Two of the three works on this past weekend's St. Louis Symphony Orchestra concerts (the ones that aren't by James MacMillan) will also be on the bill when the orchestra performs in Carnegie Hall on Friday, March 20th. If what we heard Sunday afternoon is any indication, they'll be representing their home town proudly.
This weekend's classical "double header" continues as David Robertson conducts the St. Louis Symphony in the music of Tchaikovsky, Debussy, and James MacMillan on Saturday and Sunday, March 14 and 15.
This weekend local classical fans get a double header with two different St. Louis Symphony concerts: a Whitaker Foundation "Music You Know" program on Friday, March 13, and music of Tchaikovsky, Debussy, and James MacMillan on Saturday and Sunday, March 14 and 15. David Robertson is at the podium for both.
This August, Union Avenue Opera will present the last installment of its four-year traversal of Richard Wagner's "Ring" operas: "Götterdämmerung" ("Twilight of the Gods"). This weekend David Robertson, soprano Christine Brewer, and the St. Louis Symphony are presenting "Brünnhilde's Immolation," the final scene of that opera. Think of it as something of a preview.
Russian composers have always painted with bold strokes on broad canvases. This weekend the St. Louis Symphony, under the direction of the distinguished Austrian conductor Hans Graf, exhibited a kaleidoscopic display of a small portion of the magnificence of the Russian repertoire.
If you missed last week's big double dip of Russian romanticism or if (to quote a famous Big Band-era lyric) you just "can't get enough of that wonderful stuff," the St. Louis Symphony has another helping helping of it for you this weekend as Hans Graf leads the orchestra and violinist Augustin Hadelich in a program of Stravinsky, Tchaikovsky, and Lyadov.
The young (late 30s) Slovenian conductor Juraj Valcuha came to town for his SLSO debut this weekend with a stack of impressive reviews from locations as diverse as London, Los Angeles, and Washington D.C. in repertoire ranging from Mozart to Brahms to Szymanowski. Critics have praised his big sound, his precision, and what the Los Angeles Times critic called "his eloquent and flowing baton gestures."
Works by two giants of the Russian romantic school are on the Powell Hall Stage this week as the St. Louis Symphony under guest conductor Juraj Valcuha takes on Rachmaninoff's "Piano Concerto No. 2" in C Minor, Op. 18 (first performed in 1901) with famed pianist André Watts as soloist and Tchaikovsky's "Symphony No. 6" in B minor, Op. 74 (a.k.a. the "Pathetique"), which had its first performance only eight years earlier.
The theme running through this weekend's St. Louis Symphony concerts, as Daniel Durchholz writes in his program notes, is "ecstatic expression". Specifically, "the sensual delights of Debussy, the religious essay writer rapture found in the deep devotion of [Scottish composer James] MacMillan, and Dvořák’s reveling in the country comforts of his homeland." I think he's on to something there.
Sons who go into the family business are often less successful than their fathers. In the case of the J.S. Bach family, though, it was just the opposite. Four of the ten Bach children who survived to adulthood went on to careers as composers and the two represented in this weekend's St. Louis Symphony concerts—Carl Philipp Emanuel (1714-1788) and Johann Christian (1735-1782)—went on to eclipse dad in popularity, at least during their lives.