to SLS Chorus Director Amy Kaiser, who is retiring after 26 years (a total of 27 seasons) with the orchestra. She departs on a magic carpet of concert triumphs (including a resplendent Mozart “Requiem” last month) and a wave of fond memories by members of the chorus and orchestra.

[Preview the music with my commercial-free Spotify playlist.]

Appropriately, the evening features two works in which the chorus figures prominently: Debussy’s “Nocturnes” (the third movement features a women’s chorus) and Vaughan Williams’s "A Sea Symphony" for soloists, chorus, and orchestra. It opens, though, with a purely orchestral piece that is getting its third performance with the SLSO since 2020.

Violinist and composer
Jessie Montgomery

That popular piece is “Starburst” by contemporary violinist and composer Jessie Montgomery, whose music has appeared frequently on SLSO programs over the last few years—most recently on April 8-10, when the orchestra gave the local premiere of her “Rounds for Piano and Strings.”

Originally composed for a nine-piece string ensemble and later arranged for string orchestra by Jannina Norpoth, "Starburst" is a delightful sonic explosion that, in the composer's words, refers to "the rapid formation of large numbers of new stars in a galaxy at a rate high enough to alter the structure of the galaxy significantly." To my ears, "Starburst" also calls to mind musical depictions of fireworks by composers like Stravinsky and Debussy while still speaking in a sonic voice that is entirely Ms. Montgomery's own.  Rapidly ascending motifs shoot up, expand into musical stars, and then start over again in what the composer describes as "a multidimensional soundscape" that constitutes "a play on imagery of rapidly changing musical colors."

There are plenty of musical colors in Debussy's "Nocturnes" as well, although they’re more like the subtle hues of Impressionist paintings than Montgomery’s sonic pyrotechnics. It consists of three short tone poems (total playing time is around 25 minutes) inspired by literary poems by the symbolist writer Henri de Regnier. The composer wrote a fairly detailed program for "Nocturnes," and rather than attempt to paraphrase it, I'm just going to quote it in toto, using the translation from Donald Brook's “Five great French composers: Berlioz, César Franck, Saint-Saëns, Debussy, Ravel: Their Lives and Works”:

The title Nocturnes is to be interpreted here in a general and, more particularly, in a decorative sense. Therefore, it is not meant to designate the usual form of the Nocturne, but rather all the various impressions and the special effects of light that the word suggests. 'Nuages' renders the immutable aspect of the sky and the slow, solemn motion of the clouds, fading away in grey tones lightly tinged with white. 'Fêtes' gives us the vibrating, dancing rhythm of the atmosphere with sudden flashes of light. There is also the episode of the procession (a dazzling fantastic vision), which passes through the festive scene and becomes merged in it. But the background remains resistantly the same: the festival with its blending of music and luminous dust participating in the cosmic rhythm. 'Sirènes' depicts the sea and its countless rhythms and presently, amongst the waves silvered by the moonlight, is heard the mysterious song of the Sirens as they laugh and pass on.

Women of the SLS Chorus
Photo courtesy of the SLSO

The mysterious song of the Sirens will  be sung by members of the women’s chorus. That wordless song is, as Kaiser observes in this weekend’s program notes, “harder for the chorus than it first appears. Stéphane wants a very light, almost innocent sound. It should also be very fluid, like water flowing.”

The aquatic theme continues after intermission with the massive “Sea Symphony”—Vaughan Williams’s first symphony, although he never assigned it or his other symphonies a number. It began life in 1903 (just four years after the premiere of Debussy’s “Nocturnes”) as “The Ocean,” a collection of songs for chorus. By the time it was completed in 1909, it had expanded into a full, four-movement choral symphony in which the chorus is not an add-on but rather an integral part of the ensemble.

“The chorus gets very few breaks,” writes Kaiser in the program notes, and plumbs profound emotional depths. “The symphony is like a farewell to life, and the poetry is so cosmic and deeply felt—it's a very profound piece. I had to figure out how to not be a puddle at every rehearsal!”

Walt Whitman from the frontispiece
of Leaves of Grass
By Samuel Hollyer (1826-1919)
of a daguerreotype by
Gabriel Harrison (original lost). -
Morgan Library & Museum,
Public Domain, Link

Running over an hour, it’s a big, complex piece that calls, in addition to the chorus and soprano and baritone soloists, for a sizable orchestra (including an organ).  That could be viewed as surprisingly ambitious for a first symphony. But by the time the “Sea Symphony” had its premiere in 1910, with the the composer on the podium, Vaughan Williams was nearly 40 and no neophyte. He had studied British folk music extensively and had traveled to abroad to study with (among others) Maurice Ravel, which “set VW’s imagination free to roam on the largest scale.” Ravel, he would later recall, taught him “how to orchestrate in points of colour rather than in lines.”

