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Inspire. Engage. Connect. Friends of New World Symphony connects young cultural leaders interested in classical music through a series of cuttingedge performances and exclusive soirées. Join Miami’s premier group of young philanthropists supporting America’s Orchestral Academy and become a part of our city’s cultural transformation.

Celebrating 10 Years

PROGRAM II November 2013


Publisher Laura Goldman

FEATURES.................. Message from the President ............................p.

Advertising Director Sara Smith


Founder and Artistic Director Michael Tilson Thomas ..................p.

Advertising Associate Randi Benatar


About the New World Symphony, America’s Orchestral Academy


THE PROGRAM ............................p.


Creative Director Carrie Scott Editor Shayne Benowitz

Contributing Writer Daniel Whalen

Commercial Advertising Photography Sid Hoeltzell Office Assistants Julia Goldman, Emma Goldman Kelly Clark, Dylan Clark


Accountant Luis Smith

New World Symphony Fellows ................... p.


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Message from the President Dear New World Symphony Patrons, Welcome to our third academic year in our new campus, a laboratory for generating new ideas about the way music is taught, presented and experienced. You have seen the nature and blend of our presentations change since we began our work here in January 2011. Results of our experiments are felt here and beyond. Over the course of the year, I will use this space to brief you on specific achievements with multiple consequences. I start with our new audience initiative. Musicians have always hoped to gain more listeners. We have something to say, believe in its value, and are ready to share. That innocent, personal impulse is where the story begins. Building a larger, loyal following is the challenge. For most of you in this audience, attending concerts is central to your life. You only need to know the date and time. Others need enticement and encouragement. They can be easily distracted, especially in this digital environment. As an R&D department for classical music, New World Symphony is assuming the challenge of bringing order to the process of identifying, engaging, and developing new audiences. During the 2007-08 concert season, we took our first steps toward the creation of concert structures that would attract people who seldom experience classical music. Michael Tilson Thomas is the master of pre-performance educational statements. Our patrons have told us they found high value in these messages. We also suspected that shorter events might be appealing. With this in mind, we created the one-hour Encounters format with scripted narration and video to contextualize the chosen music. With a bit of success, we extended the experiment with Mini-Concerts – 30-minute performances with a ticket price of $2.50, an invitation that many people strolling Lincoln Road could not resist. With the opening of our new campus, we accelerated the pace, adding Pulse: Late Night at the New World Symphony. Throughout this period, we have been using audience surveys to discover the essence of the experience, especially for those who are attending a New World Symphony event for the first time. Armed with that knowledge, we adapt concert content and marketing to increase impact. Results are meeting our expectations. The alternate-format audiences are filled with people who are new to our database, younger and more diverse. Patrons report that their emotional impact during the short concerts is equal or higher to that of traditional concerts. We began this project with two goals; enlarge the New World Symphony audience and provide professional orchestras with data that would allow them to take informed risk in their own audience expansion projects. As we begin this season, eight American orchestras have joined the experiment. When I think about this work, I am reminded of a recent phrase from Joi Ito, Director of the MIT Media Lab. Among his nine principles for surviving the digital age, he said �you want to have a good compass, not maps.� True north is our belief in uncompromised excellence in performance. Adjusting the larger experience in order to win new listeners is the open territory we are exploring.

Howard Herring President and Chief Executive Officer

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Michael Tilson Thomas is Founder and Artistic Director of the New World Symphony, America’s Orchestral Academy; Music Director of the San Francisco Symphony; and Principal Guest Conductor of the London Symphony Orchestra. In addition to these posts, he maintains an active presence guest conducting with the major orchestras of Europe and the United States. Mr. Tilson Thomas began his formal studies at the University of Southern California where he studied piano with John Crown and conducting and composition with Ingolf Dahl. At age nineteen he was named Music Director of the Young Musicians Foundation Debut Orchestra. He worked with Stravinsky, Boulez, Stockhausen and Copland on premieres of their compositions at Los Angeles’ Monday Evening Concerts. During this same period he was the pianist and conductor for Gregor Piatigorsky and Jascha Heifetz.

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Founder and Artistic Director Michael Tilson Thomas In 1969, after winning the Koussevitzky Prize at Tanglewood, he was appointed Assistant Conductor of the Boston Symphony Orchestra. That year he also made his New York debut with the Boston Symphony and gained international recognition after replacing Music Director William Steinberg in mid-concert. He was later appointed Principal Guest Conductor of the Boston Symphony Orchestra where he remained until 1974. He was Music Director of the Buffalo Philharmonic from 1971 to 1979 and a Principal Guest Conductor of the Los Angeles Philharmonic from 1981 to 1985. He was Principal Conductor of the London Symphony Orchestra from 1987 to 1995. His recorded repertoire of more than 120 discs includes works by composers such as Bach, Beethoven, Mahler, Prokofiev and Stravinsky as well as his pioneering work with the music of Charles Ives, Carl Ruggles, Steve Reich, John Cage, Ingolf Dahl, Morton Feldman, George Gershwin, John McLaughlin and Elvis Costello. He recently completed recording the complete orchestral works of Gustav Mahler with the San Francisco Symphony. Mr. Tilson Thomas’ extensive television work includes a series with the London Symphony Orchestra for BBC Television, the television broadcasts of the New York Philharmonic Young People’s Concerts from 1971 to 1977 and numerous productions on P

PBS Great Performances. In 2004 Mr. Tilson Thomas and the San Francisco Symphony embarked on a multi-tiered media project – Keeping Score – which includes television, web sites, radio programs and programs in the schools, all designed to make classical music more accessible to a new audience. In 1991 Mr. Tilson Thomas and the New World Symphony were presented in a series of benefit concerts for UNICEF in the United States, featuring Audrey Hepburn as narrator of From the Diary of Anne Frank, composed by Mr. Tilson Thomas and commissioned by UNICEF. This piece has since been translated and performed in many languages worldwide. In August 1995 he led the Pacific Music Festival Orchestra in the premiere of his composition Showa/Shoah, commemorating the 50th anniversary of the bombing of Hiroshima. Thomas Hampson premiered his settings of poetry by Walt Whitman, Renée Fleming premiered his settings of the poetry of Emily Dickinson and the San Francisco Symphony premiered his concerto for contrabassoon entitled Urban Legend. As a Carnegie Hall Perspectives Artist from 2003 to 2005, he had an evening devoted to his own compositions which included Island Music (for four marimbas and percussion), Notturno (for solo flute and strings) and a new setting of poems by Rainer Maria Rilke. Among his many honors and awards Mr. Tilson Thomas is a Chevalier dans l’ordre des Arts et des Lettres of France, was Musical America’s Musician of the Year and Conductor of the Year, Gramophone Magazine’s Artist of the Year and has been profiled on CBS’s 60 Minutes and ABC’s Nightline. He has won 11 Grammy Awards for his recordings. In 2008 he received the Peabody Award for his radio series for SFS Media, The MTT Files. In 2010 he was awarded the National Medal of Arts in a ceremony in the White House.

Classical Music. It’s In Our Nature.

Board of Trustees New World Symphony 2013-14

Officers Chair, Rose Ellen Greene Vice Chair, Edward Manno Shumsky Treasurer, Mario de Armas Secretary, Robert Moss

Board of Trustees Sari Agatston Jeffrey Akin Sheldon T. Anderson Madeleine Arison Sarah S. Arison Hilarie Bass Matthew W. Buttrick Tanya Capriles de Brillembourg Adam Carlin Bruce E. Clinton Mario de Armas Peter Dolara Howard Frank* John J. Geraghty Rose Ellen Greene Harry M. Hersh Florencia Jimenez-Marcos Neisen O. Kasdin* Gerald Katcher* Richard L. Kohan R. Kirk Landon Enrique Lerner Rais Alan Lieberman Albert R. Molina, Jr. William L. Morrison Robert Moss Sandra R. Muss Patricia M. Papper Jeffrey T. Roberts Richard T. Sanz Diane S. Sepler Edward Manno Shumsky Paul H. Stebbins Judy Weiser* Richard J. Wurtman

Ex-Officio, Non-Voting Michael Tilson Thomas Howard Herring

Trustees Emeriti Stanley Cohen Sheldon Schneider* Woody Weiser*º

ºDeceased *Indicates former Chair

Matthew Roitstein, Flute Alumnus; Sam Blair, Bassoon Alumnus; Jina Lee, Violin Alumna; James Ferree, Horn Alumnus; Benjamin Scott, Violin Alumnus

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About the New World Symphony The New World Symphony, America’s Orchestral Academy (NWS), prepares graduates of distinguished music programs for leadership roles in professional orchestras and ensembles. In the 26 years since its inception, NWS has helped launch the careers of more than 900 alumni worldwide. A laboratory for the way music is taught, presented and experienced, the New World Symphony, under the artistic direction of Michael Tilson Thomas, consists of 87 young musicians who are granted fellowships lasting up to three years. Modeled after the demands of a professional orchestra, the program offers in-depth exposure to traditional and modern repertoire, professional development training and personalized experiences working with leading guest conductors, soloists and visiting faculty. Relationships with these artists are extended through NWS’ pioneering experimentation with distance learning via the internet. NWS Fellows take advantage of the innovative performance facilities and state-of-theart practice and ensemble rooms of the Frank Gehry-designed New World Center, the campus of the New World Symphony. In the hopes of joining NWS, more than 1,500 recent music school and conservatory graduates compete for about 35 available fellowships each year. Fellows are selected for this highly competitive, prestigious opportunity based on their ability and their passion for the future of classical music.

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New World Symphony Staff Executive Howard Herring President and Chief Executive Officer Victoria Rogers Executive Vice President Beth Boleyn Executive Assistant and Board Liaison Emily Greene Assistant to the Executive Vice President Musician Advancement

Clyde Scott Director of Video Production

Rebecca Mosloff Box Office Associate

Daniel Slentz Associate Director of Video Production

Yuri Rubello Associate Director of Guest Services

Roberto Toledo Director of Audio Services

Cristina Puerto Web Administrator

Dean Tomlinson Assistant Technical Director

Hilary Saunders Communications Manager

David Torre Production and Administrative Assistant Adam Zeichner Senior Director for Program Operations

Dr. Ayden Adler Senior Vice President and Dean

Finance, Facilities and Information Technology David Phillips Senior Vice President and Chief Financial Officer


Allison Elder Manager of Visiting Faculty, Fellow and Alumni Services

Paul Woehrle Vice President for Development

Cassidy Fitzpatrick Assistant to the Dean and Community Engagement Thomas Hadley Associate Dean for Admissions, Fellow and Alumni Services Michael Linville Associate Dean for Chamber Music Activities

Sabrina Anico Senior Director of Sales Nathalie Cadet-James Director of Friends Jessica Cruces Assistant Director of Sales Julisa Fusté Development Manager

Edward Parsons Associate Dean for Visiting Faculty & Orchestra Manager

Iva Kosovic Director of Development, Special Events Michelle Kucharczyk Assistant Vice President, Development

Brian Sayre Assistant Orchestra Manager Robert Smith Director of Community Engagement Justin Trieger Technical Director for Distance Education & New Media Initiatives Artistic Programs Douglas Merilatt Senior Vice President for Artistic Planning and Programs

Kissme Charles Security Paula Cruz Staff Accountant Evelyn Davila Accounting Assistant /Receptionist Prevenu Ermilus Security Ernesto Espinosa Residence Maintenance Dorothy Harrell Security Supervisor

Jack Mizutani Special Events Coordinator

Jose Lamadrid Assistant Vice President, Facilities Operations

Lona Palmero Development Manager

Hyacinth Lilley Security Supervisor

Renée Rosen Senior Director of Research

Faye Munnings Vice President and Assistant Chief Financial Officer

Peter Sahwell Director of Foundation Relations Veronica Sierra-Soderman Development Database Administrator

Jason Barroncini Production Technician


Quanikqua Bryant Production Technician

Craig Hall Vice President for Communications

Ana Maria Estévez Artist Services Manager

Siggi Bachmann Creative Director

Martha Levine Librarian

Beth Breslin Box Office Associate

David Marin Videographer

Bruce Cohen Box Office Associate

Michael McEvoy Production Technician

Rayna Davis Marketing Manager

Alan Miller Production Technician

Eduardo Delgado Box Office Manager

Bruce Pinchbeck Videographer

Michael Frisco Director of Marketing

William Quirk Technical Director

Jonathan Heller Archivist

Len Rowe Production Technician

Michael Humphries Director of Audience Services

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Azael Ceballos Residence Manager

Luis Quintero Director of Information Technology Keith Ramsey Maintenance Lourdes Rivera Grants Accountant Andrew Salman Support & Application Analyst Jesse Pete Sasser Maintenance Rick Serna Maintenance Grace Tagliabue Staff Accountant Bismark Toval Maintenance Lesley-Ann E. Wright Accounting Assistant and Assistant to the Chief Financial Officer

Visiting Faculty and Alumni Visiting Faculty in November Violin Robert Lipsett, The Colburn School Kathleen Winkler, Rice University Shepherd School of Music Viola Karen Dryfus, University of California Thornton School of Music Cello Alan Stepansky, New York Philharmonic (retired) Bass Peter Lloyd, Minnesota Orchestra (retried) Oboe Cynthia Koledo DeAlmeida, Pittsburgh Symphony Orchestra Clarinet Benjamin Freimuth, Cincinnati Symphony Orchestra Bassoon Nancy Goeres, Pittsburgh Symphony Orchestra Horn Erik Ralske, Metropolitan Opera Orchestra Trombone Peter Ellefson, Seattle Symphony Percussion Michael Werner, Seattle Symphony * NWS alumnus

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Recent Alumni Successes Karin Andreasen, Violin, Winnipeg Symphony Orchestra Ann Fink, Violin, Saint Louis Symphony RenĂŠe-Paule Gauthier, Principal Second Violin, Chicago Chamber Orchestra Melissa Chung Hamlen, Second Violin, Grant Park Music Festival Orchestra Elina Lev, Violin, Utah Symphony Adrian Pintea, Assistant Concertmaster, Richmond Symphony Karen Wyatt, Violin, Utah Symphony Elizabeth Phelps, Principal Second Violin, North Carolina Symphony Daniel Stewart (Viola), Music Director, Santa Cruz Symphony Elzbieta Weyman, Viola, New Jersey Symphony Brendan Kane, Bass, Vancouver Symphony Jonathan Kuo, Violin, Stavanger (Norway) Symphony Brandon McLean, Bass, Vancouver Symphony Kurt Muroki, Bass faculty, Indiana University Jacobs School of Music Rick Basehore, Principal Oboe, Sarasota Opera Jason Shafer, Clarinet, Colorado Symphony Matthew Eckenhoff, Horn, Louisiana Philharmonic Jeanne Wiesman, Horn, Naval Academy Band Tony Prisk, Second Trumpet, The Philadelphia Orchestra George Curran, Bass Trombone, New York Philharmonic David Herbert, Timpani, Chicago Symphony Shannon Wood, Timpani, Saint Louis Symphony

