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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.
www.nws.edu/Friends
Celebrating 10 Years
PROGRAM III December 2013
CENTER CENTE TER STAGE STA TAGE Publisher Laura Goldman
FEATURES.................. Advertising Director Sara Smith
Message from the ............................ President p.
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Co-Founder and Artistic Director Michael Tilson ................ Thomas p.
Advertising Associate Randi Benatar
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About the New World Symphony, America’s Orchestral Academy ........................p.
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Art|Basel – About the show, Sectors and Curators ....................p.
THE ............................ PROGRAM p.
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New World Symphony Fellows ................... p.
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Creative Director Carrie Scott Editor Shayne Benowitz
Contributing Writer Daniel Whalen
Commercial Advertising Photography Sid Hoeltzell www.sidphoto.com Office Assistants Julia Goldman, Emma Goldman Kelly Clark, Dylan Clark Accountant Luis Smith
Concierge Services concierge@centerstagemagazines.com 401 East Las Olas Boulevard Suite 1400, Fort Lauderdale, FL 33301 1440 Ocean Drive Suite 101 Miami Beach, FL 33139
954.332.2363 centerstagemagazines.com
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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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Co-Founder and Artistic Director Michael Tilson Thomas 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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Co-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 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.
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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
Founders Ted Arison Michael Tilson Thomas
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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to life
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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
Daniel Slentz Associate Director of Video Production
Rebecca Mosloff Box Office Associate
Roberto Toledo Director of Audio Services
Yuri Rebello Director of Guest Services
Dean Tomlinson Assistant Technical Director
Hilary Saunders Communications Manager
Adam Zeichner Assistant Vice President, Program Operations
Finance, Facilities and Information Technology
Development
Musician Advancement
Paul Woehrle Vice President for Development
Dr. Ayden Adler Senior Vice President and Dean
Sabrina Anico Senior Director of Sales
Cassidy Fitzpatrick Assistant to the Dean and Community Engagement Manager Thomas Hadley Associate Dean for Admissions, Fellow and Alumni Services Michael Linville Associate Dean for Chamber Music Activities
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 Brian Sayre Assistant Orchestra Manager Robert Smith Director of Community Engagement Justin Trieger Technical Director for Distance Education & New Media Initiatives
Iva Kosovic Director of Development, Special Events Michelle Kucharczyk Assistant Vice President, Development Jack Mizutani Special Events Coordinator María Dolores Ordóñez Director of Major Gifts Lona Palmero Development Manager
David Phillips Senior Vice President and Chief Financial Officer Azael Ceballos Resident Manager Paula Cruz Accounting Manager Evelyn Davila Accounting Assistant /Receptionist Prevenu Ermilus Security Ernesto Espinosa Residence Maintenance Dorothy Harrell Security Supervisor Jose Lamadrid Vice President, Facilities Operations Eddy Lamonthe Maintenance Hyacinth Lilley Security Supervisor
Artistic Programs
Renée Rosen Senior Director of Research
Faye Munnings Vice President and Assistant Chief Financial Officer
Douglas Merilatt Senior Vice President for Artistic Planning and Programs
Peter Sahwell Senior Director of Foundation Relations
Luis Quintero Director of Information Technology
Veronica Sierra-Soderman Development Database Administrator
Keith Ramsey Maintenance
Communications
Lourdes Rivera Grants Accountant
Craig Hall Vice President for Communications
Andrew Salman Support & Application Analyst
Siggi Bachmann Creative Director
Jesse Pete Sasser Maintenance
Beth Breslin Box Office Associate
Rick Serna Maintenance
Bruce Cohen Box Office Associate
Grace Tagliabue Staff Accountant
Rayna Davis Marketing Manager
Bismark Toval Maintenance
Eduardo Delgado Box Office Manager
Lesley-Ann E. Wright Accounting Assistant and Assistant to the Chief Financial Officer
Jason Barroncini Production Technician Quanikqua Bryant Production Technician Ana Maria Estévez Artist Services Manager Martha Levine Librarian David Marin Videographer Michael McEvoy Production Technician Alan Miller Production Technician Bruce Pinchbeck Videographer
Michael Frisco Senior Director of Audience Development
William Quirk Technical Director
Cristina Fundora Web Administrator
Bryan Rider Videographer
Jonathan Heller Archivist
Len Rowe Production Technician
Michael Humphries Director of Audience Services
Clyde Scott Director of Video Production
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SOUTH FLORIDA SYMPHONY ORCHESTRA MASTERWORKS CONCERT SERIES
ǧ MUSICAL EXCURSIONS!
CHAMBER SERIES
DOUBLE SPEAK AND HIDDEN MEANINGS January 30 - February 3, 2014 Liszt: Symphonic Poem No. 10 “Hamletâ€? ”‘Â?Â‘Ć¤Â‡Â˜ÇŁ ‹ƒÂ?‘ ‘Â?…‡”–‘ ‘Ǥ Í— Christopher Taylor, piano Š‘•–ƒÂ?Â‘Â˜Â‹Â…ÂŠÇŁ ›Â?’Š‘Â?› ‘Ǥ Í•Í”
THE HUMANITY OF MUSIC FOLLOWED BY STARRY NIGHT, ALL IN WHITE January 10-11, 2014 Ž—‡ ‘‘” –”‹Â?‰ —ƒ”–‡– Piano Trio TBA ƒ”Ž ‘Ž†Â?ƒ”Â?ÇŁ –”‹Â?‰ —ƒ”–‡– ‹Â? B Flat, Opus 8 Ellen Zwilich: Septet for –”‹Â?‰ —ƒ”–‡– ĆŹ ‹ƒÂ?‘ ”‹‘
MURDER IN THE CHAMBER May 4-6, 2014 Bernard Hermann: Echoes ƒÂ?ƒ…‡Â?ÇŁ –”‹Â?‰ —ƒ”–‡– ‘Ǥ Í• The Kreutzer Sonata Â?‡–ƒÂ?ÂƒÇŁ –”‹Â?‰ —ƒ”–‡– ‘Ǥ Í• in E Minor
A SUMMONS TO LIFE March 27-31, 2014 Â‘ÂœÂƒÂ”Â–ÇŁ ›Â?’Š‘Â?› ‘Ǥ Í—Í™ Dz ÂƒĆĄÂ?‡”dz Zwilich: Shadows for Piano and Orchestra ‡ƥ”‡› ‹‡‰‡Žǥ ’‹ƒÂ?‘ …Š—Â?ƒÂ?Â?ÇŁ ›Â?’Š‘Â?› ‘Ǥ Í• ’”‹Â?‰
CELLO SPIRIT February 22-24, 2014 Arthur Cook, cello —•‹… ‘ˆ ƒ…Š ĆŹ ‘†ƒŽ› PASSION UNLEASHED March 12-15, 2014 Zuill Bailey, cello Natasha Paremski, piano Debussy Sonata Britten Sonata Franck Sonata
THE GRAND TOUR June 15-17, 2014 …Šƒ‹Â?‘˜•Â?›ǣ –”‹Â?‰ —ƒ”–‡– ‘Ǥ Í– ÂƒÂ”Â„Â‡Â”ÇŁ –”‹Â?‰ —ƒ”–‡– A DISTANT SHORE July 14-16, 2014 —‰‘ Â‘ÂŽÂˆÇŁ –ƒŽ‹ƒÂ? ‡”‡Â?ƒ†‡ Â?› Â‡ÂƒÂ…ÂŠÇŁ –”‹Â?‰ —ƒ”–‡– ‹Â? Â?‡ ‘˜‡Â?‡Â?– ”ƒŠÂ?•ǣ –”‹Â?‰ —ƒ”–‡– ‘Ǥ Í• in C Minor
Â•Â‘Â—Â–ÂŠĆŞÂ‘Â”Â‹Â†ÂƒÂ•Â›Â?’Š‘Â?›Ǥ‘”‰ or call 954-522-8445
Classical Music. It’s In Our Nature. classicalsouthflorida.org
ABOUT THE SHOW
Art|Basel Leading galleries from North America, Latin America, Europe, Asia, and Africa show historical work from the masters of Modern and contemporary art, as well as newly created pieces by emerging stars. Paintings, sculptures, drawings, installations, photographs, films, and editioned works of the highest quality are on display at the main exhibition hall, while ambitious artworks and performances become part of the landscape at nearby beaches, Collins Park and SoundScape Park. PRIVATE VIEW Wednesday, December 4, 2013, 11am to 6pm (by invitation only) VERNISSAGE Wednesday, December 4, 2013, 6pm to 9pm (by invitation only) PUBLIC DAYS Thursday, December 5, 2013, 12noon to 8pm Friday, December 6, 2013, 12noon to 8pm Saturday, December 7, 2013, 12noon to 8pm Sunday, December 8, 2013, 12noon to 6pm EVENTS Many Art Basel show events – talks, films, and public works of art – are free and open to the public. A full schedule of daily events and their locations will be online in the fall.
