Here's the press release from my friend in the publicity department at SLSO:
St. Louis (April 8, 2009) — The Saint Louis Symphony Orchestra and St. Louis' classical-music station, KFUO-Classic 99 (99.1 FM & www.classic99.com) announced two broadcast initiatives today:
On Saturday, May 9, 2009, at 7:30 p.m., KFUO-Classic 99 (99.1 FM and www.classic99.com) will broadcast live from Powell Hall the SLSO's performance of Thomas Adès' Asyla (a St. Louis premiere) and Beethoven's Symphony No. 9, "Choral," featuring SLSO Music Director and Conductor David Robertson, guest vocalists Heidi Grant Murphy, Jennifer Dudley, Brandon Jovanovich and Jonathan Lemalu, with the Saint Louis Symphony Chorus under the direction of Amy Kaiser. In addition, KFUO will broadcast a special pre-concert show from 3:00 p.m.-7:30 p.m., which will include a discussion with Fred Bronstein, President and Executive Director of the SLSO.
Beginning July 1, 2009, and running through September 9, 2009, KFUO will broadcast a weekly SLSO Summer Series hosted by David Robertson. The series will feature music by the SLSO from archival recordings as well as more recent live recordings made during David Robertson's tenure as Music Director, from the 2005-06 season to the present. The 11-week SLSO Summer Series may be heard on Wednesday evenings beginning at 8 p.m. CDT with rebroadcasts on Fridays at midnight.
All broadcasts may also be heard live on classic99.com.
Wow, great news, Eddie, thank you. I just heard yet another great concert with Robertson and the group at Carnegie Hall last weekend--one of the best concerts of the year. He is a programmer par excellence, and the orchestra sounds wonderful lately.
--Bruce
Quote from: bhodges on April 11, 2009, 11:27:16 AM
Wow, great news, Eddie, thank you. I just heard yet another great concert with Robertson and the group at Carnegie Hall last weekend--one of the best concerts of the year. He is a programmer par excellence, and the orchestra sounds wonderful lately.
--Bruce
I've lived in Los Angeles since 1995, so I haven't been around my hometown orchestra in a long time. Before a couple years ago, I don't think I'd been since I was in high school in the late 80's. But Robertson has absolutely galvanized the orchestra and the classical music community of St. Louis. He's really adventurous and not a conservative, which is exactly the remedy the city needs to get beyond its seemingly-inherent inferiority complex. Slatkin was good, but Robertson is the best thing that's happened in my lifetime, easily. I saw his first-ever performance of Mahler 9 last November and it was excellent. He said during the pre-concert talk that he had turned 50 and that meant he was old enough to take a stab at it. I liked that. Gripping performance, especially the tough rondo burleske third movement. Speaking of his singing, I was at the 2008-2009 New Year's Eve concert with my nephew and Robertson surprised everyone with a phenomenal one-man recital of the Rock Island from the Music Man. Amazing and truly very funny to see the conductor act like such a boob (in a good way, of course!).
Good to hear someone else digs Mr. Robertson as much as me!
PS. Let's hope we can hear these broadcasts. Just read this on stltoday.com.
Lutheran Church-Missouri Synod seeks to sell KFUO
BY Sarah Bryan Miller
POST-DISPATCH CLASSICAL MUSIC CRITIC
Saturday, Mar. 28 2009
The station's call letters stand for "Keep Forward, Upward, Onward," words that
represent the Lutheran Church-Missouri Synod's 85-year commitment to spreading
the gospel via radio broadcasting. But now the Synod's board of directors is
quietly working to send KFUO-FM onward in a different direction: On Feb. 19,
its members appointed a special committee with authority to sell St. Louis'
only classical music station.
A sale would almost certainly mean the end of classical music broadcasting in
this region. Most buyers would convert such a purchase to a more-profitable
format, like sports, rock or country. There are now just about 20 commercial
classical stations in the United States, and approximately the same number of
public ones.
The board committee has acted in near-secrecy in its plans to sell "Classic
99," now in its 61st year. (The original AM station, with the same call
letters, is devoted to strictly religious programming; it is not presently for
sale.) They have even refused to share their terms with at least one group of
potential buyers.
