You might have noticed that there's no Friday, April 29, performance this weekend of the St. Louis Symphony Orchestra concert featuring William Kraft's Timpani Concerto No. 2 and Schubert's Symphony No. 9. That's because Friday's "Storytelling" program is the last of the season's Whitaker Foundation "Music You Know" concerts. David Robertson is on the podium, SLSO violinist Celeste Golden Boyer is the soloist, and here's what you can expect.

Bernstein: Candide Overture -- Leonard Bernstein's 1956 operetta Candide, based on the satire by Voltaire, has been through almost as many changes as its titular hero. By the time it opened on Broadway, it had already gone through a string of lyricists (including Dorothy Parker and James Agee) and over a dozen revisions by Lillian Hellman of her original book. Various incarnations of the show continued to pop up for the ensuing decades, including a 1973 Harold Prince "revival" that jettisoned half of the score and (after moving to the Broadway Theatre the following year) ended up over $150,000 in the red despite a string of Tony and Critics Circle awards. Somehow, the lively and tune-filled overture has remained largely intact.

Ponchielli: "Dance of the Hours" from La Gioconda -- Fans of Disney's Fantasia will, of course, recognize this as the music that accompanies a zoological ballet, while fans of the late Allan Sherman will immediately think of his hit "Hello Muddah, Hello Faddah (A Letter from Camp)." Some of us think of both simultaneously, but that's another story. In Ponchielli's opera (which still gets performed now and then, especially in Italy), the title of which translates literally as "The Happy Woman," the ballet sequence comes towards the end of an otherwise dramatically grim Act III, the action of which includes the apparent suicide of the protagonist.

Vitali (orch. Charlier): Chaconne in G minor for Violin and Orchestra -- The chaconne is a series of variations on a repeating figure in the bass line. The form was popular during the Baroque period, which is when Tomaso Antonio Vitali (March 7, 1663 -- May 9, 1745) was composing. This chaconne is just about the only one of his works which is played with any frequency these days--which is somewhat ironic, given that it's not entirely clear whether or not he actually wrote it. This arrangement is by Léopold Charlier, about whom even less is known than about Vitali. Celeste Golden Boyer will be the violin soloist.

Humperdinck: Prelude to Hänsel und Gretel -- Engelbert Humperdinck (the original German composer, not the 1960s singer who appropriated his name) was a protégé of Richard Wagner, so it's not surprising that the prelude to his 1893 opera sounds more than a little bit like the one his mentor wrote for Die Meistersinger (note, in particular, the contrapuntal section towards the end). It's big, complex music for a modest fairytale story.

Dukas: The Sorcerer's Apprentice -- Speaking of Fantasia, Paul Dukas's popular 1897 tone poem has, perhaps, become far too closely associated with a certain animated rodent for its own good, so it's always good to hear it live, in an environment in which those delicate opening measures can emerge from complete silence. The inspiration for both the music and Disney's animation was a 1797 poem by Goethe, Der Zauberlehrling. Dukas wrote other works that deserve at least as much attention as this one, by the way. His 1896 Symphony in C, for example, is a very dramatic and colorful piece that deserves far more attention than it has gotten.

Stefan Freund: Cyrillic Dreams -- The "Music You Know" concerts always include at least one work that you probably don't know, but should. This time around, that work is by a composer who is an associate professor at the University of Missouri, the cellist and one of the co-founders of the new music ensemble Alarm Will Sound, artistic director of the Mizzou New Music Initiative, and the principal conductor and music director of the Columbia Civic Orchestra. Which is not a bad collection of accomplishments for someone in his early forties. The composer is quoted in Eddie Silva's program notes as saying that Cyrillic Dreams was inspired by a series of dreams in which he was surrounded by the daunting and foreign letters of the Cyrillic alphabet, as well as by "the colorful domes and clamorous bells of Moscow and St. Petersburg," which he visited in 2008.

As my friend Dean Minderman pointed out to me in a recent email, this is one of just eight works by living composers on this year's schedule, and marks the second time in three seasons the SLSO has played a work by a Missouri composer. The last time it was Stephanie Berg's entertaining Ravish and Mayem back in 2014.

Wagner: "Ride of the Valkyries" (arr. Hutschenruyter) from Die Walküre -- Maybe you associate this music with the words "kill da waabit." Or possibly with "I love the smell of napalm in the morning." Or maybe just with the image of women in helmets singing very forcefully. It is, in any case, an integral part of the musical DNA of the Western world and an appropriately rousing final work for the concert.