Although the music is strongly shaped by British folk songs, the actual words of the “Sea Symphony” are by the American poet Walt Whitman, from his “Leaves of Grass” collection. Whitman wasn’t well known in Britain at the time, and it was the noted mathematician and philosopher Bertrand Russell who introduced Vaughan Williams to Whitman’s work. The composer found himself in sympathy with what David Cox (in volume 2 of Robert Simpson’s indispensable “The Symphony”) calls the “unconventionally direct utterance” of the poet. The commanding first movement uses verses from “The Song of the Exposition” and “Song for all Seas, all Ships,” while the ruminative second movement is based on “On the Beach at Night Alone.” The third movement scherzo uses all of “After the Sea-ship” and the lengthy, transcendent finale quotes extensively from “Passage to India.”

I’m assuming the SLSO will use projected text during the concert but if not, the complete lyrics for the “Sea Symphony” are available online. You’ll find this especially helpful if you’re listening to the concert broadcast on the 30th.

The Essentials: The SLSO bids a fond farewell to SLS Chorus Director Amy Kaiser, retiring after 27 seasons, with a program of Vaughn Williams’s “Sea Symphony,” Debussy’s “Nocturnes,” and Jessie Montgomery’s “Starburst.” Stéphane Denève conducts the orchestra and chorus along with soloists Katie Van Kooten, soprano, and Stephen Powell, baritone. Performances are Saturday at 8 pm and Sunday at 3 pm, April 30 and May 1. The Saturday concert will be broadcast live, as usual, on St. Louis Public Radio and Classic 107.3.

This article originally appeared at 88.1 KDHX, where Chuck Lavazzi is the senior performing arts critic.

St. Louis classical calendar for the week of February 17, 2020

The IN UNISON Chorus celebrates Black History Month this week and the St. Louis Cathedral Concerts bring a cappella sounds to the Cathedral Basilica.

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The Metropolitan Orchestra performs on Sunday, February 23, at 7 pm. "This concert will feature Conductors Allen Carl Larson and Andrew Peters. The orchestra will perform Mozart's Piano Concerto in C major with pianist Jerry Chan and Beethoven's Symphony No. 7 in A." The concert takes place at First Presbyterian Church, 100 E. Adams in Kirkwood. For more information: moslmusic.org.

VOCES8

St. Louis Cathedral Concerts presents the a cappella vocal ensembles VOCES8 and the Crossroads Quartet on Friday, February 21 at 8 pm. The concert takes place at the Cathedral Basilica in the Central West End. For more information: cathedralconcerts.org.

The St. Louis Philharmonic Orchestra presents a concert of music by Charbrier, Howard Hanson, Leonard Bernstein, and Rimsky-Korsakov on Friday, February 21, at 8 p.m. The concert takes place in the Scheidegger Center for the Arts on the Lindenwood University campus in St. Charles. For more information: stlphilharmonic.org.com.

The IN UNISON Chorus and SLSO

Kevin McBeth conducts the St. Louis Symphony IN UNISON Chorus and soloist Oleta Adams in Lift Every Voice: A Black History Month Celebration, on Friday, February 20, at 7:30 pm. "Join the St. Louis Symphony Orchestra, Grammy-nominated soprano Arlissa Hudson and the IN UNISON Chorus for Join the St. Louis Symphony Orchestra and IN UNISON Chorus for this cherished annual tradition - an evening of reflective and soulful music that celebrates the music of African-American and African cultures, which have inspired and influenced the St. Louis region and communities around the world." The concert takes place at Powell Symphony Hall, 718 North Grand in Grand Center. For more information: stlsymphony.org.

Gemma New conducts The St. Louis Symphony Orchestra and narrator Bobby Norfolk in Prokofiev's Peter and the Wolf on Sunday, February 16, at 3 PM. “Join Peter and his animal friends on a symphonic adventure in Prokofiev's beloved work Peter and the Wolf. Introducing generations to orchestral music, each character in this musical fairy tale is represented by a different instrument of the orchestra. Together we experience the beautiful tapestry of orchestral color which reminds us of our own unique voices and personalities.” The performance takes place at Powell Symphony Hall, 718 North Grand in Grand Center. For more information: stlsymphony.org.