Sponsor Recognition The Knight New Media Center Exploring the digital age in classical music Sponsored by

Premier Sponsor of the New World Symphony

City of Miami Beach, Cultural Affairs Program, Cultural Arts Council





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Encounters: Young Giants: Four Composer Prodigies Friday, November 1, 2013 at 7:30 PM, New World Center Saturday, November 2, 2013 at 7:30 PM, New World Center

James Feddeck, conductor Jamie Bernstein, host


Symphony No. 1 in E–flat major, K. 16 (1764) I. Molto allegro


Overture to A Midsummers Night Dream, Op. 21 (1826)

GEORGES BIZET (1838-1875)

Symphony No. 1 in C major (1855) IV. Allegro vivace


Symphony No. 1 in F minor, Op. 10 (1924-25) II. Allegro IV. Allegro molto--Lento

These concerts are sponsored in part by The Andrew W. Mellon Foundation

CARNIVAL CORPORATION IS THE PREMIER SPONSOR OF THE NEW WORLD SYMPHONY. THESE CONCERTS ARE PRESENTED WITH THE SUPPORT OF THE MIAMI-DADE COUNTY DEPARTMENT OF CULTURAL AFFAIRS AND THE CULTURAL AFFAIRS COUNCIL, THE MIAMI-DADE COUNTY MAYOR AND BOARD OF COUNTY COMMISSIONERS. YAMAHA IS THE OFFICIAL PIANO OF THE NEW WORLD SYMPHONY. Pianos generously provided by Piano Music Center. This concert is being recorded for archival and possible broadcast purposes. Your cooperation in maintaining a quiet listening environment is appreciated. Photography and recording is not permitted. All dates, times, programs, prices and artists are subject to change.

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November 1 - 2 Encounters: Young Giants: Four Composer Prodigies

Encounters: Young Giants: Four Composer Prodigies WOLFGANG AMADEUS MOZART Mvt. I from Symphony No. 1 in E–flat major, K. 16 (1764) Like many famous child prodigies, Wolfgang Amadeus Mozart moved through his brilliant early career with a firm parental guiding his back— some might even say a thumb, jabbing it. Under the tutelage of his father, Leopold, little Wolfgang spent his childhood on the road, performing shows for royal families across Europe alongside his sister. The two of them, on pianos, were a kind of Salzburg’s Got Talent showcase: Little Wolfgang would improvise on the piano for an hour or more to delighted gasps; he played on a cloth-covered keyboard; he sight-read any music that was put in front of him. His father was a frustrated man, the sort of person with an ever-changing list of perceived enemies, a lifetime of unfinished projects and mounting debt. But he poured a lot of money into Wolfgang’s career, and in 1764, he published many of his son’s earliest works as a composer at his own expense. The music you're listening to now? Wolfgang was eight when he wrote it. He wrote it during a brief, blessed gap in his non-stop touring schedule, when Leopold came down with a throat infection and the whole family had to veer off course to a small town near London to recover. Wolfgang, who was not allowed to play piano while his father recovered, wrote this instead. You know, to pass the time. Even though a child wrote it, the work is instantly, obviously Mozart: it’s fresh, friendly, it bounds with energy. The themes are Mozartian in a way that you can probably feel; if he hadn’t developed much life experience yet, you could feel his spirit. The themes here don’t do much more than announce themselves and then repeat—young Mozart hadn’t gotten a handle on development yet. But still, this six-minute movement is stronger than anything his father, a struggling court composer, wrote in his entire life.

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Felix Mendelssohn wrote this piece when he was 17 years old, which is remarkable on its own—in most of America, 17 is the “getting my driver’s license” stage of life. But what’s maybe even more remarkable about the Overture to A Midsummer Night’s Dream is that he picked it back up again, 16 years later, revisiting the themes and revising the music. You see, Felix Mendelssohn was obsessed with A Midsummer Night’s Dream. The way that you or I might have demanded to watch The Lion King three times back to back as children? This is how young Felix felt about A Midsummer Night’s Dream. He told his sister, Fanny, that he identified with all the characters. That’s easy enough to understand. It is a spectacular children’s story, after all—it has fantastical creatures, an enchanted wood, some naughty behavior. The story stayed with Mendelssohn his whole life and was never far from the surface, so he was able to tap right back into that well of inspiration even as an adult. It’s worth pointing out that Felix Mendelssohn was good at everything—he danced, he sang, he spoke several languages fluently, he translated works from Latin. He was almost comically gifted and might be one of the brightest child prodigies in the history of Western civilization. His mind was an animated place, and it’s this quality you can hear in his loving tribute to Shakespeare’s fairy world. No composer had quite captured the musical essence of an enchanted realm quite so potently before. The woodwinds in the opening are misty-sounding, faraway, suggesting the dim, soft lights of the fairy world in which the story takes place. This is music of sheer, giddy, whirling excitement, a musical champagne glass, and the best way to experience it is to just let it tickle your throat as it goes down.

November 1 - 2

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Encounters: Young Giants: Four Composer Prodigies

FELIX MENDELSSOHN Overture to A Midsummers Night Dream, Op. 21 (1826)

November 1 - 2 Encounters: Young Giants: Four Composer Prodigies

GEORGES BIZET Mvt. IV from Symphony No. 1 in C major (1855) Georges Bizet was 17 when he composed his first symphony, the same age as Mendelssohn was when he wrote A Midsummer Night’s Dream. But unlike Mendelssohn, he never intended for us to hear this piece: He never mentioned it once in his lifetime, never tried to have it published or performed by anyone. Why? One answer is that he wrote it as a student exercise at the Paris Conservatory, and in much the same way Hemingway never thought it relevant to publish his high-school essays in The Kansas City Star, it might have never occurred to Bizet to share with us an assignment he wrote to master his voice. Another reason Bizet never advertised this piece might have been professional pride: There are some structural similarities between this piece and the first symphony by his teacher Charles Gounod. No plagiarism, of course, but enough that Bizet might not have wanted it out there. The only reason we are hearing it now is because someone came across it 80 years later, in 1933. The irony, of course, is that it has been a mainstay of the repertoire ever since. The lesson? Child prodigies have much, much higher standards than the rest of us. We are allowed to enjoy it on our own terms. The busy little scurrying mice theme that the violins play at the very beginning disappears after the first few seconds, like someone’s thrown a light switch. Then a march picks up, sounding like a royal fanfare at one moment and like a pair of heavy boots stomping a barroom floor at another.

DMITRI SHOSTAKOVICH Mvts. II and IV from Symphony No. 1 in F minor, Op. 10 (1924-25) From the very first churning notes of the cello, you can feel we’re somewhere different from the rest of the program—somewhere anxious, unhappy, restless, over-stimulated. The music’s upbeat moments feel like they are mocking the idea of “upbeat moments” in music, or in life in general, and feel like they’ve been curdled, slightly, in stomach acid. Welcome to Dmitri Shostakovich, a Russian composer known not only for his music, but also for his tortured autobiography and the psychodrama of his life under Stalin. Shostakovich’s music has prompted one of the most fascinating musicological police investigations in history: Was he a secret dissident, of the regime, writing protest

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When Shostakovich wrote this work, however, he had yet to fall into this vise. He was 18 years old, graduating from Saint Petersburg Conservatory. He already knew he was good. The best way to listen to these two movements—the second and the fourth—is as a reminder of what you felt like, maybe, when you were 18. The dominant emotion here is “easily unimpressed,” and the work surges back and forth like a kid pacing his room, fuming at his parents.

— Copyright © 2013 Jayson Greene Jayson Greene is Managing Editor of eMusic and Contributing Editor at Pitchfork. He lives in Brooklyn.

JAMES FEDDECK Recently completing his fourth and final season as Assistant Conductor of The Cleveland Orchestra, James Feddeck made his debut with the orchestra in August 2009 at the Blossom Music Festival. In March 2011 he replaced Franz Welser-Möst at the last minute to conduct the Zurich Opera’s staged production of Mozart’s Don Giovanni at Severance Hall. He has also directed a number of new community initiatives, including Cleveland Orchestra collaborative performances with the Cleveland Museum of Art and Cleveland Play House, and led two critically acclaimed subscription weeks in the 2012-13 season. In addition to his duties as Assistant Conductor, Mr. Feddeck served as Music Director of The Cleveland Orchestra Youth Orchestra, which he led on its first-ever international tour to the musical capitals of Prague, Salzburg and Vienna.

Before his appointment in Cleveland, Mr. Feddeck was Assistant Conductor of the Memphis Symphony Orchestra for two seasons. He was a conducting fellow

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November 1 - 2

In the United States, Mr. Feddeck has conducted the orchestras of Atlanta, Charleston, Charlotte (with soloist Yo-Yo Ma), Grand Rapids, Indianapolis, Memphis, Omaha, St. Louis, San Diego and Toledo; led performances with the Kennedy Center Opera Orchestra (Ballet Across America Festival); and appeared several times at the Aspen Music Festival, where he returned in the summers of 2012 and 2013. Recent and upcoming engagements include his Canadian debut with the Orchestre symphonique de Québec; additional debuts with the orchestras of Calgary, Edmonton, Naples, Rochester, Santa Fe and Tucson, as well as the Los Angeles Chamber Orchestra and The Florida Orchestra; and reengagements with the Atlanta and Toledo Symphonies.

Encounters: Young Giants: Four Composer Prodigies

music in coded languages so that he would escape the censors? It’s gripping stuff and it’s gripped a fair number of scholars over the past 80 or so years.

November 1 - 2 Encounters: Young Giants: Four Composer Prodigies

for three summers at the American Academy of Conducting at the Aspen Music Festival and School, where he received the Robert J. Harth Conductor Prize in 2007 and the Aspen Conducting Prize in 2008, which led to a fourth year at the festival, as Assistant Conductor. He was also the unanimous winner of the Sixth Vakhtang Jordania International Conducting Competition and, at 22, its youngest participant. Previously the recipient of a Career Assistance Award from the Solti Foundation U.S., he most recently received the 2013 Sir Georg Solti Conducting Award, also known as The Solti Fellow. Mr. Feddeck’s musical training and background is unusually diverse and multifaceted. He was admitted to the Oberlin Conservatory of Music in four areas—piano, oboe, organ and conducting, a rare distinction. At Oberlin he conducted his first fully staged operatic production, Mozart’s Così fan tutte. After receiving undergraduate and graduate degrees from Oberlin, he continued his conducting studies at the University of Michigan and at Aspen, where he was a protégé of David Zinman. In April 2010 Mr. Feddeck took part in a master class with Mr. Zinman in Zurich, Switzerland that culminated in a performance (and his debut) with the Tonhalle Orchestra. Mr. Feddeck has performed organ recitals throughout Europe and North America, won competitions sponsored by the American Guild of Organists, and been featured on Pipedreams, a nationally syndicated radio program. An advocate of new music, he has commissioned and premiered works for oboe, including Daniel Pinkham’s Oboe Quartet. In 2010 he was recognized by Oberlin as the first recipient of the Outstanding Young Alumni Award for professional achievement and contributions to society.

JAMIE BERNSTEIN Jamie Bernstein is a narrator, writer and broadcaster who has transformed a lifetime of loving music into a career of sharing her knowledge and enthusiasm with others. She grew up in an atmosphere bursting with music, theatre and literature. Her father, composer-conductor Leonard Bernstein, together with her mother, the pianist and actress Felicia Montealegre, and their legions of friends in the arts, created a spontaneous, ebullient household that turned Ms. Bernstein into a dyed-in-the-wool cultural enthusiast. Ms. Bernstein's symphony pops concert, "Bernstein on Broadway," produced with conductor Michael Barrett, has enjoyed success with the Vancouver Symphony, Minnesota Orchestra, Phoenix Symphony, San Antonio Symphony and Rochester Philharmonic, among others. An evening of Leonard Bernstein’s music for Broadway, the program features Ms. Bernstein’s concert narration performed live with orchestra and vocalists.

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Ms. Bernstein also travels the world as a concert narrator, appearing with orchestras from Philadelphia to Minnesota, Havana to Beijing. In addition to her own scripts, she also performs standard concert narrations, such as Walton's Façade, Copland's A Lincoln Portrait, Prokofiev’s Peter and the Wolf and her father's Symphony No. 3, "Kaddish." She is a frequent speaker on musical topics, including in-depth discussions of her father's works. In her role as a broadcaster, Ms. Bernstein has produced and hosted numerous shows for radio stations in the United States and Great Britain. In addition to hosting several seasons of the New York Philharmonic's live national radio broadcasts, she has presented several series for New York's classical music station, including annual live broadcasts from Tanglewood. Most recently she presented a series for BBC Radio 3, "Fast Machine," about the music scene in New York City. In addition to writing her own scripts and narrations, Ms. Bernstein writes articles and poetry, which have appeared in such publications as Symphony, DoubleTake, Town & Country and Gourmet.

Encounters: Young Giants: Four Composer Prodigies

Replicating her father's lifelong compulsion to share and teach, Ms. Bernstein has written and produced several concerts for families and young people on the music of Copland, Mozart, Bernstein and others. The acclaimed program "The Bernstein Beat," a family concert about her father modeled after his own groundbreaking Young People's Concerts, has been presented by Carnegie Hall Family Concerts, the Caramoor Festival and orchestras across the country. In 2009 she was commissioned by the Philadelphia Orchestra to write a youth concert narration in partnership with The Philadelphia Orchestra’s education department based around Pennsylvania State curriculum standards for school children. The final program, “Music Can Morph: Folk Music in the Concert Hall,” was presented by The Philadelphia Orchestra in nine sold-out school-time concerts during the 2009-10 season.

