Symphony Preview: 'Tis the season to be jolly

Stéphane Denève kicks off his first official season as Music Director of the St. Louis Symphony Orchestra (SLSO) this week with concerts that can only be called celebratory.

The festivities start on Thursday, September 12, at 7 pm as Mr. Denève conducts the orchestra and Kevin McBeth's IN UNISON chorus in the annual "pops" program at the base of Art Hill in Forest Park. The evening includes favorites by Bizet, Bernstein, and Berlioz, along with St. Louis-themed numbers like the "St. Louis Blues March" (that's W.C. Handy's "St. Louis Blues," not the hockey team) by long-time SLSO Pops conductor Richard Hayman, as well as a mashup of "Take Me Out to the Ball Game" and "Meet Me in St. Louis" by Hayman and St. Louis jazz/classical keyboardist and composer Adam Manness.

It all concludes with a literal bang--Tchaikovsky's "1812" overture (full title: "The Year 1812, festival overture in E-flat major, Op. 49") followed by Sousa's "The Stars and Stripes Forever," complete with fireworks. No tickets are required, although you'll probably want to bring a lawn chair or blanket for seating.

The "1812 Overture" in Melbourne in 2005
en.wikipedia.org

Regarding the "1812": while it's probably Tchaikovsky's Greatest Hit, the composer himself didn't think much of it. "The overture will be very loud and noisy," he wrote to his patroness Nadezhda von Meck, "but I wrote it with no warm feeling of love, and so it will have no artistic merits at all." Composed on commission for a concert commemorating completion of the Cathedral of Christ the Savior, the work frequently shows up in outdoor concerts like this one, where the large orchestra can be supplemented with a brass band, bells, and (where practical and not prohibited by law) cannons.

Since its 1882 premiere, by the way, the "1812" has been a subject of some artistic tinkering by conductors and orchestrators. One of the more notable arrangements is the one conductor Igor Buketoff put together for his 1968 RCA recording, which added a chorus and children's chorus to sing the lyrics of the two Russian folk melodies in the score. Will we hear the IN UNISON chorus adding to the joyful noise this Thursday? You'll have to attend to find out.

The first indoor concerts of the season take place Friday through Sunday as Mr. Denève conducts the orchestra and soloists Daniel Lee (cello) and Erin Scheiber (violin) in something else that has become an annual tradition-an evening of music by John Williams.

Mr. Williams, who turned 87 in February, is probably the best known and most frequently recorded film music composer of the last 100 years. He's certainly one of the most honored, with five Oscars, three Emmys, four Golden Globes, 23 Grammys, seven BAFTA awards, and, for all I know, a partridge in a pear tree. With 51 Oscar nominations, he is the second most-nominated individual in that award's history. His most visible work has been for blockbusters like "Jurassic Park", the first Harry Potter film, the "Indiana Jones" films, and the "Star Wars" series, but Mr. Williams's involvement with the film music business extends all the way back to his days as a jazz keyboardist and film and TV studio pianist. Remember the piano riff for "Peter Gunn"? That's him.

John Williams receiving the
2009 National Medal of Arts from President Obama

Former Music Director David Robertson is a great admirer of the music of Mr. Williams, and made an evening of his works something of a Christmas tradition locally. Moving this popular concert to the beginning of the season makes considerable programmatic sense, though, since it offers something of a bridge from the pops sounds of the Forest Park event to the first major works of the season the weekend of September 21. Those concerts will include Debussy's "La Mer," Ravel's Piano Concerto in G, and Gershwin's "An American in Paris," along with newer pieces by Guillame Connesson, Jennifer Higdon, and Pevin Puts.

Stéphane Denève rehearses the main title from Superman.

When you go, expect an evening of Williams's Monster Hits, including music from "Close Encounters," "Superman," and "Jaws". There will also be selections from the "Harry Potter" films along with music from less well known films like "Memoirs of a Geisha," "The Book Thief," and John Badham's 1979 version of "Dracula."

The SLSO has had quite a public affair for some time now with movies and movie music. Movie nights have been especially successful, with films projected on Powell Hall's massive screen while the orchestra performs the score live. The "Harry Potter" film series, in particular, appears to be a big hit, with "Half Blood Prince" and "Deathly Hallows Part 1" scheduled for the 2019/2020 season.