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Anton Kern Gallery Marepe, Untitled, 2012 Courtesy the artist and the gallery
SECTORS Our show's sectors allow visitors to explore the many dimensions of Modern and contemporary art including museum-caliber paintings, sculptures and classical photography, as well as works of an outsized scale, precisely curated projects, and site-specific artworks which take advantage of the unique Miami Beach landscape. GALLERIES More than 200 of the world’s leading Modern and contemporary art galleries – from North America, Latin America, Europe, Africa and Asia – display paintings, drawings, sculptures, installations, prints, photography, film, video, and digital art by over 4,000 artists. Visitors can find works ranging from inexpensive editioned pieces by young artists to multimillion-dollar museum-caliber masterpieces. NOVA Designed for galleries to present two or three artists showing new works that have been created within the last three years, the Nova sector often features never-before-seen pieces fresh from the artist’s studio. POSITIONS This sector allows curators, critics, and collectors to discover ambitious new talents from all over the globe by providing a platform for galleries to present a single artist’s work. EDITION Leading publishers of editioned works, prints, and multiples exhibit the results of their collaboration with renowned artists. KABINETT Kabinett sector galleries are chosen from the Galleries sector to present curated exhibitions in a separately delineated space within their booths. The curatorial concepts for Kabinett are diverse, including thematic group exhibitions, art-historical showcases, and solo shows for rising stars. PUBLIC The Public sector offers its visitors an experience that is not framed by the galleries located within the main halls. Outdoor sculptures, interventions, and performances are shown within an open and public exhibition format at Collins Park, presented by galleries also exhibiting in the Galleries, Nova or Positions sectors of the show. The sector is a collaboration with the Bass Museum of Art. FILM The Video sector presents works by some of today’s most exciting artists across two venues: inside the Miami Beach Convention Center, and in the outdoor setting of SoundScape Park where works are shown on the 7,000-square-foot outdoor projection wall of the Frank Gehrydesigned New World Center. Organized in association with David Gryn, Director of London’s Artprojx, selections include works by both emerging and established artists from Latin America, the United States, Asia, and beyond, presented by galleries also exhibiting in the Galleries, Nova or Positions sectors of the show. MAGAZINES Art publications from around the world display their magazines in single-magazine stands or the collective booth. Editors and publishers are often present at the show and many magazines contribute presentations to our Salon series, a schedule of presentations, lectures, and discussions by a range of speakers. $#(" # "& $ %% '$ ( "% "& &! #&# $ & $#(" # "& $ %%
CURATORS OF SHOW SECTORS IN MIAMI BEACH Art Basel invites internationally recognized experts in particular spheres of the artworld to curate the Public, Video and Film sectors. PUBLIC Nicholas Baume Nicholas Baume has been Director and Chief Curator of Public Art Fund since 2009. Recent Public Art Fund exhibitions include solo projects by Ryan Gander, Paola Pivi, Rob Pruitt, Eva Rothschild, Thomas Schütte, Monika Sosnowska, and Oscar Tuazon; the group exhibitions ‘Statuesque’ and ‘Common Ground’; a major career survey, ‘Sol LeWitt: Structures 1965 – 2006’; Ugo Rondinone’s colossal ‘Human Nature’ exhibition at Rockefeller Center; and the landmark project ‘Tatzu Nishi: Discovering Columbus’. FILM This Brunner This Brunner has over 40 years of experience in the film industry in Switzerland and abroad. He is a member of the European Film Academy and the Swiss Film Academy, and a well informed observer of the world cinema and the international film festival scene. He has been the curator of Art Basel’s Film sector since 1992, and Film curator for Art Basel in Miami Beach since 2002 David Gryn David Gryn is the founder and director of Artprojx, which screens, curates and promotes artists’ moving image projects usually in the context of the cinema. Projects have been featured in galleries and art fairs around the world. He has given talks, lectures, workshops, and tutorials at many art institutions including the Royal College of Art, University of the Arts, Goldsmiths University, and Art Insight, Slade School of Art. As of September 2013
Visiting Faculty and Alumni Visiting Faculty in December Violin Guillermo Figueroa, Lynn University Paul Kantor, Rice University Shepherd School of Music Viola Ralph Fielding, Los Angeles Philharmonic (retired) Clarinet Jon Manasse, American Ballet Theatre Orchestra Trumpet Thomas Rolfs, Boston Symphony Orchestra Other Noa Kageyama, Performance Psychologist, The Juilliard School
* 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 Elizabeth Phelps, Principal Second Violin, North Carolina Symphony Adrian Pintea, Assistant Concertmaster, Richmond Symphony Sarah Silver, Assistant Concertmaster, San Antonio Symphony Karen Wyatt, Violin, Utah Symphony Jeremy Bauman, Viola, Calgary 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 Katie Brooks, Bassoon, Winnipeg 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
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° Ms. Valerie L. Viglione 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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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
THE ANDREW W. MELLON FOUNDATION JOHN AND MARCIA GOLDMAN FOUNDATION THE SAKURAKO AND WILLIAM FISHER CREATIVE FUND
CRANKSTART FOUNDATION
THE ANN AND GORDON GETTY FOUNDATION CARLO & MICOL SCHEJOLA FOUNDATION THE BATCHELOR FOUNDATION LOUIS LEIBOWITZ CHARITABLE FOUNDATION
The New World Symphony (NWS) is a 501(c)(3) organization (Federal Tax #59-2809056). NWS is registered with the -SVYPKH +LWHY[TLU[ VM (NYPJ\S[\YL HUK *VUZ\TLY :LY]PJLZ 9LNPZ[YH[PVU */ ( JVW` VM [OL VMÄ JPHS YLNPZ[YH[PVU HUK Ä UHUJPHS PUMVYTH[PVU TH` IL VI[HPULK MYVT [OL +P]PZPVU VM *VUZ\TLY :LY]PJLZ I` JHSSPUN [VSS MYLL ^P[OPU [OL Z[H[L 9LNPZ[YH[PVU KVLZ UV[ PTWS` LUKVYZLTLU[ HWWYV]HS VY YLJVTTLUKH[PVU I` [OL Z[H[L
Perfect Venues. Impeccable Service. Unforgettable Events.