St. Louis classical calendar for the week of February 3, 2020

The Chamber Project and the St. Louis Symphony have it all to themselves this week.

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The artistic directors of The Chamber Project

The Chamber Project St. Louis presents Recess on Tuesday, February 4, at 7:30 pm and Sunday, February 9, at 7:00 pm. "A playful program of music for winds, this concert is sure to please. Inspired by local composer LJ White's duet for clarinets, Big Fish, we asked him to write a new piece for this concert which also features a thrilling work by Valerie Coleman and some beloved music for winds not often heard. " Tuesday's concert takes place at the Jefferson College Fine Arts Theater 1000 Viking Drive Hillsboro, MO. Sunday's concert takes place at the Schlafly Tap Room, 2100 Locust in midtown. For more information: www.chamberprojectstl.org.

Stéphane Denève

Stéphane Denève conducts The St. Louis Symphony Orchestra and Chorus, along with soloists Ellie Dehn, soprano; Jennifer Johnson Cano, mezzo-soprano; Issachah Savage, tenor; and Davóne Tines, bass-baritone on Friday and Saturday at 8 pm and Sunday at 3 pm, February 7-9. The program consists of Beethoven's Symphony No. 9 ("Choral") and the local premiere of Silent Night Elegy by Kevin Puts. Performances take place at Powell Symphony Hall in Grand Cente. For more information: stlsymphony.org.

St. Louis classical calendar for the week of December 9, 2019

Two big annual holiday concerts take place at Powell Hall this week, along with chamber music just down the block at the Sheldon.

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The Bach Society Christmas Candlelight Concert

The Bach Society of St. Louis presents the annual Christmas Candlelight Concert on Tuesday, December 10, at 7:30 PM. “A St. Louis Christmas tradition, the Christmas Candlelight Concert is sure to leave you feeling merry and bright. Plan to join us for Poulenc's Gloria with soprano soloist Michele Kennedy, the beloved candlelight processional, and even the “12 Days of Christmas” with a special appearance by The St. Louis Children's Choirs and Webster University Chamber Singers. Come experience a night filled with Christmas cheer to kick off your holiday season!" The performance takes place at Powell Symphony Hall, 718 North Grand in Grand Center. For more information: www.bachsociety.org

The Chamber Music Society of St. Louis presents The British Are Coming on Monday and Tuesday, December 9 and 10, at 7:30 pm. "Enjoy some British charm, courtesy of Holst and Purcell, and a 'London' trio by honorary Brit Franz Joseph Haydn." Performances take place at the Sheldon, 3648 Washington in Grand Center. For more information: chambermusicstl.org.

The New Music Circle presents Fred Frith on Saturday, December 14, at 8 pm. "Renowned and exploratory British guitarist / composer Fred Frith is an icon of avant-garde music, employing a rare musical intelligence, accompanied by an omnipresent sense of humor." The performance takes place at Joe's Cafe, 6014 Kingsbury. For more information: newmusiccircle.org.

The Mercy Holiday Celebration

Stuart Malina conducts the St. Louis Symphony Orchestra along with the Holiday Festival Chorus and soloist Rachel Potter in the Mercy Holiday Celebration Friday through Sunday at 2 and 7:30 pm, December 13-15. "Check laughter and cheer off your holiday list at the Mercy Holiday Celebration with the SLSO. Enjoy your favorite holiday classics performed by the SLSO and Holiday Festival Chorus, plus a special visit from Santa Claus himself. This unforgettable experience will put you in the holiday spirit and show you why thousands of St. Louis residents make this concert an annual tradition." The concerts take place at Powell Symphony Hall, 718 North Grand in Grand Center. For more information: stlsymphony.org.

The Department of Music at Washington University presents a Winds Division Recital on Monday and Tuesday, December 9 and 10, at 3 pm. The concerts take place in the E. Desmond Lee Concert Hall at the 560 Music Center, 560 Trinity in University City. For more information: music.wustl.edu/events.

The Department of Music at Washington University presents a Flute Choir concert on Monday, December 9, at 7:30 pm. The event takes place in the E. Desmond Lee Concert Hall at the 560 Music Center, 560 Trinity in University City. For more information: music.wustl.edu/events.

The Department of Music at Washington University presents a Messiah Sing-Along on Sunday, December 15, at 3 pm. "Join the choirs of Washington University in singing the Christmas portion of G.F. Handel's 'Messiah.' Bring your own score or borrow one at the door!" The event takes place at Graham Chapel on the Washington University campus. For more information: music.wustl.edu/events.

