St. Louis Symphony Program - Feb. 15-16, 2013

7/29/2019 St. Louis Symphony Program - Feb. 15-16, 2013

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CONCERT PROGRAMFebruary 15-16, 2013

David Robertson, conductorOrli Shaham, piano

COPLAND Our Town (1940) (1900-1990)

BERNSTEIN Symphony No. 2, The Age of Anxiety (1949, rev. 1965)(1918-1990)

Part IThe PrologueThe Seven AgesThe Seven Stages

Part II

The DirgeThe MasqueThe Epilogue

Orli Shaham, piano

INTERMISSION

JOHN ADAMS City Noir (2009)(b. 1947)

The City and Its DoubleThe Song Is or YouBoulevard Night

Timothy McAllister, alto saxophone


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ACKNOWLEDGMENTS

David Robertson is the Beofor Music Director and Conductor.

Orli Shaham is the Carolyn and Jay Henges Guest Artist.

The concert of Friday, February 15, is underwritten in part by a generous giftfrom Dr. and Mrs. Gordon Philpott.

The concert of Saturday, February 16, is underwritten in part by a generous giftfrom Dr. and Mrs. Timothy J. Eberlein.

These concerts are presented by The Thomas A. Kooyumjian Family Foundation.

These concerts receive support from Steinway Piano Gallery.

Pre-Concert Conversations are presented by Washington University Physicians.

These concerts are part of the Wells Fargo Advisors Series.

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


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FROM THE STAGEMike Walk, Acting Associate Principal Trumpet: This program of American

music is a compelling grouping. Coplands Our Town is a lovely work,evoking the peace of small town life of decades past. Grouping it with worksof modern city life is a great stroke. Im particularly looking forward toplaying Bernsteins Symphony No. 2 with Orli Shaham, who is always sucha brilliant collaborator with us.

Tim Myers, Principal Trombone: The St. Louis premiere of John Adamss CityNoirwill be a highlight for me. I have been looking forward to the return ofthe underperformed and under-appreciated Age of Anxiety of Bernstein for

a long time.

Orli Shaham


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TIMELINKS

1940COPLANDOur TownGerman orces occupyFrance during World

War II

1949BERNSTEINSymphony No. 2,The Age of AnxietyArthur Miller receivesPulitzer Prize or Deathof a Salesman

2009JOHN ADAMSCity NoirU.S. Congress passes$787 billion economicstimulus bill

When it was young, at the end of the 18th

century, the United States was a country ofwilderness and farms broken by small villages.Only a few cities hugged its eastern shore. St.Louis was then a trading post populated by a fewhundred French settlers. But industrializationand a growing population changed that, asincreasing numbers of Americans moved totowns, cities andespecially during the lastcenturylarge metropolises.

The urbanization of America inevitablyfound reection in its arts. Paintings of pastorallandscapes gave way, in the 20th century, toimages of skylines and angular street scenes.Novels by Hawthorne, Alcott, and others, tellingof rural or small-town life, were replaced bymodern stories set in harsh, often lonely cities.Music, too, showed that the center of American

life had moved to her cities. The bustle and fastpace of urban existence gave rise to jazzy rhythmsand brash sonorities. American composers alsoincreasingly looked to town and city milieus forsubjects and inspiration.

The three pieces on our program illustratethis last development. Whereas Aaron Coplandsmusic for the lm Our Town gives a nostalgicimpression of small-town life, Leonard Bernsteins

Symphony No. 2, subtitled The Age of Anxiety,treats the loneliness and alienation that manypeople experienced when transplanted to NewYork and other large cities. And in our nalcomposition, John Adams conveys the grittyatmosphere that came to dene our west-coastmetropolis in the popular imagination.

OUR TOWNSBY PAUL SCHIAVO


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AARON COPLANDOur Town

A UNIVERSAL REVERIE Our Town, ThorntonWilders affecting stage portrayal of life and death

in a New England village, opened on Broadwayin February 1938. It scored an immediatesuccess. Brooks Atkinson, theater critic of theNew York Times, called it a beautifully evocativeplay ... [that] has transmuted the simple eventsof human life into universal reverie. Audiencesagreed, and Our Town enjoyed an initialBroadway run of 336 performances.

The plays triumph called Wilder toHollywood, where he wrote a screen adaptationof his work that was lmed in 1939. For the lmscore, the movies producer turned to AaronCopland, who had recently composed music forthe lm version of John Steinbecks Of Mice andMen. Copland had seen Wilders play, but he nowre-read it and sketched some musical ideas thatoccurred to him. Arriving in California from his

New York home, he marveled that they seemedso right when put with the picture.

