New World Symphony Program March 2025

MA R CH 2 02 5 AMERICA'S ORCHESTRAL ACADEMY STÉPHANE DENÈVE, ARTISTIC DIRECTOR MICHAEL TILSON THOMAS, CO-FOUNDER AND ARTISTIC DIRECTOR LAUREATE 1

TABLE OF CONTENTS Page

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About the New World Symphony

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Message from the President

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Board of Trustees

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Artistic Director, Stéphane Denève

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Co-Founder and Artistic Director Laureate, Michael Tilson Thomas

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Visiting Faculty

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Recent Alumni Successes

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Message from the Board Chair

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Donor Recognition

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Programs

Mar. 1-2 Mar. 8-9 Mar. 15 Mar. 29-30

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New World Symphony Fellows

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New World Symphony Staff

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Plan your Visit

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Sponsor Recognition

Cover photo by Alex Markow

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Denève: Music in (Techni)Color Denève: Davóne Tines' Mass Denève: Britten's War Requiem MTT, Bronfman and Beethoven

ABOUT THE NEW WORLD SYMPHONY The New World Symphony, America’s Orchestral Academy (NWS), prepares graduates of music programs for leadership roles in professional orchestras and ensembles. Since its cofounding in 1987 by Artistic Director Laureate Michael Tilson Thomas and Lin and Ted Arison, NWS has helped launch the careers of nearly 1,300 alumni worldwide. In 2022 Stéphane Denève was named Artistic Director of New World Symphony.

A laboratory for the way music is taught, presented and experienced, the New World Symphony consists of young musicians who are granted fellowships lasting up to three years. The fellowship 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’s extensive distance learning via the internet.

NWS Fellows take advantage of the innovative performance facilities and state-of-the art practice and ensemble rooms of the Frank Gehry-designed New World Center, the campus of the New World Symphony and home of the Knight New Media Center.

In the hopes of joining NWS, over 1,000 recent music school and conservatory graduates compete for about 35 available fellowships each year. The Fellows are selected for this highly competitive, prestigious opportunity based on their musical achievement and promise, as well as their passion for the future of classical music.

NWS recognizes that the viability of the performing arts depends on their being reflective of the communities in which they live. NWS is committed to equity, diversity and inclusion, and proud to be partnering with many organizations to realize the goal of the reflective orchestra.

NWS is an accredited institutional member of the National Association of Schools of Music.

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MESSAGE FROM THE PRESIDENT Welcome to this concert by the New World Symphony. These performances are celebratory moments as all our Fellows take the next steps toward becoming comfortable as artists in the world…and anticipate their last step in the process of gaining a professional position.

Each year, I ask our new Fellows an important question. When did you decide you had to be a musician? Their stories are compelling. They remember exactly where they were physically, often describing a specific passage in a piece of music. These are cathartic moments. What was a passing interest became a more serious endeavor until a musical experience opened into a new vision. They began to imagine that music might define their life. These moments are a gift. They serve as reference points because life beyond these decisions is not predictable. The risk is significant.

One statistic that dramatizes this risk, over 1,000 young musicians applied for the 32 openings in this year’s fellowship program. But there is the mitigating fact that 90% of our alumni are actively engaged in music making. In fact, last season 30 Fellows left the New World Symphony with jobs.

At this performance, you are listening to the future of the art form. And, you are supporting our Fellows as they embrace risk—in their week-to-week rehearsal/ performance sequence that brings these concerts forward, and in their season-long development of their own voices, essential for making the transition to professional life.

Welcome to the New World Symphony where youth meets excellence meets risk.

Howard Herring President and Chief Executive Officer 4

BOARD OF TRUSTEES OFFICERS

TRUSTEES EMERITI

William M. Osborne III, Chair Adam Carlin, Vice Chair Ira M. Birns, Vice Chair/Treasurer Dorothy A. Terrell, Vice Chair/Secretary

Stanley Cohen Mario de Armas Howard Frank* Harry M. Hersh R. Kirk Landon° Sheldon Schneider* Judy Weiser*° Sherwood Weiser*°

BOARD OF TRUSTEES Sheldon T. Anderson Madeleine Arison Sarah S. Arison Ira M. Birns Anne Donovan Bodnar Katherine C. Bormann Matthew A. Budd, M.D. Matthew W. Buttrick Adam Carlin Bruce E. Clinton Ann M. Drake Mary E. Frank John D. Fumagalli Rose Ellen Greene* Matt Haggman John J. Haley Neisen O. Kasdin* Gerald Katcher* William Kleh Richard L. Kohan Charmel Maynard Adam Morris William L. Morrison L. Michael Orlove William M. Osborne III Stephen L. Owens Patricia M. Papper Tracey Robertson Carter Judith Rodin Edward Manno Shumsky* Dorothy A. Terrell Ebonee Thomas Michael J. Zinner, MD

* Indicates Former Chair ° In Memory

EX-OFFICIO, NON-VOTING Stéphane Denève Howard Herring Michael Tilson Thomas

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STÉPHANE DENÈVE ARTISTIC DIRECTOR

Stéphane Denève is Artistic Director of the New World Symphony, Music Director of the St. Louis Symphony Orchestra and Principal Guest Conductor of the Netherlands Radio Philharmonic. He recently concluded terms as Principal Guest Conductor of The Philadelphia Orchestra and Chief Conductor of the Brussels Philharmonic, and previously served as Chief Conductor of Stuttgart Radio Symphony Orchestra (SWR) and Music Director of the Royal Scottish National Orchestra.

Recognized internationally for the exceptional quality of his performances and programming, Stéphane Denève regularly appears at major concert venues with the world’s greatest orchestras and soloists. He has a special affinity for the music of his native France and is a passionate advocate for music of the 21st century.

Stéphane Denève’s recent and upcoming engagements include appearances with the Royal Concertgebouw Orchestra, NHK Symphony Orchestra, Orchestra Sinfonica 6

dell’Accademia Nazionale di Santa Cecilia, Bavarian Radio Symphony Orchestra, Royal Stockholm Philharmonic Orchestra (with whom he conducted the 2020 Nobel Prize concert), Orchestre National de France, Czech Philharmonic, NDR Elbphilharmonie Orchestra, Vienna Symphony, DSO Berlin, Orchestre Philharmonique de Radio France, and Rotterdam Philharmonic.

In North America, Stéphane Denève made his Carnegie Hall debut with the Boston Symphony Orchestra, with whom he has appeared several times both in Boston and at Tanglewood, and he regularly conducts the New York Philharmonic, The Philadelphia Orchestra, The Cleveland Orchestra, Los Angeles Philharmonic, San Francisco Symphony, New World Symphony and Toronto Symphony. In 2022 Denève was the conductor for John Williams’ official 90th Birthday Gala with NSO Washington; he is also a popular guest at many of the U.S. summer music festivals, including the Hollywood Bowl, Bravo!

Vail, Saratoga Performing Arts Center, Blossom Music Festival, Festival Napa Valley, Grand Teton Music Festival and Music Academy of the West.

Stéphane Denève frequently performs with many of the world’s leading solo artists, including Leif Ove Andsnes, Emanuel Ax, Joshua Bell, Nicola Benedetti, Yefim Bronfman, Renaud and Gautier Capuçon, James Ehnes, Kirill Gerstein, Hélène Grimaud, Augustin Hadelich, Hilary Hahn, Sheku Kanneh-Mason, Leonidas Kavakos, Lang Lang, Olivier Latry, Paul Lewis, Nikolai Lugansky, Yo-Yo Ma, Anne-Sophie Mutter, Kelly O’Connor, Víkingur Ólafsson, Stéphanie d’Oustrac, Gil Shaham, Akiko Suwanai, Nikolaj SzepsZnaider, Jean-Yves Thibaudet, and Frank Peter Zimmermann. He also treasures the memory of Nicholas Angelich and Lars Vogt, two exceptional artists with whom he enjoyed a close musical friendship over many years.

In the field of opera, Stéphane Denève led a new production of Pelléas et Mélisande with the Royal Concertgebouw Orchestra and Netherlands Opera at the 2019 Holland Festival.

Elsewhere, he has led productions at the Royal Opera House Covent Garden, Opéra National de Paris, Glyndebourne Festival, Teatro alla Scala, Deutsche Oper Berlin, Saito Kinen Festival, Gran Teatro del Liceu, La Monnaie and Deutsche Oper am Rhein.

As a recording artist, Stéphane Denève has won critical acclaim for his recordings of the works of Poulenc, Debussy, Ravel, Roussel, Franck and Connesson. He is a triple winner of the Diapason d’Or of the Year, has been shortlisted for Gramophone’s Artist of the Year Award, and has won the prize for symphonic music at the International Classical Music Awards. His most recent releases include a live recording of Honegger’s Jeanne d’arc au bûcher with the Royal Concertgebouw Orchestra, and two discs of the works of Guillaume Connesson with the Brussels Philharmonic (the first of which was awarded the Diapason d’Or de l’année, Caecilia Award, and Classica Magazine’s CHOC of the Year). A box-set of his complete Ravel recordings with Stuttgart Radio Symphony Orchestra was released in 2022 by Hänssler Classic.

A graduate and prize-winner of the Paris Conservatoire, Stéphane Denève worked closely in his early career with Sir Georg Solti, Georges Prêtre and Seiji Ozawa. A gifted communicator and educator, he is committed to inspiring the next generation of musicians and listeners and has worked regularly with young people in programs such as those of the New World Symphony, Tanglewood Music Center, Colburn School, European Union Youth Orchestra and Music Academy of the West.

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MICHAEL TILSON THOMAS

CO-FOUNDER AND ARTISTIC DIRECTOR LAUREATE Michael Tilson Thomas is Co-Founder and Artistic Director Laureate of the New World Symphony, America’s Orchestral Academy; Music Director Laureate of the San Francisco Symphony; and Conductor Laureate 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.

Born in Los Angeles, Mr. Tilson Thomas is the third generation of his family to follow an artistic career. His grandparents, Boris and Bessie Thomashefsky, were founding members of the Yiddish Theater in America. His father, Ted Thomas, was a producer in the Mercury Theater Company in New York before moving to Los Angeles where he worked in films and television. His mother, Roberta Thomas, was the head of research for Columbia Pictures.

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 19 he was named Music Director of the Young Musicians Foundation Debut Orchestra.

During this same period, he was the pianist and conductor in master classes of Gregor Piatigorsky and Jascha Heifetz and worked with Stravinsky, Boulez, Stockhausen and Copland on premieres of their compositions at Los Angeles’ Monday Evening Concerts.

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. His guest conducting includes appearances with the major orchestras of Europe and the United States.

Mr. Tilson Thomas is a two-time Carnegie Hall Perspectives artist, curating and conducting series at the hall from 2003 to 2005 and from 2018 to 2019. In the most recent series, he led Carnegie Hall’s National Youth Orchestra of the United States of America both at the hall and on tour in Asia, opened the Carnegie Hall season over two evenings with the San Francisco Symphony, conducted two programs with the Vienna Philharmonic and finished with a pair of concerts leading the New World Symphony.

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A winner of twelve Grammy Awards, Mr. Tilson Thomas appears on more than 120 recordings. His discography includes The Mahler Project, a collection of the composer’s complete symphonies and works for voice and orchestra performed with the San Francisco Symphony, in addition to pioneering recordings of music by Charles Ives, Carl Ruggles, Steve Reich, John Cage, Ingolf Dahl, Morton Feldman, George Gershwin, John McLaughlin and Elvis Costello. His recordings span repertoire from Bach and Beethoven to Debussy and Stravinsky, and from Sarah Vaughan to Metallica.

His television work includes a series with the London Symphony Orchestra for BBC Television, broadcasts of the New York Philharmonic Young People’s Concerts from 1971 to 1977 and numerous productions on PBS’s Great Performances. With the San Francisco Symphony, he created a multi-tiered media project, Keeping Score, which includes a television series, web sites, and radio programs. He received a Peabody Award for his SFS Media radio series The MTT Files.