St. Louis classical calendar for the week of December 2, 2019

Christmas concerts are starting to appear this week, with holiday-themed events at the Cathedral Basilica and Powell Hall.

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The Chamber Music Society of St. Louis presents As the Winds Blow on Saturday, December 7, at 2 pm. "No windbags here. Just some exciting woodwind music that will take your breath away. Works by Reicha, Hindemith, Vinter, Nielsen and Ibert." Performances take place at the Sheldon, 3648 Washington in Grand Center. For more information: chambermusicstl.org.

CHARIS

CHARIS, the St. Louis Women's Chorus, presents Snapshot on Friday and Saturday December 6 and 7, at 8 pm. "A picture is worth a thousand words-at minimum-and a single snapshot can inspire a multitude of stories and interpretations. In CHARIS's fall 2019 show, “Snapshot,” we draw inspiration from two photographic sources: first, the Pulitzer Prize-winning photographs on display at Missouri History Museum, and second, portraits commissioned from local photographers that capture the lives and stories of individuals in our local community, especially the women and members of the LGBTQ+ community who are at the heart of our mission. Each song in the concert will be inspired by a photograph and its thousands of possible words." The performances take place in the auditorium at the Missouri History Museum in Forest Park. For more information: charischorus.org.

St. Louis Cathedral Concerts presents Christmas at the Cathedral on Saturday at 8 pm and Sunday at 2:30 pm. "Experience the joy of the music of Christmas with the St. Louis Archdiocesan Choirs and Orchestra . The program includes the Christmas portion of The Messiah and other Christmas classics old and new at the Cathedral Basilica of St. Louis!" The concerts take place at the Cathedral Basilica in the Central West End. For more information: cathedralconcerts.org.

The St. Louis Symphony Orchestra presents the Wynton Marsalis and the Lincoln Center Jazz Orchestra in Big Band Holidays on Wednesday, December 4, at 7:30 pm. "It's the most wonderful time of year! The Jazz at Lincoln Center Orchestra with Wynton Marsalis are coming to Powell Hall. Featuring soulful, big band versions of classics like “Jingle Bells,” “Joy to the World” and “Brazilian Sleigh Ride,” Big Band Holidays is an uplifting holiday program that's sure to brighten the season." The performance taks place at Powell Symphony Hall in Grand Center. For more information: stlsymphony.org.

Richard Egarr
Photo courtesy of the SLSO

Richard Egarr conducts The St. Louis Symphony Orchestra, along with violin soloists Kristin Ahlstrom and Angie Smart and flute soloist Andrea Kaplan in Baroque Fireworks. Performances are Friday and Saturday at 8 pm and Sunday at 3 pm, December 6-8. "Handel heralds the holidays. Brilliant brass gleam in the Music for the Royal Fireworks and Water Music. Then strings take center-stage for Bach's Orchestral Suite No. 3, featuring the famous “Air on a G string.” Conductor Richard Egarr leads the orchestra from the harpsichord for Bach's Brandenburg No. 5, which features soloists from the SLSO." Performances take place at Powell Symphony Hall in Grand Cente. For more information: stlsymphony.org.

The Department of Music at Washington University presents Solisti St. Louis featuring Amy Greenhalgh, viola, Benedetta Orsi, mezzo-soprano, and Dana Hotle, clarinet, performing music by Saint-Saëns, Richter, Weber, and Tchaikovsky on Friday, December 6, at 7:30 pm. The event takes place in the E. Desmond Lee Concert Hall at the 560 Music Center, 560 Trinity in University City. For more information: music.wustl.edu/events.

The Department of Music at Washington University presents bass-baritone Eric Owens and pianist Jeremy Denk performing Schubert's song cycle Winterreise on Sunday, December 8, at 7 pm. The event takes place in the E. Desmond Lee Concert Hall at the 560 Music Center, 560 Trinity in University City. For more information: music.wustl.edu/events.

St. Louis classical calendar for the week of November 25, 2019

Holiday music starts to show up on programs this week, including a complete Nutcracker at the SLSO.

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The Metropolitan Orchestra

The Metropolitan Orchestra performs on Sunday, September 15, at 7 pm. "This concert will feature Conductor Wendy Lea and Summer Evening by Kodaly, Shostakovich's Chamber Symphony in c minor and Mozart's Symphony No. 38 in D major." The concert takes place at First Presbyterian Church, 100 E. Adams in Kirkwood. For more information: moslmusic.org.