A smart space on Ocean Drive that caters to a creative thinking clientele — Miami Herald
1440 Ocean Drive, Miami Beach, FL 33139 | P 305 531 6100 | 866 792 3879 | F 305 531 9009 | www.thebetsyhotel.com Jonathan Plutzik, Chairman | Jeff Lehman, General Manager
Sounds of the Times: Birds on a Wire Saturday, December 7, 2013 at 7:30 PM, New World Center
Alan Pierson, conductor eighth blackbird
Double Sextet (2008) Fast Slow Fast
STEVE REICH (b. 1936)
eighth blackbird: Tim Munro, flute; Michael J. Maccaferri, clarinet Yvonne Lam, violin; Nicholas Photinos, cello Lisa Kaplan, piano; Matthew Duvall, percussion Musicians from the New World Symphony: Emma Gerstein, flute; David Lemelin, clarinet Jennise Hwang, violin; Grace An, cello Aya Yamamoto, piano; Rajesh Prasad, percussion
JOHN ADAMS (b. 1947)
Guide to Strange Places (2001)
INTERMISSION
JENNIFER HIGDON (b. 1962)
On a Wire (2010) eighth blackbird
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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Sounds of the Times: Birds on a Wire
December 7
Sounds of the Times: Birds on a Wire STEVE REICH Double Sextet (2008) Steve Reich didn’t invent Minimalism, and if one claimed that he did, La Monte Young and Terry Riley, among others, might get offended. But Reich was there close to the beginning, and more importantly, he has been around long enough, composing new works and winning new awards, that, along with Philip Glass, he has become one of its most powerful and enduring representatives. This piece, the Double Sextet, carries with it a distinct reminder of what this kind of durability warrants, as it brought Reich, in 2009, his first Pulitzer Prize for Music. The Double Sextet’s first impression comes across as manic and jittery as the two pianos hammer like a low-grade migraine. Old age and mainstream acceptance haven’t calmed down the livewire nerves sputtering through Reich’s music. The relentless forward motion comes from one of Reich’s signature methods: Two groups of instruments, in this case flute, clarinet, vibraphone, piano, violin and cello, are playing the same music, just spaced ever so slightly apart. The result is like being caught and mashed up in some great machine’s giant gears. The best thing about this neurotic energy, though, is how soothing Reich can make it feel. This peculiar sensation—soothing anxiety—is unique to Reich. It might sound jarring at first, but soon one can liken it to a peaceful ceaseless motion—river water swirling around a rock, perhaps, or rain hitting a window. As soon as listeners stop trying to “follow” Reich’s music, it begins to make sense. Or think about it this way. Maybe you had a terrible day, a day so truly awful you said, out loud, “I’m going to have a nervous breakdown.” Saying that once feels terrible and powerful, a self-fulfilling prophecy of sorts. But what if you kept saying it? Maybe 500 times in a row? The specific meaning and power behind the words start to drain away. It turns into a mantra. It becomes music.
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JOHN ADAMS Guide to Strange Places (2001)
Adams’ Guide to Strange Places isn’t anyone’s idea of “minimal.” It’s huge—fat horn swells, shudders of violin, flutters of flute, even old-fashioned harp ripples, straight out of a Disney dream sequence, a big pow from a bass drum. And yet, at the center of it, is a sense of driving churn. Minimalism’s influence never faded completely. Talking about this piece, Adams has said that he intended the work to detail “the descent into an imagined, unexpected underworld.” What that underworld looks like is entirely up to the listener; for Adams, the inspiration came from a French guidebook that detailed strange, occult spots to visit in the Provence region. But here are some cues: About five minutes into the piece, a groaning, two-note horn figure surfaces in the score, one that seems to be saying “uh-oh” in a swaying, pendulum-like rhythm. The horns repeat the figure 15 times, setting the stage for something truly awful to appear. The Gorgon never quite materializes, however, and the piece keeps pitching further and further downward, a sensation you can feel in your stomach.
Sounds of the Times: Birds on a Wire
John Adams has also been called a Minimalist, but is more like a composer who wrote a few Minimalist pieces and then used the basic idea of Minimalism—a central, steady rhythmic pulse— to write whatever music intrigued him. For rock fans, it’s helpful to think of Elvis Costello’s career; he started out with a punk-influenced album, but he was never a pure punk rocker, and what he’s doing now certainly isn’t punk music. For Costello, the spit-in-your-face energy of punk was just one muse in a world full of them; Adams has a similar relationship with the primordial pulse of Minimalism.
December 7
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JENNIFER HIGDON On a Wire (2010)
Sounds of the Times: Birds on a Wire
December 7
The Brooklyn-born composer Jennifer Higdon wrote On A Wire for eighth blackbird, a piece whose mood is hinted from the title’s pun on “birds on a wire.” The work is written as a sort of six-way solo piece, with each member of eighth blackbird getting an opportunity to explore what his or her instruments are capable of. Behind them, the traditional full orchestra sits, ready to come in and possibly send these six birds scattering from their perch. For the members of the ensemble, who are attempting to hold the piece together even as they express themselves on equal footing, and for Higdon, who is managing a daunting number of voices, the piece is a balancing act. The first several minutes of the piece are taut, as if everyone involved is warming up, working to dispel their fears. The piano, as it was in the Reich, acts as the voice of jangled nerves; inside the piano’s guts, the strings are strummed to produce bristling, hollow, clanking noises. Here, the plucking strings provide counterpoint. When the orchestra leaps in, at about three minutes, the effect is exhilarating, the first plunge on the “down” end of the roller-coaster. The rest of the piece sustained this steady high—like the Adams, the music occasionally resembles an endless free-fall, with all sections spiraling downward together.
— Copyright © 2013 Jayson Greene Jayson Greene is Managing Editor of eMusic and Contributing Editor at Pitchfork. He lives in Brooklyn.