November 1 - 2

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Fresh Voices Sunday, November 3, 2013 at 2:00 PM, New World Center Mir贸 Quartet Daniel Ching, William Fedkenheuer, violin John Largess, viola Joshua Gindele, cello Musicians of the New World Symphony ARNOLD SCHOENBERG (1874-1951)

A Rendezvous (1905) Henry Ward, oboe, David Lemelin, clarinet Kayla Moffett, violin, Meredith McCook, cello Aya Yamamoto, piano


Snapshots (2013; world premiere) Sarah Silver and Jennise Hwang, violin Derek Mosloff, viola, Marybeth Brown-Plambeck, cello Matthew Decker and Jay Ganser, percussion Aya Yamamoto, piano INTERMISSION


Octet (1923, revised 1952) Sinfonia Tema con variazioni Finale Henrik Heide, flute, Brad Whitfield, clarinet Thomas Fleming and Kathryn Brooks, bassoon Pierre-Louis Marques and Dylan Girard, trumpet Kathryn Daugherty, trombone, Jeremy Morrow, bass trombone

DAN WELCHER (b. 1948)

Museon Polemos (War of the Muses; 2012) Prologue: Introduction of the Rival Teams The Challenge: Introduction and Barcarolle The Battle: Epilogue Quartet A Kelly Bunch and Foster Wang, violin Allyson Goodman, viola, Alexandra Thompson, cello Quartet B Mir贸 Quartet

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Michael Linville is the New World Symphony’s Associate Dean for Chamber Music.

The work by Ms. Wong is a co-commission by the New World Symphony, San Francisco Symphony and Boosey & Hawkes. It is the third work to emerge from New Voices, a collaboration between those three organizations that will annually lead to the selection of a young American to compose a new work for instrumental ensemble and a new work for orchestra. These works will be premiered at the New World Symphony and subsequently performed by the San Francisco Symphony, with professional guidance and editorial support provided by Boosey & Hawkes. Ms. Wong’s work for orchestra will be premiered by NWS on April 26, 2014 with Michael Tilson Thomas conducting.

CARNIVAL CORPORATION IS THE PREMIER SPONSOR OF THE NEW WORLD SYMPHONY. THIS CONCERT IS PRESENTED WITH THE SUPPORT OF THE MIAMI-DADE COUNTY DEPARTMENT OF CULTURAL AFFAIRS AND THE CULTURAL AFFAIRS COUNCIL, THE MIAMI-DADE COUNTY MAYOR AND BOARD OF COUNTY COMMISSIONERS. YAMAHA IS THE OFFICIAL PIANO OF THE NEW WORLD SYMPHONY. Pianos generously provided by Piano Music Center. This concert is being recorded for archival and possible broadcast purposes. Your cooperation in maintaining a quiet listening environment is appreciated. Photography and recording is not permitted. All dates, times, programs, prices and artists are subject to change.

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Fresh Voices ARNOLD SCHOENBERG A Rendezvous (1905)

November 3

From early in his career, Schoenberg made a habit of jotting down themes or even entire passages of music as inspiration struck him. Following his death in 1951, scholars pored through hundreds of these sketches and fragments, finding some that were nearly complete enough to perform. One such fragment consisted of 90 measures of slow music under the title Ein Stelldichein (A Rendezvous), written in 1905. The title came from a poem by Richard Dehmel, the poet who also penned Transfigured Night, the text that inspired Schoenberg’s breakthrough string sextet in 1899. The Austrian composer Friedrich Cerha took on the task of shaping the work into a standalone movement for chamber ensemble, and he conducted its premiere in Vienna in 1966.

Fresh Voices

The scoring of oboe, clarinet, violin, cello and piano resembles the ensemble Schoenberg used for Pierrot Lunaire in 1912, which was identical except for a flute replacing the oboe. Schoenberg’s music takes its cues from Dehmel’s poem, which depicts a tormented lover in an atmosphere of “stifling air” and a “heavy sky,” ending with the line, “I wish for my death.” The harmonic language matches Schoenberg’s other works from that period, when he was working in the outer limits of the tonal system on his way toward abandoning key centers entirely. Chords and melodies built from whole-tones create an unsettled mood, and static accompaniments hold back the music’s forward thrust, mirroring the poem’s “stifling” atmosphere.

CYNTHIA LEE WONG Snapshots (2013; world premiere)

Photo by George Kunze

Cynthia Lee Wong has attracted international acclaim for her “shamelessly beautiful” music and devotion to "not only the avant-garde audience, but all classical enthusiasts" (Süddeutsche Zeitung). Ms. Wong's creative output encompasses works for orchestra, chamber ensemble, dance and musical theater. Her past commissions include pieces premiered by the Bavarian Radio Symphony Orchestra, Orpheus Chamber Orchestra, Orchestra del Teatro Olimpico and the Tokyo String Quartet, and for organizations such as the Santa Fe Chamber

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Music Festival, Tanglewood Music Festival and the La Jolla Music Society. Ms. Wong is a graduate of the five-year Bachelor of Music/Master of music degree program at The Juilliard School. She is a Ph.D. Fellow at the City University of New York Graduate Center and teaches at Baruch College. She wrote the following note about her new work. For Snapshots, I became interested in re-connecting with the playful aspects of the creative process that had first enchanted me as a child. Snapshots therefore embraces qualities of rebirth and renewal with spirited gusto.

IGOR STRAVINSKY Octet (1923, revised 1952) Stravinsky and his family moved to Biarritz in 1921, a French resort town with a large Russian émigré population. He began the Octet for wind instruments there in 1922, prompted by “a dream, in which I saw myself in a small room surrounded by a small group of instrumentalists playing some attractive music.” He completed the piece in Paris, and made his official conducting debut with the work on October 18, 1923—not in the “small room” of his dream, but in the massive Paris Opera House. Writing in 1924 with a dryness to match his “neoclassical” aesthetic, Stravinsky claimed, “My [Octet] is not an ‘emotive’ work but a musical composition based on objective elements which are sufficient in themselves.” Among these “objective elements” were the classical structures Stravinsky employed. The first movement plays with sonata form, beginning with a flowing introduction and moving to a sharp-

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November 3

A unique feature of Snapshots is its keyboard part, which requires the pianist to play the piano and celesta simultaneously. This idea originated from my teenage years, during which my composition lessons took place in a room where one of the pianos was tuned a quarter-tone flat while the other was tuned normally. Given my composition teacher had perfect pitch, I enjoyed some devilish fun, playing both pianos to greet my teacher as he walked in. As Snapshots is the first piece in which I have specified this two-keyboard setup, the writing itself is traditionally idiomatic. I imagine, though, that this arrangement could be explored further to lead to new and interesting possibilities.

Fresh Voices

In this one-movement, “perpetual motion” work, moments fly by so quickly that only impressions (or snapshots) of an experience can be sensed. Snapshots also refer to the 'whooshes' that rapidly crescendo and whirl throughout the piece. This is similar to life hurling its curveballs, throwing one off balance as one tries to adapt to its ever-changing moments. There are, however, slow and introspective moments, as reminders of one's inner fortitude, despite the turbulence on t he surface.

tongued, driving Allegro. The central movement, cast as a Theme and Variations, takes up another time-honored structure; in this case, Stravinsky wrote the waltz variation first, and then worked backward to extract a theme. The finale, introduced by a pecking bassoon duet on the heels of an angular flute solo, weaves Bach-style linear counterpoint among the voices. Stravinsky made slight revisions to the Octet in 1952, allowing him to secure a U.S. copyright. By that point, he had spent three decades expanding upon the crystalline sound he dreamed up for the Octet, confounding those who kept expecting a return to the ritualistic bombast of The Rite of Spring. He was also by then married to the Octet’s secret dedicatee, Vera de Bosset, his lover since 1921.

Fresh Voices

November 3

DAN WELCHER Museon Polemos (War of the Muses; 2012) Dan Welcher is a celebrated American composer, conductor and teacher. With a commission from Texas Performing Arts, Welcher created Museon Polemos (War of the Muses) in 2012 to feature the Miró and Shanghai Quartets. The composer provided the following description of the work. Museon Polemos is basically a 25-minute ballet without dancers—but with two rival dance teams. When I say “ballet,” I’m thinking of the classic Balanchine/ Stravinsky works of the 1930s and 40s, like Orpheus and Jeu des cartes. These are pieces that do not exactly tell a story, but that imply one, with that wonderful flexibility of mood, speed and timing that those pieces have. I concocted a scenario in which Quartet A is one “tribe,” and Quartet B is another. They sit not all together, but separated on the stage facing each other on a half-angle to the audience. The piece is in three big sections. It’s completely abstract, in that there is no real “story,” but it has a scenario nonetheless. Each quartet is a “tribe” or a “gang” with its own sonic identity and its own way of acting and reacting. Quartet A is Apollonian, to a certain extent—cool, well-disciplined, thoughtful and “neoclassic”—while Quartet B is Dionysian—hedonistic, swaggering and governed by the senses. Each of the two quartets has its own musical language; the various chords and scales that are used for Quartet A are different from the materials used for Quartet B. Part I introduces the players, first as separate quartets and then with individual solos. It consists of many short, connected sections, about a minute each—just long enough to get one set of dancers into the wings while the next one skips on, though it begins and ends with both quartets in full sail. The individual “showoff” solos for each quartet are preceded by swirling introductory music, with a “your turn” feeling, as one quartet cedes the floor to the other. Part II is a challenge: a standoff between the groups. Quartet A plays chordal music, but Quartet B’s first violinist decides to strut his stuff with a big cadenza. This happens twice, until it appears that Quartet B will win the day, but then Quartet A begins a slow, barcarolle-like motion that is emotionally contained, but nonetheless very sad. Soon all eight of them are rocking together on that

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boat—and after the climax (actually quite romantic), the groups re-separate and leave the way they came. Separate, but equal. Part III is the actual fight, a sort of “rumble of the quartets.” The music is cast as a big tarantella with side-trips, and both groups feverishly trade off material throughout. There is a tragic highpoint to all this fast-and-furious fun, though, and it leaves us in the dust unable to move. Gradually a song begins, rising slowly from the depths with a cantus firmus of Gregorian chant sounding over and over in the violins. The source-tune quoted here is the original fourth-century music for the Latin Mass to the words Dona nobis pacem. The piece ends with a frame of the very beginning: the two gangs know and respect each other now, and while they may never completely reconcile, there is harmony between them.

— Copyright © 2013 Aaron Grad

Fresh Voices

Aaron Grad is a composer, guitarist and writer based in Seattle. Besides providing program notes for the New World Symphony, he has been the Orpheus Chamber Orchestra’s program annotator since 2005 and also contributes notes to the Saint Paul Chamber Orchestra and Seattle Symphony.

November 3

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Fresh Voices

November 3

Hailed by The New York Times as possessing “explosive vigor and technical finesse,” the dynamic Miró Quartet, one of America's highest-profile ensembles, enjoys its place at the top of the international chamber music scene. Now in its second decade, the Quartet continues to captivate audiences and critics around the world with its startling intensity, fresh perspective and mature approach. Founded in 1995 at the Oberlin Conservatory, the Miró Quartet met with immediate success, winning first prizes at the Coleman, Fischoff and Banff competitions as well as the prestigious Naumburg Chamber Music Award. It was also a recipient of the Cleveland Quartet Award and was the first ensemble ever to be awarded the Avery Fisher Career Grant. Since then the Miró Quartet has performed throughout the world in important venues such as Carnegie Hall, the Concertgebouw, the Berlin Philharmonic’s Kammermusiksaal and Vienna’s Konzerthaus. The Miró Quartet has collaborated with such artists as Leif Ove Andsnes, Joshua Bell, Eliot Fisk, Lynn Harrell, Midori, Jon Kimura Parker and Pinchas Zukerman. A favorite of numerous summer festivals, the Quartet has appeared regularly at the Santa Fe Chamber Music Festival, Chamber Music Northwest, La Jolla Summerfest, Orcas Island Chamber Music Festival and the White Pine Festival. The Miró Quartet has been heard on numerous national and international radio broadcasts, including National Public Radio's Performance Today and Minnesota Public Radio's Saint Paul Sunday. In addition, the Quartet has released numerous recordings, most recently the Opus 18 Quartets of Beethoven on the Vangaurd Classics label. The Quartet’s recording of George Crumb’s Black Angels won the prestigious French Diapason d'Or. In the fall of 2009, the Quartet embarked on a new partnership with Naxos and Longhorn Music with the release of a live recording featuring works of Kevin Puts and Dvořák. Deeply committed to music education of all ages, the Miró Quartet serves as the Faculty String Quartet-in-Residence at the Sarah and Ernest Butler School of Music at the University of Texas at Austin. At the University of Texas, the Quartet members teach private students as well as coach chamber music groups. In the summers, the Quartet has taught at the Sunflower Festival, Norfolk Chamber Music Festival, Lake Tahoe Music Festival and the Kent/Blossom Music Festival. On short notice the Quartet filled in for both Isaac Stern and Henry Meyer, leading master classes in Lucerne, Switzerland and at the Jeunesses Musicales Deutschland. The Quartet continues to give frequent master classes at many institutions around the world. The Miró Quartet is named for the Spanish artist Joan Miró, whose surrealist works—with subject matter drawn from the realm of memory and imaginative fantasy—are some of the most original of the 20th century. For more information, please visit

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Percussion Consort Saturday, November 16, 2013 at 7:30 PM, New World Center

Michael Linville, conductor Laquita Mitchell, soprano Elliot Beck, Matthew Decker, Jay Ganser, Rajesh Prasad, Chris Riggs, percussion Emma Gerstein, flute

EDGARD VARÈSE (1883-1965)

Ionisation (1929-31)

LOU HARRISON (1917-2003)

Concerto for Flute and Percussion (1939) Earnest, fresh and fastish Slow and poignant Strong, swinging and fastish

SHAUN NAIDOO (1962-2012)

Sentient Weather (2008) Video by Clyde Scott (2008, revised 2013)



Cantata para la América Mágica, Op. 27 (1960) Prelude and Song to the Dawn Nocturne and Song of Love Song for the Departure of the Warriors Fantastical Interlude Song of Agony and Desolation Song of Prophecy Ms. Mitchell

The additional percussionists performing this evening are students at the University of Miami Frost School of Music.