St. Louis Cathedral Concerts presents the Vienna Boys Choir Holiday Concert on Friday, November 29, at 2:30 pm. "Kick-off the holidays with the delightful sounds of the Vienna Boys Choir as they bring their holiday program to St. Louis!" The concert takes place at the Cathedral Basilica in the Central West End. For more information: cathedralconcerts.org.

Conductor Andrew Grams

Andrew Grams conducts The St. Louis Symphony Orchestra and St. Louis Children's Choirs in a complete performance of Tchaikovsky's The Nutcracker ballet on Friday and Saturday at 8 pm, and Sunday at 3 pm, November 29 - December 1. The program includes special lighting design by Luke Kritzeck. Performances take place at Powell Symphony Hall in Grand Cente. For more information: stlsymphony.org.

The Department of Music at Washington University presents a Strings and Chamber Music Division Recital on Saturday, December 1, at 7 pm. The event takes place in the E. Desmond Lee Concert Hall at the 560 Music Center, 560 Trinity in University City. For more information: music.wustl.edu/events.

St. Louis classical calendar for the week of October 21, 2019

This week, the Bach Society does Mozart, Second Presbyterian Church presents an organ recital, and it's Harry Potter time at the SLSO.

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The Bach Society

The Bach Society of St. Louis presents a performance of Mozart's Requiem on Sunday, October 27, at 3 pm. "An iconic masterpiece, Mozart's Requiem in D minor, K 626 embraces and inspires. This revered work is paired with Bach's festive setting of the Magnificat in D Major. Guest soloists soprano Emily Birsan, mezzo-soprano Alice Anne Light, tenor Gene Stenger, and bass David Rugger join the Bach Society Chorus and Orchestra." The concert takes place at First Presbyterian Church of Kirkwood, 100 E. Adams in Kirkwood. For more information: www.bachsociety.org.

The St. Louis Symphony Orchestra, conducted by Norman Huynh, presents a showing of the film Harry Potter and the Half-Blood Prince, with the score performed live, on Friday and Saturday at 7 pm and Sunday at 2 pm, October 25-27. "See what happens when Harry discovers a mysterious potions book in Harry Potter and the Half-Blood Prince™ in Concert! Projected onto a giant screen and accompanied by the SLSO, you can join in on Harry's adventures like never before. Nicholas Hooper's wonderful score and J.K. Rowling's classic tale combine to deliver all the adventure, humor and suspense you remember in an experience you'll never forget." The performances take place at Powell Hall in Grand Center.For more information: stlsymphony.org.

Second Presbyterian Church presents an organ recital by Michael Unger on Sunday, October 27, at 4 pm. "Dr. Unger is the Assistant Professor of Organ and Harpsichord at the University of Cincinnati College-Conservatory of Music. The church is at 4501 Westminster Place in the Central West End. For more information: secondchurch.net.

St. Louis classical calendar for the week of October 14, 2019

This week: chamber music, the return of Denève, and a classical cabaret.

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The Chamber Music Society of St. Louis
at the Sheldon

The Chamber Music Society of St. Louis presents No Place Like Home on Monday and Tuesday, October 14 and 15, at 7:30 pm. "Exploring music by American composers which includes works by Samuel Barber, Aaron Copland, George Gershwin, William Bolcom plus the "American" string quartet by Antonin Dvorák. Performances take place at the Sheldon, 3648 Washington in Grand Center. For more information: chambermusicstl.org.

Karen Gomyo
Photo courtesy of the SLSO

Stéphane Denève conducts The St. Louis Symphony Orchestra along with violin soloist Karen Gomyo in Prokofiev's Violin Concerto No. 1, a suite from Poulenc's ballet Les Biches, and Rachmaninoff's Symphonic Dances. Performances are Friday and Saturday at 8 pm, and Sunday at 3 pm October 18-20. "Stéphane Denève leads a concert of "desert island" music. Rachmaninoff's final orchestral work celebrates a life well-lived with joyful dances, heartbreaking melodies and orchestral brilliance. Poulenc's ballet fizzes like popped champagne, while Karen Gomyo, an 'artist of rare command, brilliance and intensity,' (Chicago Tribune) breathes pure musical sunlight into Prokofiev's concerto." Performances take place at Powell Symphony Hall in Grand Center. For more information: stlsymphony.org.

The Women's HOPE Chorale of St. Louis (WHCSTL) presents A Classical Cabaret on Saturday, October 19 at 7:30 pm. Professional singers from the Chorale will perform a variety of selections from opera arias to Broadway show tunes. The performance takes place at the Kranzberg Arts Center Studio, 501 N. Grand in Grand Center. Tickets to the event, which is a fundraiser for the organization, are available online at Metrotix in advance as well as at the box office beginning at 6:30 pm the night of the event. For more information: www.womenshopechoralestl.org.