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ALAN PIERSON
Last spring, Mr. Pierson made his debut with the Los Angeles Philharmonic. He has also appeared as a guest conductor with the London Sinfonietta, the Steve Reich Ensemble, the Orchestra of St. Luke's, Carnegie Hall's Ensemble ACJW, the Tanglewood Music Center Orchestra, the New World Symphony, and The Silk Road Project, among other ensembles.
Mr. Pierson has recorded for Nonesuch Records, Cantaloupe Music, Sony Classical and Sweetspot DVD.
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December 7
He is also Principal Conductor of the Dublin-based Crash Ensemble, and has been a visiting faculty conductor at the Indiana University Jacobs School of Music and the Eastman School of Music. He regularly collaborates with major composers and performers, including Yo-Yo Ma, Steve Reich, Dawn Upshaw, Osvaldo Golijov, John Adams, Augusta Read Thomas, David Lang, Michael Gordon, Donnacha Dennehy, La Monte Young, and choreographers Christopher Wheeldon, Akram Khan and Elliot Feld.
Sounds of the Times: Birds on a Wire
Alan Pierson has been praised as "a dynamic conductor and musical visionary" by The New York Times, "a young conductor of monstrous skill" by Newsday, "gifted and electrifying" by The Boston Globe, and "one of the most exciting figures in new music today" by Fanfare. He is the Artistic Director and conductor of the acclaimed ensemble Alarm Will Sound, which has been called "the future of classical music" by The New York Times and "a sensational force" with "powerful ideas about how to renovate the concert experience" by The New Yorker. Mr. Pierson recently finished his second season as the Artistic Director and conductor of the newly renovated Brooklyn Philharmonic. Time Out New York praised his inaugural season as extraordinary, a "season of miraculous resurgence." The New Yorker's Alex Ross wrote that "The Brooklyn Philharmonic's first season under Alan Pierson is remarkably innovative, perhaps even revolutionary," and The New York Times called the season "truly inspiring," and said that under Mr. Pierson's leadership, “the Brooklyn Philharmonic has the potential to be not just a good orchestra but also an important one."
Sounds of the Times: Birds on a Wire
December 7
EIGHTH BLACKBIRD
eighth blackbird combines the finesse of a string quartet, the energy of a rock band and the audacity of a storefront theater company. The Chicago-based, three-time Grammy-winning “super-musicians” (The Los Angeles Times) entertain and provoke audiences across the country and around the world. Colombine’s Paradise Theatre is eighth blackbird’s new staged, memorized production. Composer Amy Beth Kirsten challenges the sextet to play, speak, sing, whisper, growl and mime, breathing life into this tale of dream and delusion. Performances will occur at University of Richmond, University of Connecticut, The Kitchen, Atlas Arts, Virginia Tech and Chicago’s Museum of Contemporary Art. The 2013-14 season’s acoustic program, Still in Motion, features new works by The National’s Bryce Dessner (the folk-inspired Murder Ballades), Steve Mackey (music from his Grammy-winning Slide) and Australian composer Brett Dean (the searing Old Kings in Exile). eighth blackbird brings this show to Ohio, Missouri, Idaho, Oregon, North Carolina, Pennsylvania, Michigan, New York and California. Other highlights include debuts with the Cincinnati Symphony (where the ensemble is an Artist in Residence) and the New World Symphony; residencies at UCLA, SUNY Purchase, Baylor and Duke; a collaboration with Oberlin College’s CME; and a debut on the Lincoln Center’s Atrium series. eighth blackbird holds ongoing Ensemble in Residence positions at the Curtis Institute of Music, University of Richmond and University of Chicago. A decadelong relationship with Chicago’s Cedille Records has produced six acclaimed recordings. The ensemble has won three Grammy Awards, for the recordings strange imaginary animals, Lonely Motel: Music from Slide and Meanwhile. eighth blackbird’s members hail from America’s Great Lakes, Keystone, Golden and Bay states, and Australia’s Sunshine State. There are four foodies, three beer snobs and one exercise junkie. The name “eighth blackbird” derives from the eighth stanza of Wallace Stevens’s evocative, aphoristic poem, Thirteen Ways of Looking at a Blackbird (1917). eighth blackbird is managed by David Lieberman/Artists’ Representatives; P.O. Box 10368; Newport Beach, California 92658; info@dlartists.com. Michael Maccaferri is a Rico Performing Artist and Clinician. Matthew Duvall proudly endorses Pearl Drums and Adams Musical Instruments, Vic Firth Sticks and Mallets, Zildjian Cymbals and Black Swamp Percussion Accessories. Lisa Kaplan is a Steinway Artist.
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Tristan and Isolde: An Orchestral Passion Saturday, December 14, 2013 at 7:30 PM, New World Center Sunday, December 15, 2013 at 2:00 PM, New World Center
Mark Wigglesworth, conductor Leila Josefowicz, violin
IGOR STRAVINSKY (1882-1971)
Concerto in D major for Violin and Orchestra (1931) Toccata Aria I Aria II Capriccio Ms. Josefowicz
INTERMISSION
RICHARD WAGNER (1813-1883) HENK DE VLIEGER
Tristan und Isolde: An Orchestral Passion (1859, arr. 1994) Prelude: Love in Death Isolde's Longing Love Duet Interlude and Shepherd's Lament Tristan's Visions Reunion Isolde's Transfiguration
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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December 14 - 15 Tristan and Isolde: An Orchestral Passion
Tristan and Isolde: An Orchestral Passion IGOR STRAVINSKY Concerto in D major for Violin and Orchestra (1931) Stravinsky’s German publisher arranged a meeting in 1930 between the composer and violinist Samuel Dushkin, with the hope of convincing Stravinsky to write a violin concerto. Stravinsky overcame his initial reluctance when he met the Polish-American violinist, whom he lauded as an “unusual exception within his profession,” in that, “besides his remarkable gifts as a born violinist, he possessed musical culture, a delicate understanding and…an abnegation that is very rare.” Their fruitful collaboration continued beyond the concerto, and together they developed a repertoire of music for violin and piano (including arrangements from Stravinsky’s earlier ballets) that they performed on numerous tours together. With a trustworthy soloist in place, and with additional encouragement from Paul Hindemith, Stravinsky began work on his Violin Concerto. He consulted frequently with Dushkin, including meetings in Paris during the winter of 193031. At lunch one day, Stravinsky wrote out a three-note chord and asked Dushkin if it was playable. As Dushkin recounted, “I had never seen a chord with such an enormous stretch, from the E to the top A, and I said ‘No.’ Stravinsky said sadly, ‘Quel dommage’ (What a pity). After I got home, I tried it, and, to my astonishment, I found that in that register, the stretch of the eleventh was relatively easy to play, and the sound fascinated me. I telephoned Stravinsky at once to tell him it could be done.” The solo violin begins all four movements with that chord, which Stravinsky (according to Dushkin) called the “passport” to the concerto. That distinctive chord is one of the few elements to push the boundaries of violin technique, as Stravinsky mostly avoided virtuosity and flashy solo passages. The Violin Concerto is less in the lineage of the heroic concertos of the Romantic era, and more akin to Bach’s concertos and other Baroque examples, emphasizing inner dialogue and collective solo textures. There are frequent duets, and the full orchestra often behaves like a small chamber ensemble. The neoBaroque sensibility includes the movement titles, with a Toccata, two Arias and a Capriccio. Toccata suggests constant motion and counterpoint, and the movement obliges with a persistent yet fragmented rhythmic drive typical of Stravinsky’s neoclassical works, with the solo violin and ensemble trading duties between maintaining the pulse and adding melodic counter-lines. Bach applied the title Aria to instrumental music of a lyrical, singing character (for example the theme of the “Goldberg” Variations), and Stravinsky followed suit in his twin
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RICHARD WAGNER Tristan und Isolde: An Orchestral Passion (1859, arr. 1994 by Henk de Vlieger) Richard Wagner was living in Zurich, exiled from Dresden after his participation in the May Uprising of 1849, when he met Otto and Mathilde Wesendonck. Otto was a wealthy retired merchant, and he became an important patron for Wagner in Zurich. When the Wesendoncks moved to a newlybuilt villa in 1857, they invited Wagner and his wife, Minna, to stay in a smaller house on the property. Wagner was secretly infatuated with Mathilde Wesendonck, a poet and author, and—judging by her portrait—a real beauty. It remains a matter of debate whether their affair was ever consummated; regardless, Mathilde was one of the most significant women in Wagner’s life, and it was their thwarted romance that inspired the composer to create Tristan und Isolde, a passionate and tragic love story based on a medieval tale of a king’s vassal, Tristan, and his love for Isolde, who is betrothed to marry the king.