A bigger curmudgeon than yours truly might sneer at these blockbuster events, but there's no doubt that they help the SLSO's bottom line. And if they attract audiences who have never experienced the heady cocktail of a live orchestral performance then I, for one, am all for it.

The Essentials: Stéphane Denève conducts The St. Louis Symphony Orchestra in The Music of John Williams Friday and Saturday at 7 pm and Sunday at 2:30 pm, September 13-15. Performances take place at Powel Symphony Hall in Grand Center.

Review: The grand old sound of "A New Hope"

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

L-R: Mark Hamill, Carrie Fisher, Harrison Ford

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A long time ago in a galaxy far, far away, an Imperial battle cruiser swooped down across the screen to the strains of a full symphony orchestra. Movies and movie music have never been quite the same since.

This past weekend (January 25-27), Gemma New and the St. Louis Symphony Orchestra reminded me of that magic moment as they performed John Williams's score for "Star Wars: Episode IV - A New Hope" (or, as it was known back in 1977, plain old "Star Wars") while the film played on the big screen above them. And as thrilling as it was to hear that big, old-fashioned sound in a theatre back in the day, nothing quite compares with the visceral impact of hearing it performed live by an 80-piece orchestra.

That's especially when it's the exemplary members of our own SLSO. When we attended on Saturday night, the horns and brass were in excellent form, the percussion section was impeccably precise, and the orchestra in general performed at a very high level. On the podium, Ms. New did her usual flawless job conducting in synch with the film--a skill that has apparently become increasingly important for younger conductors in recent years.

Gemma New

Williams sprinkled his score with lots of fun orchestral details that aren't always noticeable in a movie house, but which emerge with great clarity live. That includes the reference to Stravinsky's "Rite of Spring" for C-3PO's trek across the Tatooine desert, the menacing low brass passages for the Empire and its minions, and the grand triumphal march at the end, which has always reminded me of the patriotic declarations of Elgar and Walton. Yes, the film remains a Certified Rouser, but hearing the score live gave me an opportunity to appreciate Williams's consummate skill as a composer once again.

Fans of the "Star Wars" series probably noted that the version of the film screened this weekend was not the original 1977 release, but rather the digitally remastered 1997 re-release, in which many of the original special effects shots were enhanced and a few new scenes using computer animation were added--most notably a meeting between Han Solo and Jabba the Hut. It looked wonderful on Powell Hall's big screen, and the dialog tracks were crystal clear. The hard-of-hearing members of our party also appreciated the captioning, which seems to now be a standard practice for these events.

Big movie events like this one have become very popular with symphony orchestras for obvious financial reasons. Certainly "Star Wars: A New Hope" attracted a huge, enthusiastic crowd that filled nearly every seat in Powell Hall and gave the orchestra a happy standing ovation at the end. How many of them will return to see the orchestra without a movie screen over their heads is another question, but as far as I'm concerned anything that exposes folks to the splendid playing of the SLSO is a good thing.

Next at Powell Hall: Matthias Pintscher conducts the St. Louis Symphony Orchestra and pianist Kirill Gerstein Friday and Saturday at 8 pm, February 1 and 2. The concerts will consist of Rachmaninoff's "The Isle of the Dead," Scriabin's Piano Concerto, and Mendelssohn's Symphony No. 3 ("Scottish"). The concerts take place at Powell Symphony Hall, 718 North Grand in Grand Center.

Review: Enchanted

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

Professor Flitwick conducts the Hogwarts chorus

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It was a magical afternoon this Sunday (April 8, 2018) as Powell Symphony Hall filled up with witches and wizards of all ages, many in the colors of their favorite Hogwarts Houses. They were gathered for a showing of "Harry Potter and the Prisoner of Azkaban," with the John Williams score played live by the St. Louis Symphony Orchestra and Chorus, directed by composer/conductor Justin Freer.

They were rewarded with combination of music and film that could only be called enchanting.

