The scene outside of Powell Hall Friday night, the evening of the final St. Louis Symphony Youth Orchestra concert of the season, included sights of a diverse audience–young and old, dressy and casual, stylish and chill, a mashup of ethnicities and ages, north siders and south siders, folks from the county, city, country and from across the river. Add to this the excited roars of the crowd emanating from the Circus Flora tent.
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I made my way around the backstage areas: in the musicians’ lounge the eternal card game was in progress, orchestra members lounged on sofas and leaned against one another to take selfies. A cake designed for outgoing Resident Conductor Steven Jarvi was in its last wreckage of consumption.
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“I still can’t believe we get to play Beethoven 5!” I heard one musician exclaim. It seemed as if the near-capacity audience could hardly believe it as well. People sat rapt, leaning forward in their chairs intently. At the spaces in between movements you could not hear a sound. Once a baby let out a muted cry, but not for long. I’m sure that babies and Beethoven have been heard together many times over the centuries. In no way were such memorable solos by Curt Sellers, oboe, and Hannah Byrne, clarinet, diminshed.
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At the end, the audience rose as if great stores of emotional energy had been released. A lot of musician tension was released as well. It was Beethoven’s Fifth they had just performed, after all. “That piece is so long,” one musician said at intermission, proud to have played it and relieved it was over.
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Curt Sellers had written the program notes for the first after-intermission piece, Berlioz’s Roman Carnival Overture. He described the “sweet love song” the English horn plays in that piece, and then he played it beautifully.
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The final piece for the season, Stravinsky’s devilishly difficult and delightful The Firebird Suite, came after the third standing ovation for YO Music Director Jarvi that night.
The music goes on, The Firebird will be played again, many of this group of YO musicians will return. But throughout the evening I thought of those leaving–for college, for the rest of their lives to proceed elsewhere. You could hear in the music the complex mixture of accomplishment and loss: in Emily Shaper’s bassoon solos, in the tricky and yet entirely musical flute and piccolo parts played by Leah Peipert and Lynell Cunningham, in Earl Kovacs’ confident clarinet, in Eric Cho’s songful cello, and in the horn solo that leads to the surging finale of The Firebird, played by Eli Pandolfi this night. Eli is the grandson of Roland Pandolfi, one of the great horn players of this era and a former St. Louis Symphony principal. You heard time beginning, time ending, and the continuum as the orchestra joined in full ecstatic harmony. The Firebird is a perfect ending to a YO season, with an ending so sublime because you don’t want it to end. And it never really does. With every exit there is a return. Another entrance made.
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