"I feel betrayed," said Noemi Neidorff, chairman of the KFUO Radio Arts Board
and the station's "Circle of Friends." The Friends ...' the major donors include
such names as Neidorff and her husband Michael, chairman of Centene Corp.;
Regional Arts Commission chairman Donna Wilkinson; the Fox Theatre's Mary
Strauss; and Pris and Sandy McDonnell ...' have raised more than $800,000 for the
station in a little more than two years.
"I feel they have a certain responsibility to the community," Neidorff said.
She is interested in forming a not-for-profit corporation to buy and run the
station.
However, Wilkinson said, the committee is stonewalling them. "They won't sit
down and talk with us. They won't even give us a term sheet" that would set
forth what the Synod would require of potential buyers.
The chairman of the special committee is Kermit Brashear, an Omaha-based
attorney and former speaker of the Nebraska Senate. According to his website,
he has experience in mergers, divestitures and "managed asset dispositions."
Brashear declined to comment for this story.
The Synod's president, Dr. Gerald B. Kieschnick, refused several requests for
an interview.
Thomas Kuchta, the Synod's vice president for finance and treasurer, was more
forthcoming. "I don't care about 85 years (of broadcasting)," he said. "I care
about right now and carrying on our mission and ministry." The Synod's website
reports that its revenues are "lagging behind by almost $4.9 million" this
fiscal year.
"Essentially, the FM station is a break-even operation," said Kuchta, who noted
that advertising income has decreased. "If the FM station is operating at
break-even, could we, as a church body, generate more income, by having the
value of that radio station in investable assets that would yield more than
break-even? The answer is yes."
The LCMS almost certainly won't get as much money for this asset as its board
may hope: The economy has been as hard on radio stations as it has been on real
estate.
John Beck of Indianapolis-based Emmis Communications said, "We're not
interested, and there aren't a whole lot of companies that are. The market in
radio is a whole lot like real estate now. Financing is tough, and value isn't
very high because there aren't very many buyers."
Last year, KFUO-FM was appraised at $24 million. Now, industry sources estimate
its value at under $10 million. Because both KFUO-AM and FM operate on the
campus of Concordia Seminary in Clayton, the real estate and buildings would
not be included in the purchase.
The board committee is reportedly asking $20 million for the FM station. (The
AM station, which broadcasts from dawn to dusk, is thought to be worth under $1
million.)
Likely buyers are uncertain. Salt Lake City-based Bonneville International,
owned by the Mormon church, has several stations in this market. It was
actively interested in acquiring KFUO several years ago. It has no current
interest, according to Craig Haslam, director of public affairs for Bonneville.
There is also talk of interest from a "Christian lite" network.
Reactions to the potential sale from influential members of the Synod have been
divided. Most of those who live within KFUO's broadcast range in the St. Louis
region seem to be opposed to selling. Thirteen of 15 voting members of the
board of directors live in other parts of the country.
The Synod's chairman of the board, the Rev. Donald Muchow, said in a telephone
interview from his home in Buda, Texas, that he has "no idea of what the value
or appraisals are. That's in the hand of a smaller group."
Muchow said he had no problem with allowing a small group to make the decision
unilaterally, without input from the entire board. "We're trying to reach 100
million people with the gospel by 2017, and the board is looking at ways to do
that."
One out-of-towner who opposes a sale is Paul L. Maier, a professor of ancient
history at Western Michigan University in Kalamazoo. Maier, who listens to KFUO
through Internet streaming, is the second vice president of the LCMS. His
father was among the founders of KFUO, which was begun by the Lutheran Laymen's
League and the Walther League in 1924.
Maier believes it would be unethical for the Synod to sell the station and keep
the proceeds: "It has contributed less than 1 percent of the station's income
over its history." He also questions "the clandestine nature" of the proposed
sale, and suspects it's to dampen a public outcry. "Not to talk to the Friends
— I find that shocking."