Mr. Tilson Thomas’s compositions are published by G. Schirmer. In 1991, he 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 his work From the Diary of Anne Frank, which was 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 Shówa/Shoáh, commemorating the 50th anniversary of the bombing of Hiroshima. His vocal music includes settings of poetry by Walt Whitman and Emily Dickinson, which were premiered by Thomas Hampson and Renée Fleming, respectively. In 2016, Yuja Wang premiered his piano piece You Come Here Often?.

Mr. Tilson Thomas' song cycle Four Preludes on Playthings of the Wind, a setting of Carl Sandburg’s poem, was premiered in 2016 by the New World Symphony, with Measha Brueggergosman as soloist. In 2019 the piece was recorded for Medici.tv at the New World Center and given its New York premiere as part of Mr. Tilson Thomas’s second Carnegie Hall Perspectives series. His first Perspectives series also featured performances of his own compositions, including Island Music for four marimbas and percussion; Notturno for solo flute and strings, featuring soloist Paula Robison; and new settings of poems by Rainer Maria Rilke. In 2020, he led the San Francisco Symphony in the world premiere of his six-part song cycle Meditations on Rilke, and he subsequently conducted the work at the Cleveland Orchestra. Additional compositions include Street Song for brass instruments; Agnegram, an overture for orchestra; and Urban Legend, a concerto for contrabassoon that was premiered by the San Francisco Symphony. In June 2020, SFS Media released an album of works composed by Mr. Tilson Thomas, featuring live concert recordings of From the Diary of Anne Frank, narrated by mezzo-soprano Isabel Leonard, and Meditations on Rilke, sung by mezzo-soprano Sasha Cooke and bassbaritone Ryan McKinny.

Mr. Tilson Thomas is an Officier de l’Ordre des Arts et des Lettres of France, is a member of the American Academy of Arts and Sciences, was Musical America’s Musician of the Year and Conductor of the Year, was Gramophone magazine’s Artist of the Year and has been profiled on CBS’s 60 Minutes and ABC’s Nightline. He has been awarded the National Medal of Arts, has been inducted into the California Hall of Fame and the American Academy of Arts and Letters, and was a 2019 recipient of the Kennedy Center Honors.

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"The storied orchestral incubator in Miami...reimagines how to make an orchestra."

— The Washington Post

WELCOME TO MIAMI New World Symphony envisions a strong and secure future for classical music and will redefine, reaffirm, express and share its traditions with as many people as possible.

We are proud to be a part of the creative South Florida community, a rich tapestry of arts and culture.

The Frank Gehry-designed New World Center comes to life through the New World Symphony’s creative collaborations and partnerships with the world’s leading artists and organizations. "In tandem with the NWS mission, [Frank Gehry's] architecture seems to insist you change your perspective every few steps" (The Washington Post). It is not only a dynamic performance space for our concerts, but also an event venue of unparalleled utility and flexibility, available for conferences, workshops and other special occasions.

Whether you are new to the area or just want to expand your involvement with the community, let us help connect you with the cultural fabric of South Florida.

Learn more at nws.edu.

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VISITING FACULTY MARCH 2025

VIOLIN David Kim, The Philadelphia Orchestra

PERCUSSION Eric Shin, National Symphony

CELLO Mickey Katz, Boston Symphony * Alan Rafferty, Cincinnati Symphony

ENTREPRENURIAL LEADERSHIP Michael Abels, composer Jeff Apana, AFM Local 655 Secretary-Treasurer Tamika Bickham, TB Media Group Kendra Hawley, AFM Local 655 President Lisa Husseini, Lisa Husseini LLC Nicole Jordan, ICSOM President Deborah Newmark, AFM Director of Symphonic Electronic Media Eric Shin, Seoul Spice Rochelle Skolnick, AFM Director of Symphonic Services Division Steve Wade, ROPA President

BASS * Kristen Bruya, Minnesota Orchestra Ira Gold, National Symphony FLUTE Yubeen Kim, San Francisco Symphony CLARINET Mark Nuccio, Houston Symphony BASSOON Keith Buncke, Chicago Symphony William Short, Metropolitan Opera Orchestra TRUMPET * Mark Inouye, San Francisco Symphony TROMBONE * Kenneth Thompkins, Michigan State University

WELLNESS * Meghan Jones, Wellness on Purpose Lori Schiff, Alexander Technique, The Juilliard School

* denotes NWS alum

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The Power to Move Forward Providing energy and fuel logistics, distribution, risk and sustainability management solutions when and where it matters most. world-kinect.com

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RECENT ALUMNI SUCCESSES Andrew Abel, Principal Tuba, Oregon Ballet Theatre; Discovery Officer, Seattle Symphony Besnik Abrashi, Bass Clarinet, Milwaukee Symphony David Alexander, Associate Principal Horn, Cincinnati Symphony; Adjunct Instructor (Horn), University of Cincinnati College-Conservatory of Music Peter Ayuso, Viola, Sarasota Orchestra ** Emily Bieker, Principal Flute, Des Moines Metro Opera Myles Blakemore, Assistant Professor (Trombone), University of Maryland ** Kate Bruns, Oboe, Nashville Symphony (one-year) Christopher Chan, Cello, Vancouver Symphony Kenneth Chauby, Trumpet, U.S. Air Force Ceremonial Brass Andrew Chilcote, Principal Bass, Hollywood Bowl Orchestra Maya Cohon, Associate Concertmaster, San Francisco Opera Julianna Darby, Second Clarinet, Atlanta Symphony Rhett M. Del Campo, President and CEO, Pacific Chorale Jeffrey Dyrda, Violin, National Arts Centre Orchestra James Ferree, Principal Horn, Baltimore Symphony; Member, American Horn Quartet Jakob Gerritsen, Bass, Swedish Radio Symphony ** Maalik Glover, Violin, Columbus Symphony Micah Harrow, Timpani, Utah Symphony (one-year) ** Beatrice Hsieh, Violin, Saint Paul Chamber Orchestra (one-year) ** Jingyi Rebecca Hou, Violin, Alabama Symphony Thea Humphries, Fourth Horn, Tucson Symphony Andrew Johnson, Percussion, National Arts Centre Orchestra Blake-Anthony Johnson, Chief Executive Officer, New Orleans Jazz and Heritage Foundation Jennifer Snyder Kozoroz, Assistant Professor (Viola), Lawrence University Minha Kim, Flute, Virginia Symphony Scott Leger, Adjunct Instructor (Horn), University of Cincinnati College-Conservatory of Music ** Shek Wan Li, Associate Principal Viola, Auckland Philharmonia Morgen Low, Acting Co-Principal Trumpet, Sarasota Orchestra (one-year) Michael Martin, Principal Bass, Chicago Sinfonietta ** Shomya Mitra, Violin, Indianapolis Symphony (one-year) James Nelson, Assistant Principal Librarian, Atlanta Symphony Maggie O’Leary, Associate Principal/Second Bassoon, The Florida Orchestra Daniel Parrette, Assistant Principal/E-flat/Second Clarinet, Sarasota Orchestra ** Bradley Parrimore, Resident Fellow, Los Angeles Philharmonic Ayrton Pisco, Violin, Kansas City Symphony Nick Platoff, Principal Trombone, Houston Symphony; Associate Professor, Rice University Shepherd School of Music ** Samantha Powell, Principal Cello, Summermusik (Cincinnati Chamber Orchestra) Tanavi Prabhu, Second Oboe, Indianapolis Symphony Ryan Roberts, Faculty (Oboe), Manhattan School of Music Erik Schweikert, Principal Timpani, Seattle Symphony ** Brendon Sill, Assistant Principal/Second Bassoon, Colorado Symphony (one-year) ** Allison Smith, Violin, U.S. Army Strings Marcelina Suchocka, Adjunct Instructor of Percussion, University of South Florida Kenneth Thompkins, Associate Professor (Trombone), Michigan State University ** Alan Tolbert, Acting Third/Utility Trumpet, Jacksonville Symphony John Upton, Principal Oboe, Metropolitan Opera Orchestra Alison Verderber, Assistant Librarian, Houston Symphony John Wilson, Faculty, San Francisco Conservatory of Music Julia Yang, Visiting Assistant Professor (Cello), The Ohio State University Jason Yu, Assistant Principal Second Violin, The Cleveland Orchestra James Zabawa-Martinez, Violin, Rochester Philharmonic Dean Zhang, Principal Keyboard, Tucson Symphony ** Started the 2024-25 season as a Fellow

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The shared experience of listening to a concert together connects us in a profound way. This season is particularly meaningful as we mark the 80th anniversary of the Allied victory in World War II, the liberation of the concentration camps, the end of the Holocaust and the rise of democracy across the world. These markers are significant, as we still have heroes and survivors among us who participated in and helped bring about the momentous close to some of the darkest days of our history. We will have the opportunity to reflect on the resilience of the human spirit through music of the mid-20th century that transcends the time and place of its creation.

All our performances remain accessible to audience members near and far— through our WALLCAST® concerts in the park, our Mobile WALLCAST® series spreading music across Miami, and our free online webcasts.

MESSAGE FROM THE BOARD CHAIR Dear Friends of Music, Welcome to our 37th New World Symphony season! Each year brings new Fellows, new programming and new community connections. While the orchestra is forever youthful, we celebrate traditions that have endured for centuries.

The visionary leadership of our esteemed Artistic Director Stéphane Denève infuses our performances with sensitivity, depth, joyfulness and optimism. We also congratulate our Artistic Director Laureate Michael Tilson Thomas on his newly released collection of recordings, Grace.

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To our valued sponsors and donors, your generosity is what allows us to undertake such significant and impactful programming. Your contributions nurture the emerging talent you see on stage, as well as the countless hours of preparation and training that go into each week’s program. Your investment in the arts creates a lasting impact that extends far beyond the concert hall.

I thank all of you for inspiring us to passionately pursue our mission. Your presence is what makes our performances truly special.

With sincere appreciation,

William M. Osborne, III NWS Board Chair

NWS SALUTES OUR DONORS WE ARE PLEASED TO RECOGNIZE THE FOLLOWING DONATIONS MADE BETWEEN JULY 1, 2023 AND JANUARY 31, 2025.

MAESTRO’S CIRCLE DIAMOND TIER CONDUCTOR’S CIRCLE $250,000 + $25,000-$49,999 Anonymous (2) City of Miami Beach Dr. M. Lee Pearce Foundation, Inc. Ann M. Drake John S. and James L. Knight Foundation The Kovner Foundation Miami-Dade County Department of Cultural Affairs* Judith Rodin and Paul Verkuil Helena Rubinstein Philanthropic Fund at The Miami Foundation, Diane and Robert Moss Karen Bechtel and William Osborne

MAESTRO’S CIRCLE GOLD TIER $100,000-$249,999 Anonymous (2) The Micky and Madeleine Arison Family Foundation Sarah Arison and Thomas Wilhelm Matthew Budd and Rosalind E. Gorin Adam and Chanin Carlin Crankstart Estate of Chantal d'Adesky-Scheinberg John and Mary Lou Dasburg Dan J. Epstein Family Foundation Maxine and Stuart Frankel Foundation Rose Ellen Greene The Hearst Foundation Kleh Family Foundation, William and Patricia Kleh William and Jan Morrison Susan D. Kronick and Edward Manno Shumsky State of Florida, Department of State, Division of Arts and Culture, the Florida Council on Arts and Culture, and the National Endowment for the Arts Bill Strong Dorothy A. Terrell Rhonda S. Zinner Foundation, Michael J. Zinner, M.D.