 

The Essentials: David Robertson conducts the St. Louis Symphony Orchestra with violin soloist Celeste Golden Boyer on Friday, April 29, at 8 p.m. The performance takes place at Powell Symphony Hall, 718 North Grand. 

 

The big news about the St. Louis Symphony concerts this weekend (April 29-May 1) is the local premiere of the Timpani Concerto No. 2, "The Grand Encounter," written in 2005 by former Los Angeles Philharmonic Principal Timpani William Kraft. SLSO Principal Timpani Shannon Wood will be the soloist. We chatted briefly via email about the music and his relationship with his instrument of choice.

Chuck Lavazzi: I imagine when most people hear the words "timpani concerto" they probably wonder how much music you can really get out of a few kettledrums. But Kraft's concerto actually calls for a virtual timpani orchestra.  Tell us about what people will actually see at Powell this weekend.

Shannon Wood: It's true that the very words "timpani concerto" summon a loud, bangy, 'drummy' sensibility to most, but Kraft steers away from cliché devices and rhythmic patterns that often become trite and he instead pushes the limits of range by incorporating nine tenor timpani suspended on a rack written for C#-A above staff (bass clef). On the floor he writes for six pedal drums ranging from a low C below staff to a high C above staff. The entire range of the concerto spans nearly three octaves. This collection of 15 drums allows for extensive lyrical writing resulting in a musical composition full of melodies and phrases. The sheer set up is enthralling and captivating. Kraft is a jazz lover and his use of 7th, 9, 11 and 13 chords is throughout the concerto. The Epilogue even has a section that is reminiscent of a jazz combo consisting of solo timpani, percussion, piano and harp. The Timpani are muted and played with bundles of rattan in place of traditional mallets, which to me depicts a jazz kit played by brushes on coated heads. 

Chuck: How do you see Kraft's Second Concerto comparing with other works in the form that you've had experience with? You mentioned the lyricism and jazz; what do you see other differences or similarities?

Shannon: I see more melodic use of the Timpani compared with other works of the same form. The writing is more mature and less gimmicky. The melodic motifs are developed and built upon throughout the work. This concerto also stretches the limits of the performer. It's very athletic and the range of motion is vast. The work also demands the player to stand while pedaling, which is challenging. 

Chuck: That suggests my next question: Aside from the aerobics, are there other aspects of the Kraft concerto makes that make it different from what a timpanist normally does with the orchestra?  Are there things you've had to do to prepare for it that are a stretch for you?

Shannon: Yes, there are several aspects to this concerto that call upon the player to do things outside of the traditional boundaries of orchestral repertoire; the first being reading above the staff. It's rare a Timpanist has written notes higher than a C above the staff. This work has notes written as high as an A above staff. The range of motion is extreme, calling upon the player to rotate in a complete 360 at times and reaching far beyond the normal playing sphere radius. It also calls upon the player to perform glissandos across six pedal drums continuously without pause or interruption with one foot while standing on the other.

A few things I've had to do in preparation of this concerto that have been a stretch for me is expanding my range of motion and memorizing placement / location of timpani in places I usually don't have drums as well as reading above the staff which is unusual for me. I normally sit while playing, however it would be impossible to sit because of the high degree of athleticism involved. Standing on one foot while pedaling a glissando across six drums is very difficult as well. 

Chuck: One final question: I've always wondered what motivates musicians to choose particular instruments.  I remember being fascinated with the euphonium, for example, when they first introduced us to the school band back in fifth grade and I went on to play it and other low brass right through high school.  What made you choose percussion in general in the timpani in particular?  What's the source of the appeal for you?

Shannon: I gravitated towards drums at a very early age. My parents bought me a toy drum set when I was around 5 and the match was made. At 7, I was turning my mother's show boxes upside down, drawing circles in the center imitating black dots reminiscent of REMO black dot drum heads and I'd use chop sticks to play on the makeshift drums. At age 9, my father got me drum set lessons as a birthday present. In fourth grade I started a rock band which consisted of my brother on bass, best friend on guitar, and me on drums. We played together through college writing mainly our own material, which was prog-rock (YES, RUSH, King Crimson). I journeyed through the public school system music program playing percussion and upon graduation decided to major in music in percussion performance. I continued on with grad school and after a few stops in several other places landed here. Although I've always had a love for percussion and drum set, I started to focus solely on Timpani after grad school in private studies and that's when I knew I wanted to play Timpani exclusively. 