St. Louis classical calendar for the week of May 13, 2019

Post-season concerts continue at the St. Louis Symphony and The Chamber Project presents its annual audience choice concert.

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Sherezade Panthaki

The Bach Society of St. Louis presents A Bach and Baroque Family Concert on Thursday, May 16 at 6:30 pm. "The Bach Society of Saint Louis is proud to offer a free education concert tailored to families, which will focus on Bach and Baroque performance practice. Bach specialist David Gordon will serve as a narrator and teacher, and India-born soprano, Sherezade Panthaki, will sing several musical examples in this style, accompanied by Sandra Geary and Bach Society Concertmaster, Lenora Marya-Anop. Ms. Panthaki will also discuss her Indian heritage and how it impacted her chosen career path, giving some insight into Indian culture while also displaying how music continues to break barriers and can overcome societal differences." The event takes place at Bonhomme Presbyterian Church in Clayton. For more information: www.bachsociety.org.

The Bach Society of St. Louis presents a performance of Bach's Mass in B Minor on Sunday, May 19 at 3 pm. "Bach's most monumental work is the cornerstone and grand finale of the 2019 St. Louis Bach Festival. Composed over a span of 35 years, the Mass in B minor reveals the depth and breadth of the master's creativity and spiritual conviction. Guest soloists include soprano Sherezade Panthaki, sponsored by Greg and Alayne Smith, mezzo-soprano Meg Bragle, tenor Lawrence Jones and baritone Tyler Duncan. " The concert takes place at First Presbyterian Church of Kirkwood, 100 E. Adams in Kirkwood. For more information: www.bachsociety.org.

The Chamber Project St. Louis presents Choice on Friday, May 17, at 8 p.m. "Always fun, this program is chosen by you, our audience. All of the favorites it one giant concert, determined by YOUR votes throughout the season. The program is a secret, so find out what won!" The concerts take place at The Chapel Venue, 6238 Alexander Drive. For more information: www.chamberprojectstl.org.

Who ya gonna call?

The St. Louis Symphony Orchestra, conducted by Peter Bernstein, presents a showing of the 1984 film Ghostbusters, with the score played live by the orchestra, Friday and Saturday at 7 pm, May 17 and 18. The performances take place at Powell Hall in Grand Center. For more information: stlsymphony.org.

The wind, brass, and percussion players of the St. Louis Symphony Orchestra team up with military musicians from the U.S. Air Force Band of Mid-America and the 399th Army Band for a free Joining Forces On Stage at Powell concert on Sunday, May 19, at 3 pm. "The afternoon of rousing musical performances features patriotic anthems, military medleys, and an unforgettable performance commemorating the 50th anniversary of the Apollo moon landing that includes narration and video. IN UNISON Chorus director Kevin McBeth shares the podium with military band directors in this epic joint performance with some of the best musicians in uniform." The performance takes place at Powell Hall in Grand Center. For more information: stlsymphony.org.

The Washington University Department of Music presents a faculty recital by Timothy Myers, trombone, on Monday, May 13, at 7:30 pm. The concert takes place in the Pillsbury Theatre at the 560 Music Center, 560 Trinity in University City. For more information, music.wustl.edu.

St. Louis classical calendar for the week of May 6, 2019

The 2019 Bach Festival continues this week and the regular St. Louis Symphony Orchestra season concludes with a visit from Music Director Designate Stéphane Denève.

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The American Chamber Chorale

The American Chamber Chorale and the Salem St.-Louis Chamber Orchestra perform on Saturday, May 11, at 7:30 p.m. The concert takes place at Salem United Methodist Churh, 1200 S. Lindbergh. For more information: americanchamberchorale.com.

The Bach Society of St. Louis presents A Classical Cabaret on Tuesday, May 7 at 6 pm. "A lively event highlighting favorites from classical to contemporary Broadway, featuring soloists from the Bach Society Chorus and hosted by Debby Lennon. Directed by Stephen and Jamie Eros." The event takes place at Jazz St. Louis on Washington in Grand Center. For more information: www.bachsociety.org.