MAESTRO’S CIRCLE SILVER TIER $50,000-$99,999 Anonymous (2) Baptist Health Estate of Diane Marie Benson Anne Donovan Bodnar and James Bodnar Bruce and Martha Clinton, The Clinton Family Fund Tracey Corwin Frank Family Charitable Foundation, Mary and Howard S. Frank John and Jama Haley Estate of William Hiebel Frayda Lindemann Marcum LLP Northern Trust Bank, John Fumagalli Stephen Roper and Nirupa Chaudhari Robert Rosenberg and Mary Wolfson The Samuel Freeman Charitable Trust Didi and Oscar S. Schafer Stearns Weaver Miller Weissler Alhadeff & Sitterson, PA The Robert and Jane Toll Foundation The Wege Foundation Ira M. Birns and Arlenis Birns, World Kinect Corporation

Anonymous Akerman LLP – Neisen Kasdin Albert H. and Jane D. Nahmad Foundation, Inc. Florence and Sheldon Anderson Martin Baron The Batchelor Foundation Heidi Jane Berghuis Michael and Mary Carpenter City of Miami Beach, Cultural Affairs Program, Cultural Arts Council The Russell and Ronalee Galbut Family Foundation, Mr. and Mrs. Russell Graystone Consulting | Morgan Stanley Danet Linares and Matt Haggman Francinelee Hand and David Siegel Linda C. Hothem Family Jackson Health System Jane and Gerald Katcher The Kirk Foundation Kokusai Denki Theresa and Richard Lubman Charmel and Jan Maynard National Endowment for the Arts Merle and Michael Orlove Linda and David Paresky, Laura and Eric Gould, Julie and Mark Paresky PNC Bank Lewis Pollack Thierry Isambert Culinary and Event Design University of Miami and Sylvester Comprehensive Cancer Center

COMPOSER’S SOCIETY $15,000-$24,999 The Andrew W. Mellon Foundation Louise Austin Bank of America David E. Berges and Debra Kendall Alan Bernstein Ernest and Rita Bogen Century Risk Advisors Funding Arts Network J.P. Morgan Ana and Neisen Kasdin Joel D. Krauss and Sophia Sieczkowski Kurt Weill Foundation for Music, Inc. Alan and Diane Lieberman Susan S. Miller° Linda and David Paresky Steven Perles David J. Phillips Thomas C. Ragan Michael and Chandra Rudd Lewis and Margery Steinberg

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CONCERTMASTER’S CIRCLE $5,000-$14,999 Anonymous Accenture Dolores and Jorge Alonso Amanda Altman and David Lynn Carol Lavin Bernick Blavatnik Family Foundation Abram Bluestein and Ilene Gordon Robert R. Brinker and Nancy S. Fleischman Trudy and Paul Cejas Rosanna and Michael S. Clementi Keith Chasin Citi City of Coral Gables Michael Comras The Cowles Charitable Trust George Dandrige and Marcos Tychbrochjer Jeffrey W. Davis and Michael T. Miller Deloitte Jeanne Donovan Fisher Millard and Peggy Drexler Gilbert and Linda Drozdow Victoria Dudley Peter and June Felix Gregory and Leslie Ferrero Freshfields Marvin Ross Friedman and Adrienne bon Haes Emile and Susan Geisenheimer Genpact Philip and Norma Glogover Ira and Linda Greenblatt Werner and Diane Grob Saul and Jane Gross Alfredo and Luz Gutiérrez Infosys Intertec/FPT Software Judith and Richard Jacobs Juan Jose Jimenez and Laura I. Maydón Marta B. Joltac and Jorge Etinger Lawrence and Jackie Kamin Herbert and Joyce Kean Kelson Foundation Arie and Gily Kotler Harri and Eeva Kulovaara The Elizabeth C. Lambertson Foundation Maurice H. Laszlo° Jerry M. Lindzon Richard E. and Bobbi Litt Lloyd A. Fry Foundation Beth P. Lotspeich Fred Malakoff Ruth Ann Marshall and Patricia Houtz Miami Dolphins Morgan Stanley Investment Banking Ann and Don Morrison Peter° and Marion Mosheim Jose Luis Murillo and Caroline Orlando Ness Digital Engineering Jay Newman and Elissa Kramer David and Melanie Niemiec Selma Ankist Family Trust, Andrea Nobil, Trustee Stephen and Aimee Owens Patricia Papper* Pradip Patiath and Shalini Sharma Susan Pernick Jonathan Plutzik and Lesley D. Goldwasser Kristin Podack Dorothy and Aaron Podhurst and Podhurst Orseck P.A. Jeremy Schlee | PWC G. Daniel Prigmore and Marcia Hayes Jeremy Schlee | PWC

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Alan and Sue Rapperport Raymond James Investment Banking Ritz Carlton Hotel Company, LLC Edward Roe Carmen and Donna Romeo Ruth Rosenwasser Brian Ross Albert and Anya Salama Charles and Linda Sands Daniel and Ileana Sayre Yesica Schaaf PKS and OIS Janet Shein The Shepard Broad Foundation, Ann B. Bussel* Lourdes Lopez and George Skouras Sara Solomon James Star and Sara Crown Star Stuzin Family Charitable Fund Martha and Stephen Sullivan Richard Tager Joel and Shelley Tauber Alan and Katherine Trager Trio Foundation of St. Louis UDT Nadine Asin and Thomas van Straaten Suzy and Sadek Wahba Wells Fargo Marguerite S. Willis WNS (Holdings) Ltd. Workday Augusta I. Zimmerman

CONCERTO SOCIETY $2,500-$4,999 ARC Excess & Surplus Ms. Georgette Balance Maria C. Bechily and Scott Hodes Sharon Studer and Graham Beckett Dorrit Bern Cornelius Bond and Ann Blackwell Joseph Burns Marion Cameron-Gray Charles and Dianna Colman Jane L. and Andrew Dolkart Fund at The Miami Foundation Bill Durham Elizabeth Fenjves Eugene Finkin and Linda Witham Finkin Paula and Michael Finkle Kevin and Celeste Ford Rob and Cindy Friezo Pamela Garrison Jeff Gates and Richard Michael Moran Donald Goodstein Monique Halberstein Benjamin E. Hein Shirley and Barnett Helzberg Jr. Donor Advisory Fund of the Jewish Community Foundation of Greater Kansas City Manuel Hevia Larry and Deborah Hoffman Intellias Consulting Linda Heller Kamm Rosabeth Kanter Hideko Klebanoff* Renée and David Lieberman Ann and William Lieff Ming-San Ma Jim Mooney Dale Moses Nelsons Family Foundation

NWS DIGITAL: POWERED BY KNIGHT FOUNDATION In 2022 the John S. and James L. Knight Foundation announced a $10 million investment to help extend New World Symphony's Knight New Media Center and its exploration of digital technology to enhance music performance, education and community engagement.

These funds are expanding NWS's transformative work with its Fellows, staff and alumni.

Together, they are participating in a unique musical laboratory, enabled by the Knight New Media Center, that is reimagining the future of classical music in a digital world. Additionally, NWS is leveraging Knight's investment to push the boundaries of artistic expression.

"The arts play a vital role in creating a sense of place, connection and vibrancy in community," said Knight Foundation President Maribel Pérez Wadsworth. "New World Symphony has always understood this. Their pioneering work in the integration of technology and classical music is an example of how digital media can grow the audience in size and in intensity of experience."

Knight Foundation and New World Symphony: Reimagining Classical Music in the Digital Age

OCTOBER 14 - 15 - DENÈVE: PROKOFIEV'S ROMEO + JULIET

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NEW WORLD CENTER TOURS Go behind the scenes of the New World Center—Frank Gehry's only Florida commission! Inperson docent-led tours are offered Mondays and Wednesdays at 3:00 PM, are $10 per person and last approximately 45-60 minutes. Be sure to book in advance, NWS cancels tours with no bookings 24 hours before that tour's start time. Private tours for groups of 10 or more and may be scheduled in advance by emailing tours@nws.edu.

Book your tour at nws.edu/tour

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James and Amanda B. Opinsky Oracle Mark and Nedra Oren Christa Paul Debbie Polishook Publix Super Markets Charities Regions Bank David and Letitia D. Richardson Victoria Rogers Susan and Sheldon Schneider Nancy Stavis Jose Szapocznik and Zammy Migdal The Tandon Family Foundation Joel and Shelley Tauber Michael B. Troner and Deborah S. Troner Truist Annsheila Turkel Teresa Galang-Viñas and Joaquín Viñas Holly Wallack Greg Weinberger The Donna and Phillip Zarcone Charitable Fund

PATRONS OF NWS $1,000-$2,499 Anonymous (3) Mercedes and Edward Ajhar Marc and Linda Alpert JoAnne and Michael A. Bander Family Fund at The Miami Foundation Michael and Sheila Berke Pedro and Barbara Bermann Linda Binder Hal Birchfield Carolyn S. Davis and Ned Black Sylvia Blau and Sam Kenner Hector Bolivar Richard and Peggy Brodsky Norma Broude and Mary D. Garrard Jack and Ilana Burstiner Jennifer Stearns Buttrick and Matthew W. Buttrick Steve and Susan Caller Diane Camber Solomon and Berenice Chadowitz Judith Chestler, Chestler Family Fund Timothy and Lourdes Collett George H. Dalsheimer Joan Glade de Pontet Boris Dorfman and Mark Yates Murry and Anne Drescher Ranjan and Shahnaz Duara Bishop Peter and Kate Eaton Jeanne and Joseph Farcus* Alfred and Susan Feingold Stephen and Ritva Ferriss Finlandia Foundation National Cassidy Fitzpatrick Carlson FL Institute of CFOs (fiCFO) Audrey and John Frank Richard French and Jacqueline Greenberg T. Bondurant and Hollis S. French Fund Arnold Friedman Julisa and Casey Fusté Lenore Gaynor* Daniel Gelrud and Maria N. Hernandez Larry and Stephanie Gilderman Paul and Joan Gluck Steven Gombinski and Yvette Costas Peter A. Gorski, MD, MPA Stanley Greenstein David and Linda Grunebaum Arlene and Richard Haft

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CAPITAL FUND Anonymous Anne Donovan Bodnar and James Bodnar City of Miami Beach Tracey Corwin Francinelee Hand and David Siegel William and Jan Morrison Judith Rodin and Paul Verkuil Susan D. Kronick and Edward Manno Shumsky Rhonda S. Zinner Foundation, Michael J. Zinner, M.D.

FUND FOR NEW VENTURES Helena Rubinstein Philanthropic Fund at The Miami Foundation, Diane and Robert Moss

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ENDOWED GIVING Gifts made to the endowment ensure the future of classical music. The New World Symphony thanks these generous benefactors who are sustaining traditions, dreams and enlightenment for generations to come.