 

The Essentials: David Robertson conducts the Orchestra in two different programs April 29-May 1. With violin soloist Celeste Golden Boyer, he presents a Whitaker Foundation "Music You Know" concert on Friday, April 29, at 8 p.m. featuring works by Ponchielli and Dukas as well as a new work by Stefan Freund. On Saturday at 8 p.m. and Sunday at 2 p.m., he conducts the local premier of William Kraft's Timpani Concerto No. 2 with soloist Shannon Wood, as well as Schubert's monumental Symphony No. 9, "The Great." 

The St. Louis Symphony program this weekend consists entirely of well-known classics: Mendelssohn's The Hebrides (Fingal's Cave) overture, Sibelius's Violin Concerto, and one of my favorites, Dvořák's Symphony No. 7.

These pieces are popular for good reasons, not the least of which is the way each one conjures up a particular time and place. Mendelssohn's overture powerfully summons up the wild and brooding Scottish islands that the composer visited in 1829, the year before he wrote the overture. Sibelius does the same for the dark, brooding landscapes of his Finnish homeland in his concerto from over seven decades later. And for the nature-loving Dvořák, whose 1884 symphony brought him international acclaim, the Bohemian countryside is an ever-present character in his music.

This is, in short, a big weekend for musical travelogues.

While the music will be familiar, though, the figure on the podium will likely be considerably less so for local audiences. That's because this weekend's guest conductor, Nathalie Stutzmann, is not only new to St. Louis but relatively new to conducting as well. Born in 1965 in the Paris suburb of Suresnes, she showed talent as a singer at an early age, studying first with her mother, soprano Christiane Stutzmann, and then at the Nancy Conservatoire and later in Paris. Remarkably for a singer, she also studied piano, bassoon, and -- most remarkable of all -- conducting.

And she didn't study with just anyone. Her primary teachers have been the noted Finnish conductor and composer Jorma Panula (whose students include Esa-Pekka Salonen and Simon Rattle) and the legendary Seiji Ozawa. She even founded her own chamber orchestra, Orfeo 55, in 2009. The group plays both Baroque and modern instruments, and Stutzmann herself has said that, as a conductor, she feels a real affinity for "le grand repertoire" of the Romantics like Beethoven Brahms, Tchaikovsky, and Strauss.

Although Ms. Stutzmann has only been conducting professionally since 2008, she has already made quite an impression on the critics. For example, Em Skow, reviewing her US conducting debut -- Handel's Messiah with the National Symphony Orchestra -- waxed positively rhapsodic at DC Metro Theater Arts:

The evening's program notes summarized her as rigor and fantasy embodied in a conduct and I have to agree. It would do her a disservice to say she just connected to the layers of the work, or even to say that she moved others to do the same. The piece shown through her, radiating from her fingertips, dancing through her toes, bouncing through her arms, shoulders, and legs to the floor where even she had to hold on to the rail to steady herself at times. For her, three dimensions weren't enough to conduct with and her level of passion was truly an honor to witness.

"Her experience as a Romantic musician and her knowledge of older genres allow her to tackle Vivaldi and Mozart as well as Beethoven, Wagner or Brahms," writes Brian Fowler in a profile for medici.tv. "Her approach, both loose and rigourous, her science of phrasing and the emotional intensity of her interpretations, her exceptional mastery in the service of the passion she conveys: these are some of the elements that make her so popular in the eyes of her audience and the musicians she conducts."

If you'd like to experience her work before this weekend's concerts, Ms. Stutzmann has a YouTube channel with videos of her singing and conducting both Orfeo 55 and other notable orchestras.

Karen Gomyo, the soloist for the Sibelius Violin Concerto, has come in for her share of critical praise as well. "A first-rate artist of real musical command, vitality, brilliance and intensity," wrote John Van Rhein at the Chicago Tribune in 2009, while the Cleveland Plain Dealer's Zachary Lewis called her "captivating, honest and soulful, fueled by abundant talent but not a vain display of technique" in 2011.

Even more to the point, though, Ms. Gomyo has gotten some raves for recent performances of the Sibelius concerto. Reviewing her appearance with the San Diego Symphony last December, for example, the San Diego Reader noted that the audience "was locked on Ms. Gomyo from start to finish because her performance brought us into those dark woods into which Sibelius, and all of us, have wandered from time to time." A 2013 performance with the Chautauqua Symphony Orchestra under Christopher Seaman made such an impact on the audience that the end of the first movement, as Anthony Bannon wrote for the Chautauqua Daily, "pulled several in the Amp to their feet for impulsive applause, eager to affirm the miracle of what was just heard."