I've seen many film concert events at Powell over the years, but this was one of the best. The dialog tracks of the movie, to begin with, had a clarity and presence that has often been lacking in earlier blockbuster film events. Even when the massive, Mahler-sized orchestra was playing full tilt, I could make out every word. Better yet, the dialog was all closed-captioned.

And it was, of course, the music that was the real attraction. "Prisoner of Azkaban" was the third and last Potter film for which the great John Williams would write the entire score, and a wonderfully rich and detailed one it is. The big action sequences have all the excitement one would wish for, but there are also many interesting smaller touches, like the live folk-inspired violin solo that introduces the first scene in Hogsmeade Village and the pseudo-Renaissance dances that underscore sequences in the Hog's Head Pub.

Mr. Williams has also given the chorus some interesting material, including a complicated setting of lines from Act IV of Shakespeare's "Macbeth" ("Double, double, toil and trouble") and a lively tune for Christmas carolers in Hogsmeade. There's also a lovely wordless choral passage that accompanies Harry's first successful invocation of the patronus charm in Professor Lupin's Defense Against the Dark Arts class.

Conductor Justin Freer

All this was performed with the virtuosity I have come to expect from the SLSO musicians. The individual solo lines were crystal clear, the expanded brass and horn sections played heroically, and the oversized percussion battery had power and exactitude to spare. Mr. Freer, whose company, CineConcerts, produced the event, brought it all together brilliantly. My only regret is that an attack of the flu prevented me from seeing the showings of "Chamber of Secrets" earlier this week.

There was an additional bit of good news for Potter fans at the top of the program, when Mr. Freer announced that the SLSO planned to present the remaining five films in the series as well. If they're prepared with the same care this one was, I'm very much looking forward to them.

The regular St. Louis Symphony Orchestra season resumes this coming weekend as David Robertson conducts the orchestra and pianist Simon Trpceski Saturday at 8 pm, and Sunday at 3 pm, April 14 and 15. The program includes Rachmaninoff's Piano Concerto No. 2 and Hanson's Symphony No. 2, "Romantic". The Saturday concert will be preceded by a pricey dinner-and-cocktails gala to honor Mr. Robertson, whose tenure as the SLSO Music Director ends next month. The concerts take place at Powell Symphony Hall, 718 North Grand in Grand Center.

Review: "Jurassic Park" at the St. Louis Symphony returns us to those thrilling days of yesteryear

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

Gemma New

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Remember when the score of a movie was there to provide emphasis at key moments rather than to act as an omnipresent background? The St. Louis Symphony Orchestra took us back to those thrilling days of yesteryear last weekend (November 3-5, 2017) with showings of Steven Spielberg's 1993 blockbuster Jurassic Park, accompanied by a live performance of the John Williams score.

Yes, the music is almost nonstop during the action-packed final moments of the movie, but there are also long stretches of unaccompanied dialog. That allows Williams's exciting and intelligent music to reinforce the action and highlight character without beating you over the head constantly. Directors of recent big-budget films should taken note.

It is, in any case, always a pleasure to hear a Williams score. Encountered in live performance, his music reveals fascinating details that can sometime go unnoticed in a theatre. Examples include the ominous use of the contrabassoon in the early scenes and the loopy music accompanying the "how we cloned dinosaurs" cartoon shown to Jurassic Park visitors. And then there's the harsh modernism that creeps into the action scenes as the chaos theory embraced by Jeff Goldbum's character proves to be all too real.

Mr. Williams's musical toolbox is, in sort, eclectic and seemingly inexhaustible -- as you might expect from someone whose involvement with the film music business extends all the way back to his days as a jazz keyboardist and film and TV studio pianist. Jurassic Park might not be his most inventive work, but it's still irresistible.

So is the film itself. Computer animation may have come a long way since Jurassic Park's digital dinosaurs wowed audiences 25 years ago, but that first appearance of the brachiosaurus is still pretty breathtaking and the velociraptors are still creepily intelligent, if scientifically inaccurate. The screenplay, adapted from Michael Crichton's book by Crichton and David Koepp, is predictable and riddled with stereotypes, and Spielberg's direction is heavily manipulative as always, but together they still produce a truly "ripping yarn," as the Brits say.