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MEMORIAL AND HONORARY GIFTS IN MEMORY OF: Edith Birns Joseph Fleming David Frankel Robert Fried Endowment Fund Doree Fromberg Karen Greene Joseph S. Isicoff Dr. Ronald E. Jackson (2) Anne Marie Johnson Eve Sara Kamlot Cora V. Kates Arthur Behar Maurice Laszlo (11) Barbara Limond Richard Lubman Joy Malakoff Jules Oaklander (2) Emanuel Rico Renee Rotta (4) Harvey Rosenwasser Yolanda Serano David and Gerry Siegel Sally Spindel Charles Sussman Richard Wurtman Burton Young Domenica Brazzi Young IN HONOR OF: Anne Donovan Bodner Raimondo Bonacossa Susan Brown Matthew and Rosalind Budd Adam Carlin Cassidy Fitzpatrick Carlson Casey and Dina Cummings Michael Zinner and Nancy Brinker Ann Drake (17) Richard Flando Betty Fleming Joseph° and Betty Fleming Beth Garcia (2) Emily Greene Rose Ellen Greene (2) Matt Haggman (2) Faye Harris Howard Herring (3) Howard Herring and Kristin Podack Linda Hothem Judie and Richard Jacobs (3) Neisen and Ana Kasdin Gerald and Jane Katcher Mark and Susan Kessler and Family William Kleh (2) William and Patricia Kleh (2) Richard and Bobbi Litt Alan Matus Joe Monticello Jan and Bill Morrison Charles and Mimi Munroe NWS Fellows and Staff NWS Staff (3) Maureen O'Brien David Olson Karen Bechtel and William Osborne (4) David Phillips

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DENÈVE: MUSIC IN (TECHNI)COLOR Saturday, March 1, 2025 at 7:30 PM Sunday, March 2, 2025 at 2:00 PM New World Center, Michael Tilson Thomas Performance Hall John S. and James L. Knight Foundation Stage Stéphane Denève, conductor Grégoire Pont, animator Jody Elff, live orchestral augmentation Luke Kritzeck, lighting designer Maurice Ravel Mother Goose Suite, M. 62 (1911-12) (1875-1937) Sleeping Beauty's Pavane Approx. duration: Little Tom Thumb 16 minutes Laideronnette, Empress of the Pagodas Conversation of Beauty and the Beast The Fairy Garden

Grégoire Pont

Anna Clyne PALETTE: Concerto for Augmented Orchestra (2024; (b. 1980) East Coast premiere of NWS co-commission) Approx. duration: Plum (Warm, sparse) 35 minutes Amber (Suspended in time) Lava (Erupting) Ebony (Propelling) Teal (Tranquil) Tangerine (Whimsical) Emerald (Expansive with ecstasy)

Jody Elff Luke Kritzeck

20–MINUTE

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INTERMISSION

Modest Mussorgsky Pictures at an Exhibition (1874) (1839-1881) Promenade Orchestrated by The Gnome Maurice Ravel Promenade Approx. duration: The Old Castle 36 minutes Promenade Tuileries Bydlo Promenade Ballet of the Unhatched Chicks Two Polish Jews The Market at Limoges The Catacombs With the Dead in a Dead Language The Hut on Hen’s Legs (Baba-Yaga) The Great Gate of Kiev Selected animations featured during Pictures at an Exhibition were commissioned by New World Symphony, developed in collaboration with Michael Tilson Thomas and created by students, alumni and faculty artists at the University of Southern California School of Cinematic Arts for the New World Center’s opening in 2011.

The March 1 performance will be a WALLCAST® concert in SoundScape Park.

WALLCAST® concerts are made possible with support from Premier Sponsor The Dr. M. Lee Pearce Foundation, Inc. Additional support provided by Kokusai Denki and Knight Foundation. Knight Foundation and New World Symphony: Reimagining Classical Music in the Digital Age. Please be sure to silence your cell phones. Flash photography is not permitted.

Para programas en español visite nws.edu/program.

Access live captions at nws.edu/captions.

Please help us by recycling your program with an usher on your way out.

CARNIVAL CORPORATION IS THE PREMIER SPONSOR OF THE NEW WORLD SYMPHONY. NWS CONCERTS ARE PRESENTED WITH THE SUPPORT OF THE MIAMI-DADE COUNTY DEPARTMENT OF CULTURAL AFFAIRS AND THE CULTURAL AFFAIRS COUNCIL, THE MIAMIDADE COUNTY MAYOR AND BOARD OF COUNTY COMMISSIONERS. NWS MEDIA IS POWERED BY KNIGHT FOUNDATION. KOKUSAI DENKI IS A TECHNOLOGY PARTNER OF THE NEW WORLD SYMPHONY. YAMAHA IS THE OFFICIAL PIANO OF THE NEW WORLD SYMPHONY. Pianos are generously provided by Piano Music Center. Concerts are recorded for archival and possible broadcast purposes. All dates, times, programs, prices and artists are subject to change.

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DENÈVE: MUSIC IN (TECHNI)COLOR MAURICE RAVEL Mother Goose Suite, M. 62 (1911-12) Approximate duration: 16 minutes The French composer Maurice Ravel was a regular guest at the Sunday evening salons hosted by Cipa and Ida Godebski, a Polish couple living in Paris, and on several occasions he vacationed with the family at their country house. Over the course of visits between 1908 and 1910, Ravel composed a set of pieces for four hands at the piano dedicated to the young Godebski children, Mimie and Jean.

Under the title Ma mère l’Oye (Mother Goose), Ravel assembled “five children’s pieces” based on popular fairy tales. The title and two of the tales came from Charles Perrault, a 17th-century French writer and the father of the fairy tale as a literary genre. His 1697 collection Tales and Stories of the Past with Morals: Tales of Mother Goose, immortalized Sleeping Beauty, Tom Thumb and many other classic characters. Other tales came from Madame d’Aulnoy, a rival of Perrault. One more timeless story, Beauty and the Beast, first appeared in an 18thcentury collection.

The orchestral version of Mother Goose owes its existence, indirectly, to Serge Diaghilev and Igor Stravinsky. After the sensational appearances in Paris by the Ballets Russes, the French impresario Jacques Rouché countered by renting a theater and assembling productions with leading French composers and artists. Rouché asked Ravel for a new ballet, and the composer obliged by orchestrating the five Mother Goose pieces, stitching them together into a dramatic arc with a new prelude and connecting interludes.

This performance features the five original selections of Mother Goose in their orchestrated versions. Sleeping Beauty’s Pavane is a short and mournful dance; like Ravel’s famous Pavane pour une infante défunte, orchestrated a year earlier, this Pavane retains the ceremonial quality of the Italian court dance it is named for. In Little Tom Thumb, the protagonist drops breadcrumbs to guide his way home and becomes flummoxed as the chirping birds steal his crumbs. Laideronnette, Empress of the Pagodas, uses pentatonic themes and tam-tam strikes to evoke an Asian setting. The next tale depicts the Conversation of Beauty and the Beast, in which the clarinet leads a beauteous waltz and the contrabassoon makes beastly interjections. The Fairy Garden blooms from delicate solos into a resplendent finale for full orchestral forces, celebrating the rising sun.

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ANNA CLYNE PALETTE: Concerto for Augmented Orchestra (2024; East Coast premiere of NWS co-commission) Approximate duration: 35 minutes The London-born, American-based composer Anna Clyne rocketed into the international limelight in 2009, when the Chicago Symphony named her as a composerin-residence. She has been in constant demand ever since as a collaborator with the world’s top orchestras, including a current stint as composer-in-residence with the BBC Philharmonic, which co-commissioned this latest orchestra score, along with The Juilliard School, National Orchestra Institute Festival, New World Symphony, San Diego Symphony and St. Louis Symphony Orchestra.

In PALETTE, the multi-talented Clyne merges her orchestral prowess with some of her other favorite channels of artistic expression. The title is an acronym for the hues she explored in the seven movements—Plum, Amber, Lava, Ebony, Teal, Tangerine and Emerald—and her compositional process involved painting abstract canvasses in which she developed elements of “gesture, texture, light and dark, color and form” that informed the music.

“Stemming from my love of calligraphy,” Clyne wrote in a program note, “the base layer of each painting is a large brush-stroke gesture that outlines the first letter of each movement title. Upon this I added layer upon layer of paint, and mixed other substances into the paint to transform their textures: varnish for Amber, coarse ground pumice for Lava, fiber paste for Ebony and tiny glass beads for Emerald.” Clyne collaborated with lighting designer Luke Kritzeck to create lighting cues that would shape the ambience of the concert hall in accordance with each movement.

Another longstanding fascination for Clyne has been the interaction of acoustic and electronic sounds, but at a certain point she stopped composing in that vein, feeling “limited by click tracks and looping which didn’t leave room for tempo expressivity.” To unlock new ways of integrating an electronic soundscape, she collaborated with sound designer Jody Elff to create what they call the Augmented Orchestra, using real-time processing to alter and expand the sounds being created by the acoustic instruments.

In PALETTE, the listener will hear “basses pitch-shifted down beyond their natural range, clarinets processed with harmonic distortion, upper harmonics added to horns, a triangle sustaining long beyond its natural decay, and a chorus added to multiple instruments to make the whole orchestra shimmer.”

With the orchestra, paintings, lighting and sound design, Clyne said “the intention is to envelop the audience to create a truly immersive and multisensory experience.”

Visit annaclyne.com/palette to see a gallery of the PALETTE paintings.

Anna Clyne in her studio, photo by Linda Källérus

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MODEST MUSSORGSKY Pictures at an Exhibition (1874) Orchestrated by Maurice Ravel Approximate duration: 36 minutes Modest Mussorgsky was a military cadet with a knack for the piano when, at age 19, he dedicated himself to composition and took his first serious lessons. The high point of his short career came in 1874, with the successful premiere of his opera Boris Godunov. That same year, a memorial retrospective of paintings by Viktor Hartmann, who had recently died from an aneurysm at age 39, inspired his good friend Mussorgsky to compose Pictures at an Exhibition. The suite for solo piano adopted a novel form in which a recurring promenade represents the composer strolling through the exhibit, linking the movements inspired by specific images.

Five years after Mussorgsky’s alcohol-fueled death at the age of 41, his friend and fellow composer Nikolai Rimsky-Korsakov arranged for a posthumous publication of the original piano version of Pictures at an Exhibition, and one of his students soon made the first symphonic adaptation. The music is best known through the orchestral version heard here, created in 1922 by Maurice Ravel.

The iconic Promenade struts to an irregular gait, grouped into five- and six-beat segments. This theme represents the ambling composer, and the slightly imbalanced heft of the music seems a good match for the outsized Mussorgsky. The next movement, The Gnome, celebrates Hartmann’s design for a gnome-shamed nutcracker, depicted with halting phrases and brittle ensemble effects.

A gentle restatement of the promenade prepares The Old Castle, evoking an image of a troubadour singing before a medieval castle, represented by the dreamy buzz of a solo alto saxophone. Another fragment of promenade ushers in Tuileries, based on Hartmann’s painting of children in the Tuileries Garden in Paris. The recurring motive of a descending minor third captures the universal musical gesture with which children tease and call each other.

Bydlo recalls a painting of an ox-drawn cart, casting the tuba’s sullen melody over plodding accompaniment. An interlude of promenade material links into the Ballet of the Unhatched Chicks, inspired by Hartmann’s sketch for a costume in which only the dancer’s head, arms and legs emerge from an eggshell. The music uses flitting grace notes and bright treble instruments to maximize the chirping playfulness.

Two Polish Jews represents separate portraits of Jewish men, one rich and one poor.

The first theme in octaves rings with Semitic intervals and inflections, while a second chorale-like passage, peppered with muted trumpet, offsets the initial incantation.

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The Market at Limoges transports the animated chatter of female shoppers engaged in frenetic crosstalk. At the climax, it breaks off into the deep, slow resonance of The Catacombs, drawn from a self-portrait of Hartmann in the depths of Paris.

The next section, With the Dead in a Dead Language, brings the composer into the picture through a spectral recollection of the promenade theme. As Mussorgsky wrote in the margin of his score, “The creative spirit of the dead Hartmann leads me towards the skulls, invokes them; the skulls begin to glow softly from within.”

From that most hallowed place, the exhibition proceeds to the most outlandish movement, The Hut on Fowl’s Legs (Baba-Yaga). Hartmann’s design for a clock modeled after the bird-legged house of the witch Baba-Yaga inspired Mussorgsky to depict another component of the folk tale, where the witch flies around in the mortar she uses to grind up the human bones she eats. That whirlwind music pivots in an instant to the most grand and majestic passage in the piece, The Great Gate of Kiev, reflecting Hartmann’s winning design for a ceremonial gate for the Ukrainian capital.

– © 2025 Aaron Grad Aaron Grad is a composer and writer based in Seattle. In addition to providing program notes for the New World Symphony, Orpheus Chamber Orchestra, Baltimore Symphony Orchestra and others, he is also the artistic director of Many Messiahs, a project that reframes George Frideric Handel’s masterpiece as a collective call for justice.

Photo by Ugo Ponte ONL

GRÉGOIRE PONT An exceptional artistic talent from the tender age of eight, Gregoire Pont attended the Animation Workshop in Paris where he studied Norman McLaren’s techniques of animation dynamics. He graduated from the Penninghen school of graphic arts (ESAG) in 1992 and shortly after directed his first animated film Le concerto du chat, with abstract shapes dancing to the sounds of the Orchestre de Paris at Salle Pleyel.