All of which bodes well for the weekend. These are concerts filled with vital, compelling, and wonderfully dramatic works. It will be interesting to see what Ms. Stutzmann and Ms. Gomyo make of them. Performances at Powell Hall are Friday at 10:30 a.m. (a Krispy Kreme Coffee Concert with free coffee and doughnuts), Saturday at 8 p.m., and Sunday at 3 p.m., April 22-24. Check the St. Louis Symphony website for details.

 

The St. Louis Symphony concerts this weekend (April 22-24, 2016) offered a remarkable study in contrasts, with familiar classics by Mendelssohn, Sibelius, and Dvořák getting novel, idiosyncratic, and very compelling interpretations by French singer and conductor Nathalie Stutzmann in her SLSO debut.

Ms. Stutzmann's dual career path as both a singer and conductor is unusual, if not unique. And while I don't want to read too much into that, it's hard not to hear in her performances the kind of direct emotional connection that I get from an accomplished singer.

In the cabaret world we talk a lot about the importance of having a strong emotional connection to the music and lyrics of our songs. That's the kind of strong connection I heard in Ms. Stutzmann's approach to the oft-heard works on the program this weekend. It made me hear them in different ways that shed new light on the music. In this respect she reminded me of the late Leopold Stokowski, whose work I admired tremendously even when it wasn't entirely to my taste--which was sometimes the case with Ms. Stutzmann.

The exceptionally delicate and slow opening of Mendelssohn's The Hebrides (Fingal's Cave) Overture, for example, suggested an overblown and even lethargic approach to this depiction of the Scottish seacoast. But while Ms. Stutzmann's extreme contrasts of tempo and dynamics sometimes felt more appropriate to Bruckner than Mendelssohn, the overall result was fascinating and even revelatory at times. To pick just one example: the full-orchestra climaxes, with Shannon Wood's tympani projecting forcefully over the rest of the band from his position on an elevated platform upstage center, vividly evoked the stormy landscape that had so impressed Mendelssohn. I wouldn't call this a definitive interpretation by any means, but I'm glad I heard it.

There was a similar interpretive freedom in the Sibelius Violin Concerto which, like the Mendelssohn, opened so quietly that the first few notes were almost inaudible, with soloist Karen Gomyo's entrance seemingly floating in from another plane of existence. This was another ear-opening performance, with orchestral details revealed in high contrast. It made the long-winded first movement feel even more discursive than it usually does, but the overall result was stunning in its impact.

It helped that Ms. Gomyo is such a technically proficient and artistically committed performer. The violin was Jean Sibelius's first musical love and his concerto is both thoroughly idiomatic and incredibly demanding. The long solo passages in the first movement and virtuoso fireworks in the finale will test the mettle of the best performers. Ms. Gomyo handled it all with aplomb, delivering the intense passion of the second movement and fireworks of the third with equal credibility. She was also completely in synch with Ms. Stutzmann, often moving and (seemingly) even breathing together.

The concluding work on the program, Dvořák's Symphony No. 7 in D minor, Op. 70 has always been a favorite of mine, for reasons that are difficult to articulate. I can't hear it without thinking of a long journey down a dark mountain river. Flashes of light illuminate the trip, but we don't see the sun until the work's final moments, when the tonality changes from D minor to D major.

Maintaining a strong rhythmic pulse and a sense of momentum, then, have always been the hallmarks of a great Dvořák Seventh for me. Ms. Stutzmann's interpretation had both, despite an opening tempo which felt a bit slow but turned out in the end to be exactly right for the musical structure she was creating. By the time she got to the end of the energetic third movement Scherzo, she had built up such a head of steam that the decision to go straight to the final movement attacca (without pause) felt not just right but actually inevitable. I wouldn't want this to be anyone's only exposure to Dvořák's masterpiece, given the number of fine recordings available out there, but it was entirely original and, taken on its own terms, entirely successful.

Ms. Stutzmann's style on the podium, by the way, is as uniquely personal as her conceptualization of the music. She sways and dances with the music, virtually sculpting phrases out of the air with gestures that could be encompass everything from her fingers to her entire upper body. And she does it all with a delighted smile that suggests a real pleasure in the business of making music. That sense of joy on the part of a performer is always infectious and goes a long way towards winning over an audience.

Next at Powell Hall: David Robertson conducts the orchestra in two different programs April 29 through May 1. With violin soloist Celeste Golden Boyer, he presents a Whitaker Foundation Music You Know concert on Friday, April 29, at 8 p.m. that features works by Ponchielli and Dukas as well as a new work by Stefan Freund. On Saturday at 8 p.m. and Sunday at 2 p.m., he conducts the local premier of William Kraft's Tympani Concerto No. 2 with soloist Shannon Wood, as well as Schubert's monumental Symphony No. 9 ("The Great"). For more information, visit stlsymphony.org.