FILM SCORE AND CONCERT SUITE Coplandexpanded these and other themes to createan unusual lm score. My job, he observed,was to create the atmosphere of a typical NewHampshire town, and to reect the [lms] shiftsfrom the real to the fantasy world. Because of the

nostalgic nature of the story, most of the musichad to be in slow tempo.... I tried for clean andclear sounds, and in general used straightforwardharmonies and rhythms that would project theserenity and sense of security of the play.

The lm ofOur Town opened in May 1940to acclaim scarcely less enthusiastic than thatgarnered by Wilders play. Already Copland had

quickly arranged about ten minutes of his lmscore into a concert suite. This was played duringa radio broadcast before the movie appeared intheaters. Afterward, the composer prepared amore carefully crafted version of the suite. Thisdenitive version received its rst performance in1944 in Boston, conducted by Leonard Bernstein,to whom Copland dedicated the score.

BornNovember 14, 1900,Brooklyn,

New YorkDiedDecember 2, 1990, Tarrytown,New York

First PerformanceMay 7, 1944, in Boston,Leonard Bernsteinconducted the Boston PopsOrchestra

STL Symphony PremiereOctober 19, 1945, VladimirGolschmann conducting

Most Recent STL SymphonyPerformanceNovember 19, 1991, LeonardSlatkin conducting a specialevent concert

Scoring

3 futes2 oboesEnglish horn3 clarinetsbass clarinet2 bassoons3 horns3 trumpets2 trombonestuba

glockenspielstrings

Performance Timeapproximately 9 minutes


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LEONARD BERNSTEINSymphony No. 2, The Age of Anxiety

TIME OF CRISIS Leonard Bernstein was manythings: talented, learned, dynamic, and more.

Above all he was a man of his time, an artistkeenly attuned to the issues and complexities ofthe era in which he lived.

That era was a difcult one. Coming of agein the 1940s, Bernstein belonged to a generationthat inherited a world from which easy faith inprogress, human nature, even divine providencehad been obliterated by two world wars, theGreat Depression, and the specter of nuclearannihilation. God was dead, many thinkersbelieved, but mankind had proved to be less thanthe admirable Promethean creature humanistsonce imagined. Science had brought comfortand victory over diseases, but also instrumentsof mass destruction. Hedonism, the pursuitof momentary pleasure, imparted no lastingcomfort. And so, a crisis of faith hung over the

mid-20th century. It was, for many, a time ofuncertainty, an age of anxiety.That last phrase was how one of the great

poets of the era described the time. The Age ofAnxiety is a long poem by W. H. Auden, theEnglish writer who emigrated to the UnitedStates in the 1930s and spent the remainder ofhis life in New York. Published in 1947, TheAge of Anxiety imagines four young people

three men and a womanwho meet by chancein a New York bar one evening. All suffer themodern malaise of feeling unconnected andpurposeless. Somehow, they fall into a sharedreverie in which they wander through a barrenwasteland representing the modern world.Eventually at least some of them nd hope byaccepting religious faith, concluding that it

is better to believe in something, even if thatbelief is a leap of blind faith, than to endurelack of existential meaning.

FROM POEM TO SYMPHONY Bernstein readAudens poem shortly after its publication andbegan almost immediately composing a workinspired by it. From the start, he conceived it asa symphony inspired by The Age of Anxiety,

BornLawrence, Massachusetts,

August 25, 1918DiedNew York City,October 14, 1990

First PerformanceApril 8, 1949, in Boston, SergeKoussevitzky conducted theBoston Symphony Orchestra,with Bernstein at the piano

STL Symphony PremiereOctober 15, 1970, PhilippeEntremont was soloist, withWalter Susskind conducting

Most Recent STL SymphonyPerformanceNovember 17, 1991, JamesTocco was soloist, withLeonard Slatkin conducting

Scoring

solo piano2 futespiccolo2 oboesEnglish horn2 clarinetsbass clarinet2 bassoonscontrabassoon4 horns

3 trumpets3 trombonestubatimpanipercussion2 harpscelestapianinostrings

Performance Time

approximately 35 minutes


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not as a vocal setting of its verses. He claimed that he did not even set out towrite a programmatic representation of the poem, a piece in which musicaldetails corresponded closely to the literary narrative. And yet Bernstein stated,I discovered ... detail after detail of programmatic relation to the poemdetailsthat had written themselves wholly unplanned and unconscious.