A great lover of classical music, Pont has always been passionate about making classical music more popular and accessible to both children and adults by means of animation. He developed a new performance concept called “Cinesthetics,” where he draws and animates live to a musical performance. He has made appearances at London Royal Festival Hall, Paris Philharmonie, Frankfurt Alte Oper, Tokyo Suntory Hall and Gothenburg Concert Hall, collaborating with conductors such as Kent Nagano, Kazushi Ono, Alexandre Bloch, Marko Letonja and Francois-Xavier Roth.

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Pont has also received great acclaim for bringing his innovative animation techniques to the operatic repertoire. Together with British director James Bonas he conceived productions at Opera de Lyon of Ravel’s L’Enfant et les sortilèges and L’heure espagnole, as well as premiering a new production of Orff’s Der Mond. Their innovative approach has led to their work being performed around the world, including at Opera de Limoges, Opera de Lille, Opera de Toulon, Royal Opera House Muscat, San Francisco Symphony and Cincinnati Symphony. Pont created animations for the semi-staging of Bizet’s Carmen for Orchestre National de Lille, as well as bringing Hans Abrahamsen’s Snow Queen to Opera National du Rhin and Humperdinck’s Hansel and Gretel to Cologne Opera. Recent successes include Candide at Welsh National Opera, and Pont provided animations for National Ballet of Canada’s production of Emma Bovary.

Pont additionally illustrates books for children, most notably Les Excalibrius, and has made numerous animations for TV commercials, educational animated shorts and music video clips. For three seasons, Pont worked with the French conductor Francois-Xavier Roth and his innovative orchestra Les Siecles on Presto! (France Television). This animated series of musical works was seen by over three million viewers on weekly primetime television. Most recently he has worked on animated effects for the music video Catch Me, from the color series by New Studios, featuring the Boston ballet dancer My’Kal Stromile.

ANNA CLYNE Described as a “composer of uncommon gifts and unusual methods” by The New York Times and as “fearless” by NPR, Grammy Award-nominated Anna Clyne is one of the most in-demand composers today, working with orchestras, choreographers, filmmakers and visual artists around the world.

Clyne has been commissioned and presented by the world’s most dynamic and revered arts institutions, including the Barbican, Carnegie Hall, Kennedy Center, Los Angeles Philharmonic, MoMA, Philharmonie de Paris, Royal Concertgebouw Orchestra, San Francisco Ballet and the Sydney Opera House; and her music has opened such events as the Edinburgh International Festival, The Last Night of the Proms and the New York Philharmonic’s season. The World Economic Forum commissioned Clyne’s Restless Oceans, which was premiered by an all-women orchestra, led by Marin Alsop, at the opening ceremony in Davos.

Clyne often collaborates on creative projects across the music industry, including Between the Rooms, a film with choreographer Kim Brandstrup and LA Opera, as well as The Nico Project at the Manchester International Festival, a stage work about pop icon Nico’s life that featured Clyne’s reimagining of The Marble Index for orchestra and voices. Clyne has also reimagined tracks from Thievery Corporation’s The Cosmic Game for the electronica duo with orchestra, and her music has been programmed by such artists as Björk. Other recent collaborators include such notable musicians as Jess Gillam, Jeremy Denk, Martin Fröst, Pekka Kuusisto, and Yo-Yo Ma. 30 DENÈVE: MUSIC IN (TECHNI)COLOR - MAR 1 - 2

Clyne’s works are frequently choreographed for dance and her fascination with visual art has inspired several projects. In addition, she seeks innovation through new technology, developing the Augmented Orchestra with sound designer Jody Elff; the technology expands the sound-world of the orchestra through computer-controlled processes. The Augmented Orchestra was premiered in Wild Geese at the 2023 Cabrillo Festival, featured in The Gorgeous Nothings at the BBC Proms 2024 and is used in her new work PALETTE. Clyne is deeply committed to music education and to supporting and mentoring the next generation of composers. She has taught master classes and workshops throughout the U.S. and internationally and was the founding mentor for the Orchestra of St. Luke’s Degaetano Composition Institute, the Scottish Chamber Orchestra’s New Stories program and the Berkeley Symphony Orchestra's Emerging Composers Program.

Clyne’s music is published exclusively by Boosey & Hawkes. boosey.com/clyne

Photo by Victoria Stevens

JODY ELFF Jody Elff is a Grammy Award-winning audio engineer, sound artist and designer whose experience includes work with Yo-Yo Ma, Bang on a Can, Laurie Anderson, Chris Thile and others. His musical journey spans classical, contemporary, opera, jazz, art and television. His recording work includes the Yo-Yo Ma/Silk Road Ensemble album Sing Me Home and American Railroad, Chris Thile's Laysongs and Anna Clyne's Shorthand. He has provided sound design for the Los Angeles Philharmonic, Lincoln Center Festival, Lyric Opera of Chicago and others.

His fine art sound works have been presented at museums and galleries internationally, including collaborations with David Lang and Diller & Scofido and Renfro on Musings on a Glass Box and The Mile Long Opera. Elff has developed patented audio technologies for realtime mixing of music events over distance, and is developing a platform for VR livestreaming entertainment experiences. He is the co-creator of The Augmented Orchestra, with Anna Clyne.

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LUKE KRITZECK Luke Kritzeck has worked with artists from diverse disciplines and backgrounds in theater, dance, music, circus and opera, on stages around the world as a lighting and production designer. He has served as the Resident Lighting Designer and Technical Advisor for the San Francisco Symphony and has been a member of the creative team on numerous multimedia production. Kritzeck served as the Director of Lighting at the New World Symphony for seven years and has working for Cirque du Soleil on its touring production TOTEM and in Macau, China on its resident show ZAiA. His other projects with Cirque du Soleil include serving as the Lighting Director for featured performances at the Venetian Macau. Selected design credits include Chautauqua Opera Company, Cincinnati Ballet, Cincinnati Symphony Orchestra, Cedar Fair Entertainment, Opera Theatre and Music Festival of Lucca, Lafayette Ballet Theatre and the St. Louis Symphony.

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DENÈVE: DAVÓNE TINES’ MASS Saturday, March 8, 2025 at 7:30 PM Sunday, March 9, 2025 at 2:00 PM New World Center, Michael Tilson Thomas Performance Hall John S. and James L. Knight Foundation Stage Stéphane Denève, conductor Davóne Tines, baritone Ambassador Chorale of Florida Memorial University Fellows of the New World Symphony

Johann Sebastian Bach Brandenburg Concerto No. 4 in G major, BWV 1049 (1721) (1685-1750) Allegro Approx. duration: Andante 17 minutes Presto Hannah Corbett, violin (Movement I) Archer Brown, violin (Movement II) Deurim Jung, violin (Movement III)

Michael Abels (b. 1962) Approx. duration: 14 minutes

Delights and Dances (2007)

Marissa Weston, violin I Jacob Buhler, violin II Joshua Thaver, viola Samantha Powell, cello

20–MINUTE

INTERMISSION

Program continued on next page.

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Davóne Tines Recital No. 1: MASS (b. 1986) (2021; world premiere of NWS-commissioned orchestration) Orchestrated by Introit Michael Schachter Sam Cooke (1931-1964): “Lost and Lookin’” Approx. duration: 55 minutes I. Kyrie Caroline Shaw (b. 1982): Kyrie George Frideric Handel (1685-1759): “Leave Me, Loathsome

Light” from Semele, HWV 58 II. Agnus Dei Caroline Shaw: Agnus Dei Tyshawn Sorey (b. 1980): “Were You There”

from Songs for Death III. Credo Caroline Shaw: Credo Johann Sebastian Bach (1685-1750): “Mache dich, mein

Herze, rein” from St. Matthew Passion, BWV 244 IV. Gloria Caroline Shaw: Gloria Moses Hogan (1957-2003): “Give Me Jesus”

V. Sanctus Caroline Shaw: Sanctus Arranged by Davóne Tines: “There is a Balm in Gilead” VI. Benedictus Arranged by Davóne Tines: “Let It Shine” Davóne Tines Ambassador Chorale of Florida Memorial University Para programas en español visite nws.edu/program.

Please be sure to silence your cell phones. Flash photography is not permitted.

Access live captions at nws.edu/captions.

Please help us by recycling your program with an usher on your way out.

CARNIVAL CORPORATION IS THE PREMIER SPONSOR OF THE NEW WORLD SYMPHONY. NWS CONCERTS ARE PRESENTED WITH THE SUPPORT OF THE MIAMI-DADE COUNTY DEPARTMENT OF CULTURAL AFFAIRS AND THE CULTURAL AFFAIRS COUNCIL, THE MIAMIDADE COUNTY MAYOR AND BOARD OF COUNTY COMMISSIONERS. NWS MEDIA IS POWERED BY KNIGHT FOUNDATION. KOKUSAI DENKI IS A TECHNOLOGY PARTNER OF THE NEW WORLD SYMPHONY. YAMAHA IS THE OFFICIAL PIANO OF THE NEW WORLD SYMPHONY. Pianos are generously provided by Piano Music Center. Concerts are recorded for archival and possible broadcast purposes. All dates, times, programs, prices and artists are subject to change.

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DENÈVE: DAVÓNE TINES’ MASS JOHANN SEBASTIAN BACH Brandenburg Concerto No. 4 in G major, BWV 1049 (1721) Approximate duration: 17 minutes At a time when his job in Cöthen was threatened by his patron’s marriage to a woman uninterested in music, J.S. Bach assembled six concerti grossi and sent them off to the Duke of Brandenburg, whom he had met while buying a harpsichord in Berlin. The Duke never even responded to this unsolicited job application, but nonetheless Bach’s collection will forever be known as the Brandenburg Concertos.

Bach’s scores elaborated on the template developed a generation earlier by the Italian composer Archangelo Corelli, who pioneered these “grand concertos” for groups of featured instruments working within an accompanying ensemble of strings and basso continuo. Whereas Corelli always used two violins and cello as the concertino group, Each of Bach’s examples tests a different configuration. The Fourth Brandenburg Concerto showcases a violin along with two parts identified as “echo flutes,” a mysterious term that appears nowhere else in Bach’s music. Scholars agree (for the most part) that the intended instruments were treble recorders, and that the “echo” label referred to the loud and soft alternations in the middle movement, creating an echo-like sound. In performances on modern instruments, flutes typically substitute for the recorders.

In the fast first movement, the violin takes the flashiest material, including long strings of arpeggios, a series of double-stops (the technique of playing two notes at once) and a wickedly fast passage of slurred 32nd-notes. The characteristic tone of the flutes becomes more prominent in the middle movement, with the violin dropping into the role of the bass instrument to support the higher voices. The movement ends on an unresolved chord that should proceed to E-minor, the slow movement’s home key, but instead the violas launch the Presto finale in G-major, where the concerto started. Their robust entrance marks the start of a virtuosic fugue.

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MICHAEL ABELS Delights and Dances (2007) Approximate duration: 14 minutes After studying composition at the University of Southern California, Michael Abels didn’t achieve his ambition to compose for Hollywood (at least not yet), but he built up an impressive array of commissions and prizes in concert music. One of those commissions came from The Sphinx Organization as it celebrated its first 10 years of expanding opportunities for historically marginalized communities in classical music. Abels crafted Delights and Dances in 2007 to feature the Harlem Quartet, with the quartet functioning as soloists in front of a string orchestra.

Little did Abels know that the music he was writing was planting a seed for something astronomically bigger. The director Jordan Peele, while scouting Black composers who could score his debut film Get Out, found Abels’ music on YouTube and reached out to hire him. Abels went on to score Peele’s Us and Nope, and another huge breakthrough came when Rhiannon Giddens enlisted him as co-composer for the opera Omar, which won the Pulitzer Prize for music.