CARNIVAL CORPORATION IS THE PREMIER SPONSOR OF THE NEW WORLD SYMPHONY. THIS CONCERT IS PRESENTED WITH THE SUPPORT OF THE MIAMI-DADE COUNTY DEPARTMENT OF CULTURAL AFFAIRS AND THE CULTURAL AFFAIRS COUNCIL, THE MIAMI-DADE COUNTY MAYOR AND BOARD OF COUNTY COMMISSIONERS. YAMAHA IS THE OFFICIAL PIANO OF THE NEW WORLD SYMPHONY. Pianos generously provided by Piano Music Center. This concert is being recorded for archival and possible broadcast purposes. Your cooperation in maintaining a quiet listening environment is appreciated. Photography and recording is not permitted. All dates, times, programs, prices and artists are subject to change.

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Percussion Consort

Percussion Consort

November 16

EDGARD VARÈSE Ionisation (1929-31) Some jingling change; an ambulance whirring down a distant city block; church bells; cars honking; Edgard Varèse’s Ionisation might remind you of a lot of things, and none of them might be what you normally file under “music.” The French composer was a radical devoted to new sounds: “I refuse to submit myself only to sounds that have already been heard,” he declared, shortly after moving to America in 1915. Ionisation is one of his most famous pieces, a startling and short battery of noises that tenderizes your nerve endings and submerges you in a crawling landscape of alien noises, all in eight minutes. The young composer came to America looking for the future, and settled in New York City, which remains a great place to soak up ambient noise. He started hearing a high-pitched whine in his head that he couldn’t shake, he remembered later, and started to pursue it in his scores. Varèse’s music is city music, for sure—music with no future and no past, just the rumble and bustle and texture of Right Now. Ionisation was also one of country’s first all-percussion scores, and no matter how many times you wander through its crawling maze of noises, you will find yourself startled by something. It was completed in 1931, and listening to it is still like plunging your head into an ice bath. If you feel startled and uncomfortable and unsure of yourself when it’s over, congratulations—you did it right.

LOU HARRISON Concerto for Flute and Percussion (1939) The first movement of this piece comes with one of my all-time favorite tempo markings: “Earnest, fresh and fastish.” Fastish. Lou Harrison was such a gentle, generous soul that he didn’t want to insist too much on specifics, lest he freak you out. He was no dictator; he considered the performer an equal partner in his scores and loved to leave room for extremes in tempo, moments where his music could bend and stretch. This piece reflects a lot of the warm glow of tenderness that defined him. Harrison was drawn towards Eastern sounds and modes of thinking, and you can hear that in the rhythms and harmonies of this piece. The flute line wanders all over its range, playing its highest and its lowest notes, but with a neat trick embedded: Harrison liked to set limits for himself, to turn his pieces into puzzles that only he could solve. For this one, he decided he could only write in a few different “intervals,” which is the term for the spaces between the notes. Despite the apparently flowing freedom of the music you’re hearing, the flute is wandering along a tightrope of proscribed notes. You would never know it, though. The music pours out with thoughtless, natural beauty. Of all the works

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on this all-percussion program, this is undoubtedly the most soothing. His music is like an early-morning sunbeam through a window, the kind you move across the room to stand underneath.

SHAUN NAIDOO Sentient Weather (2008)

Naidoo’s music had a special way with ear-catchingly odd sounds: He wrote a piece for a guitarist friend named Jeff Cogan that combined classical acoustic guitar with a series of pre-recorded pings and clanks that sounded watery, like they were being recorded in a flooded studio. He also liked to blend computer sounds with human sounds, in a way that made it hard to tell where one ended and the other began: The word that critics and scholars use for this is “electroacoustic.” For Sentient Weather, however, he swore off electronic elements—as well as determined pitches—and pushed off into deeper, unfamiliar waters. It was a period of “electronic abstinence,” as he playfully called it, and it was a hint of the many roads he may have traveled if not for his untimely death.

Percussion Consort

The South African-born composer Shaun Naidoo was erudite, gentle, witty and beloved. He taught composition at Chapman University Conservatory of Music and wrote pieces for a series of contemporary classical ensembles, including the New World Symphony. He died a year ago last May of a brain injury; Sentient Weather, the piece you’re hearing, was a commission by NWS that first premiered in 2009.


Now, five years later, I have revisited this piece for the New World Center’s concert hall and its immersive projection system. Coincidentally the hall’s architecture includes five large projection surfaces—or “sails” as we call them— that well correspond to the five players and five storms. While reworking the video for this different space, I sought to keep the visual themes intact while expanding its sense of travel and of a journey through a strange and beautiful terrain. The five “sails” made it possible to visually echo the interplay of the instruments and overlapping sounds in the music by allowing for imagery to flit from one surface to another. And the immersive nature of the hall’s projection system enabled me sometimes to engulf the audience in a violent storm—or to envelop it in a beautiful panorama.

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November 16

In 2008 I created a video to accompany the world premiere of Shaun Naidoo's Sentient Weather at the Lincoln Theatre. Shaun explained that his inspiration for the piece was a journey through a specific valley in Utah where he witnessed and was surrounded by five individual storm systems while on the highway. Taking my cue from his inspiration, I began searching for images and footage of storms, rain and lightning; rock formations from the area of Utah that Shaun had traveled; and even desert highways undulating through red landscapes. Working with a single projector and using only this footage and imagery, I strove to visually express and amplify what I heard in the music.

ALBERTO GINASTERA Cantata para la América Mágica, Op. 27 (1960)

Percussion Consort

November 16

Alberto Ginastera made his name mixing South American folk music with European classical and, early in his career, he wrote cinematic, melodic music that you could easily set to a current-day adventure film. When European classical music started shuddering and heaving under strange new tonalities, however, Ginastera’s ears pricked up. Composers like Arnold Schoenberg, Anton Webern and Alban Berg, sniffing rot around their post-World War I culture and fearing it would penetrate their music, decided to throw out the composing rulebook and invent a new one. The result was what you might have heard a music-major friend of yours refer to as “twelve-tone” music. The mathematics of twelve-tone only seriously matter to composers and professional musicians. It was essentially a new way of shuffling and dealing the same deck of cards composers had always worked with. What listeners grapple with is an alien sense that the pitches they are hearing don’t line up in any of the usual ways. Everyone who heard those ear-troubling vibrations was changed, somehow: Some were shaken and repulsed. Many were intrigued. As you can probably gather from Cantata para la América Mágica, Ginastera fell into the “intrigued camp.” The work is one of the longer ones on the program, stretching over 24 minutes. The beautiful secret about twelve-tone music is that no one who used it technically had to write jarring music that sounded “atonal” to people. It all depended on how you dealt the cards. In this piece, Ginastera played with the possibilities and he found a world of inner voices, places where the blue, bent notes of his folkloric music mapped onto the contours of this new system. The lyrics are by Ginastera’s wife, Mercedes de Toro, and are inspired by pre-Columbian poetry.

— Copyright © 2013 Jayson Greene Jayson Greene is Managing Editor of eMusic and Contributing Editor at Pitchfork. He lives in Brooklyn.

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A Los Angeles native, Mr. Linville has performance degrees in percussion from Pepperdine University and the University of Southern California. While living in Los Angeles, he served on the accompanying staffs of USC, CSU Fullerton, and Crossroads School in Santa Monica. In 1993 Mr. Linville accepted a fellowship in the New World Symphony. After completing his fellowship in 1997, he was offered a position on the NWS staff, initially as an in-house coach and accompanist.

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November 16

As a soloist, Mr. Linville has performed with the San Francisco Symphony, New World Symphony, and Breckenridge Music Festival Orchestra. He has played as a guest artist with the Florida Orchestra, Honolulu Symphony and Pasadena Symphony, and was a featured keyboardist with the former Florida Philharmonic. His playing can be heard on a number of recordings, including New World Jazz (BMG), A Night in the Tropics: The Music of Gottschalk (Naxos), Orchestral Music of Bernstein (Naxos) and White Mares of the Moon: Chamber Music of Dan Welcher (CRI/NWR), which Mr. Linville also produced.

Percussion Consort

Pianist, percussionist, harpist, conductor, arranger and educator, Michael Linville is currently the Associate Dean for Chamber Music at the New World Symphony, having served previously as both Dean of Musicians and Director of Admissions. Mr. Linville is also the artistic coordinator of the New World Percussion Consort, an ensemble dedicated to the performance of contemporary chamber music that features percussion. During the summer months he performs as pianist, percussionist and guest conductor with the Breckenridge Music Festival in Colorado.


Percussion Consort

November 16

Soprano Laquita Mitchell consistently earns acclaim in eminent opera companies throughout North America and Europe. Already in her young career, she has led performances with the Los Angeles Opera, San Francisco Opera, Houston Grand Opera, Lyric Opera of Chicago, New York City Opera, Washington National Opera and the Opéra Comique in Paris, among many others. In her compelling debut as Bess in Porgy and Bess with the San Francisco Opera, Opera News said “Soprano Laquita Mitchell, in her first outing as Bess, dazzled the SFO [San Francisco Opera] audience with her purity of tone and vivid theatrical presence.” She has since reprised the role with the New Jersey State Opera, Atlanta Opera, Tanglewood Festival, Westminster Choir College, Kansas City Symphony, Madison Symphony, Boston Symphony Orchestra and Cleveland Orchestra. She will join Syracuse Opera for a semi-staged production in the spring of 2014. This season Ms. Mitchell joins Beth Morrison Projects for David Lang’s The Difficulty of Crossing a Field in the role of Virginia Creeper, which will appear in three cities as well as be televised. In addition she makes her New World Symphony debut this evening and will be featured at the Atlanta Music Festival. In her spring 2012 role debut as Violetta in La Traviata with New York City Opera, Ms. Mitchell was labeled “extraordinary,” thanks to her “wide expressive range and big-hearted sound that contains just a hint of sexy smokiness. Her Sempre libera was enlivened by a rhythmic clarity that made it seem almost danceable.” Other notable appearances include Leonora in Il Trovatore in South Carolina as well as with Nashville Opera; the role of Sharon in Terrance McNally’s Master Class at the Kennedy Center; Musetta in La Bohème in a return to the Los Angeles Opera; Mimì in La Bohème with Cincinnati Opera and at the Utah Symphony and Opera; Donna Anna in Don Giovanni with Florentine Opera, Portland Opera and Opera New Jersey; Micaëla in Carmen with New York City Opera and the former Opera Pacific; and Clara in Porgy and Bess with the Los Angeles Opera, Washington National Opera, Opéra Comique in Paris and on tour in Caen and Granada, Spain. Also active as a concert artist, Ms. Mitchell most recently performed “Over the Rainbow” during an evening honoring Harold Arlen at Weill Recital Hall at Carnegie Hall. Additional performances have included Barber’s Knoxville: Summer of 1915 with the Louisville Orchestra, the world premiere of composer Steven Stucky’s August 4, 1964 with the Dallas Symphony Orchestra, her Boston Symphony Orchestra debut as the soprano soloist in Wynton Marsalis’ All Rise, under the direction of Kurt Masur, and the soprano solo in Tippett’s A Child of our Time with the Washington Chorus at the Kennedy Center. She has also performed with The Philadelphia Orchestra, the New Jersey Symphony, the

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Princeton Symphony Orchestra, the New York Symphonic Ensemble at Alice Tully Hall, and with Branford Marsalis and the Garden State Philharmonic. Ms. Mitchell is an alumna of the Houston Grand Opera Studio, where she performed a variety of roles including Orquidea in Daniel Catan’s Salsipuedes (world premiere), Myhrrine in Mark Adamo’s Lysistrata (world premiere), Barena in David Alden’s production of Jenůfa, and The Water in Rachel Portman’s The Little Prince (world premiere), directed by Francesca Zambello and conducted by Patrick Summers.

A native of New York City, Ms. Mitchell was a 2004 Metropolitan Opera National Council Auditions grand prize winner and was awarded a 2004 Sara Tucker Award. She was also the first prize winner of the Wiener Kammer Oper’s 2003 Hans Gabor Belvedere Competition, making her the first American to win this competition in over 20 years. Additionally, in February 2002, Ms. Mitchell was the first prize winner of the Houston Grand Opera Eleanor McCollum Competition for Young Singers, as well as the winner of the Audience Choice award. Ms. Mitchell completed her Master of Music degree and the professional studies certificate at the Manhattan School of Music, and also completed undergraduate studies at Westminster Choir College.

Percussion Consort

Ms. Mitchell was previously a member of the San Francisco Opera’s Merola Program, where she sang the role of Mimì in La Bohème, and she joined Wolf Trap Opera in performances as Alice Ford in Antonio Salieri’s Falstaff, Donna Elvira in Don Giovanni, and presented a recital with renowned pianist Steven Blier.

November 16

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Image from Making the Right Choices: A John Cage Centennial Celebration, February 8 - 10, 2013 Premier Sponsor

Sibelius 2 Saturday, November 23, 2013 at 7:30 PM, New World Center Sunday, November 24, 2013 at 2:00 PM, New World Center

Osmo Vänskä, conductor Javier Perianes, piano


Concerto No. 1 in E minor for Piano and Orchestra, Op. 11 (1830) Allegro maestoso Romanze Rondo Mr. Perianes


JEAN SIBELIUS (1865-1957)

Symphony No. 2 in D major, Op. 43 (1901-02) Allegretto Andante, ma rubato Vivacissimo Finale: Allegro moderato

These concerts are sponsored in part by

CARNIVAL CORPORATION IS THE PREMIER SPONSOR OF THE NEW WORLD SYMPHONY. THESE CONCERTS ARE PRESENTED WITH THE SUPPORT OF THE MIAMI-DADE COUNTY DEPARTMENT OF CULTURAL AFFAIRS AND THE CULTURAL AFFAIRS COUNCIL, THE MIAMI-DADE COUNTY MAYOR AND BOARD OF COUNTY COMMISSIONERS. YAMAHA IS THE OFFICIAL PIANO OF THE NEW WORLD SYMPHONY. Pianos generously provided by Piano Music Center. This concert is being recorded for archival and possible broadcast purposes. Your cooperation in maintaining a quiet listening environment is appreciated. Photography and recording is not permitted. All dates, times, programs, prices and artists are subject to change.