Stylistically, the symphony is highly eclectic, with modern dissonancesand complex rhythms mingling with elements of jazz, traditional harmony,and a warm, romantic lyricism. There also is an important part for piano,which Bernstein played in the works rst performance. The several portionsof the work, together with their programmatic correspondences to Audenspoem, are as follows:

Part I

Prologue. This short section evokes the setting of Audens narrative: abar in Manhattan, where the four protagonists nd themselves one evening.Two clarinets echoing each others phrases establish a lonely atmosphere. Adescending scale then serves, Bernstein noted, as a bridge into the realm ofthe unconscious, where most of the poem takes place.

The Seven Ages. The characters fall into a discussion about life and itsmeaning. Bernstein represents their colloquy as a series of variations,in which each takes up and expands a musical idea introduced in theprevious passage.

The Seven Stages. The unusual variation format of the previous sectioncontinues as the characters undertake a dream-like journey in search ofsecurity and happiness. This set of variations, Bernstein observed, begins toshow activity and drive, and leads to a hectic, though indecisive, close.

Part IIThe Dirge. The four protagonists lament the apparent loss of a patriarchal

deity. The main theme has a decidedly modern tone, but a contrasting centralepisode turns to what Bernstein described as Brahmsian Romanticism.

The Masque.The four characters try to shed their anxiety in a late-nightparty, which Bernstein portrays in a jazz-inected scherzo featuring piano andpercussion. The festivity ends in fatigue and disappointment, and the musicalenergy subsides, leading directly into the nal section.

The Epilogue. As the strains of the party music fade away, a trumpetannounces a theme emblematic, Bernstein explained, of something pure. Tothis the strings give out a melancholy recollection of the music of the Prologue.The trumpet theme, taken up by the winds, confronts the music of loneliness

and alienation in a passage of rising tension. At last, a radiant pianissimo inthe strings indicates a new perception of the existential dilemma. The entireorchestra now joins in articulating a new-found faith.


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JOHN ADAMSCity Noir

AMERICAN COMPOSER, AMERICAN MUSICWidely recognized as the pre-eminent American

composer of his generation, John Adams hascreated a rich and critically acclaimed body ofmusic that draws on different traditions: theexpansive sonic architecture of the Romanticmasters, the harmonic sophistication of the 20th

century, the rhythmic drive and momentumof American popular music, the shimmeringtextures of the so-called minimalist school, andthe delight in new discoveries that has alwayscharacterized the American avant-garde. Duringthe past two decades, and especially during DavidRobertsons tenure as Music Director, the St.Louis Symphony has performed many of Adamssworks, including Harmonielehre, The Dharma atBig Sur, Guide to Strange Places, the piano concertoCentury Rolls,the Doctor Atomic Symphony (in itsU.S. premiere performances), Harmonium, and

the oratorios On the Transmigration of Souls andEl Nio.This weekend brings a new addition to

the St. Louis Symphonys repertory of Adamscompositions: City Noir, a large, three-movementwork dating from 2009. Commissioned by theLos Angeles Philharmonic and the London andToronto Symphony orchestras, the piece receivedits initial performance in Los Angeles during

Gustavo Dudamels inaugural concert as MusicDirector of the L.A. Philharmonic. It was heardagain shortly thereafter during that orchestrasWest Coast/Left Coast festival. Knowing thatthe compositions early performance historywould be closely associated with the City ofAngels surely contributed to Adamss decisionto write a work evoking Los Angeles in the 1940s

and early 50s, a milieu memorialized in thenovels of Raymond Chandler and many lm noirmovies of the period.

The avor of Los Angeles at this time wasencapsulated in Kevin Starrs multivolumehistory Americans and the California Dream.In a passage cited by Adams, Starr writes thatpostwar Los Angeles ... for all its shoddiness ...possessed a certain sassy, savvy energy. It was,

BornFebruary 15, 1947,Worcester, Massachusetts

Now residesBerkeley, Caliornia

First performanceOctober 8, 2009, in LosAngeles, Gustavo Dudamelconducted the Los AngelesPhilharmonic Orchestra

STL PremiereThis week

Scoring3 futes2 piccolos3 oboesEnglish horn3 clarinets2 bass clarinets2 bassoons

contrabassoonalto saxophonesix horns4 trumpets3 trombonestubatimpanipercussion2 harpspiano

celestastrings

Performance Timeapproximately 34 minutes

Margaretta

Mitchell


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among other things, a Front Page kind of town where life was lived by many onthe edge, and that made for good copy and good lm noir.

ENERGY AND LYRICISM Adams describes the music ofCity Noiras pockets ofhigh energy that are nested among areas of a more leisurelyone could even

say cinematiclyricism. The rst movements title, The City and Its Double,alludes to the idea of the city as not just a geographic place but also one thatexists in the popular imagination. I [remember] well, the composer recalls ofhis childhood, the program that always ended with the familiar tag line Thereare eight million stories in the Naked City. This has been one.