For these SLSO movie events, though, the score is the real draw. Like many big-budget films from the last few decades, Jurassic Park calls for a massive orchestra with an augmented percussion section and a full complement of brasses. Some of it also sounds rhythmically tricky, especially in the action scenes, but the band played it to perfection under the direction of Resident Conductor Gemma New.

Conducting in sync with a movie has always struck me as a demanding task, since it requires attention to the score, the orchestra, and, on a small monitor in front of the podium, a customized version of the film with "streamers" that help the conductor cue the players. Ms. New was fully in command of all her forces Friday night, though, and delivered an impressive reading of the score. I haven't had a chance to see her conduct a more conventional program yet, but I look forward to the opportunity.

Next at Powell Hall: John Storgårds conducts the orchestra along with pianist Marc-André Hamelin in music by Erich Wolfgang Korngold, Ravel, and Tchaikovsky Friday at 10:30 a.m, Saturday at 8 p.m. and Sunday at 3 p.m., November 10-12. The program features Ravel's Concerto in G and Tchaikovsky's Symphony No. 4.

Review: "Raiders of the Lost Ark in Concert" shows the versatility of John Williams and the virtuosity of the St. Louis Symphony

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

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John Williams, who turned 86 in February, is probably the best known and most frequently recorded film music composer of the last 100 years. He's certainly one of the most honored, with five Oscars, four Golden Globes, 22 Grammys, seven BAFTA awards, and, for all I know, a partridge in a pear tree.

The reason for his popularity and all those awards was easy to hear Friday night as the St. Louis Symphony performed the score for the 1981 blockbuster Raiders of the Lost Ark while the film was shown on the big screen above the orchestra. Hearing this music live offered a chance to appreciate the way Williams worked decidedly "modern" effects (dissonance, eerie string harmonics, polytonality) into a traditional action score.

Mr. Williams's seemingly bottomless musical toolbox is hardly surprising, though, given the fact that his involvement with the film music business extends all the way back to his days as a jazz keyboardist and film and TV studio pianist. Remember the piano riff for Peter Gunn? That's him. Although classically trained (he studied privately with the Italian composer Mario Castelnuovo-Tedesco), Mr. Williams got his professional experience in an environment in which versatility was a sine qua non.

John Williams

He learned his lessons well, and it's impossible not to admire the inventiveness of his work for Raiders. From the ominous passages for the double reeds and low strings in the opening jungle sequence, to the spiky string figures and syncopation of the "basket chase" scene in a Cairo market, to the heroic march associated with Indiana Jones, this is clearly the work of a master of his craft.

It's also impossible not to admire the consummate skill with which an expanded version of the St. Louis Symphony Orchestra plays this music. Yes, the audience's attention is mostly focused on the on-screen action, but that makes a polished performance of the score all the more important. Nothing can kill the suspension of disbelief quite like a missed entrance or flubbed note.

Of which, naturally, there were none Friday night. Guest conductor Scott Terrell, the music director of the Lexington Philharmonic, led the SLSO in a vital and precise reading of this score. Conducting in synch with a film is an important skill for young conductors these days, and judging from his many credits in this area, Mr. Terrell is a master of that very special craft.

Scott Terrell

So, yeah, Raiders of the Lost Ark at the St. Louis Symphony is great entertainment for the whole family. But it's also a reminder of the days when not every single moment of a movie was underscored. John Williams's exciting and intelligent music reinforces the action and highlights character without beating you over the head constantly. I wish more recent films would follow that same path.

And now, a word from your concert curmudgeon: if this was your first time at Powell or if you only come for the big media events like this one, please show a little class and take your trash to an appropriate receptacle instead of leaving it in the aisles. The symphony is doing you a favor by letting you bring your drinks into the theatre; you should return it by cleaning up after yourself. Just saying.

Next at Powell Hall: Friday and Sunday, March 24 and 26, David Robertson returns to conduct the orchestra and chorus in the local premiere of The Gospel According to the Other Mary by John Adams, a work that they will be presenting at Carnegie Hall on March 31 as part of the Great American Orchestras series.