Arts-minded St. Louisans are concerned about the possible loss of classical
music broadcasting here. "It would be a real hit to the city if it went away,"
said Fred Bronstein, president of the St. Louis Symphony Orchestra. "We have
lots of rock stations. We need classical music stations."
Quote from: Eddie Williamson on April 11, 2009, 10:52:29 PM
I've lived in Los Angeles since 1995, so I haven't been around my hometown orchestra in a long time. Before a couple years ago, I don't think I'd been since I was in high school in the late 80's. But Robertson has absolutely galvanized the orchestra and the classical music community of St. Louis. He's really adventurous and not a conservative, which is exactly the remedy the city needs to get beyond its seemingly-inherent inferiority complex. Slatkin was good, but Robertson is the best thing that's happened in my lifetime, easily. I saw his first-ever performance of Mahler 9 last November and it was excellent. He said during the pre-concert talk that he had turned 50 and that meant he was old enough to take a stab at it. I liked that. Gripping performance, especially the tough rondo burleske third movement. Speaking of his singing, I was at the 2008-2009 New Year's Eve concert with my nephew and Robertson surprised everyone with a phenomenal one-man recital of the Rock Island from the Music Man. Amazing and truly very funny to see the conductor act like such a boob (in a good way, of course!).
Good to hear someone else digs Mr. Robertson as much as me!
Thanks for sharing the Mahler 9 story, and the funny New Year's Eve thing, too.
PS, forgot that he did this concert with the New York Philharmonic last November--more great programming. I couldn't believe that he
ended the concert with the Rouse.
Copland:
Appalachian Spring (complete ballet score, 1943-44)
Elliott Carter:
Of Rewaking: Three Poems of William Carlos Williams, for Mezzo-soprano and Orchestra (2002)
Bernstein: Symphony No. 1,
Jeremiah (1942)
Christopher Rouse:
Rapture (2001)
--Bruce
I'll put another vote in as a Robertson fan...I love his programming in St. Louis. And he has put on some neat festivals, such as the Concrete Frequency thing in Los Angeles this year and the Guitar Festival in St. Louis with the Glenn Branca stuff - gotta dig that! ;D
The orchestra sounds great under him too - if you haven't checked it out, I strongly recommend hearing their new live recording of Adams' Harmonielehre, it's available at iTunes and other online stores. It is a knockout performance of that piece!
(http://ecx.images-amazon.com/images/I/51bG4-ZSkRL._SL500_AA280_.jpg)
Thanks, Senta, for the heads-up on the Adams. (And although I recall the Los Angeles series I hadn't heard about the Guitar Festival, and am impressed he would program Glenn Branca.)
--Bruce
SENTA, That is my favorite version of Harmonielehre (I only have two, hehe), the other being Edo de Waart/SFS, which is outstanding, too. When I listened to the SLSO version, Robertson's enthusiasm for the piece just shines through, at least I heard it.
The second and latest SLSO release (lossy Internet-only MP3 only, dang) is Szymanowski's Violin Concerto featuring soloist Christian Tetzlaff, coupled with Scriabin's Poem of Ecstacy. I can't speak to Tetzlaff's playing vis-a-vis other versions, 'cos this is the only recording I own, but it's very good. Listened to it on the plane coming back from STL after Easter. I felt good after hearing it, a strong piece of music with conductor and soloist in complete sympathy, IMO. No comment on the Scriabin, haven't listened to it yet. PS. I don't mind downloads in the least, just give me FLAC!!
http://www.amazon.com/Szymanowski-Scriabin-Live-Powell-Hall/dp/B001KTTVEG/ref=sr_1_1?ie=UTF8&s=dmusic&qid=1239867236&sr=8-1
Re Mahler, I found this on the blog, Mahler Owes Me Ten Bucks. Chantal lives in Indianapolis and travels all over the Midwest and beyond for Mahler concerts. She loved Robertson's Ninth, too. http://mahlerowesmetenbucks.blogspot.com/
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Monday, November 24, 2008
Mahler Mondays: St. Louis Symphony Orchestra/Mahler/Jeremy Denk recap
It's hard for me to start this blog, because so many amazing things happened this past weekend, that I have no idea what to say first. I suppose that's a good thing!