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Sibelius 2

Sibelius 2

November 23 - 24

FRÉDÉRIC CHOPIN Concerto No. 1 in E minor for Piano and Orchestra, Op. 11 (1830) Frédéric Chopin was a piano prodigy who published his first works at age seven. He eventually found his niche in Paris, where he made a name for himself performing at exclusive salons (though rarely in public concerts), teaching private students and publishing a steady stream of solo piano music. The few works Chopin wrote for piano and orchestra date from his early years in Warsaw, Poland, when the most obvious career path available to him was that of the traveling concertizer. Just out of school and barely 20 years old, Chopin gave his first major performance in Warsaw in March of 1830, when he debuted the earlier of his two piano concertos (the work known as the Piano Concerto No. 2, due to the order of publication). He followed up in October with the premiere of the E-minor work printed as the Piano Concerto No. 1. Three weeks after the concert, Chopin left for Vienna on what was meant to be his first European tour; instead, political turmoil blocked his return to Poland, and he never saw his homeland again. Chopin’s First Piano Concerto can be confounding to listeners who judge the work against the concertos of Mozart and Beethoven. About the only aspect of Chopin’s concerto that hews to Classical ideals of form and balance is the opening tutti statement, in which the orchestra gives a thorough presentation of themes. Once the piano makes a bold entrance at a fortissimo dynamic, it takes hold of the concerto and hardly releases the spotlight for the remainder. The orchestra’s linking passages and subtle accompaniments do little to draw in the ear, and that seems to be exactly Chopin’s intention: it is music that glues one’s attention to the unquestioned star of the show, such that even the pianist’s silences constitute noteworthy events. The delicate Romance is closest in spirit to the compact forms that proved so fruitful for Chopin in later years, as in his many Nocturnes and Ballades. The muted strings impart a comforting warmth, while an excursion into the foreign key of G-sharp major, ending with a clock-like cadenza, adds a dash of fantasy. The Rondo finale struts to the cadence of a krakowiak, a Polish folk dance from the Krakow region in the south of Poland. This bit of local flavor surely helped win over the concerto’s first audience in Warsaw, and it still makes for a lively sendoff for one of the most exuberant concertos in the piano repertoire.

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JEAN SIBELIUS Symphony No. 2 in D major, Op. 43 (1901-02)

The Second Symphony begins in a cheerful, pastoral mood, but the relaxed progress breaks into a series of passages that seem not yet to have reconciled their positions as neighbors. Sibelius once wrote of this movement, “It is as if the Almighty had thrown down the pieces of a mosaic for heaven’s floor and asked me to put them together.” What we first encounter as separate “mosaic pieces” gradually comes into focus as one focused statement, with the hard edges joined together in crisp seams. Sibelius disavowed any political underpinnings in the Second Symphony, but that did not stop the Finnish people from embracing it as an anthem of their struggle after the Helsinki premiere in 1902. Much of the perceived “protest” aspect of the music traces to the second movement, with its trudging pizzicato, lugubrious bassoon melody and impassioned climaxes. The scherzo, a blur of perpetual-motion string figures and hovering woodwind lines, continues the sense of struggle. As in the preceding slow movement, a solo timpani signals a darkening of the mood, this time leading to the contrasting trio section and its haunting oboe melody. (Sibelius managed to make even the major-key music here sound sad, at least to this listener’s ear.) This slow material returns a second time and builds into something new, which turns out to be the start of the finale, its triumphant entrance supported by martial blasts from the low brass and timpani. As in the first movement, there is a sense of disconnected sound worlds coming together—for instance, a soaring string melody, a trumpet fanfare and a

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November 23 - 24

It was also around 1900 that Sibelius’ music began appearing in concert halls around Europe, satisfying the composer’s long-held ambition to be recognized on an international stage, and not just as a Finn. He was particularly pleased in 1901 to receive a kind word from Richard Strauss, who was just a year older than Sibelius but already a star. Sibelius’ plan around that time for a series of four tone poems related to the Don Juan legend demonstrated Strauss’ influence, but the work he began sketching in Italy and completed in Helsinki ultimately took shape as his Symphony No. 2.

Sibelius 2

Jean Sibelius was Finland’s first and greatest musical hero. By the turn of the 20th century, he was hailed at home for the First Symphony and the patriotic tone poem Finlandia, works that gave voice to a burgeoning national identity, and which fueled a political groundswell moving toward independence from Russia. Sibelius forged his Finnish sound in part from the fivenote modes and hypnotic rhythms of the Kalevala, an ancient folk poem that preserved Finnish mythology through oral tradition. He circulated with leading intellectuals in Helsinki—often drinking, smoking and spending far too much in the process—and did his part to foment change with patriotic songs and populist protest pieces.

rising horn call, all in the space of a few seconds. Sibelius’ widow explained that the somber music over a spinning bass line was composed in memory of a sisterin-law who committed suicide; that unsettled material manages to resolve each time into the more uplifting realm of the finale’s rising theme.

— Copyright © 2013 Aaron Grad

Sibelius 2

November 23 - 24

Aaron Grad is a composer, guitarist and writer based in Seattle. Besides providing program notes for the New World Symphony, he has been the Orpheus Chamber Orchestra’s program annotator since 2005 and also contributes notes to the Saint Paul Chamber Orchestra and Seattle Symphony.

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OSMO VÄNSKÄ Praised for his intense and dynamic performances, Osmo Vänskä is recognized for compelling interpretations of the standard, contemporary and Nordic repertoires, as well as the close rapport he establishes with the musicians he leads.

Almost 15 years after recording a landmark Sibelius cycle with the Lahti Symphony Orchestra—described by Gramophone Magazine as “the finest survey of the past three decades”—Osmo Vänskä has returned to his compatriot’s seven symphonies in a major new recording project with BIS, this time featuring the Minnesota Orchestra. The first disc, comprising the Second and Fifth Symphonies, was released in Spring 2012, while the second—Symphonies Nos.1 and 4—appeared in Spring 2013. A further Minnesota Orchestra record—the second in a cycle of Beethoven’s Piano Concertos with Yevgeny Sudbin—will be released in 2014, also on BIS. Formerly Music Director of the Lahti Symphony Orchestra, Chief Conductor of the BBC Scottish Symphony Orchestra and Music Director of the Iceland Symphony Orchestra, Mr. Vänskä studied conducting at Finland’s Sibelius Academy and was awarded first prize in the 1982 Besançon International Young Conductor’s Competition. He began his professional music career as a clarinetist, holding the co-principal chair of the Helsinki Philharmonic Orchestra and the principal chair of the Turku Philharmonic, and in recent years has enjoyed a return to the clarinet, including on a recent BIS recording of Kalevi Aho’s chamber works.

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November 23 - 24

The 2013-14 season sees performances with San Francisco Symphony (and soloist Daniil Trifonov), Cleveland Orchestra (Garrick Ohlsson), National Symphony Orchestra (Martin Fröst), New World Symphony (Javier Perianes), London Philharmonic Orchestra (Marc-Andre Hamelin), Wiener Symphoniker (Lise de la Salle), Bamberger Symphoniker (Martin Fröst), Orquesta Sinfónica de Galicia (Ilya Gringolts), Lahti Symphony Orchestra (Alisa Weilerstein) and Singapore Symphony (Pekka Kuusisto).

Sibelius 2

The Music Director of the Minnesota Orchestra between 2003 and 2013, Mr. Vänskä is internationally in demand as a guest conductor and has received extraordinary acclaim for his work with many of the world's leading orchestras, including the Boston and Chicago symphony orchestras, The Philadelphia Orchestra, the New York Philharmonic, the Berlin Philharmonic, Gewandhausorchester Leipzig, Royal Concertgebouw Orchestra and Czech Philharmonic Orchestra. He has also developed regular relationships the Mostly Mozart Festival (New York) and the BBC Proms.


Sibelius 2

November 23 - 24

The acclaim accorded to the pianist Javier Perianes by audiences and critics alike confirms his status as one of Spain’s most exciting young artists. Hugely popular with Spanish audiences, he has a growing international reputation. A familiar and sought-after participant at many renowned festivals within Spain, Mr. Perianes was the Artist in Residence at the Granada Festival in 2012 and was in residence at Teatro de la Maestranza and the Seville Orchestra during the 2012-13 season. He has performed in distinguished concert series throughout the world, having made notable appearances in New York’s Carnegie Hall, Concertgebouw in Amsterdam, Royal Festival, Barbican and Wigmore Halls in London, Suntory Hall in Tokyo, New World Center in Miami and the Théâtre des Champs Elysées in Paris. Mr. Perianes has worked with leading conductors including Lorin Maazel, Michael Tilson Thomas, Daniel Barenboim, Zubin Mehta, Rafael Frühbeck de Burgos, Jesús López Cobos, Antoni Wit, Daniel Harding, Juanjo Mena, Josep Pons, Yuri Temirkanov, Hugh Wolff and Vassily Petrenko. Recent and upcoming highlights include appearances with Yomiuri Nippon Symphony Orchestra, Saint Petersburg Philharmonic, the New World Symphony, Orchestre National de France, London Philharmonic Orchestra, Queensland Symphony Orchestra, Malmö Symphony Orchestra, Malaysian Philharmonic, Gulbenkian Orchestra, BBC Philharmonic, as well as recitals in Tokyo, Madrid, Barcelona, Saint Petersburg and Miami. Mr. Perianes records exclusively for harmonia mundi. His previous releases for the label include Schubert’s Impromptus and Klavierstücke, Manuel Blasco de Nebra’s keyboard sonatas, Mompou’s Música Callada, the piano music of Manuel de Falla--a Latin Grammy nomination-- (including a live recording of Nights in the Gardens of Spain with the BBC Symphony Orchestra under Josep Pons) and Moto perpetuo, a CD featuring Beethoven Sonatas Nos. 12, 17, 22 and 27. Mr. Perianes’ next CD, …les sons et les parfums, focuses on the piano music of Chopin and Debussy and will be released this month. In 2012 Mr. Perianes received the National Music Prize awarded by the Ministry of Culture of Spain.

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Message from the Board Chair “Gehry’s concert hall for the New World Symphony, an elite training orchestra that is one of the most innovative musical organizations in the country, is the first American concert space built from the ground up to include sophisticated video, theater-style lighting and flexible stage space that can accommodate not just an orchestra, but soloists and chamber groups.” - Philip Kennicott, The Washington Post

So much is possible in the environment Frank Gehry created for us, and it is much more than a concert hall. As we open our 26th academic year, the characteristics that make this organization so successful are in evidence—innovation, flexibility, ability to leverage assets to good return and a willingness to take calculated risk. All too often, we refer to this amazing organization in a truncated fashion as the New World Symphony. Actually, our tag line, America’s Orchestral Academy, reveals the heart and soul of the institution. The Academy offers an experiential curriculum, a three-year progression that addresses three areas of study: orchestral performance and musicianship, community engagement and leadership. The concerts you hear are the result of hours of individual practice and in-depth study of the chosen repertoire guided by visiting faculty from major orchestras across the United States, South America and Europe. What you may not see are the Fellows teaching in the public schools, providing private lessons to students who otherwise cannot afford study, speaking to audiences as the hosts of our informal presentational formats and engaging our patrons on several levels. The Fellows also have the opportunity to work with composers, video artists, and sound and lighting designers throughout the creative process. While the curriculum is designed to develop their competitive edge, it also provides them a broad frame of reference from which to make decisions, a crucial skill set as they become leaders in shaping the orchestras of the future. I encourage you to take advantage of everything NWS has to offer; an alternate performance format, a Percussion Consort concert, Inside the Music, or Musicians’ Forum. Eighty performances each season, all of them the culminating moment of intense study and preparation. There is a cost to all we offer. Ticket sales cover only 12% of our annual budget. So, please make a contribution to the Academy. You will be supporting the music making that is important to you and broadening the perspective of our Fellows who are – the future of classical music.

Warmly, Rose Ellen Greene

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NWS Salutes Our Donors We are pleased to recognize the following donations made between July 1, 2012 and June 30, 2013. Maestro’s Circle Diamond Tier $250,000+

Conductor’s Circle $25,000-$49,999

Anonymous Mary and Howard S. Frank Jane and Gerald Katcher John S. and James L. Knight Foundation Bruce and Suzie Kovner, The Kovner Foundation The Andrew W. Mellon Foundation Miami-Dade County Department of Cultural Affairs* Sandra and Stephen Muss SunTrust Foundation

Akerman Senterfitt, Attorneys at Law, Andrew Smulian and Neisen Kasdin Mr. and Mrs. Jeffrey Akin Sarah Arison Trudy and Paul Cejas Stanley and Gala Cohen Mr. Douglas S. Cramer and Mr. Hubert S. Bush Crankstart Foundation, Mr. Michael J. Moritz Crystal & Company The Rachel Foundation, Mr. and Mrs. Jack Fishman Ann and Gordon Getty Foundation Diane Star Heller Mr. and Mrs. Harry M. Hersh JPMorgan Chase Foundation Kleh Family Foundation, Mr. and Mrs. Bill Kleh R. Kirk Landon Mr. and Mrs. Enrique Lerner Alan and Diane Lieberman Mr. and Mrs. Jay W. Lotspeich City of Miami Beach, Cultural Affairs Program, Cultural Arts Council Sue Miller Nespresso North America Dorothy and Aaron Podhurst and Podhurst Orseck P.A. Portman Holdings, CMC Group David Restainer Mr. Alfonso C. Rey and Ms. Sheryl Latchu Susan and Sheldon Schneider State of Florida, Division of Cultural Affairs Stearns Weaver Miller Weissler Alhadeff & Sitterson, PA SunTrust Bank, John J. Geraghty Michael Tilson Thomas and Joshua Robison Wells Fargo Foundation, Mr. Richard T. Sanz White & Case LLP, Mr. William Sancho

Maestro’s Circle Gold Tier $100,000-$249,999 The Micky and Madeleine Arison Family Foundation Sari and Arthur Agatston Mr. and Mrs. Adam Carlin Carnival Corporation & PLC* The Dunspaugh-Dalton Foundation, Inc., Mr. and Mrs. William Lane, Jr. Fairholme Foundation, Mr. and Mrs. Bruce Berkowitz Mr. and Mrs. William Fisher John and Marcia Goldman Foundation Helena Rubinstein Philanthropic Fund at the Miami Foundation, Bob and Dede Moss Northern Trust Bank, William L. Morrison and Sheldon T. Anderson SaludArte Foundation Gloria Scharlin* Nicholas and Susan Pritzker through their donor-advised fund, The Scorpio Rising Fund, at Vanguard Charitable World Fuel Services Corporation, Paul H. Stebbins