Symphony Review: "E.T. the Extra-Terrestrial" in concert shows its age, and that's a good thing

stlsymphony.org

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Steven Spielberg's blockbuster E.T. the Extra-Terrestrial, a live concert version of which is on view at Powell Hall this weekend, is 34 years old now and beginning to show its age—which is not necessarily a bad thing.

A product of a time when pacing in popular films was somewhat less frenetic and music was less omnipresent, E.T. is shamelessly manipulative but skillfully made.  The wordless opening sequence, shot from the point of view of the diminutive aliens, makes the humans pursuing them look massive and threatening.  The iconic flying sequences still look great.  And the final farewell sequence can still tug at the heartstrings.

As with other St. Louis Symphony movie events, of course, the emphasis is on the score, performed live by the orchestra as the film is shown on the big screen above them.  The music for E.T. was composed by that most famous and prolific of living film composers, John Williams.  It earned him the fourth of his five (to date) Academy Awards, and it's easy to see why it was so honored.  It's melodically appealing and vividly evocative stuff, employing the full resources of a late romantic symphony orchestra in creative and sometimes surprising ways.  And even though Williams's harmonic palette is fairly conventional, he's not about using dissonance, string harmonics, and eerie glissandi when the dramatic situation calls for them.

Under the baton of Erik Ochsner—who conducted the SLSO for the concert version of Lord of the Rings: Fellowship of the Ring back in 2011—the orchestra sounded like the finely tuned instrument it has become over the years. For his part, Mr. Ochsner was very engaged with and friendly towards the musicians under his baton—not an easy task given the need to divide his attention between the printed score and the film (complete with the visual equivalent of a click track) playing out on a monitor mounted on the podium.

Erik Ochsner
erikochsner.com

It would be easy to dismiss the SLSO movie events as mere potboilers intended to improve the orchestra's balance sheet, but that would require one to overlook the amount of dedication and talent it takes to pull them off.  And besides, hearing this music live reveals orchestral details that are only really apparent in a concert hall.  I hadn't realized, for example, how often the harp and keyboards (piano and synthesizer) were featured.  SLSO Principal Harp Allegra Lilly and keyboard player Peter Henderson (who, for reasons which escape me, is still not the Principal for that section) were kept quite busy and were the first soloists to asked to stand at the end as a result.

There is one more showing of the concert version of E.T. Sunday at 2. It's genuine family fun and highly recommended. You might even find yourself tempted to come back this Friday or Saturday when Yan Pascal Tortelier conducts the orchestra with piano soloist Louie Lortie in Saint-Saëns's Piano Concerto No. 5 ("Egyptian") and Mussorgsky's Pictures at an Exhibition in the familiar Maurice Ravel orchestration.  Performances take place at Powell Symphony Hall, 718 North Grand. For more information, visit the St. Louis Symphony web site.

Symphony Preview, December 11-13, 2015: Dear John

John Williams receiving the
2009 National Medal of Arts

This weekend the St. Louis Symphony is repeating what is starting to look like a holiday tradition with a celebration of the film music of John Williams, conducted by maestro David Robertson. If it's anything like previous programs of Williams' music, it will certainly make a joyful noise — and isn't that largely what the season is all about?

John Williams, who will turn 84 in February, is probably the best known and most frequently recorded film music composer of the last 100 years. He's certainly one of the most honored, with five Oscars, four Golden Globes, 22 Grammys, seven BAFTA awards, and, for all I know, a partridge in a pear tree. With 49 Oscar nominations, he is the second most-nominated individual in that award's history. His most visible work has been for blockbusters like "Jurassic Park", the first Harry Potter film, the "Indiana Jones" films, and the "Star Wars" series, but Mr. Williams's involvement with the film music business extends all the way back to his days as a jazz keyboardist and film and TV studio pianist. Remember piano riff for "Peter Gunn"? That's him.

When you go, expect an evening of Williams's Monster Hits, including music from "Jurassic Park," "Superman," and "Home Alone". And if a program this close to Christmas doesn't include the popular "Christmas Memory" song from that last movie, I'll eat my mistletoe.

There will be new music as well. The SLSO web site promises selections from the score of the latest "Star Wars" installment "The Force Awakens". Judging from past programs, you can probably also expect music from "Empire of the Sun," "Saving Private Ryan," "Amistad," and "Close Encounters of the Third Kind". That last one has a wonderful microtonal opening that has to be heard live to be fully appreciated.