I made the 4 hour drive out to St. Louis this past weekend for the mother of all perfectly-constructed-concerts-for-Chantal's-taste concerts: the St. Louis Symphony Orchestra, with pianist extraordinnaire Jeremy Denk playing Mozart Piano Concert No. 19, and on the second half of the program, Mahler's 9th symphony. Can a concert get any better??? I think not.
While I loved this program, I couldn't help but think if Denk felt overshadowed of sorts, by a big looming symphony on the second half. Hmmm, I wonder. But no matter, really--if he DID feel that way, it certainly didn't show in his playing. I cannot describe to you, dear reader, the joy that his playing brought to me. That concerto is a wonderfully joyous and cheery work, and how much more so it was with Denk at the keys! If I could assign a sound to joy, it would be his playing of this work. He even looked full of happiness himself, with youthful exuberance and playfulness. His legs would bounce up and down from time to time when just the orchestra was playing, and he would make his usual little quirky, fun movements. When he was waiting to come in in the first movement, he playfully played along with the horns, quietly yet cheekily. His playing was ever so expressive, and at times I found myself either nearly laughing or squealing for joy, or gasping slightly over a pause he would make. (amazing how he makes those pauses as wonderful as the notes!) During other moments, I would find myself looking away from center, with my head down, and a smile on my face, as if the music was flirting with me, wooing me, and telling me that it wanted to get to know me. I even blushed once! The power of music, eh?
Denk of course got an ovation afterwards, although there was no encore, which was a bummer. I kept thinking to myself, "Maybe he'll play the Alcotts!" Alas, no Alcotts though.
During intermission, I was hanging around, and who comes walking along, but Jeremy himself. He is following someone who seems to be a friend of his. I noticed people saying "oh look, there's the soloist" but no one seeming to have the guts to say anything. Well, most of you who know me and this blog won't be surprised---I followed him. I was hoping he'd wait in line for a glass of wine or something, and then I'd try to not pounce on him, but politely catch him attention somehow and tell him how wonderful his music making was. Did this happen? Of course not! He stopped briefly to shake someone's hand, and then turned with his friend to go find seats for the second half. As he walked by me, I touched his shoulder, which obviously caused him to pause and look at me. My eloquent compliment to him? "You totally kicked ass". He laughed, and said thank you, and I said I wish I had my camera out to take another picture of his middle fingers, which again caused him to laugh (I really hope he remembered who I was when I said that--I think he did), and I then said again that he really was awesome, he again said thank you, etc etc etc. Mission complete! I spoke to one of my favorite pianists. (the others being, for those of you who are curious, Mitsuko Uchida, and Richard Goode).
Second half: my man Mahler. I have owned a CD of Mahler's 9th symphony since high school, yet I never listened to anything other than the 4th movement until a few years ago. Why? I have no idea. But I remember listening to the 4th movement many times in college, and every single time, I would be in tears, sobbing, with a snotty nose. It doesn't happen so much anymore though. If anything, I find the first movement to be even more moving in many ways, than the last. Tears did form a few times in the first movement, but they held their place, and refused to move.
Conductor David Robertson steered the SLSO very well through this work. I was amazed at how straight forward, and nearly conservative his conducting was, yet how passionate the orchestra sounded. I was so worried I would hear a sterile, dry, and detached Mahler 9--it was anything but that, thank goodness. I heard instruments pondering life and death, whole sections conveying deep, intense emotions, and solos that were adamant in their desire to affect you.