The frenetic music of this initial portion of the symphony gives wayto a more relaxed second movement whose tone is established by an altosaxophone solo. The nale, Boulevard Night, brings what Adams calls a

study in cinematic colors. At times its mood is languorous, at times nervousand at times, the composer admits, brash and uncouth. Always, Adamscontinues, the music should have the slightly disorienting effect of a verycrowded boulevard peopled with strange characters ... the kind who only comeout very late on a very hot night.

Program notes 2013 by Paul Schiavo


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DAVID ROBERTSONBEOFOR MUSIC DIRECTOR AND CONDUCTOR

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

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

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

season, which includes an intensive three-dayresidency at the University of California-Davisand performance at the Mondavi Center forthe Performing Arts, with violinist James Ehnesas soloist. The orchestra will also perform atvenues in Costa Mesa, Palm Desert, and SantaBarbara, with St. Louis Symphony PrincipalFlute, Mark Sparks, as soloist.

In addition to his current position with the

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

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

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

David Robertson and theSt. Louis Symphony travel

to Caliornia in March.

MichaeltaMMaro


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ORLI SHAHAMCAROLYN AND JAY HENGES GUEST ARTIST

Orli Shaham has established an impressiveinternational reputation as one of todays most

gifted pianists. A highlight of her internationalperformance schedule in 2012-13 is the east-and west-coast premieres of a piano concertowritten for her by the acclaimed Americancomposer Steven Mackey, with the New JerseySymphony conducted by Jacques Lacomb andthe Los Angeles Philharmonic conducted byDavid Robertson. Shaham continues her role ascurator and performer in the Pacic Symphonyschamber music series in Costa Mesa, California,as well as her role as host of the public radioseriesAmericas Music Festivals, a two-hour weeklyprogram broadcast on more than 100 stations.

Shahams highly acclaimed classical concertseries for young children, Baby Got Bach, is in itsthird season, now presented by the 92nd Street Yin New York City, and has expanded to venues in

St. Louis and Aspen. Designed for preschoolers,Baby Got Bach provides hands-on activities withmusical instruments, and concepts and concertperformances that promote good listening skills.

Shaham was recognized early for herprodigious talents. She received her rstscholarship for musical study from the America-Israel Cultural Foundation at age ve to studywith Luisa Yoffe at the Rubin Academy of Music

in Jerusalem. By age seven, she traveled to NewYork with her family to begin study with NancyStessin, and became a scholarship student ofHerbert Stessin at the Juilliard School a yearlater. She has also won the Gilmore YoungArtist Award and the Avery Fisher Career Grant,two prestigious prizes given to further thedevelopment of outstanding talent. In addition

to her musical education, Shaham holds adegree in history from Columbia University.Shaham lives in New York and St. Louis with herhusband, conductor David Robertson, stepsonsPeter and Jonathan, and kindergartner twinsNathan and Alex.

Orli Shaham most recentlyperormed with the

St. Louis Symphony inSeptember 2011.

Christian

Steiner


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

as scherzo.

Scherzo: Program notes author Paul Schiavo describes The Masquemovement of Leonard Bernsteins Symphony No. 2, The Age of Anxiety, as ajazz-inected scherzo. Youll recognize the jazziness of it, and the particularBernstein jazziness, right away. What makes it a scherzo? One element thatts one denition of the word is that Bernstein is depicting a party scene.Scherzo literally means joke, so it sometimes signies a passage that maybe comic or ironicwelcome qualities to any party at the Bernsteins.

FROM DRIVING MR. COPLAND:JOHN ADAMSIn John Adamss blog Hell Mouth he talks of his interactions with the pre-eminent American composer of the 20th century, Aaron Copland, including ajob driving the great man in a beat-up VW bug from San Francisco Conservatory,where Adams was a student.

I found myself driving down Route 280 in my dilapidated turquoise blueVW bug with its clattering engine and moldy upholstery with the idolizedcomposer of my youth sitting, slightly nervously, in the passenger seat. Idont recall the conversation. The car was so noisy it may have been difcultto talk much.

A side window that wouldntclose properly kept emitting a high-pitched sound, and Copland, in hisrich Brooklyn accent looked overand said Sound like you gotta boidin there. I didnt know what hemeant and gave him a puzzled look,to which he made uttering motionswith his ngers. Oh, you mean a

BIRD! I said. I was probably 25 at thetime, a young wiseass with sideburnsand a surfeit of brown hair andgrubby bachelor clothing. I suspecthe was enjoying himself, although helooked a bit tired.