Maestro’s Circle Silver Tier $50,000-$99,999 Anonymous* Bruce and Martha Clinton, The Clinton Family Fund Margarita and Albert Codina Rose Ellen and Gerald Greene Andrew C. Hall, Esq. and Gail S. Meyers Susan D. Kronick and Edward Manno Shumsky Mr. and Mrs. Daniel Lewis Mr. and Mrs. Albert R. Molina, Jr., Mr. Albert Scaglione National Endowment for the Arts Patricia Papper* PricewaterhouseCoopers LLP, Mario de Armas Janet and Joseph Shein Mr. and Mrs. Paul H. Stebbins Harry Winston Jody Wolfe

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Composer’s Society $15,000-$24,999 Ms. Hilarie Bass Esq. The Batchelor Foundation, Mr. and Mrs. Jon Batchelor Jennifer Stearns Buttrick and Matthew W. Buttrick Adrianne and Jerry L. Cohen Funding Arts Network Goldman Sachs, Inc., Jeffrey T. Roberts Ana and Neisen Kasdin Mr. and Mrs. Marvin Leibowitz, Louis Leibowitz Charitable Foundation Mr. and Mrs. John L. Mason Sr. MCH Swiss Exhibition (Basel) Ltd. The Miami Foundation Catherine Oppenheimer and Garrett Thornburg Paul, Weiss, Rifkind, Wharton & Garrison LLP Mr. and Mrs. Jeffrey T. Roberts Clara Sredni Dr. and Mrs. Richard J. Wurtman

Concertmaster’s Circle $5,000-$14,999 Mr. and Mrs. Leonard Abess, Jr. Anthony R. Abraham Foundation, Mr. and Mrs. Thomas Abraham Bernyce Adler* Florence and Sheldon Anderson Anonymous Toby Lerner Ansin Louise Austin Baptist Health Foundation, Mr. Stephen Parsons Mrs. Joann Bass Carol E. and Myles P. Berkman Bobbi and Stephen Berkman Berlin Family Foundation, Mr. Jim Berlin Tanya Capriles de Brillembourg and Manuel de la Torriente The Shepard Broad Foundation, Ann B. Bussel* Mrs. Audre Carlin Phillip Lloyd Coleman, Coleman Family Trust The Aaron Copland Fund for Music Casey & Dina Cummings Victoria Cummock Mr. & Mrs. Stephen Cypen Nancy Jean Davis Mr. and Mrs. John Despres Mr. and Mrs. John Devaney Do Unto Others Trust, Mrs. Alicia Celorio

Mr. and Mrs. Chuck Edelstein Ermenegildo Zegna George Feldenkreis Fendi Elliot M. Friedman and Beau Bogan Marvin Ross Friedman and Ms. Adrienne bon Haes The Honorable Malcolm H. and Mrs. Doree Fromberg Barbara and Richard Furman Mr. Anthony Gambell Arlyn and Edward Gardner Mr. and Mrs. Irving M. Geszel Natalie Gordon Mr. & Mrs. Steven J. Green Howard Herring and Irene Hegedus Dr. Bruce Horten and Aaron Lieber Mr. and Mrs. Melvin Howard Marc A. Hurwitz Fund - Zell and Myrna Hurwitz Foundation Judith and Richard Jacobs The James Royal Palm Mr. Norval W. Jasper Ms. Linda Heller Kamm The Katzman Family Foundation Vicki & Chris Kellogg Dr. Maurice H. Laszlo Mr. and Mrs. Donald Lefton Dr. and Mrs. Richard Levitt Dr. and Mrs. Richard E. Litt Ralph M. Lutrin and Alfred A. Lewis Joy and Fred Malakoff Martin Z. Margulies Mr. and Mrs. Patrick Markert Mr. and Mrs. David Melin Robert E. Meyerhoff Gordon R. Miller, M.D. Mr. and Mrs. William L. Morrison Mr. and Mrs. James Neff Cookie and Ken Neil David and Melanie Niemiec Linda and David Paresky Mr. and Mrs. Bruce Pernick Perry Ellis International, Inc. Mr. and Mrs. Mark Pickard Dr. and Mrs. Irwin M. Potash Publix Super Markets Charities Mr. Craig L. Robins Victoria Rogers Hazel and Lawrence Rosen Royal Media Partners, Mr. Philip Levine Mr. and Mrs. Michael D. Rudd Dr. David Russin Ryder System, Inc. The Suzi Salowe Family Trust Ms. Judith Schalit PKS & OIS Harry Shapiro Irving & Diane Siegel Ms. Ebony Smith Mr. and Mrs. Michael Smith Carol and Irv Smokler Jean and Eugene Stark Mr. William Strong Mr. and Mrs. Stephen M. Sullivan The Robert and Jane Toll Foundation Ruth Weiss Wells Fargo Advisors, LLC Betty and Michael Wohl

Concerto Society $2,500-$4,999 Anonymous (2) Benjamin P. Baum Helene Berger* Mr. Hal Birchfield and Mr. James Merrick Smith Carmen Bishopric Mr. and Mrs. Ernest Bogen Boies, Schiller & Flexner LLP Walter Boyd Mr. Robert R. Brinker and Ms. Nancy S. Fleischman Angela & Samuel L. Burstyn Mr. James Chace Ms. Monica Chaplin Citizens Interested in Arts, Inc. Mr. and Mrs. Jerome J. Cohen Esq. Tracey Corwin Dr. Chantal d’Adesky-Scheinberg Fanny and Charles Dascal Daszkal Bolton LLP, Mr. Michael Daszkal Mr. Manuel F. Diaz and Mrs. Barbara Anger-Diaz Ph.D. Jan and Ken Donner Harry F. Duncan Foundation, Ms. Anneliese Duncan Claudia and Ricardo J. Fernandez Betty and Joseph Z. Fleming Fractured Atlas Maxine and Stuart Frankel Foundation Mr. Leon S. Frenkel Jill and Harold Gaffin Dr. and Mrs. Laurence B. Gardner Mr. and Mrs. Emile Geisenheimer Niety and Gary Gerson Elinor and Paul Goodstat Ms. Francinelee Hand and Mr. David Siegel Janet, Meredith & Chris Hanson Harvard Business School Club of South Florida, Inc. Mr. and Mrs. Robert F. Hudson, Jr. illy caffe North America, Inc., Ms. Sarah Sullivan Jetscape, Mr. Alan Stanford Moj and Robert Danial Hideko and Harold Klebanoff* Klein, Glasser, Park, Lowe & Pelstring, PL, Mr. Robert M. Klein Richard Koenigsberg Denise & Jack Korngold Dale and Stephen Kulvin Riccardo, Mario and Leonardo Lanaro Mr. and Mrs. Rocco Landesman Elie and Burt Landy Ms. Anneliese Langner Mr. and Mrs. Richard Lubman Mr. and Mrs. Robert B. Millard Mr. and Mrs. David Mixer Nelson Family Foundation Norfolk Southern Foundation Matching Gifts Program Dr. Jules Oaklander Dr. and Mrs. Mark E. Oren Merle and Michael Orlove Mr. and Mrs. Carlos Palomares Ms. Tatyana Perevozchikova and Mr. Riccardo Silva David J. Phillips and Denis J. Jacobs Toni and Carl Randolph Dr. and Mrs. Alan Rapperport Mr. and Mrs. Charles Sands Diane S. Sepler*

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Sandra and Charles Simon Ms. Marilyn Singer Mr. and Mrs. Paul Singerman Mr. Rod Sintow, Pro Sound Inc. Mr. and Mrs. Edward Sirkin Mrs. Anna Smirnova Mr. and Mrs. Jesse Stein Charles B. & Rosalyn F. Stuzin Rita and Robert Swedroe Uniting Local Artists, Inc. Teresa Galang-Viñas and Joaquín Viñas Peter and Judy Weissman Mr. and Mrs. Robert Werner Mr. Scott Weyman The Workshop LLC

Patrons of NWS $1,000 - $2,499 Anonymous Dr. Ayden Adler Mr. and Mrs. Shlomi Alexander Isabel B. Anderson Mr. Alberto Arias Mr. Alan Atkinson and Ms. Ivette Alonso Dr. Brian Bagnall & Mr. Michael Ben Mr. Philip F. Balbi Joanne and Michael Bander Mr. and Mrs. David Bercuson Alan and Jayusia Bernstein Mr. and Mrs. Jordan Bittel, Esq. Sylvia Blau, Sam Kenner and Paulette Mintz Dr. and Mrs. Wil Blechman Peggy and Richard Brodsky Mr. and Mrs. Arnold Broser Mr. and Mrs. Rudolf Budja Mr. and Mrs. Vincent Carosella Mr. Rajan Chopra Mr. and Mrs. James Clark Frank Cline, Jr. Mr. Joseph Cohen Covidien George Dambach, Ph.D. Ms. Cristina Daniels Mr. and Mrs. Bernard Darty Mr. Alan M. Dershowitz Esq. and Mrs. Carolyn Cohen Mr. and Mrs. Andrew Dolkart Dr. and Mrs. Gilbert Drozdow Dr. & Mrs. Melvyn Drucker Dr. and Dr. Ranjan Duara Jeanne and Joseph Farcus* Mr. Jonathan S. Feldman Esq. and Mrs. Katie Phang Esq. Ms. Renee Fink Ms. Ellen Fleysher Francis Fox Mr. David Frangioni Mr. and Mrs. John R. Frank Ms. Ellen Freidin Richard French and Jacqueline Greenberg Mr. and Mrs. Mario G. Garcia Lenore Gaynor* Michael Gellert Dr. Christopher Gentile and Mr. Gary Schwartz Mrs. Irving Getz Gladstein Family Foundation, Mrs. Edythe Gladstein

Mr. and Mrs. Amir Gold Mr. and Mrs. Salomon Gold Mrs. Marilyn M. Goldaber and Mr. Mac Seligman Dr. and Mrs. Peter A. Gorski In Memory of Laura Ellen Green Mrs. Nancy Green Dr. and Mrs. Richard Greenman Joyce and Stanley Greenstein Saul and Jane Gross Mr. and Mrs. Alfredo Gutierrez Arlene and Richard Haft Dr. and Mrs. Ernest Halpryn Hines Intererest Limited Partnership, Mr. Jeffrey C. Hines Naomi and Burton Honig Jeff Horowitz Ms. Sandra Jaffe Ms. Florencia Jimenez-Marcos and Mr. Xavier Gonzalez-Sanfeliu Mr. Jack J. Kahgan Ms. Nedra Kalish Leonard Kaplan and Marcia Simon Kaplan* Mr. and Mrs. John Karlton Mr. and Mrs. David S. Kenin Mr. and Mrs. Dan Kokiel Jacqueline and Irwin Kott Mr. Michael L. Laas Sandra Lansing and Herbert King Lynn and Paul Leight Winston T. Lett, Esq. and Frank Benoit RenĂŠe and David Lieberman Mr. and Mrs. Norman H. Lipoff Heidi and Jack Loeb Mr. and Mrs. Irwin Lonschein Gloria Luria* Jose Lutzky and Elizabeth Camargo Lisa and Leslie Maister Ms. Rebecca Mandelman Mr. and Mrs. Leon A. Manne Serge and Margaret Martin Nanette and Budd Mayer Mr. Chad McKeehan Sylvia Meeker Dr. Marvin L. Meitus* Jorge and Amanda Mejia Mr. Leonard Miller Morrison, Brown, Argiz & Farra, LLP Moses Maimonides Fund of The Erie Community Foundation Mrs. Dale Moses Mr. and Mrs. Peter Mosheim Tamara and Daniel Nixon Mr. and Mrs. John Olsen Opalack Foundation Mr. and Mrs. Garth R. Parker Mr. and Mrs. Huber R. Parsons, Jr. Ms. Christa Paul Alvin & Anita Perlman Marilyn and Al Pollans Mr. and Mrs. Hal Prince Bill and Melissa Quesenberry Mr. Victor Raab and Mrs. Delora Shapiro Mrs. Gloria Raffel Claudia and Irving Redel The Ress Family Foundation, Esta and Lewis Ress Gary and Vanessa Ressler Mr. David Rivera

Mr. and Mrs. David A. Rocker Dr. Carlos Rodriguez-Feo Dr. Stephen Roper and Dr. Nirupa Chaudhari Dr. and Mrs. Robert R. Rosenblum Dr. and Mrs. Harvey Rosenwasser Dr. and Mrs. Hubert Rosomoff Mr. and Mrs. Jack Ross Drs. Herb and Carol Rothman Ms. Jodie Rozencwaig Dr. and Mrs. James Rubinstein Ruth and Marvin Sackner In Memory of Giorgio Federico Ghedini, Laura Savio Mr. and Mrs. Michael Scheck Ms. Marjorie Schell Mr. and Mrs. Howard Schilit Lois Siegel David and Holly Siegel Jacqueline Simkin Ms. Deborah Slott Mr. Travis Smith and Mrs. Sarah Campbell Smith Sara and Martin Soloman Shirley Spear Mr. Lee Spiegelman and Mrs. Linda Binder Dr. Bertram and Mrs. Audrey Spiwak Stephen Stansell Nancy and Edward Stavis Mr. and Mrs. Alan Steinberg Mr. Gary Stuart Esq. Ms. Dorothy Terrell Mr. Markus Thiel and Mr. Peter Garcia Mr. and Mrs. Ronald Thompkins Charles Turner Suzanne & Neil Useden Thomas van Straaten and Nadine Asin Dr. and Mrs. Luis Villa, Jr. Mr. and Mrs. Daniel Vinoly Mr. John Walther Renata and Keith Ward Mr. & Mrs. Harry Weitzer Carrie and Jason Wiesenfeld Ms. Bonney Wikkering Mr. and Mrs. Allan P. Wilson Ben Wilson Denise Ledee and Gary Winston Mr. Paul S. Woehrle Mr. and Mrs. Sid Workman Dr. and Mrs. Stanley Worton Mr. Stephen Zack Leya and Isaac Zelcer