True to Schopenhauer’s ideal, Tristan und Isolde generates its essential tension, drama and even romance on a musical plane. This process begins with the Prelude, which enters with a swelling measure of unaccompanied cellos. The opening phrase arrives on a peculiar chord, one that has been the subject of innumerable studies, and which is known simply as the “Tristan” chord in musical circles. This four-note sonority creates an aching tension to resolve, but the expected resolution never comes—at least not until the opera’s final scene, hours later.
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December 14 - 15
During the same period as the Wesendonck affair, Wagner became obsessed with the philosophies of Arthur Schopenhauer. In The World as Will and Idea (1818), Schopenhauer wrote, “The effect of music is so very much more powerful and penetrating than is that of the other arts, for these others speak only of the shadow, but music of the essence.” He argued that, in opera, “Music is certainly able with the means at its own disposal to express every movement of the will, every feeling.” In his view, an opera’s music is the “soul” of the drama, such that it “becomes the expression of the finer significance of all those incidents and of their ultimate and secret necessity.”
Tristan and Isolde: An Orchestral Passion
slow movements. Aria I reverts back momentarily to the surging momentum of the Toccata and assumes a mischievous posture, while Aria II lingers in cantabile melodies, punctuated by dramatic returns to the “passport” chord. True to the Capriccio heading, the finale is full of whimsical and capricious shifts in mood and texture.
December 14 - 15 Tristan and Isolde: An Orchestral Passion
Tristan und Isolde: An Orchestral Passion compresses the opera’s essential drama into a symphonic suite arranged in 1994 by Henk de Vlieger for the Netherlands Radio Philharmonic Orchestra. A shortened version of the Prelude connects to Isolde’s Longing with music drawn from the beginning of the opera’s second act. The sound of the distant hunting horns marks the moment when Isolde gives the signal that it is safe for Tristan to join her, despite the risks of their meeting. The next section, Love Duet, comes from the same nocturnal tryst, in which the lovers sing, “Descend, O Night of love, grant oblivion that I may live; take me up into your bosom, release me from the world!” Interlude and Shepherd's Lament adapts music from the start of Act III, when Tristan, wounded in a fight over his betrayal of the king, lies in a deep sleep and can only be awakened by Isolde’s magic. A shepherd stands watch while playing a mournful tune on his pipe, represented by an English horn. Tristan’s Visions comes from later in the scene, when the delirious Tristan has a vision of Isolde’s ship arriving, while she smiles and waves, “giving comfort and sweet peace.” Tristan orders his servant, Kurwenal, to stand watch for the ship, which he sees coming in the section titled Reunion. Isolde arrives just in time for Tristan to utter her name before he dies, looking up at her. Closing this “orchestral passion,” Isolde’s Transfiguration adapts music that the heroine sings over Tristan’s dead body, imagining him rising once more.
— Copyright © 2013 Aaron Grad 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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MARK WIGGLESWORTH
Mr. Wigglesworth was appointed Associate Conductor of the BBC Symphony Orchestra in 1992 and further appointments included Principal Guest Conductor of the Swedish Radio Symphony Orchestra and Music Director of the BBC National Orchestra of Wales. Highlights of his time with the BBCNOW included several visits to the BBC Proms, a performance of Mahler’s Tenth Symphony at the prestigious Amsterdam Mahler Festival in 1995 and a six-part television series for the BBC entitled Everything To Play For. In addition to concerts with most of the U.K. orchestras, Mark Wigglesworth has guest conducted many of Europe’s finest ensembles, including the Berlin Philharmonic, Amsterdam Concertgebouw, La Scala Filarmonica in Milan, Accademia Nazionale di Santa Cecilia Orchestra in Rome, Stockholm Philharmonic, Gothenburg Symphony, Oslo Philharmonic, Helsinki Radio Symphony, Salzburg Mozarteum Orchestra and the Budapest Festival Orchestra, as well as the Sydney, Melbourne and New Zealand symphonies, Tokyo Symphony and Hong Kong Philharmonic.
Mark Wigglesworth has a huge commitment to making music with young musicians. Passionate about passing on his experiences to a younger generation, he has performed with the Dutch National Youth Orchestra on several occasions as well as with the European Union Youth Orchestra, the National Youth Orchestra of Great Britain and the Aspen Music Festival Orchestra, and has given conducting master classes in London, Stockholm and Amsterdam. In April 2013, he led the Juilliard Orchestra at Lincoln Center during the school’s Contemporary British Festival. Equally at home in the opera house, Mr. Wigglesworth started his operatic career as Music Director of Opera Factory in London. Since then he has worked regularly at Glyndebourne (Peter Grimes, La Bohème, The Marriage of Figaro), the Welsh National Opera (Elektra, The Rake’s Progress, Tristan und Isolde) and the English National Opera (Lady Macbeth of Mtsensk, Così fan tutte, Falstaff,
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December 14 - 15
Equally busy in North America, Mr. Wigglesworth has worked with The Cleveland Orchestra, New York Philharmonic, Philadelphia Orchestra, Chicago and Boston symphonies, Los Angeles Philharmonic, and the San Francisco, Montreal, Detroit, Toronto, Vancouver and Cincinnati symphonies. He is a regular guest at the Minnesota Orchestra and has an ongoing relationship with the New World Symphony.