John Adams

Deborah ograDy


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

coplandhouse.orgAaron Coplands home for the lastthree decades of his life is nowpart of a foundation that continueshis legacy with concerts, artists-in-residence, tours, and educationalactivities.

leonardbernstein.comA whole lot of information about thecharismatic Bernstein

earbox.comKeep up with John Adamss blog,Hell Mouth, and all otherthings John Adams

Read the program notes online atstlsymphony.org/planyourvisit/programnotes

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

The St. Louis Symphony is on

Aaron Coplands house, Rock Hill, inCortlandt Manor, New York


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CORPORATE DONOR SPOTLIGHTU.S. BANK

A message from Joe Imbs, St. Louis market president for U.S. Bank

U.S. Bank is the fth largest commercial bank in the United States, with rootsin St. Louis dating back to 1855. Given our signicant business presence in St.Louis, it is important for our employees to be active in the community.

At U.S. Bank, strong connections start with understanding the needs of ourcommunities and deepening relationships in ways that move us all forward. Asour communities face challenges, we endeavor to help address those challengesthrough employee leadership and volunteerism, nancial support of ournonprot partners, investments in and loans for transformational communityprojects, and sharing our knowledge through nancial education.

Who do we serve?U.S. Bank is the largest bank in St. Louis with 120 branches, and more than4,000 local employeesup almost 20 percent in the last ve years. Additionally,U.S. Banks community development subsidiary, U.S. Bancorp CommunityDevelopment Corporation, is headquartered in St. Louis.

Why does U.S. Bank support the St. Louis Symphony?

U.S. Bank is proud to continue our support of the St. Louis Symphony. Wehave supported the Symphony through donations and volunteer work formore than 19 years.

In 2012 we were pleased to supportThe Sounds of New Orleans: A Tribute toLouis Armstrong, and this year we are excited to sign on for another performancesponsorshipthe 45th Anniversary Celebration ofSgt. Peppers Lonely HeartsClub Band on June 28, 2013.

Why should other organizations support the STL Symphony?

The St. Louis Symphony is a signicantpart of what makes us all proud to live inSt. Louis. The Symphony not only givesSt. Louis rst-rate performing arts, butmakes the community better in manyways. I have always been impressed withthe way that the Symphony gives backthrough musical education programs

and develops young musicians throughits Youth Orchestra.It is a privilege for our community

to have access to the St. LouisSymphony. Being a good corporatecitizen is a core value for U.S. Bank,and supporting the Symphony is anatural way that other businesses canjoin us in sharing that value.

U.S. Bank is the presenting sponsoro the Sgt. Pepper45th Anniversary

Concert on June 28, 2013.


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AUDIENCE INFORMATION

BOX OFFICE HOURS

Monday-Saturday, 10am-6pm; Weekdayand Saturday concert evenings through

intermission; Sunday concert days12:30pm through intermission.

TO PURCHASE TICKETS

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

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

SEASON TICKET EXCHANGE POLICIES

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

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

with you when calling.

GROUP AND DISCOUNT TICKETS

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

Special discount ticket programs areavailable for students, seniors, andpolice and public-safety employees.

Visit stlsymphony.org for moreinformation.

POLICIES

You may store your personalbelongings in lockers located on the

Orchestra and Grand Tier Levels at acost of 25 cents.

Infrared listening headsets are availableat Customer Service.

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

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

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

All those arriving after the start of the

concert will be seated at the discretionof the House Manager.

Age for admission to STL Symphonyand Live at Powell Hall concerts

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

concerts. All children must be seatedwith an adult. Admission to concerts isat the discretion of the House Manager.

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

Powell Hall is not responsible for

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

POWELL HALL RENTALS

Select elegant Powell Hall for your nextspecial occasion.

Visit stlsymphony.org/rentalsfor more information.


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BOUTIQUE

WHEELCHAIR LIFT

BALCONY LEVEL(TERRACE CIRCLE, GRAND CIRCLE)

GRAND TIER LEVEL

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

MET BAR

TAXI PICK UPDELMAR

ORCHESTRA LEVEL(PARQUET, ORCHESTRA RIGHT & LEFT)

WIGHTMAN

GRAND

FOYERTICKET LOBBY

CUSTOMER

SERVICE

LOCKERS

WOMENS RESTROOM

MENS RESTROOM

ELEVATOR

BAR SERVICES

HANDICAPPED-ACCESSIBLE

FAMILY RESTROOM

POWELL HALL

St. Louis Symphony Program - Feb. 15-16, 2013

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