Endowed Giving Gifts made to the endowment ensure the future of classical music. The New World Symphony thanks these generous benfactors who are sustaining traditions, dreams and enlightenment for generations to come. Lin and Ted° Arison Mr. and Mrs. Christopher Brauchli Estate of Mary Bravo° Adrianne and Jerry L. Cohen The Corwin Family Charitable Foundation Cultural Endowment Program Fund, Florida Department of State, Division of Cultural Affairs Doris Duke Charitable Foundation Mary and Howard Frank Fund for Educational Outreach, Mary and Howard S. Frank Robert Fried Fund for Orchestral Fellowships, Dolores Stern The Gabooney/Gamble Foundation Natalie Gordon Gloria U. Greenstein, Ph.D. Joyce and Stanley Greenstein Wilhelmina Harrell Fund for Special Projects In memory of John Hurford Instrument Purchase Fund, Margaret Carson Dorothy R. Jones Fund for Orchestral Fellowships, Wyatt C. Jones Barbara Parish Karn Jane and Gerald Katcher Estate of Celia Loewenthal Estate of Ms. Mary Mackenzie° Mamaina Century Fund, Indigo Service Corporation Mr. and Mrs. John Leonard Mason, Sr. Estate of Frances° and Lawrence° Perelman Estate of Dr. Herman Selinsky° Estate of Madeliene B. Sternlight° SunTrust Bank, Miami, N.A. Surdna Foundation, Inc. Andrew Weinstein The Helen F. Whitaker Fund Bonney Wikkering The Mailman Foundation, Jody Wolfe

The Legacy Society Anonymous (4) Isabel B. Anderson Dr. Brian Bagnall Mr. and Mrs. George Bergmann Mary Bravo° Stanley and Gala Cohen Tracey Corwin Mr. and Mrs. Michael B. Elder Francis Fox Elliot M. Friedman and Beau Bogan Arlene and Richard Haft Mr. Hubert Harriman John Hurford° Vicki and Chris Kellogg R. Kirk Landon and Pamela Garrison Celia° and Kurt° Loewenthal Ralph M. Lutrin and Alfred A. Lewis Ms. Mary Mackenzie° Joy and Fred Malakoff Martin Z. Margulies Frances° & Lawrence° Perelman Randy and Hannah Polansky° Ruth and Marvin Sackner

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Dr. Virginia Salus Ms. Marjorie Schell Herman Selinsky° Diane S. Sepler* Madeleine B. Sternlight° Ruth Weiss Ms. Bonney Wikkering Paul S. Woehrle

Memorial and Honorary Gifts In Memory of: Muriel Eliot Hans Engel Belle Haber Daniel Neal Heller Marc Kahgan Bonny Levy Mr. Leonard Luria David Marcos Dr. Robert A. Sterling Laura Ellen Green Patricia M. Woehrle (2) In Honor of: Dr. Ayden Adler Sari and Arthur Agatston (6) Sheldon T. Anderson Lin Arison (3) Tom Ashe & Decio Sales-Filho Mr. Kent and Mrs. Debbie Bonde Mr. Olaf and Mrs. Gabriele Bonde Adam Carlin Caadon and Grayor Carlin Bruce and Martha Clinton Jerry Cohen Jerry L. Cohen Mary Croswell Karen Escalera Frank Everett, Harry Winston Mr. and Mrs. Jerome Falic Mr. and Mrs. Leon Falic Mrs. Nily Falic Mr. and Mrs. Simon Falic Mr. and Mrs. Richard Flando Rose Ellen Greene Jagger and Pierce Hall Ms. Faye Harris Diane Star Heller Howard Herring (4) Mr. Howard Herring and Ms. Irene Hegedus Leona Hersh Dr. Bruce Horten Alberto Ibargüen Richard and Judie Jacobs (3) Mr. and Mrs. Neisen Kasdin Gerald Katcher Mr. and Mrs. Gerald Katcher Mr. Jose Lamadrid Martha Levine Mrs. Bobbi Litt Dr. and Mrs. Richard Litt Ralph Lutrin Amanda and Jorge Mejia (2) Doug Merilatt Robert Moss Berkeley and Lewis Nixon Mr. James Palermo Pat Papper Mr. David Phillips and Mr. Denis Jacobs

Aaron Resnick Ms. Victoria Rogers (3) Mr. Norman Share Susan D. Kronick & Edward Manno Shumsky (2) Dr. Bick Simpson Mr. and Mrs. Rod Sintow Sara Solomon The Sonnabend Foundation Dr. and Mrs. Burt Spiwak Maxwell Aaron Stein Sarah Sullivan Dr. and Mrs. Aron E. Szulman Michael Tilson Thomas (3) Michael Tilson Thomas and Joshua Robison Mr. and Mrs. John Welch and Family Paul Woehrle Dr. Richard Wurtman Adam Zeichner

Fellowship Sponsors The New World Symphony thanks these generous donors who underwrote a Fellowship for one year as part of their $50,000 Gala contribution. Lin Arison, Harp Fellowship Sponsor Chanin and Adam Carlin, Tuba Fellowship Sponsor Margarita and Armando Codina, Piano Fellowship Sponsor Rose Ellen and Gerald Greene, Viola Fellowship Sponsor Susan D. Kronick and Edward Manno Shumsky, Conducting Fellowship Sponsor World Fuel Services Corporation, Cello Fellowship Sponsor

Founding Donors

In-Kind Giving Akerman Senterfitt, Attorneys at Law, Andrew Smulian and Neisen Kasdin AVC Services, Mr. Yariel Felipe Avenue D Bacardi, U.S.A. Boyd Lighting, Mr. Jay Sweet Center Stage Theatrical Magazine, Inc. Cooper Avenue Decor For A Day, Ms. Elizabeth Simonton Delaplaine DJ Irie Jim and Jayne Early Farrey’s, Mr. Bud Farrey FPL FiberNet ginnybakes Grand Central Miami Hart-Lines, Inc., Mrs. Ashlee Barnes Buanno Harvard School of Business illy caffe North America Ironies, Sean McIntyre The James Royal Palm Katsuya by Starck Ki-Hara Resistance Stretching Litus Music Entertainment, LLC Mar Media, Inc., Mr. Mario O. Deas Marcum LLP The Marlin Hotel MetLife Miami Magazine Nespresso Nuovo Finishes, Mr. Fernando Teijeiro The Perry Hotel Property Tax Adjusters, Inc., Mr. Gary Appel Scoop NYC J. Robert Scott, Sally Sirkin Lewis The Shore Club SLS Hotel SoliArt, Mr. Peter Solis Stearns Weaver Miller Weissler Alhadeff & Sitterson, PA Stucco Veneziano The Flower Bazaar Thierry’s Catering Villa Azur W South Beach Whole Foods Zakarin Martinez PR

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The Adler Group Bernyce and Samuel° Adler Sarita Alitowski American Express Company, Howard Fulton AMG, Asset Management Group, Inc. Anonymous Lin and Ted° Arison Commissioner Stanley Arkin AT&T David Auerbach Roberta Rymer Balfe Mary Ellen and B. Thomas° Barnard Barnett Bank of South Florida, NA Benjamin P. Baum Mr.° and Mrs. Adolph J. Berger Carmen and Karl° Bishopric BMW of North America, Inc. Bowne of Miami, Financial and Corporate Printers Irma and Norman Braman Mary Ellen and Morris C. Brown Burdines, The Florida Store Sonia and Franco Burini Ann B. Bussel Capital Fund Foundation Hedy° and Donald° Carlin Carnival Cruise Lines CenTrust Bank Mr.° and Mrs. Alvah H. Chapman, Jr. Citicorp Savings of Florida Mr. and Mrs. Norman Cohan The Continental Companies Mr. and Mrs. Mark Contina Cordis Corporation Mr. George M. Corrigan, Jr. Christine Cromwell Karen and Michael DeFelice Deloitte, Haskins & Sells Rita and Harold Divine Drexel Burnham Lambert Eastern Airlines Edward W. Easton Ensign Bank, FSB Jeanne and Joseph Farcus Claudia and Ricardo J. Fernandez Fine Jacobson Schwartz Nash Block & England Foundation, Inc. Mr. and Mrs. Martin Fine Larry Fletcher Florida Power & Light Howard S. Frank Joel Friedland

Rosemary J. and Richard I. Furman Gabooney Foundation Lenore Gaynor Harold E. Gelber Gene’s Catering Service, Inc., Gene Singletary Dennis A. Gitlin Donald J. Glazer Teri S. Glazer Dalia and Saul° Glottmann Ana Goldberg J. Arthur Goldberg Michael Goldberg Jeannette Golding Dr. and Mrs. Sergio Gonzalez-Arias Mr. and Mrs. Jerrold F. Goodman Estelle° and Emil J.° Gould Mr. and Mrs. Clark E. Graebner Grand Bay Hotel Morton L. Hammond, M.D., P.A. Judith and John Hannan Clara Keyes Hardin Mr. and Mrs. Daniel° Neal Heller Robert F. Hudson, Jr. Mr. and Mrs. John G. Immer Dr. and Mrs.° George Jacobson Mr. and Mrs. H. Jerome Joseph Mr. and Mrs. Barry Karch Jane and Gerald Katcher Kelley Drye & Warren Kidder Peabody & Co., Inc. J.I. Kislak Mortgage, Corp. Mr. and Mrs. Harold D. Klebanoff Hank Klein and Lisa Sloat John S. and James L. Knight Foundation Carole and Ronald Korn Lady Pauline Kostuik Mr. and Mrs. Irwin E. Kott Mr.° and Mrs. Cal Kovens Carol and David Kunstler Lawrence Plumbing Supply, Co., Joseph Lawrence Marvin H. Leibowitz Rhoda and Morris Levitt Dr. and Mrs. Richard L. Levitt Dr. and Mrs. Norman C. Liebman Ann and William Lieff Dr. Birgit Rose Loewenstein Luria & Son, Inc., Gloria and Leonard Luria L. Luria and Son, Inc., Gloria and Leonard Luria Dr. & Mrs. Berge H. Markarian Dick McGonigal Marilyn McGonigal Peter McGrath’s Sound Components McKean Paul Chrycy Fletcher & Co. Dr. and Mrs.° Marvin L. Meitus Miami-Dade County Cultural Affairs Council Miami Savings Investment Corp. Mr. and Mrs. Gene Milgram Foundations of the Milken Family David W. Mills Dr. and Mrs.º William T. Mixson Yiska and Peter Moser Sandra and Stephen Muss National Foundation for Advancement of the Arts Omni International Hotel F. Warren O’Reilly, Ph.D. PaineWebber Patricia and Emanuel° Papper Paul, Weiss, Rifkind, Wharton & Garrison David L. Paul Peat Marwick Main & Co. Potamkin Lincoln-Mercury Claudia and Alan Potamkin

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Christy and Earl Powell PricewaterhouseCoopers, LLP, Mario de Armas Prudential-Bache Leonard J. Rapaport Rasco, Reininger & Dannheisser, P.A. Linda and Wendall Ray, Radisson Mart Plaza Dr.° & Mrs.° Maurice Rich Rosalind and Daniel Richter Bill Rollnick and Nancy Ellison Rollnick Michael I. Rose, M.D. Alan P. Rosefielde William S. Ruben Ryder System, Inc. Irela Saumat Jose Saumat Gloria and Howard° Scharlin Mr. and Mrs. John G. Sellars Diane S. Sepler* Richard Sepler Dr. and Mrs. Alan Serrins Sharon Steel Foundation Helene and Frank Shear Sheraton Royal Biscayne Beach Resort & Racquet Club Sheraton River House Mr.° and Mrs. Egmont Sonderling Southeast Banking Corp. Foundation Southern Bell Spec’s Music, Inc. Dorothy° and Martin° Spector Mr. & Mrs. Jeffrey J. Springer Steel Hector & Davis Mr. & Mrs. Harry M. Steele Dorothy and Paul Stein Sun Bank/Miami, N.A. Dr. Ernst Swietelsky Texaco, Inc. Michael Tilson Thomas and Joshua Robison Tishman Speyer Properties Jackie and Robert Traurig Donald J. Trump Dr.° and Mrs.° Paul N. Unger U.S. Security Insurance Co., Inc. Mr. & Mrs. Milton J. Wallace Bradley A. Weiser Douglas Weiser Mr.° and Mrs. Sherwood M. Weiser Warren Weiser Rene and Jay° Weiss Seth Werner Norma Kipnis Wilson and Allan P. Wilson Yamaha Music Corp., Piano Division Marilyn and David Zinn Uzi Zucker Philanthropic Fund

Friends of NWS $1,000 + The New World Symphony wishes to recognize Friends of NWS members who joined at the following levels during the 2012-13 season: Patrons Circle for Two, Best Friends and Corporate Affair. Mr. Evan Agatston Mr. and Mrs. Edward Agostini Mr. Louis Aguirre Matias and Christina Almeida Ms. Stephanie Ansin and Mr. Spencer Stewart Mr. Alan Atkinson and Ms. Ivette Alonso Ms. Andreea Baclea Ms. Amelia Balonek and Mr. Faquiry Diaz Ms. Amanda Berg Ms. Alana Burstyn Mr. Rajan Chopra Mr. Greg Clark and Mrs. Ana C. Montiero-Clark Mr. Alexander Cohen Mr. and Mrs. Eddie Cohen Ms. Desiree Dubon Ms. Lucelly Duenas Mr. Jonathan S. Feldman Esq. and Mrs. Katie Phang Esq. Mr. David Frangioni Mr. William Fuller and Mrs. Melissa Fuller Mr. Bruce Galloway and Ms. Jessica Anderson Lindsay and Sol Genet Dr. Christopher Gentile and Mr. Gary Schwartz Ms. Alexandra Gonzalez Mr. Benjamin Hein Mr. Kai Jacobs Ms. Florencia Jimenez-Marcos and Mr. Xavier Gonzalez-Sanfeliu Nina Johnson-Milewski Mr. Matt Knobel Ms. Orsolya Kore Carl Kruse Mr. Leonardo Lanaro and Mr. Thierry Adam Mr. Ohad Jehassi Ms. Alida Lechter Mr. and Ms. Alec Lindenauer Ms. Vanessa Lustig Lisa and Leslie Maister

Ms. Marcia Martinez Mr. James McAnally Jorge and Amanda Mejia Ms. Lori Monaco Mr. Richard L. Morris Jr. Mr. and Mrs. John Olsen Mr. and Mrs. Mark Pickard Dr. Manuel Antonio Ramos and Mr. Jason Mizener Aaron Resnick Gary and Vanessa Ressler David Restainer Mr. David Rivera Dr. Carlos Rodriguez-Feo Ms. Zelaine Rubio Ms. Dara Schoenwald Mr. Walid Sfeir Mr. William Strong Mr. Gary Stuart Esq. Mr. and Mrs. Mark Sutcliffe Mr. Markus Thiel and Mr. Peter Garcia Mr. Gustavo Tonelli Ms. Annette Torres Charles Turner Mr. Kirk Wagar and Mrs. Crystal Wagar Ms. Simone Weissman Mr. H. Jordan Weitz Mrs. Daryl Wiltshire The Workshop LLC