Tristan and Isolde: An Orchestral Passion
Born in Sussex, England, Mark Wigglesworth studied music at Manchester University and conducting at the Royal Academy of Music in London. A few weeks after leaving the Academy, he won the Kondrashin International Conducting Competition in The Netherlands and since then has worked with many of the world’s leading orchestras and opera companies.
In the recording studio, Mr. Wigglesworth’s recent activities have been centered around a multi-year project of recording all of the symphonies of Shostakovich for BIS Records. Recently completed, this cycle has received critical acclaim throughout the world. He has also recorded live performances of Mahler’s Sixth and Tenth Symphonies with the Melbourne Symphony on the MSO Live label. His most recent recording is the Brahms piano concertos with Stephen Hough and the Salzburg Mozarteum for Hyperion.
Tristan and Isolde: An Orchestral Passion
December 14 - 15
Katya Kabanova, Parsifal). He has also conducted productions at the Netherlands Opera (Peter Grimes); La Monnaie (Mitridate, Wozzeck, Pelleas et Melisande); the Sydney Opera House (Peter Grimes); New York’s Metropolitan Opera (The Marriage of Figaro); the Bavarian State Opera (Così fan tutte and Mitridate); and the Royal Opera House, Covent Garden (Die Meistersinger von Nürnberg). In March 2015, he returns to Covent Garden to lead a production of Kurt Weill’s Mahagonny.
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LEILA JOSEFOWICZ
Violin concertos have been written especially for Ms. Josefowicz by Colin Matthews, Steven Mackey and Esa-Pekka Salonen, while John Adams and Luca Francesconi have recently been commissioned to write new pieces for her. The latter will be given its world premiere by Ms. Josefowicz in February 2014 with Susanna Mälkki and the Swedish Radio Symphony Orchestra. The Salonen concerto was first performed by her with the Los Angeles Philharmonic conducted by the composer, before subsequent performances throughout Europe and North America. She also gave the premiere of Matthews’ concerto with the City of Birmingham Symphony Orchestra before performing the piece with the Orchestre National de Lyon and the BBC Symphony and Finnish Radio Symphony orchestras. During the 2013-14 season Ms. Josefowicz performs John Adams’ Violin Concerto with the Sydney Symphony and Melbourne Symphony Orchestra, conducted by the composer. Elsewhere, she appears with the BBC Symphony, Finnish Radio Symphony and Toronto Symphony orchestras, the Orchestra della Scala, and the Orchestra Sinfonica Nazionale della Rai. Ms. Josefowicz also has engagements this season with the Chicago Symphony and Baltimore Symphony orchestras, the Los Angeles Philharmonic, the San Francisco Symphony, and Washington’s National Symphony Orchestra. She also appears in recital at London’s Milton Court Concert Hall and Handelsbeurs Concertzaal in Belgium.
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December 14 - 15
Recent highlights include performances with the London Symphony, London Philharmonic, Boston Symphony and Philadelphia orchestras; the Orchestre Philharmonique de Radio France, and the Gothenburg Symphony, Royal Stockholm Philharmonic, and Danish National Symphony orchestras, as well as the Gewandhausorchester Leipzig, Munich Philharmonic, Gürzenich-Orchester Köln and the Royal Concertgebouw Orchestra. Ms. Josefowicz has released several recordings, notably for the Deutsche Grammophon, Philips/Universal and Warner Classics labels. She has recorded the works of John Adams: most recently The Dharma at Big Sur with the Los Angeles Philharmonic–her second release for DG Concerts on iTunes–and the title track on the Grammy-nominated Road Movies album for Nonesuch. Her latest recording, released by Deutsche Grammophon in autumn 2012, features Esa-Pekka Salonen’s Violin Concerto with the Finnish Radio Symphony Orchestra conducted by the composer.
Tristan and Isolde: An Orchestral Passion
An outstanding advocate and champion of contemporary music for the violin, which is reflected in her diverse programs and enthusiasm to perform new works, Leila Josefowicz is a frequent collaborator of several leading composers, and works with orchestras and conductors at the highest level around the world. She has also been awarded a prestigious MacArthur Fellowship, joining prominent scientists, writers and musicians who have made unique contributions to contemporary life.
Chamber Centennials Sunday, December 22, 2013 at 2:00 PM, New World Center
Amanda Crider, mezzo-soprano Joshua Gersen, conductor Musicians of the New World Symphony BENJAMIN BRITTEN (1913-1976)
Sinfonietta, Op. 1 (1932) Poco presto e agitato Variations: Andante lento Tarantella: Presto vivace
Henrik Heide, flute; Kevin Pearl, oboe; Miles Jaques, clarinet; Thomas Fleming, bassoon Chris Jackson, horn; Vivek Jayaraman, Heewon Park, violin; Anthony Parce, viola Kevin Kunkel, cello; Noah Reitman, bass BENJAMIN BRITTEN
Phaedra, Op. 93 (1975)
Joshua Gersen, conductor; Amanda Crider, mezzo-soprano Alex Chaleff, Clara Lee, Nathaniel Wolkstein, Joelle Kee, Lauren Densinger, Benjamin Carson, violin I; Thomas Hofmann, Sunjoo Park, Colleen McCullough, Jason Yu, Julia Noone, Derek Powell, violin II; Kallie Ciechomski, Sarah Harball, Katerina Istomin, Derek Mosloff, Eve Tang, viola; Rosanna Butterfield, Meredith McCook, Maaike Harding, Aaron Ludwig, cello; Emily Honeyman, Daniel Tosky, bass; Alex Wadner, timpani; Rajesh Prasad, Chris Riggs, percussion Nina Zhou, harpsichord INTERMISSION FELIX (1809-1847)
SextetMENDELSSOHN in D major for Strings and Piano, Op. 110 (1824) Allegro vivace Adagio Minuetto: Agitato Allegro vivace
Aya Yamamoto, piano; Amos Fayette, violin; Madeline Sharp, Allyson Goodman, viola Marybeth Brown-Plambeck, cello; Lee Philip, bass
Michael Linville is the New World Symphony’s Associate Dean for Chamber 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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Chamber Centennials
Chamber Centennials
December 22
BENJAMIN BRITTEN Sinfonietta, Op. 1 (1932) Benjamin Britten had a precocious start in music, studying piano and viola and composing hundreds of works by the time he was a teenager. At 14, Britten’s viola teacher introduced him to the composer Frank Bridge, who agreed to give Britten private lessons. The ambitious composer lost some of his youthful swagger working with Bridge—he later wrote, “I, who thought I was already on the verge of immortality, saw my illusions shattered”—but he emerged from the demanding lessons with new rigor and technique to match his natural inventiveness. Britten entered the Royal Conservatory of Music in 1930. His composition lessons there with John Ireland were unremarkable, far less influential than his discoveries of modern composers ranging from Schoenberg to Stravinsky. Britten’s career gathered steam in 1932 when a prize-winning Phantasy for string quartet led to his first professional performance. A Sinfonietta from the same year became his official Opus 1. Britten composed the Sinfonietta in three weeks during the summer of 1932, and he conducted its premiere the following January. The scoring for ten solo instruments, a woodwind quintet plus a string quintet, reflects the influence of Schoenberg’s First Chamber Symphony, the seminal work for such mixed ensembles. The dissonant harmonies and spiky phrases in the opening movement speak to young Britten’s fascination with continental modernism, a reaction against the Anglicized, pastoral sound espoused by his teacher and others from the older generations. Still, the music does not abandon Britten’s sensitive ear for melody, as heard in the mellifluous woodwind phrases and crystalline violin duet in the central Variations movement; there are also plentiful examples of the pentatonic scales that turn up so often in the music of Vaughan Williams and other Brits. A trembling viola line links directly to the Tarantella, a kinetic finale in the manner of the Italian folk dance named, so it is said, for the manic gyrations intended to ward off death after the bite of a tarantula.