The effervescent score for Delights and Dances attests to the talents that were in place long before Abels got his big break. He embraces a panorama of styles, from neoromantic lushness to bluesy grooves to foot-stomping hoedowns, showcasing the virtuosity of the instruments and the precision of his own craft.

DAVÓNE TINES Recital No. 1: MASS (2021; world premiere of NWS-commissioned orchestration) Orchestrated by Michael Schachter Approximate duration: 55 minutes Davóne Tines is an operatic bass-baritone who has electrified the stage in roles written by such prominent composers as John Adams, Kaija Saariaho and Terence Blanchard. As a creator of his own works, he produces thoughtful and provocative hybrids that defy easy categorization, including The Black Clown, a theater piece based on a Langston Hughes poem that led The New York Times to declare that Tines “embodies the evolving, divided soul of black America.”

Tines provided the following program note for Recital No. 1: MASS, adapted from an interview with journalist Fergus McIntosh.

I approached the recital situation with a sort of a phobia, or an allergic reaction to participating in a programming model in which I wasn’t fully engaged. Filling in a template with music that checks boxes and doesn’t articulate my own feelings and experience in an explicit way. I think this idea of explicit context is critical: in order to perform well, these things need to be in the front of your mind, for every single note.

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As a child, singing was all religious or liturgical and all in a choral setting with close family and friends. Everyone in my family participated in choir. Singing works like Beethoven’s Ode to Joy followed by Lauryn Hill’s arrangement of “Joyful, Joyful, We Adore Thee” is a reflection of my actual lived experience with liturgical music. It’s comprised of all these things: early music, Bach, contemporary gospel and also new music. When you put these seemingly different things together and acknowledge the connections between them, you have to acknowledge that there’s something shared among these composers.

There’s something that is shared among all people. This recital is an opportunity for me to marry all those flavors together and have that conversation in front of people.

In setting three familiar spirituals, Tyshawn Sorey’s task was to break the songs out of the aesthetic that we understand them within, so that the text and the ideas behind the text could become more apparent. I had this realization that many spirituals are essentially code for suicide notes. “Swing Low, Sweet Chariot,” for example, is someone begging God to kill them, to “carry me home.” The poet Langston Hughes, in his time, directly connected to the possibility of these spirituals being suicidal, and I really want to show audiences another side of these songs. I think a lot of times spirituals are misunderstood, heard as happy songs or praising the Lord. But these are songs created by people in extraordinary circumstances, and they’re amazing, metaphorical expressions of real faith.

The order of the mass I’m using here, and which Caroline Shaw has followed in her miniature mass, accords with my own understanding of a spiritual journey. I’m basically queering the mass. Queering in the broad sense of bending it to my own understanding.

Beginning with the Kyrie, which begs for mercy, and then the Agnus Dei, which represents the possibility for change, but only through death. There’s the affirmation of the Credo and the exaltation of the Gloria, with Bach’s “Quia Fecit,” which is so full of ecstatic wonder and excitement. The Sanctus is a moment of meditation and then the Benedictus has this very simple text, “Where there is darkness, he will bring light.” That’s the entire recital right there: Present the darkness and show the change into light.

– Davóne Tines – © 2025 Aaron Grad Aaron Grad is a composer and writer based in Seattle. In addition to providing program notes for the New World Symphony, Orpheus Chamber Orchestra, Baltimore Symphony Orchestra and others, he is also the artistic director of Many Messiahs, a project that reframes George Frideric Handel’s masterpiece as a collective call for justice.

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Photo by Noah Morrison

DAVÓNE TINES Davóne Tines, heralded as an artist "changing what it means to be a classical singer (The New Yorker) and “[one] of the most powerful voices of our time” (Los Angeles Times), is a pathbreaking artist whose work encompasses a diverse repertoire, ranging from early music to new commissions by leading composers, while exploring the social issues of today. A creator, curator and performer at the intersection of many histories, cultures and aesthetics, he is engaged in work that blends opera, art song, spirituals, contemporary classical, gospel and protest songs as a means to tell a deeply personal story of perseverance connecting to all of humanity.

Tines is a musician who takes full agency of his work, devising new programs and pieces from conception to performance. He reflects this ethos in his Recital No. 1: MASS, an examination of the liturgy, comparing Western European, African American and 21stcentury traditions; as well as in his orchestral creations: Concerto No. 1: SERMON, a work he premiered with the Philadelphia and BBC symphony orchestras; and Concerto No. 2: ANTHEM, premiered with the Los Angeles Philharmonic. Tines has also premiered operas by today’s leading composers, including Terence Blanchard, Matthew Aucoin and, most recently, John Adams’s El Niño at the Metropolitan Opera. His concert appearances include performances of works ranging from Beethoven’s Ninth Symphony to Kaija Saariaho’s True Fire. Tines’s first studio album, ROBESO , was released on Nonesuch Records in September 2024. Through a diverse set of repertoire ranging from classical and gospel to Broadway and Black folk music, Tines explores his connection to legendary American baritone Paul Robeson, reimagining some of the music Robeson famously sang.

Tines is Brooklyn Academy of Music’s Artist-in-Residence and Philharmonia Baroque Orchestra & Chorale’s first-ever Creative Partner. He recently served as Artist-inResidence at Detroit Opera—an appointment that culminated in his performance in the title role of Anthony Davis’ X: The Life and Times of Malcolm X in 2022. Tines is featured on the Grammy-nominated world premiere recording of the opera released on BMOP/ sound in 2022. He is a member of AMOC and co-creator of The Black Clown, a music theater experience commissioned and premiered by American Repertory Theater. He is Musical America’s 2022 Vocalist of the Year, a winner of the 2020 Sphinx Medal of Excellence, a recipient of the 2018 Emerging Artists Award from Lincoln Center and a recipient of the 2024 Chanel Next Prize. He is a graduate of The Juilliard School and Harvard University.

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AMBASSADOR CHORALE OF FLORIDA MEMORIAL UNIVERSITY Dr. Argarita Johnson-Palavicini, Director

The Ambassador Chorale of Florida Memorial University was founded by the late Professor Roosevelt Williams during the 1975-76 academic year with four eager members to officially represent the University as its public relations entity.

Today, under the direction of Dr. Argarita Johnson-Palavicini (“Dr. J”), the Chorale has upwards of 50 members that not only perform as an independent academic ensemble, but enjoy exposure to sightreading, vocal technique, and performance pedagogy.

Members of the Chorale also hold leadership responsibility for the organization through appointed administrative positions. The Chorale performs a wide range of music and experiments with various musical genres and student compositions. The Chorale has performed in the United States and Europe to great acclaim. In June 2025, the Ambassador Chorale will make its debut performance in Carnegie Hall. The Chorale is continuing to move upward and onward!

Joel Belhomme Anthony Broderick Azaria Brown Lionel Camel II Xornel Campbell Dominique Carter Wil-Eldune Cenatus Wilmide Cenatus Jeremiah Chisolm Trenika Francis Zecharia Green Keion Hackett

Deion Hampton Zahir Harrison Theresa Hayden Ja’Ana Henry Jude Jean Christopher Johnson Taylor Lewis Kecia Lormine Rashaud Marcelin Joy McMillan Janae Mobley Jordan Montgomery

Nathaniel Noel Jonathan Pierre Hannah Prieto Heavenly Ross-Mack Johnathan Shortridge Jevaughn Smith Stefan Whittingham Alijaa Williams De’Anthony Williams Maya’Lasha Williams

FELLOWS OF NEW WORLD SYMPHONY To learn more about the Fellows performing today, visit nws.edu/fellows.

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The ruins of Coventry Cathedral two days after the German Luftwaffe air raid on November 14, 1940; photo by Imperial War Museum.

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Benjamin Britten, photo by Denis De Marney/Getty Images

Davóne Tines, photo by Noah Morrison

CRITICAL MASSES

How Two Musicians Revitalized an Ancient Rite

By Aaron Grad We can only imagine the awe felt by the people of Coventry when they entered their new church with its spire that soared up nearly 300 feet, making it one of the tallest structures in all of England. Back then, in the early 1400s, this hub of the cloth trade was home to some 10,000 people. It was the golden age of Gothic architecture, and a time when sacred singing was on the cusp of exploding into rapturous harmony and ornate polyphony, giving birth to what we now call classical music. What a feast it must have been for the senses: to gather with one’s community in a building longer than a football field, lit by colorful stained glass, hearing the holy words of the Latin mass reverberate in hallowed threads of plainchant!

500 years later, that church stood over what had become a booming industrial city of 200,000 residents—and a prime target of the Nazi air force. On November 14, 1940, the Germans launched Operation Moonlight Sonata, sending 515 bombers streaking over Coventry for 11 hours straight. The beloved cathedral took a direct hit, and by morning all that remained was its tower and some outer walls.

The Church of England could have tried to rebuild the old cathedral, but instead, out of 200 designs submitted to a competition, they chose a plan by the architect Basil Spence that left the ruins as they were and folded them into a new, modern design. To celebrate the consecration of the new cathedral in 1962, the church commissioned the man who had become the clear leader among British composers: Benjamin Britten.

Even with his prodigious talents that emerged as a teenager, there was no guarantee that Britten would end up in such a lofty position. He was gay in a homophobic society, and a committed pacifist who left England shortly before World War II, and who eventually registered as a conscientious objector. As he wrote in his application to be exempted from military service, “The whole of my life has been devoted to acts of creation, being by profession a composer, and I cannot take part in acts of destruction. I believe sincerely that I can help my fellow human beings best by continuing the work I’m most qualified to do, by the nature of my gifts and training.”

The 31-year-old Britten became England’s brightest musical star in 1945 when his debut opera, Peter Grimes, marked the return of opera to London after the long silence of World War II. A month later, Britten joined the Jewish violinist Yehudi Menuhin in Germany to perform in the Bergen-Belsen concentration camp, which had been liberated just three months earlier and still served as a refuge for survivors. It was a profound experience that anchored, in a visceral and emotional way, the composer’s pacifist mindset.

Britten accepted the commission for a large-scale choral piece to open the new Coventry Cathedral in 1962, and he devised a plan to set the requiem mass—the version of the Catholic mass used to honor the dead, that had been rendered so memorably by Mozart, Verdi, Fauré and countless others—interspersed with anti-war poems written during World War I by the poet-soldier Wilfred Owen. Just like the dualistic cathedral it was created for, Britten’s War Requiem situates the old and new side-by-side. With the modern texts sung by separate soloists and accompanied by a distinct chamber orchestra, these 41

interludes stand apart and serve as critical commentary on the mass for the dead, making those old Latin words resound with new meaning and feeling.

Britten understood at the time that he was writing “what I think will be one of my most important works.” His approach rose above the specific perspective of England and its allies, reframing the Christian liturgy as a universal ritual “in memory of those of all nations who died in the last war.” (The composer in fact wrote those words when asking the famous German baritone Dietrich Fischer-Dieskau to be the baritone soloist; he also invited a Soviet soprano, but cold war tensions led to her withdrawal just before the premiere.)

Britten still held fast to the ideals of pacifism that had crystallized for him when war was raging 20 years earlier. And the periodic roar of fighter jets that he could hear at home, only a few miles from a base that housed nuclear warheads, underscored the stark reality that mass violence could happen again anytime. The personal donations he gave to the Campaign for Nuclear Disarmament pale in comparison to the charity he paid forward to humankind with his War Requiem.

— “Kyrie eléison! Christe eléison!”

“Lord, have mercy! Christ, have mercy!” Those phrases begin every mass, but what do they really mean? Baritone Davóne Tines found himself puzzling over that question while singing in the choir of the Basilica of the National Shrine of the Immaculate Conception in Washington, D.C., the largest Catholic church in North America. He was only an hour away from the Black Baptist Church he had grown up attending in rural Virginia, and, as he shared in an interview, “It put me in a place of comparing and contrasting the religious tradition I grew up in with the religious tradition I was realizing through being a part of the choir.”