I'm promising nothing, though. Unlike other SLSO concerts, this one does not have any downloadable program notes, so the program itself will be a bit of a surprise.

The SLSO has had quite a public affair for some time now with movies and movie music. Previous seasons have included showings of classic silent films such as "Phantom of the Opera" and "City Lights" with the scores performed live, as well as more recent blockbusters like "Lord of the Rings: The Fellowship of the Ring" and "The Matrix." This season we've already had a screening of "Back to the Future" with the Alan Silvestri score played live. In January we'll have the charming animated comedy "Ratatouille" with Michael Giacchino conducting his own score and in April the music of John Williams returns as the SLSO presents a screening of "E.T. the Extra-Terrestrial".

Granted, it's a match born out of financial necessity more than love, as these programs nearly always sell out and are probably quite profitable. But if they attract audiences who have never experienced the heady cocktail of a live orchestral performance then I, for one, am all for it.

The Essentials: David Robertson conducts the St. Louis Symphony Orchestra in The Music of John Williams on Friday and Saturday at 8 p.m. and Sunday at 2 p.m., December 11-13. The concerts take place at Powell Symphony Hall, 718 North Grand in Grand Center. For more information: stlsymphony.org.

St. Louis classical calendar for the week of December 23, 2013

David Robertson

Updated Monday, December 23

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The St. Louis Symphony Orchestra conducted by David Robertson presents The Music of John Williams on Friday and Saturday at 7 PM and Sunday at 2 PM, December 27-29, at Powell Symphony Hall, 718 North Grand. "John Williams has transported imaginations across time and space with his iconic Hollywood soundtracks. David Robertson leads a program of Williams scores including Star Wars, Harry Potter, JFK and more." For more information: stlsymphony.org.

The Compton Heights Concert Band presents a Holiday Pops Spectacular on Monday, December 23, at 7 PM at Powell Symphony Hall, 718 North Grand. Featured soloists are soprano Gina Galati, the Columbia Chorale, and Mariachi Los Camperos de Nati Cano, a 9-piece authentic mariachi band founded over 50 years ago by Nati Cano. "Selected by the prestigious Smithsonian Institution for the renowned Folkways recordings, Mariachi Los Camperos represents the finest of their genre in the United States. The stunning performance by Mariachi Los Camperos last year with the Compton Heights Band resulted in an amazing 10 minute encore!" For more information: chband.org.

Mariachi Los Camperos de Nati Cano

The Tavern of Fine Arts presents a Holiday Concert with Karista Koehler, soprano and Steve Neal, piano, on Monday, December 23 at 7:30 PM. The Tavern of Fine Arts is at 313 Belt in the Debaliviere Place neighborhood. For more information: tavern-of-fine-arts.blogspot.com.

The Tavern of Fine Arts presents its annual Christmas Party on Tuesday, December 24, from 5 to 9 PM. “Come enjoy a free appetizer buffet and drink specials before going home to wait for jolly St. Nick and the sugarplum fairies. We will also receive a visit from members of the St. Louis Christmas Carols Association -- they have been singing annually in our neighborhood and collecting donations for local children's charities since 1938. Sing along, or just enjoy the music and the company!” The Tavern of Fine Arts is at 313 Belt in the Debaliviere Place neighborhood. For more information: tavern-of-fine-arts.blogspot.com.

The Tavern of Fine Arts presents Avant-Garde Arts Night on Thursday, December 26, at 7:30 PM. “The St. Louis Avant-Garde Ensemble returns to headline A-G Arts Night featuring Tom Zirkle, percussion; Jim Hegarty, piano/electronics; Tracy Andreotti, cello; Fred Tompkins, flute; and Scott Price, guitar.” The Tavern of Fine Arts is at 313 Belt in the Debaliviere Place neighborhood. For more information: tavern-of-fine-arts.blogspot.com.