BENJAMIN BRITTEN Phaedra, Op. 93 (1975) In 1975, the ailing Benjamin Britten mustered the energy to write a new work for mezzo-soprano Janet Baker, to be premiered at the following year’s Aldeburgh Festival. He was present for the success of Phaedra, his new “dramatic cantata,” at the festival where he had held court since 1948. The work turned out to be the last addition to his legendary body of vocal music; he died before the year was
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out, at home in Aldeburgh, in the arms of his lifelong partner and musical soulmate, Peter Pears. Britten took the text of Phaedra from a verse translation by Robert Lowell of Jean Racine’s 1677 play, itself a retelling of a Greek myth. Phaedra, according to the mythology, was the wife of Theseus, the founder of Athens. She fell in love with her stepson, Hippolytus, and the taboo passion drove her to suicide.
The second recitative finds Phaedra confiding in her nurse, Oenone, at her dread of seeing her husband. In the final aria, framed by lamenting chords in an icy Adagio tempo, she confesses her betrayal to Theseus and declares that, having swallowed Medea’s poison, “chills already dart along my boiling veins and squeeze my heart.”
FELIX MENDELSSOHN Sextet in D major for Strings and Piano, Op. 110 (1824)
The Piano Sextet in D major, completed on May 10, 1824, was likely prepared for one of these salons, and its unusual instrumentation—piano, violin, two violas, cello and bass— presumably matched the available forces for a particular performance. The high opus number is misleading; the score, composed shortly after Mendelssohn’s fifteenth birthday, was only published two decades after his death. While the scoring of the sextet places it in the realm of chamber music, its spirit is more that of a piano concerto. The most electrifying aspects of the first movement, constructed in a textbook sonata form, are the lively piano figurations, including one arpeggio that spans six octaves of the pitch E, requiring a cutting-edge piano that had only just become available in the decade or so before Mendelssohn wrote the score.
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December 22
Felix Mendelssohn, the grandson of a famous philosopher and the son of a successful banker, took full advantage of the opportunities his family’s wealth afforded him. This was a child who celebrated his 12th birthday with a private performance of his first work of music theater, in a fully staged production at his house in Berlin, featuring members of the royal orchestra! Private concerts for Berlin’s aristocracy continued as a regular highlight of the Mendelssohn household, and young Felix composed and performed many new works in this nurturing environment.
Chamber Centennials
Britten crafted Phaedra in the manner of a Baroque cantata, with sections of recitative (accompanied, in true period fashion, by harpsichord and cello) linking a string of arias. It begins with a prologue, set to ominous, ritualistic music, in which the heroine describes seeing her stepson at her wedding. A recitative blames her infatuation on Aphrodite, the goddess of love, and then the first aria unleashes presto gusts of fury at her stepson. Phaedra comes off crazy and unhinged, a “monster, ravenous for her execution,” as she declares euphemistically.
The Adagio takes the bottom-weighted string sound to an even darker hue with the instruction to play with mutes. The music is artfully restrained, employing minimal accompaniments and sparse melodies, as in the piano chords that hover over octave pulses from the two violas. The Minuetto, in contrast, is manic and “agitated,” as per the tempo indication. Mendelssohn may have called it a minuet, but this was really one of his early scherzos, a format in which he wrote some of his most legendary music. The finale cleverly returns to the agitato music of the Minuetto, intensifying the drama and cohesion as this fledgling sextet reaches its energetic conclusion.
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.
Chamber Centennials
December 22
— Copyright © 2013 Aaron Grad
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AMANDA CRIDER
Ms. Crider joined the roster of the New York City Opera in the fall of 2007 in Barber’s opera Vanessa covering the role of Erika. She has also performed with such companies as Des Moines Metro Opera as Siébel in Faust, Gotham Chamber Opera as the Second Gypsy in Scenes of Gypsy Life, and for her first foray into the operatic world, Ms. Crider performed the role of L’Enfant in L’Enfant et les Sortilèges at the Tanglewood Music Center. For this performance, The Boston Globe said she sang with “ineffable tenderness,” and was hailed by Opera News as “delightful.” Ms. Crider has been lauded for her fine interpretations of early music. She has been a soloist in recent seasons with the Bach Festival Society of Florida, and the renowned Baroque ensemble from Cleveland, Apollo’s Fire. She was heard in the 2007 Glimmerglass Opera production of Monteverdi’s L’Orfeo, and returned for a second season in 2008 where she excelled in a performance of the role of Sesto in Handel’s Julius Caesar, when the artist she was covering was indisposed.
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December 22
In recent seasons, Ms. Crider debuted with Florida Grand Opera singing the role of Mallika in Lakmé, and went on to delight audiences there as Cherubino in The Marriage of Figaro. She was also heard in 2010 in the role of Nellie Forbush in South Pacific with Anchorage Opera, a role she had previously performed with Opera Boston. In addition, she sang with the New World Symphony in performances of Falla’s The Three-Cornered Hat, Mozart’s Mass in C minor with the Bach Festival Society and Messiah with Apollo’s Fire. Other performances in recent seasons include Diana in Eugene Opera’s Orpheus in the Underworld, Cherubino with the Des Moines Metro Opera and the Eugene Opera, as well as The Monitor in Suor Angelica , Alisa in Lucia di Lammermoor, Berta in The Barber of Seville, and Mercedes in Carmen with the Florida Grand Opera.
Chamber Centennials
Praised for her “focused golden toned voice,” American mezzo-soprano Amanda Crider is quickly gaining recognition for her extraordinary musicality and assured dramatic presence. The 2013-14 season features returns to the New World Symphony for Britten’s Phaedra, Nevada Opera as Carmen, and concerts with the Winter Park Bach Festival. Ms. Crider will also reprise her role of the English Teacher in Gregory Spears’ Paul’s Case with the Prototype Festival and return to Miami’s Seraphic Fire for multiple concerts. Ms. Crider’s 2012-13 season included appearances as Prince Orlofsky in Knoxville Opera’s production of Die Fledermaus, Zerlina in Nevada Opera’s Don Giovanni, and the English Teacher in Paul’s Case with UrbanArias. Concert engagements included appearances with the Greeley Philharmonic and The Dallas Opera, and her return to both Apollo’s Fire and Seraphic Fire for Handel’s Messiah. In the 2011-12 season, Ms. Crider debuted with The Dallas Opera in La Traviata, Opera Omaha in La Cambiale di Matrimonio, and the Eugene Symphony and Charlotte Symphony for the Mozart Requiem. She also appeared with Eugene Opera in Nixon in China, was the soloist in Ravel’s Chansons madécasses with the New World Symphony, and was a recitalist on the Trinity Church Concerts at One Recital Series.