“I would look out at these people who were saying things like, ‘God, have mercy, Christ, have mercy,’” he recalled, “or we would sing a Credo, the most exuberant text in the mass, and there was no joy. There was no hope. There was no visible incarnation of these words within these people. It's there in the music in the most resplendent and sublime ways.

But if you look out into the congregation, or even look upon the people that are delivering this symbology and ceremony, the actual human embodiment of what those words and rites mean is absent. And it made me feel very sad, and it made me feel that there was an extreme loss of possibility.”

He realized, in contrast, that there was “clear, depthful, emotional connection to every single thing that happens within the ritual” in the Black Baptist tradition, even if it was less formalized. Tines was speaking about what gets lost through unquestioning repetition in a religious context, but he could just as easily be speaking about the state of classical music. Tines was a gifted violinist and singer in his youth, but he didn’t see a natural path for himself in music, even after his huge, supple voice earned him a coveted spot at The Juilliard School. Sidestepping the traditional formula for developing recital repertoire and opera roles that he was taught in school, Tines found his home within contemporary music, and he became a friend, collaborator and muse to the greatest composers of his generation, including Matthew Aucoin, Tyshawn Sorey and Caroline Shaw. He rode this trajectory into major opera houses, including the Metropolitan Opera in 2024, singing 42

the leading role in John Adams’ El Niño. All the while, Tines has been developing his own repertoire, including the years he spent conceptualizing Recital No. 1: MASS. The spine of Tines’ MASS is an a cappella setting of the mass text by Caroline Shaw. Just like the plainchant masses of olden times, these short recitations frame the broader ritual.

With extraordinary sensitivity to the meaning and structure of each part of the mass, Tines assembled a vocal recital that spans from Handel and Bach arias to reimagined spirituals.

“A mass,” says Tines, “at its most simple, is a process for dealing with a problem.” He was quite intentional in keeping his version ecumenical, or as he puts it, “the mass of the human experience,” since “everyone has dealt with a problem.” He also notes that “it has nothing to do with race in an overt way,” other than the fact that he is exploring the music and emotions that are true to him personally. In everything he sings, Tines is simply “asking people to listen to music while being physically aware,” without an agenda. “I can't tell you what to think,” he acknowledges. “I can't tell you what to feel, but I can invite you to actually be incarnate as your individual self. And then it's left upon the audience member to do with that what they will. And it’s continually fascinating for me to learn over and over again how challenging that can be for people, to just be simply invited to engage their own emotions.”

To help facilitate the process of reflection and hold the shape of the mass, open-ended questions and statements are projected on a screen during Recital No. 1. During the Credo portion about the power of belief, a slide paraphrases Picasso—“Every act of creation is an act of destruction”—while Tines sings an aria from Bach’s St. Matthew Passion that begins with the line, “Make yourself pure, my heart.”

So what destruction does Tines believe we need so that a creation like this can come to be?

“What has to go is the fear of self-reflection,” he says.” What has to go is the fear of actually engaging the emotional material of one's own existence. That is something I continually work on. I think all of us struggle with it. I'm just hopefully trying to do it for myself, and using the medium that I'm blessed to work within to invite others to do it too.”

— In their own ways, Britten and Tines shared the same objective: to challenge people to be present to the truth in front of them, even at the risk of discomfort, and to come away prepared to speak up for what matters. Both musicians found conduits for their messages in the church rituals established centuries ago, and they each found novel ways to revive the energy and urgency of those time-faded traditions. In the process, they created sensational music that is endlessly fascinating to behold in live performance, but that’s almost beside the point. These hybrids of past and present affirm music’s oldest and most sacred function: to awaken that inner space of awe and wonder through which everyone and everything is connected. Amen to that!

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DENÈVE: BRITTEN'S WAR REQUIEM Saturday, March 15, 2025 at 8:00 PM Adrienne Arsht Center, Knight Concert Hall Weiser Auditorium

Stéphane Denève, conductor Christine Goerke, soprano Ian Bostridge, tenor Roderick Williams, baritone Florida Singing Sons Girl Choir of South Florida Master Chorale of South Florida Brett Karlin, chorus master

Benjamin Britten War Requiem, Op. 66 (1961-62) (1913-1976) I. Requiem aeternam Approx. duration: Requiem aeternam 78 minutes “What passing bells” Kyrie eleison II. Dies irae Dies irae "Bugles sang" Liber scriptus "Out there, we walked quite friendly up to death" Recordare Confutatis "Be slowly lifted up" Reprise of Dies irae Lacrimosa III. Offertorium Domine Jesu Christe Sed signifer sanctus Quam olim Abrahae Isaac and Abram Hostias et preces tibi Reprise of Quam olim Abrahae

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IV. Sanctus Sanctus and Benedictus "After the blast of lightning" V. Agnus Dei Agnus Dei VI. Libera me Libera me Strange Meeting ("It seemed that out of battle I escaped") In paradisum Conclusion – Requiem Aeternam and Requiescant in Pace

New World Symphony is proud to present Resonance of Remembrance, a season-long commemoration marking the 80th anniversary of the end of World War II and the Holocaust. This series’ music serves not only as a timeless memorial honoring the millions of lives lost, but also as urgent warnings for today.

We are all moral witnesses to the despair, suffering and destruction that war has wrought upon our world, which risks us losing sight of our shared humanity. Music compels us to consider war’s lessons of conflict and peace, totalitarianism and resilience, allowing us to heed these warnings from the past to envision a peaceful future with freedom and dignity for all. Learn more about Resonance of Remembrance at nws.edu/peace.

Para programas en español visite nws.edu/program.

Please be sure to silence your cell phones. Flash photography is not permitted.

Please help us by recycling your program with an usher on your way out.

CARNIVAL CORPORATION IS THE PREMIER SPONSOR OF THE NEW WORLD SYMPHONY. NWS CONCERTS ARE PRESENTED WITH THE SUPPORT OF THE MIAMI-DADE COUNTY DEPARTMENT OF CULTURAL AFFAIRS AND THE CULTURAL AFFAIRS COUNCIL, THE MIAMIDADE COUNTY MAYOR AND BOARD OF COUNTY COMMISSIONERS. NWS MEDIA IS POWERED BY KNIGHT FOUNDATION. KOKUSAI DENKI IS A TECHNOLOGY PARTNER OF THE NEW WORLD SYMPHONY. YAMAHA IS THE OFFICIAL PIANO OF THE NEW WORLD SYMPHONY. Pianos are generously provided by Piano Music Center. Concerts are recorded for archival and possible broadcast purposes. All dates, times, programs, prices and artists are subject to change.

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DENÈVE: BRITTEN'S WAR REQUIEM BENJAMIN BRITTEN War Requiem, Op. 66 (1961-62) Approximate duration: 78 minutes England lost one of its great cultural treasures in 1940 when Nazi bombers destroyed the Gothic cathedral in Coventry. The Church of England was determined that a new cathedral would rise from the site where only the old spire and some outer walls remained, and they opened it up as a competition that attracted plans from some 200 architects. The winning design

by Basil Spence was a brilliant amalgam of old and new, with a modern church arising adjacent to the original footprint and incorporating the open-air ruins. As the construction neared its completion in 1962, the church decided to commission a work of music worthy of the occasion, and they approached the clear leader among England’s composers: Benjamin Britten.

There had been signs since Britten was a teenager (already with hundreds of compositions to his credit) that he was destined for greatness. In his years after graduating from the Royal College of Music, he attracted plenty of commissions and accolades, but his path was far from assured when, with war looming, he left England for a formative period in New York. He returned during World War II as a committed pacifist who, at great risk to his reputation, registered as a conscientious objector. He also came back madly in love with the tenor Peter Pears, who remained his partner and vocal muse for the rest of his life.

The 31-year-old Britten made an auspicious debut as an opera composer in 1945, when a prominent theater marked its reopening after the long silence of World War II with the debut of Peter Grimes, starring Pears in the title role. The dark tale about a suspicious outsider captivated London’s theater-starved audiences, and it proved something that had been in doubt for 250 years since the death of Henry Purcell: that England was capable of producing a world-class opera composer.

16 years and nine soul-probing operas later, Britten accepted the commission for the Coventry consecration on the condition that he would be free to define the work himself.

He was no stranger to his country’s abundant history of ceremonial and celebratory music, but that sort of grandiose pageantry involving chorus and orchestra didn’t play to his natural strengths, and besides, his complete and total disgust about war meant that he had no appetite to glorify British might and renewal. He arrived at an idea for a Requiem Mass, taking inspiration from examples by Mozart and Verdi, but he introduced a twist that was eerily well-matched to the dual nature of the Coventry Cathedral, and which would define the entire tone and intent of the War Requiem: He wove into the Latin mass a group of poems originally dispatched from the trenches of World War I by Wilfred Owen, a British soldier who chronicled the senseless carnage until he himself was killed in action at the age of 25.

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In this scheme, the War Requiem transcended the specificity and fresh wounds of World War II to become an indictment of war in its broadest sense. It also, somewhat conveniently, sidestepped some of the thorny moral questions about a conflict in which the aggressor (Nazi Germany) had perpetrated atrocities that could only be stopped by force—something Britten must have wrestled with when, in 1945, he visited a recently liberated concentration camp to perform for the emaciated, traumatized Jews still being housed there.

Britten’s determination to speak to the universal pain of war even extended to his controversial choices about the featured artists. For the tenor soloist, he of course designed the part for Pears, a fellow Englishman. For the Baritone, he managed to convince the German star Dietrich Fischer-Dieskau to appear, and he had plans for a Russian soprano to participate as well, until Cold War tensions made it impossible at the last minute. She did make it to the subsequent recording session that Britten conducted, rounding out the all-star ensemble for an album that went on to sell a quarter-million copies in a matter of weeks.

— Britten placed these words by Wilfred Owens as an epigraph at the top of his score: My subject is War, and the pity of War. The Poetry is in the pity.

All a poet can do today is warn.

From the start of the Requiem aeternam, with its tolling bells, chanted words coming from different directions, and serpentine threads from the strings that evoke the music of centuries past, we are drawn into a timeless, disquieting space. The arrival of the words “et lux perpetua luceat eis” (“and let perpetual light shine upon them”) introduces a brittle leap the distance of a tritone or augmented-fourth, known for centuries as diabolus in musica (“the devil in music”). This pungent interval remains as a central motto of the entire War Requiem. The boys' choir, set apart from the rest of the ensemble, offers the only consolation.

Britten’s scheme uses the poetry of Owens to comment on the Requiem liturgy, with the tenor and baritone soloists accompanied in those movements by a distinct chamber orchestra (a separation that only breaks down at the end). Before the last chord of the Requiem aeternam even ends, the harp within the smaller orchestra initiates the “very quick and agitated” music that sets the poem “What passing bells,” picking up on the bell sounds heard before. Britten brings out the violence of the poem with word painting in the orchestra, representing “the stuttering rifles’ rapid rattle” and “the shrill, demented choirs of wailing shells.” Tolling bells act as a pivot back to the ancient realm of the Requiem, with the unaccompanied choir beginning those all-important words, “Kyrie eleison,” (“Lord have mercy”), with the singers frozen in that same unsettled tritone spacing between them.

Britten’s setting of the requiem mass spends the longest time in the next section, Dies irae (“Day of Wrath”). Fanfare motives from the brass introduce the clipped, eerily quiet presentation of those words from the choir, building from there toward a ferocious climax. Those brass motives prove to be significant, as the next Owens poem recalls the “sorrowful” sound of bugles as soldiers slept, not knowing what the next day would bring.