The St. Louis Symphony Orchestra is a fine, fine orchestra. They have an incredibly lush sounding string section. It sounded to me like a section of people that know how to play unbelievably well with each other, and they all happen to own Italian instruments made in the 1700s--that kind of lush sound! Unfortunately there were times that the cellos and violas were a bit too covered up it seemed, but that could have been due to where I was sitting (right below the balcony). When I did hear them very clearly though, they were terrific sections. Jonathan Vinocour leads a solid and very good viola section. He himself is an exceptional violist, and that is quite the understatement. The same can be said about Daniel Lee, principal cellist. The basses were also wonderful, under Erik Harris, who I hear nothing but stories about how awesome a musician he is. Also in the section was Sarah Hogan, who was in her last year at IU, when I was in my first. It's always nice to see IU bassists with great jobs! (and there are a lot of them, btw)
However, hands down, no contest whatsoever, the best section is the HORNS. When the principal horn stood up to be acknowledged, the applause went wild, and I myself was hootin' and hollerin'. I've heard many horn sections in my life---Indianapolis, Cincinnati, Chicago, Cleveland, Columbus, National, LA, Minnesota, and the Royal Concertgebouw. None of them--I repeat NONE of them matched how the horns played Saturday night. I don't remember a single mistake. They were powerful but never overbearing, and at the same time, they still kicked everyone's ass. I was literally blown away by this section, and their spectacular playing.
After going wild with the rest of the audience, I walked to the front of the hall to get a better idea of what this hall looked like. (it is beautiful!) As I was looking around, a gentleman said to me, "Excuse me, are you the lady from Indianapolis who keeps the Mahler blog?" To say that I was shocked wouldn't cut it! This kind man went on to tell me that he heard his first ever Mahler symphony (the 6th--what an intro to Mahler, WOW) not long ago, and since then has been gonzo for his music. This of course delighted me, because I could completely understand. He then did an internet search of Mahler symphonies being played this season, and stumbled upon my blog, and spent quite a bit of time there, I surmise.
I was most amused and happy when he told me that he told his colleagues of his journey to drive 6 hours to hear the St. Louis Symphony, and other trips as well around the country for Mahler. They all told him he was crazy. His response? "I'm not the only one!" Ah, the delight I felt in knowing I'm not the only person who drives around for Mahler! We both agreed that it was well worth the time, effort, money, etc etc.
I'm torn about what the highlight of this whole experience was. The fact that I heard an awesome symphony orchestra play an awesome symphony? Or that accomplished my goal of speaking with Jeremy Denk? Or that I met a fellow Mahler enthusiast, who drove even further than I?
I'm not sure. All I know is that it made this trip more than memorable. I can't ever imagine forgetting this past weekend. It was simply too wonderful.
From www.stltoday.com, web presence of St. Louis Post Dispatch:
QuoteMay 8, 2009 1:14 pm
St. Louis Symphony Orchestra radiothon guest and timings update
By Sarah Bryan Miller, Post-Dispatch Classical Music
St. Louis Symphony Orchestra director of communications Adam Crane has sent out the final schedule for Saturday's radiothon on KFUO, 99.1 FM.
Crane, who's been getting a lot of exposure in recent weeks for his part in "The Soloist," says he'll "pop in" as well. Another fun fact: Crane's got an intern for the day: music director David Robertson's #2 Son, Johnny Robertson, who's working on a project for school.
Tune in May 9 (99.1 FM or www.classic99.com) from 4 PM-8 PM for the SLSO 09-10 subscription marathon live from Powell Hall. The live concert broadcast from Powell Hall begins at 8 PM.
Scheduled guests w/ approximate air times:
4:01 – Fred Bronstein (Fred will stay on the air w/ Jim Connett & Ron Klemm from KFUO for the entire marathon)
4:25 - Alex Ross – New Yorker Classical Music Critic (live via phone)
4:43 – Noemi Neidorff & the SLSO Gala Committee
5:02 – Leonard Slatkin (live via phone)
5:26 – Amy Kaiser
5:38 – Ward Stare
6:02 – Christine Brewer (live via phone)
6:23 – Sarah Bryan Miller
6:36 – Heidi Grant Murphy
6:54 – Susan Slaughter
7:00 – live pre-concert talk w/ David Robertson
7:30 – Tod Bowermaster
7:43 – David Halen
8:00 - David Robertson, conductor
Heidi Grant Murphy, soprano
Jennifer Dudley, mezzo-soprano
Brandon Jovanovich, tenor
Jonathan Lemalu, bass-baritone
Saint Louis Symphony Chorus
Amy Kaiser, director
THOMAS ADÈS Asyla
BEETHOVEN Symphony No. 9, "Choral"
Intermission – David Robertson