 

Most folks come back from vacations with snapshots or souvenirs. The great French composer Camille Saint-Saëns came back from a winter trip to Egypt with a piano concerto, which was performed with an ideal mix of power and style this weekend by Louis Lortie and the St. Louis Symphony under guest conductor Yan Pascal Tortelier.

First performed in May of 1896 with the 60-year-old composer at the keyboard, the Piano Concerto No. 5, Op. 103 quickly picked up the nickname "Egyptian" in part because Saint-Saëns himself wrote that the it "takes us, in effect, on a journey to the East and even, in the passage in F-sharp, to the Far East." The music is filled with "Oriental" touches, especially in the second movement, the main theme of which Saint-Saëns said he got from boatmen on the Nile. There are even brief passages where the pianist produces a kind of otherworldly sound by playing major tenths two octaves apart. You can almost smell the exotic perfume.

Saint-Saëns was clearly a remarkable pianist, and his fifth concerto calls for a daunting combination of raw virtuosity and sensitivity. Mr. Lortie clearly had plenty of both, delivering a performance with all the flash and power called for in the boisterous finale without short-changing the delicacy of that lyrical second movement. He is, as I have noted in the past, a very visceral performer, with every emotion etched on his face and visible in his body language. His emotional commitment to the music could not have been more total.

That makes him an excellent match for Mr. Tortelier, who seems to love the grand musical gesture as much as the intimate detail. Working without a baton, he uses his very expressive hands to shape phrases one moment and then his entire body to raise a massive orchestral climax the next -- which is exactly what he did in the work that opened the program, Paul Dukas's rarely heard Polyeucte Overture from 1891.

Inspired by a Corneille play about a Roman nobleman who converts to Christianity and suffers the usual deadly consequences, Polyeucte is big and dramatic -- real Technicolor, wide-screen Romanticism. Brooding, tragic passages are frequently interrupted by abrupt orchestral outbursts. Mr. Tortelier attacked this music with real intensity, and the musicians responded with a perfect performance that deserved far more applause than it got from the Friday night audience. It has been nearly a century since the SLSO last played this piece, so it was effectively new music for them, but they played as though they knew it all by heart.

The concert concluded with music the musicians probably do know by heart, Maurice Ravel's popular orchestration of Mussorgsky's Pictures at an Exhibition. Inspired by an 1874 visit to a posthumous exhibition of the works of Russian artist Victor Hartmann, the piano original is colorful and evocative stuff, made all the more so by Ravel's expansion. Justifiably regarded as an expert orchestrator, Ravel's work here is filled with ingenious touches, like the high woodwinds chirping away in the "Ballet of the Chicks in Their Shells," the alto sax playing the voice of a troubadour in "The Old Castle," the hair-raising evocation of "The Hut on Fowl's Legs," (home of the witch Baba-Yaga from Russian folklore) and the triumphant finale, based on a sketch for "The Great Gate at Kiev."

That means there were multiple opportunities for individual members and sections of the band to show off, and they made the most of it. For the first curtain call, Mr. Tortelier singled out Principal Horn Roger Kaza for his exemplary work as well as Principal Trumpet Karin Bliznik, whose ringing declamation of the recurring "promenade" theme got things off to such a stirring start and whose entire section performed with such impressive precision in the tricky "Samuel Goldberg and Schmuyle" movement. Principal Trombone Tim Myers on euphonium and Nathan Nabb on alto sax also got solo bows for their fine playing in the "Bydlo" and "Old Castle" movements, respectively. Every section of the orchestra sounded stunning, in fact, and the strings had the wonderful richness that has come to typify their work.

Conducting without a score, Mr. Tortelier brought the same sense of high drama and nuance to this music that he had demonstrated throughout the evening. His "Gnomus" had real menace, his "Ballet of the Chicks in Their Shells" was a masterpiece of brisk precision, and his powerful "Great Gate at Kiev" brought down the house. The applause was loud, long, and entirely justified.

There is one more performance of this program at Powell Hall today, Saturday, April 16, at 8 p.m. The St. Louis Symphony season continues next weekend, April 22-24, as Nathalie Stutzmann conducts the orchestra with violin soloist Karen Gomyo in music by Mendelssohn, Sibelius, and Dvořák. Performances take place at Powell Symphony Hall, 718 North Grand.

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