Dear John

John Williams receiving the
2009 National Medal of Arts

Who: The St. Louis Symphony Orchestra, Chorus, and Children’s Chorus conducted by David Robertson
What: Movie Music of John Williams
Where: Powell Symphony Hall, St. Louis
When: December 29 and 30, 2011

The St. Louis Symphony is revving up for its annual New Year’s Eve gala with a two-night celebration of the film music of John Williams, conducted with loving abandon by maestro David Robertson. With the Chorus and Children’s Chorus thrown into the mix, it all adds up to a joyful noise — and isn’t that largely what the season is all about?

John Williams, who will turn 80 next month, is probably the best-known and most frequently recorded film music composer of the last 100 years. He’s certainly one of the most honored, with five Oscars, four Golden Globes, twenty-one Grammys, seven BAFTA awards, and, for all I know, a partridge in a pear tree. His most visible work has been for blockbusters like Jurassic Park, the first Harry Potter film, and the Star Wars series, but (as Mr. Robertson pointed out in his entertaining commentary) Mr. Williams’s involvement with the film music business extends all the way back to his days as a jazz keyboardist and film and TV studio pianist. Remember piano riff for Peter Gunn? That’s him.

The audience probably expected an evening of Williams’s Monster Hits, and in this respect the program certainly did not disappoint, with familiar themes from Jurassic Park, Raiders of the Lost Arc, and the Star Wars and Harry Potter movies. There were also selections that probably owe their popularity more to their prevalence on classical music radio than anything else. I’ve never seen Empire of the Sun, Saving Private Ryan, or Amistad, for example, but the uplifting “Exculpate Justi”, the solemn “Hymn to the Fallen”, and the moving “Dry Your Tears, Afrika” (adapted from a 1967 poem by Bernard Dadie) are as familiar to me as anything by Beethoven.

Throughout the evening, Mr. Roberson regaled the audience with cheery anecdotes and factual tidbits about John Williams and his music. Some conductors of Mr. Robertson’s stature might turn their noses up at this sort of thing, but he clearly loves it dearly and threw himself into his direction with the same passion he devotes to far more substantial fare. Put that together with the usual fine performances from the symphony musicians and the adult and children’s choruses, and the result was a holiday treat that was hard to resist, lightweight though it might have been.

Mr. Roberston even recorded the entire Friday night audience singing "Happy Birthday" to Mr. Williams for his 80th on February 8th.  How cool is that?

Yes, I had a couple of quibbles. I’d lose my Critic’s Secret Decoder Ring if I didn’t. The sound from our seats in the second row of the dress circle was rather brass heavy, for one thing, even allowing for Williams’s fondness for winds. And at two and one half hours, including two encores, the evening was perhaps just a bit too long, although it was nice to finally hear something I’d never heard before as the first encore — “Call of the Champions”, an elaborate fanfare for chorus and orchestra written for the 2002 Winter Olympics.

Still, I’m not complaining. The microtonal opening sequence from Close Encounters of the Third Kind can only be fully appreciated in a live performance, I think, and it was fun to hear the “Double Trouble” song from Harry Potter and the Prisoner of Azkaban (with lyrics by that Bill Shakespeare dude) performed by the Children’s Chorus.

As Eddie Silva points out in his program notes, the SLSO has had quite a public affair lately with movies and movie music, from live accompaniment for screenings of classic silents like Phantom of the Opera and City Lights to packaged extravaganzas like Bugs Bunny at the Symphony and Lord of the Rings: The Fellowship of the Ring. Granted, it’s a match born out of financial necessity more than love, as these programs nearly always sell out and are probably quite profitable. But if they attract audiences who have never experienced the heady cocktail of a live orchestral performance then I, for one, am all for it. Now if only first-time concertgoers could get it through their heads that you don’t walk out during the curtain calls we’d all be happy.

Next at Powell Hall: December 31st brings the annual New Year’s Eve blowout, and the regular season resumes on January 13 and 14 with what appears to be a twilight-themed program of music by Richard Strauss (Four Last Songs, with Christine Brewer), George Crumb (A Haunted Landscape), and Antonin Dvořák’s Symphony No. 7. Program notes are available here.  David Robertson conducts. For more information you may call 314-534-1700, visit stlsymphony.org, like the Saint Louis Symphony Facebook page, or follow @slso on Twitter.