She also performed an evening of Baroque arias and duets with internationally renowned soprano Lisa Saffer and the Cooperstown Chamber Music Festival in the summer of 2008.
Chamber Centennials
December 22
An impeccable interpreter of song and oratorio, Ms. Crider made her Carnegie Hall debut in the fall of 2007 singing in Messiah with the New England Symphonic Ensemble. She returned to Carnegie Hall in April 2008 in Haydn’s “Lord Nelson” Mass. Her other concert credits include mezzo soloist in Messiah with numerous orchestras such as the Syracuse Symphony Orchestra and the Savannah Symphony, as well as appearances with the Charleston Symphony Orchestra, the International Contemporary Ensemble and the Charlotte Symphony Orchestra.
JOSHUA GERSEN
Joshua Gersen is the John S. and James L. Knight Foundation Conducting Fellow of the New World Symphony, where he serves as the assistant conductor to Artistic Director Michael Tilson Thomas and leads the orchestra in various subscription, education and family concerts. Since 2012, he has also served as the Music Director of the New York Youth Symphony, New York City’s premiere youth orchestra. Mr. Gersen was the winner of the Aspen Music Festival’s prestigious 2011 Aspen Conducting and 2010 Robert J. Harth Conducting prizes and served as the festival’s assistant conductor for the 2012 summer season under Robert Spano. He made his conducting debut at age 11 with the Greater Bridgeport Youth Orchestra and his professional conducting debut five years later when he led the Greater Bridgeport Symphony in a performance of his own composition, A Symphonic Movement. This fall, Mr. Gersen made his debut with the San Francisco Symphony. He served as the principal conductor of the renowned Ojai Music Festival in June 2013 and was featured in the League of American Orchestra’s 2013 Bruno Walter National Conductor Preview. Mr. Gersen is a graduate of the Curtis Institute of Music, where he studied conducting with the esteemed Otto Werner Mueller, and the New England Conservatory of Music, where he studied composition with Michael Gandolfi.
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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 Adrianne and Jerry L. Cohen 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 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 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*
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* Dr. Alfred and Susan Feingold 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
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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 Carin Kahgan, in memory of Marc 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 Dolores Stern 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
Dr. Virginia Salus Ms. Marjorie Schell Herman Selinsky° Diane S. Sepler* Madeleine B. Sternlight° Ms. Valerie L. Viglione 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
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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
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
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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
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
www.nws.edu
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Jeffrey Dyrda, 26 Winnipeg, Manitoba McGill University, BM New England Conservatory, MM, GD
Violin
Violin
Violin
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
Violin
Violin Andrea Daigle, 26 Boulder, CO Cleveland Institute of Music, BM, MM
Violin
Violin
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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CENTERSTAGE
Julia Noone, 24 Worcester, MA New England Conservatory, BM
Violin
Violin
Violin Hugh Palmer, 26 Edina, MN Northwestern University, BM The Colburn School, AD
Lisa Kim, 24 San Diego, CA The Juilliard School, BM, MM
Violin
Violin
Violin
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
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
www.nws.edu
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CENTERSTAGE
Audrey Wright, 24 Harwich, MA New England Conservatory, BM, MM
Violin
Violin Jin Suk Yu, 24 New York City, NY The Juilliard School, BM, MM
Violin
Violin
Violin Foster Wang, 25 Douglaston, NY Harvard University, BA The Juilliard School, MM
Violin
Violin
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
www.nws.edu
Viola
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
Viola Anthony Parce, 27 Seattle, WA Rice University, BM New England Conservatory, MM
Viola
Viola
Viola Katerina Istomin, 28 Pittsburgh, PA The Juilliard School, BM Université de Montréal, MM
Viola
Viola
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
Cello
Cello Rosanna Butterfield, 23 Vancouver, BC Rice University, BM
Cello
Cello
Cello Grace An, 27 Villa Park, CA Stanford University, BM Eastman School of Music, MM Manhattan School of Music, PC
Maaike Harding, 29 Kevin K端nkel, 24 Troy, MI Vernon Hills, IL Cleveland Institute of Music, BM, MM Indiana University, BM, PD
Cello
Cello
Cello
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
www.nws.edu
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Meet the Musicians New World Symphony Fellows 2013-14
David Connor, 24 Chelmsford, MA Carnegie Mellon University, BFA
Noah Reitman, 29 Los Angeles, CA University of Michigan, BM Indiana University, MM Manhattan School of Music, PC
www.nws.edu
Flute
Flute Emma Gerstein, 27 Chicago, IL Manhattan School of Music, BM
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Bass
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
Bass Nathan Lutz, 27 Ann Arbor, MI University of Cincinnati, BM Carnegie-Mellon University, MM Indiana University, PC
Bass
Bass
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
www.nws.edu
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CENTERSTAGE
David Lemelin, 28 Marbleton, Canada McGill University, BM DePaul University, MM
Bassoon
Bassoon Kathryn Brooks, 27 Cleveland, OH Cleveland Institute of Music, BM, MM Manhattan School of Music, GD
Clarinet
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
Clarinet
Oboe Henry Ward, 28 Philadelphia, PA New England Conservatory, BM
Oboe
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
www.nws.edu
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CENTERSTAGE
Dominic Rotella, 28 Holderness, NH University of Louisville, BM
Trombone
Trumpet Pierre-Louis Marques, 24 Guemar, France Haute Ecole de Musique de Geneve, BA, MA
Horn
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
Horn Alexander Kienle, 28 Portland, OR The Juilliard School, BM, MM
Horn
Horn
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
www.nws.edu
Harp
Chris Riggs, 29 Edmond, OK University of Oklahoma, BM Northwestern University, MM
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Jay Ganser, 26 Marietta, GA Cleveland Institute of Music, BM DePaul University, MM
Percussion
Percussion Rajesh Prasad, 28 Grove City, OH Northwestern University, BM Manhattan School of Music, MM, PSC
Percussion
Percussion
Timpani Alex Wadner, 25 Hillsboro, OR Indiana University, BM San Francisco Conservatory, MM
Tuba
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
Conducting
Piano
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: tickets@nws.edu Feedback: customerservice@nws.edu
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 www.nws.edu.
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 www.nws.edu.
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 www.nws.edu/tours. Private tours for groups of 10-50 can be reserved at $10 per person by calling Yuri Rebello at 305-428-6767 or emailing tours@nws.edu.
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