The Bach Society of St. Louis presents A Bach Spring Sing on Saturday, May 11 at 9 am. "Singers of all ages, at any experience level are invited to sing the music of Bach collectively for this unforgettable, one-day singing workshop. We'll start the day with breakfast together followed by rehearsal. Led by Bach Specialist David Gordon and Bach Society Music Director A. Dennis Sparger. The workshop ends in a FREE 11:30am performance, open to the community." The event takes place at Central Presbyterian Church, 7700 Davis Drive in Clayton. For more information: www.bachsociety.org.

Stéphane Denè

Music Director Designate Stéphane Denève conducts the St. Louis Symphony Orchestra and mezzo-soprano Rinat Shaham Friday and Saturday at 8 pm and Sunday at 3 pm, May 10-12. The program consists of Nyx by Essa-Pekka Salonen, Ravel's song cycle Shéhérazade, and the Symphonie Fantastique by Berlioz. Performances take place at Powell Hall in Grand Center. For more information: stlsymphony.org.

The Sheldon Concert Hall presents the contemporary chamber ensemble Alarm Will Sound on Friday May 10, at 8 p.m. "Alarm Will Sound, the contemporary music ensemble known for pushing the boundaries of musical performance, presents Alarm System 2019, with music by King Britt, Dave Douglas, Tyshawn Sorey, and more. The performance will begin with a special collaboration between members of AWS and St. Louis musician Mvstermind (named an "Artist to Watch in 2019" by NPR)." The Sheldon is at 3648 Washington in Grand Center. For more information: thesheldon.org.

Cappella Romana

The Touhill Performing Arts Center presents the a cappella vocal ensemble Cappella Romama on Wednesday, May 8, at 8 p.m. "Byzantine musicologist and performer Alexander Lingas directs his ensemble Cappella Romana, renowned for their presentations of music that span the full breadth of the Roman Tradition, from the Greek East to the Latin West. Here Lingas conducts Venice in the East, a program of medieval Byzantine chant and related Latin works influenced by Byzantine Tradition from Crete and the Ionian Islands, which were ruled by the Venetians after the Latin conquest of Constantinople in 1204, and from Cyprus, a Venetian outpost from 1489 to 1571. Commissioned by the Early Music Festival in Utrecht (Netherlands), the largest early music festival in the world." The Touhill Center is on the campus of the University of Missouri at St. Louis. For more information: touhill.org.

The Town and Country Symphony Orchestra performs on Sunday, May 12 at 2:30 pm. The program features music from Gliere's Red Poppy ballet and takes place at the Ridgway Auditorium at The Principia, 13201 Clayon Road in Town and Country. For more information: tcsomo.org.

St. Louis classical calendar for the week of April 29, 2019

More Bach Festival events enliven the classical scene this week, along with multiple concerts by some or all of the St. Louis Symphony Orchestra.

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The Big Muddy Dance Company

The Bach Society of St. Louis and the Big Muddy Dance Company present Bach in Motion on Thursday, May 2, at 7:30 pm. The concert features a live performance of J.S. Bach's Orchestral Suites accompanied by dance. The performance takes place in the concert hall at the 560 Music Center, 560 Trinity in University City. For more information, www.bachsociety.org.

The Bach Society of St. Louis presents Bach on the Big Screen on Saturday, May 4, at 7 pm. "A unique collaboration combining film and a live musical performance, followed by a short discussion. The featured film, Autumn Sonata, is a Swedish drama written and directed by Ingmar Bergman and starring Ingrid Bergman that tells the story of a celebrated classical pianist who is confronted by her neglected daughter." The events takes place in the Winifred Moore Auditorium on the Webster University campus in Webster Groves. For more information, www.bachsociety.org.

The Chamber Music Society of St. Louis presents Pulling Strings on Monday, April 29, at 7:30 pm. The concert features string octets by Beethoven and Mendelssohn as well as a Haydn string trio Performances take place at the Sheldon Ballroom, 3648 Washington in Grand Center. For more information: chambermusicstl.org.  

The Missouri Women's Chorus presents Love Letters on Sunday, May 5, at 3 pm. "Love Letters, by the late composer Stephen Paulus, features letters penned by notable historic women including: Vanessa to Jonathan Swift, Sophia Peabody to Nathaniel Hawthorne, and Catherine of Aragon to Henry VIII. Known for his lush melodies, and mastery of writing for the human voice, Paulus' Love Letters is by turns tender, angry, dramatic, and heart-breaking. Comprised of seven movements with flute and piano, Paulus' music echoes the styles of the times of the letter writers. Don't miss your chance to hear this rarely-performed, beautiful work.The concert also features selections from Juliana Hall's Letters From Edna, a compilation of letters sent by the great American poet Edna St. Vincent Millay." The concert takes place at the Union Avenue Christian Church, 733 Union at Enright in the Central West End. For more information: www.missouriwomenschorus.org.