For information about making a gift to the New World Symphony, please contact Paul Woehrle at 305-428-6731. * Generous donors who have supported the New World Symphony since its founding ยบ Deceased

THE LEGACY SOCIETY The New World Symphony’s Legacy Society recognizes generous individuals who have included NWS in their long-range financial plans with a bequest or trust arrangement. The following individuals have committed to a legacy that includes preparing the best and brightest young musicians for their careers in classical music. Anonymous (4) Isabel B. Anderson Dr. Brian Bagnall Mr. and Mrs. George Bergmann Mary Bravo° Stanley and Gala Cohen Tracey Corwin Mr. and Mrs. Michael B. Elder Francis Fox Elliot M. Friedman and Beau Bogan Arlene and Richard Haft Mr. Hubert Harriman John Hurford° Vicki and Chris Kellogg R. Kirk Landon and Pamela Garrison

Celia° and Kurt° Loewenthal Ralph M. Lutrin and Alfred A. Lewis Ms. Mary Mackenzie° Joy and Fred Malakoff Martin Z. Margulies Frances° & Lawrence° Perelman Randy and Hannah Polansky° Ruth and Marvin Sackner Dr. Virginia Salus Ms. Marjorie Schell Herman Selinsky° Diane S. Sepler* Madeleine B. Sternlight° Ruth Weiss Ms. Bonney Wikkering Paul S. Woehrle

For information about making a gift to NWS through your will or trust, or if you have already included NWS in your plans, please contact Paul Woehrle in the Development Department at 305-428-6731. *Generous donors who have supported the New World Symphony since its founding ºDeceased

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New World Symphony Fellows 2013-14

Benjamin Carson, 24 Holliston, MA Northwestern University, BM New England Conservatory, MM

Lauren Densinger, 23 Edina, MN Eastman School of Music, BM

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Jeffrey Dyrda, 26 Winnipeg, Manitoba McGill University, BM New England Conservatory, MM, GD




Thomas Hofmann, 27 Toyama, Japan Boston Conservatory, BM, MM

Amos Fayette, 27 Wading River, NY Peabody Conservatory, BM

Alexander Chaleff, 28 Pennington, NJ Manhattan School of Music, BM New England Conservatory, MM



Violin Andrea Daigle, 25 Boulder, CO Cleveland Institute of Music, BM, MM



Violin Kelly Bunch, 29 Agoura, CA University of Southern California, BM, MM The Colburn School, PC

Jennise Hwang, 27 Los Angeles, CA Northwestern University, BM New England Conservatory, MM

Meet the Musicians New World Symphony Fellows 2013-14 Violin Jihye “Joelle” Kee, 28 Toronto, Ontario Eastman School of Music, BM Cleveland Institute of Music, MM

Heewon Park, 28 Seoul, South Korea Universitat fur Musik—Vienna, BM University Mozarteum —Salzburg, MM Manhattan School of Music, PC

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Julia Noone, 24 Worcester, MA New England Conservatory, BM



Violin Hugh Palmer, 26 Edina, MN Northwestern University, BM The Colburn School, AD

Lisa Kim, 24 San Diego, CA The Juilliard School, BM, MM




Colleen McCullough, 32 Overland Park, KS New England Conservatory, BM University of Texas, MM, DMA

Clara Lee, 24 Toronto, Ontario The Juilliard School, BM


Violin Vivek Jayaraman, 27 East Lansing, MI Eastman School of Music, BM Manhattan School of Music, MM

Sunjoo Park, 27 Seoul, South Korea Seoul National University, BM The Colburn School, AD

Meet the Musicians New World Symphony Fellows 2013-14

Derek Powell, 28 Madison, WI University of Wisconsin, BM Rice University, MM

Sarah Silver, 27 Pittsburgh, PA Carnegie Mellon University, BM New England Conservatory, MM

Nathaniel Wolkstein, 22 Madison, WI University of Wisconsin, BA

Viola Violin

Erin Zehngut, 28 State College, PA University of Michigan, BM Cleveland Institute of Music, MM

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Audrey Wright, 24 Harwich, MA New England Conservatory, BM, MM


Violin Jin Suk Yu, 24 New York City, NY The Juilliard School, BM, MM



Violin Foster Wang, 25 Douglaston, NY Harvard University, BA The Juilliard School, MM



Violin Adrian Pintea, 30 Targoviste, Romania The Juilliard School, BM Mannes College of Music, MM, PSD

Jeremy Bauman, 25 Waterloo, Canada Wilfrid Laurier University, BA

Meet the Musicians New World Symphony Fellows 2013-14

Allyson Goodman, 25 Chelmsford, MA Northwestern University, BM Rice University, MM

Sarah Harball, 24 Kalispell, MT The Colburn School, BM Indiana University, MM

Derek Mosloff, 26 Thief River Falls, MN University of Nebraska—Lincoln, BM New England Conservatory, MM


Madeline Sharp, 24 Wilmette, IL The Juilliard School, BM, MM

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Emilee Newell, 26 St. Louis, MO Indiana University, BM, MM


Viola Anthony Parce, 27 Seattle, WA Rice University, BM New England Conservatory, MM



Viola Katerina Istomin, 28 Pittsburgh, PA The Juilliard School, BM Université de Montréal, MM



Viola Kallie Ciechomski, 25 Portland, ME Oberlin Conservatory, BM Manhattan School of Music, MM

Eve Tang, 28 Toronto, Ontario McGill University, BM Yale University, MM

Meet the Musicians New World Symphony Fellows 2013-14

Carl Baron, 27 Westfield, NJ SUNY-Purchase College, BM Manhattan School of Music, MM

Marybeth Brown-Plambeck, 26 San Francisco, CA Cleveland Institute of Music, BM, PS



Cello Rosanna Butterfield, 23 Vancouver, BC Rice University, BM



Cello Grace An, 27 Villa Park, CA Stanford University, BM Eastman School of Music, MM Manhattan School of Music, PC

Kevin K端nkel, 24 Maaike Harding, 29 Vernon Hills, IL Troy, MI Cleveland Institute of Music, BM, MM Indiana University, BM, PD




Aaron Ludwig, 30 St. Louis, MO University of Cincinnati, BM, MM University of Miami, DMA

Meredith McCook, 26 Tyler, TX University of North Texas, BM Manhattan School of Music, MM

Alexandra Thompson, 24 Pittsburgh, PA Cleveland Institute of Music, BM

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Meet the Musicians New World Symphony Fellows 2013-14

David Connor, 24 Chelmsford, MA Carnegie Mellon University, BFA

Noah Reitman, 28 Los Angeles, CA University of Michigan, BM Indiana University, MM Manhattan School of Music, PC


Flute Emma Gerstein, 27 Chicago, IL Manhattan School of Music, BM

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Lee Philip, 27 New Freedom, PA Peabody Institute, BM Northwestern University, MM

Bass Daniel Tosky, 24 Hickory, NC Indiana University, BM Manhattan School of Music, MM

Emily Honeyman, 27 Ann Arbor, MI Indiana University, BM Rice University, MM


Bass Nathan Lutz, 26 Ann Arbor, MI University of Cincinnati, BM Carnegie-Mellon University, MM Indiana University, PC



Bass Charles Clements, 28 Westborough, MA New England Conservatory, BM Manhattan School of Music, MM

Henrik Heide, 25 Madison, WI Rice University, BM The Juilliard School, MM

Meet the Musicians New World Symphony Fellows 2013-14

Kevin Pearl, 26 Coral Springs, FL Eastman School of Music, BM Rice University, MM

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David Lemelin, 28 Marbleton, Canada McGill University, BM DePaul University, MM


Bassoon Kathryn Brooks, 27 Cleveland, OH Cleveland Institute of Music, BM, MM Manhattan School of Music, GD


Miles Jaques, 25 Old Lyme, CT Peabody Institute, BM Mannes College of Music, MM

Clarinet Brad Whitfield, 27 Birmingham, AL Northwestern University, BM University of Southern California, MM

Joseph Peters, 27 Minneapolis, MN University of Minnesota, BM Yale University, MM


Oboe Henry Ward, 28 Philadelphia, PA New England Conservatory, BM


Flute Oboe

Flute Melanie Lanรงon, 32 Baton Rouge, LA Northwestern University, BM Rice University, MM

Evan Epifanio, 25 Park Ridge, IL DePaul University, BM Northwestern University, MM

Meet the Musicians New World Symphony Fellows 2013-14

Anthony Delivanis, 22 Los Altos Hills, CA University of Southern California, BM

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Dominic Rotella, 28 Holderness, NH University of Louisville, BM


Trumpet Pierre-Louis Marques, 24 Guemar, France Haute Ecole de Musique de Geneve, BA, MA


Alexander Love, 26 Sydney, Australia Sydney Conservatorium of Music, BM Manhattan School of Music, MM

Trumpet Dylan Girard, 27 Bend, OR University of Oregon, BA Manhattan School of Music, MM

Chris Jackson, 27 DeLand, FL University of Michigan, BM Yale University, MM


Horn Alexander Kienle, 27 Portland, OR The Juilliard School, BM, MM



Bassoon Tom Fleming, 29 Reedville, VA Manhattan School of Music, BM Yale University, MM

Kathryn Daugherty, 29 Urbandale, IA Lawrence University, BM San Francisco Conservatory, MM

Meet the Musicians New World Symphony Fellows 2013-14

Jeremy Morrow, 23 Nashville, TN Northwestern University, BM

Bethany Wiese, 27 Davenport, IA Lawrence University, BM Yale University, MM Northwestern University, DMA

Matthew Decker, 24 Seymour, IN Roosevelt University, BM Manhattan School of Music, MM


Chris Riggs, 29 Edmond, OK University of Oklahoma, BM Northwestern University, MM

. . . . . . . . . . . 65


Jay Ganser, 26 Marietta, GA Cleveland Institute of Music, BM DePaul University, MM


Percussion Rajesh Prasad, 28 Grove City, OH Northwestern University, BM Manhattan School of Music, MM, PSC



Timpani Alex Wadner, 25 Hillsboro, OR Indiana University, BM San Francisco Conservatory, MM


Bass Trombone

Trombone Santiago Novoa, 21 Oviedo, Spain Conservatorio Superio de M煤sica de Arag贸n, BM

Grace Browning, 27 McLean, VA University of Michigan, BM The Juilliard School, MM

Meet the Musicians New World Symphony Fellows 2013-14 Library



Joshua Gersen, 29 Monroe, CT New England Conservatory, BM Curtis Institute of Music, AD

Aya Yamamoto, 25 Marietta, GA University of Michigan, BM Rice University, MM

Jared Rex, 26 Port Royal, PA Boston Conservatory, BM University of Buffalo, MLS, MA

Audio Engineering Brandon Johnson, 23 Dolton, IL Northern Illinois University, BM

Not Pictured: Nina Zhou, 26, Piano Winnipeg, Canada Oberlin Conservatory, BM Indiana University, MM

Joseph Brown, 27, Trumpet Houston, TX Ithaca College, BM University of Michigan, MM The Colburn School, PSC Kayla Moffett, 25, Violin Falmouth, MA University of Southern California, BM Yale University, MM

Art Director/Designer: Siggi Bachmann - Editor: Marci Falvey Fellow Photographer: Rui Dias-Aidos, REDAV Cover Photo: Percussion Fellows performing during the John Cage Centennial Celebration in 2013. Photo by Rui Dias-Aidos, REDAV

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Ticket Information For Event and Ticket Information, Contact the Box Office Phone: 305-673-3331 Outside Miami: 800-597-3331 Fax: 305-673-2302 Address: 500 17th St, Miami Beach, 33139 E-Mail: Feedback:

Box Office Hours Monday – Friday: 10 AM – 5 PM Weekday Concert Days: 10 AM – Concert Intermission Saturday and Sunday Concert Days: 12 PM – Concert Intermission Saturday and Sunday Non-Concert Days: Closed

NWS Previews NWS Previews, our e-newsletter, brings you the latest information on special offers, discounts, guest artists, programs, parking and more! To join the NWS Previews network, sign up at

How to Order Tickets New World Symphony tickets can be charged to your American Express, Visa or MasterCard by contacting our box office, or online at

Groups Enjoy a night at the New World Symphony with friends, colleagues or clients. Groups of 20 or more save 20% on select performances. For more information, contact our box office.

Student Rush Tickets Full-time students, with current photo ID, can purchase tickets at a 50% discount for select performances. Purchases must be made in person at our Box Office and are limited to one discount per ID per performance. Student discounts are not available for Concerts for Kids. We recommend calling the Box Office in advance for student ticket availability.

Exchanges and Refunds Subscribers can exchange tickets by phone, mail or in person at the Box Office for any other available performance, excluding special events. Your tickets must be received by the Box Office at least 24 hours before your subscription concert. If you are exchanging for higher-priced tickets, you will need to pay the difference. All New World Symphony ticket purchases are final. There are no refunds.

Lost Tickets Lost or misplaced tickets can be easily replaced with reprinted tickets. Call the Box Office to arrange to have your reprinted tickets held for you at the Will Call window.

NWS Age Policy Children eight years of age or older are welcome at all New World Symphony performances. Our Concerts for Kids are programmed specifically for children aged four through nine, and our outdoor WALLCAST™ concerts may be attended by children and adults of all ages. Every person, regardless of age, must have a ticket to enter the performance hall.

Volunteer New World Symphony volunteers support the arts by sharing their time and energy as guides, hosts and in many other areas. Make new friends, learn more about classical music, and gain the satisfaction that comes from helping where you are needed! For more information about becoming a New World Symphony volunteer, please contact Yuri Rebello at 305-428-6767.

Guided Tours In-person docent-led tours of the New World Center are offered every Tuesday and Thursday at 4:00 PM and every Friday and Saturday at noon. Docent-led tours are the perfect way to experience Frank Gehry’s only Florida commission, a cornerstone of artistic activity at the intersection of architecture and music. Tours last 30-45 minutes and are limited to the first 20 patrons for $5 per person. Reservations are required and may be booked through our Box Office or online at Private tours for groups of 10-50 can be reserved at $10 per person by calling Yuri Rebello at 305-428-6767 or emailing






New World Symphony  

November 2013