Pianist Olga Kern

The Radio Arts Foundation presents a gala fundraising concert featuring Leonard Slatkin, Olga Kern, Vladislav Kern, and Marlo Thomas, on Tuesday, April 30, beginning at 5:30 pm. Proceeds from the evening will benefit RAF-STL and its mission to support classic music radio programming, the arts and cultural institutions within the St. Louis community. The event takes place at the Sheldon Concert Hall in Grand Center. For more information: rafstl.org.

The St. Louis Symphony Orchestra and the Pulitzer Foundation present Kinds of Kings on Tuesday, April 30, at 7:30 pm. " The 18/19 Pulitzer series gathers compelling stories from near and far. This final concert celebrates the music of the collective Kinds of Kings, six young composers who are fast becoming a musical force. The concert culminates in a performance of Shelley Washington's SAY, a vibrant work confronting the composer's experience growing up bi-racial in a Missouri suburb." The concert, which is currently sold out, takes place at the Pulitzer Arts Foundation in Grand Center. For more information: stlsymphony.org.

Soprano Hila Plitmann

Leonard Slatkin returns to conduct the St. Louis Symphony Orchestra and soprano soloist Hila Plitmann Friday at 10:30 am and Saturday at 8 pm, May 3 and 4. The program consists of Barber's Symphony No. 1, Tchaikovsky's Symphony No. 6 ("Pathetique") and the world premiere of The Paper Lined Shack by Jeff Beal. Performances take place at Powell Symphony Hall in Grand. Center. For more information: stlsymphony.org.

Kevin McBeth conducts the members of the St. Louis Symphony Orchestra along with the St. Louis Symphony IN UNISON Chorus in a free community concert on Friday, May 3, at 7 pm. "The concert features gospel music and spirituals, including a special reunion performance of Lift Every Voice and Sing with current chorus members and former members from the chorus' 25-year history. Director Kevin McBeth will be joined by guest conductors Dr. Rollo Dilworth and Dr. Brandon Williams for the performance. Works by Dilworth and Williams will be included in the program. Other concert highlights include music from The Color Purple and a musical tribute to the Selma to Montgomery marches of 1965." The performance takes place at Powell Symphony Hall, 718 North Grand in Grand Center. For more information: stlsymphony.org.

The Arianna String Quartet

The Touhill Performing Arts Center presents The Arianna String Quartet in Shifting Vistas on Friday, May 3, at 8 p.m. "The Arianna Quartet wraps up their season with a program shaped by the captivating innovation of brilliant young composers. Daniel Schnyder's intoxicating, jazz influenced String Quartet Nr. 4, "Great Places", captures snapshots of cities from around the world, and through time, bringing a unique and fresh voice to the world of classical music. The ebullient sound of Felix Mendelssohn opens and closes the season finale, as the ASQ explores the shimmering beauty of the String Quartet, Op.12, and concludes with his profound late work, the String Quintet, Op.87. The Arianna Quartet will be joined by string quartet luminary, violist, Atar Arad, & will also perform Mr. Arad's elegant set of miniatures, "Whims," for string quartet." The Touhill Center is on the campus of the University of Missouri at St. Louis. For more information: touhill.org.

The University City Symphony Orchestra presents The Music of South America on Sunday, May 5, at 3 p.m. "We bring the UCSO 2018-2019 Season, "The Year of the Piano," to a spectacular close with performances by the Schatzkamer Young Artists Competition winner and finalists, and also premieres by St. Louis composer Stephen E. Jones. We invite you to come and experience what makes the UCSO "The World's Most Adventurous Community Orchestra" for yourself! Join Maestro Leon Burke III for a pre-concert talk at 2:15pm to discuss each work in greater detail. Audience members are encouraged to come early and participate in this lively and informative conversation. The concert takes place at the 560 Music Center, 560 Trinity in University City. For more information: ucso.org.

The Washington University Department of Music presents the Washington University Flute Choir on on Monday, April 29, at 7:30 pm. The concert takes place in the Pillsbury Theatre at the 560 Music Center, 560 Trinity in University City, MO. For more information, music.wustl.edu.

The Washington University Department of Music presents duo pianists Katia and Marielle Labèque on Sunday, May 5, at 7 pm. The concert features music by Debussy, Stravinsky, and Philip Glass and takes place in the concert hall at the 560 Music Center, 560 Trinity in University City. For more information, music.wustl.edu.