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The soprano soloist makes her first entrance in Liber scriptus, adding a focused, penetrating tone color that augments and intensifies the choir. Another new color arrives with the next Owens poem, “Out there, we walked quite friendly up to death,” with the tenor and baritone soloists singing together as fellow soldiers. The next Latin section, Recordare, uses only women’s voices, with the violins silenced to clear space in their register, countered by men’s voices and violent, war-like music with the arrival of the Confutatis portion (“When the damned are cast away and consigned to the searing flames”). Thundering timpani snaps the focus back to the words of Owens and the image of the “great gun towering toward Heaven,” setting up a terrifying return of the “Day of wrath” text and music. The cascading tears of the soprano in the Lacrimosa and lines from Owen’s poem titled “Futility” weave together, until the chorus settles into a quietude accompanied only by bells. When they sing the prayer to “Pie Jesu Domine” (“Gentle Lord Jesus”) they come to rest twice on that aching interval of a tritone, only to arrive at a glowing major triad on the last syllable of the “amen.”

After arriving with the prayerful, pristine sound of the boys’ choir accompanied by a small organ, the Offertorium section of the Requiem draws a parallel between the Latin text’s mention of Abraham (who was commanded to sacrifice his son) and Owen’s poem “The Parable of the Old Man and the Young.” With the baritone representing Abraham and the tenor singing as Isaac, this cynical retelling has Abraham ignoring the angel’s intervention that is meant to spare Isaac; instead “he slew his son, and half the seed of Europe, one by one.”

The Sanctus brings spine-tingling urgency to the word “holy” by framing the soprano with a riot of jangling, ritualistic percussion and piano. The chorus enters by chanting freely on the words “Pleni sunt ceoli et terra gloria tua” (“Heaven and earth are full of Thy glory”), as if entranced, and then “Hosanna in excelsis” (“Hosanna in the highest”) lands with the most unambiguously rapturous music of the War Requiem. A jarring juxtaposition shifts to the baritone’s resigned lines from Owen’s poem “The End.” The Agnus Dei is the shortest section, with consoling scales from the chorus interspersed within an Owens poem that ends, “But they who love the greater love / Lay down their life; they do not hate.” In a blurring of the War Requiem’s separate strata, the tenor switches to Latin for the final phrase, “Dona nobis pacem” (“Grant us peace”).

The sinister rumble of war drums at the start of the Libera Me sets the dark tone for this most alarming portion of the Requiem mass. It makes the contrast all the more stark when the tenor, accompanied by just a wisp of strings, begins singing speech-like lines from “Strange Meeting,” a poem by Owens in which two dead soldiers meet in the afterlife. The baritone responds, with the accompaniment dropping out entirely when he sings, “I am the enemy you killed, my friend.” As the soldiers sing together, “Let us sleep now,” the angelic boys choir enters, invoking paradise. Coming out of this peaceful reverie, the a cappella choir retreads that anguished tritone harmony for the closing line, “Requiescant in pace” (“Let them rest in peace”), until the final “amen” once more arrives at a luminous major chord.

– © 2025 Aaron Grad Aaron Grad is a composer and writer based in Seattle. In addition to providing program notes for the New World Symphony, Orpheus Chamber Orchestra, Baltimore Symphony Orchestra and others, he is also the artistic director of Many Messiahs, a project that reframes George Frideric Handel’s masterpiece as a collective call for justice.

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CHRISTINE GOERKE Soprano Christine Goerke has appeared in the major opera houses of the world including the Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, Santa Fe Opera, Washington National Opera, Houston Grand Opera, Seattle Opera, Opera Company of Philadelphia, Pittsburgh Opera, New York City Opera, Glimmerglass Opera, Royal Opera House Covent Garden, Paris Opera, Théâtre du Châtelet, Théâtre du Capitole in Toulouse, Deutsche Oper Berlin, La Scala, Maggio Musical Fiorentino, Teatro Real in Madrid, Teatro Municipal de Santiago, and the Saito Kinen Festival.

She has sung much of the great soprano repertoire, starting with the Mozart and Handel heroines and now earning critical acclaim for the dramatic Strauss and Wagner roles. She has received praise for her portrayals of the title roles in Elektra, Turandot, and Ariadne auf Naxos, Brünnhilde in the Ring Cycle, Kundry in Parsifal, Ortrud in Lohengrin, Leonora in Fidelio, Eboli in Don Carlos, The Dyer’s Wife in Die Frau ohne Schatten, Marie in Wozzeck, Cassandre in Les Troyens, Ellen Orford in Peter Grimes, Female Chorus in The Rape of Lucretia, Alice in Falstaff, and Madame Lidoine in Dialogues des Carmelites.

Goerke has also appeared with a number of the leading orchestras including the New York Philharmonic Orchestra, Boston Symphony Orchestra (in Boston, Carnegie Hall, and the Tanglewood Festival), Chicago Symphony Orchestra, Cleveland Orchestra, Los Angeles Philharmonic, National Symphony Orchestra, Radio Vara (at the Concertgebouw), Sydney Symphony, New Zealand Symphony, the Orchestra of the Age of Enlightenment, the BBC Symphony Orchestra at the BBC Proms, and the Hallé Orchestra at the Edinburgh International Festival. She has also toured Europe with the Bayreuth Festival Orchestra.

Goerke’s recording of Vaughan Williams’ A Sea Symphony with Robert Spano and the Atlanta Symphony Orchestra won the 2003 Grammy Award for Best Classical Recording and Best Choral Performance. Her close association with Robert Shaw yielded several recordings including Brahms’ Liebeslieder Waltzes, Poulenc’s Stabat Mater, Szymanowski’s Stabat Mater, and the Grammy-nominated recording of Dvorak’s Stabat Mater. Other recordings include the title role in Iphigenie en Tauride for Telarc and Britten’s War Requiem, which won the 1999 Grammy Award for Best Choral Performance.

This season Goerke returns to the Boston Symphony Orchestra for both Mahler’s Symphony No. 8 and as Marie in concert performances of Die Tote Stadt, the Los Angeles Philharmonic for Gurre-Lieder with Zubin Mehta and the Washington National Opera for an evening of Wagner highlights at the Kennedy Center. She also sings Marie in Wozzeck at the Hamburg State Opera and appears in concert with the New World Symphony and the Minnesota Orchestra.

Goerke is currently the Associate Artistic Director of the Detroit Opera and was the recipient of the 2001 Richard Tucker Award, the 2015 Musical America Vocalist of the Year Award and the 2017 Opera News Award.

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IAN BOSTRIDGE

Photo by Marco Borggreve

Ian Bostridge CBE’s extraordinary international career has taken him to the foremost concert halls, orchestras and opera houses in the world.

Synonymous with the works of Schubert and Britten, his recital career has taken him to the Salzburg, Edinburgh, Munich, Vienna, Aldeburgh and Schwarzenberg Schubertiade festivals and to the main stages of Carnegie Hall, the Bayerische Staatsoper, La Monnaie and Teatro alla Scala. In opera, Bostridge has received particular praise for his interpretation of Aschenbach (Death in Venice) at the Deutsche Oper and Peter Quint (The Turn of the Screw) for Teatro alla Scala. His recordings have won all the major international record prizes and have been nominated for 15 Grammys.

Highlights of Bostridge’s 2024-25 season include a return to the Concertgebouw, a tour across mainland China alongside conductor Daniel Harding, recitals with Piotr Anderszewski in Paris and Krakow, and a U.S. tour with Julius Drake taking in the 92nd Street Y, Montreal’s Bourgie Hall and Baltimore’s Shriver Hall. The season will also see him continue his artistic collaboration with director Deborah Warner in staged performances of “Winterreise” at the Ustinov Studio at Theatre Royal Bath. Bostridge will revisit beloved concert repertoire including Bach’s St. Matthew Passion and Britten’s War Requiem on multiple stages across Europe and the U.S. A prolific recording artist, Bostridge’s recent Pentatone recording of Schubert’s “Winterreise” with Thomas Adès won the Vocal Recording of the Year 2020 in the International Classical Music Awards. Other recordings include Schubert’s Die schöne Müllerin with Graham Johnson (Gramophone Award 1996), Tom Rakewell’s The Rake’s Progress with Sir John Eliot Gardiner (Grammy Award, 1999) and Belmonte’s Die Entführung aus dem Serail with William Christie.

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RODERICK WILLIAMS Roderick Williams is one of the most sought-after baritones of his generation. He performs a wide repertoire from Baroque to contemporary music, in the opera house, on the concert platform and is in demand as a recitalist worldwide.

Williams enjoys relationships with all the major U.K. opera houses and has sung opera world premieres

by David Sawer, Sally Beamish, Michael van der Aa, Robert Saxton and Alexander Knaifel. Recent and future engagements include The Traveller / Death in Venice for Welsh National Opera, the title role in Eugene Onegin and Yeletsky / Pique Dame for Garsington, Papageno for Covent Garden, Sharpless / Madame Butterfly for ENO and van de Aa’s Upload with Cologne Opera, Bregenz Festival and the Dutch National Opera.

Williams sings regularly with all the BBC orchestras and all the major U.K. orchestras, as well as the Berlin, London and New York philharmonics, Deutsches SymphonieOrchester Berlin, Orchestre Philharmonique de Radio France, Ensemble Orchestral de Paris, Accademia Nazionale di Santa Cecilia in Rome, Cincinnati Symphony, London Symphony and Bach Collegium Japan, amongst others. His many festival appearances include the BBC Proms (including the Last Night in 2014), Edinburgh, Cheltenham, Bath, Aldeburgh and Melbourne festivals.

Williams has an extensive discography. He is a composer and has had works premiered at the Wigmore and Barbican Halls, the Purcell Room and live on national radio. In 2016 he won the prize for best choral composition at the British Composer Awards. From 2022-23 season he takes the position of Composer in Association of the BBC Singers.

Williams performed the three Schubert song cycles around the U.K. culminating in performances at the Wigmore Hall and has subsequently recorded them for Chandos.

Future releases include more Schubert, Schumann in English, as well as works by Vaughan Williams.

Williams was Artistic Director of Leeds Lieder in 2016, Artist in Residence for the Royal Liverpool Philharmonic Orchestra from 2020-21 for two seasons and won the RPS Singer of the Year award in 2016. He was awarded an OBE in June 2017 and sang at the Coronation Service of King Charles III in 2023, as well as composed a choral work for the event.

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FLORIDA SINGING SONS For nearly half a century, Florida Singing Sons (FSS) has been a cornerstone of South Florida’s choral music scene. Founded in 1975 in Fort Lauderdale, FSS has provided world-class musical education to thousands of students, shaping young singers into highly skilled musicians and fostering a lifelong appreciation for the arts.

Organized into four ensembles spanning second through twelfth grade, FSS is an elite youth choir dedicated to showcasing the transformative power of choral music. Through rigorous training, students develop university-level musicianship skills, a deep understanding of vocal pedagogy and choral techniques and invaluable personal growth.

Rooted in the tradition of classical composers like Bach and Handel, FSS has long performed historically informed works with an ensemble for which they were originally conceived—a choir of men and boys. In 2022 FSS expanded its mission by welcoming girls into its newest mixed-voice ensemble, Chorale Soleil, broadening its impact and outreach within the community.

FSS’s repertoire spans sacred chants, classical masterworks, Broadway favorites, and contemporary anthems. In addition to its own concert series, FSS is regularly invited to collaborate with leading musical organizations, including the Master Chorale of South Florida, Florida Grand Opera, New World Symphony, Symphony of the Americas, Nova Singers and more. The choir also embarks on annual domestic and international tours, providing students with profound cultural experiences in locations such as the United Kingdom, France, Italy, Prague, South Africa and most recently, Spain.

FSS is committed to strengthening music education in South Florida and cultivating artsaware youth to be the leaders of tomorrow. By fostering the musical knowledge, education and vocal training of its members through performances and community events, FSS gives South Florida a source of pride for the talent and professional achievements of its youth.

As we approach our 50th anniversary season, we celebrate nearly five decades of musical excellence, educational impact and community engagement. Our upcoming anniversary celebration will honor our legacy while reaffirming our commitment to the future of choral music in South Florida and beyond.

MEMBERS OF THE FLORIDA SINGING SONS PERFORMING TODAY Daniel Bates, Artistic Director Malcolm Rogers, Associate Artistic Director Christian Burbach, alto Tristan 'Cody' Cary, alto Giacomo Castro, alto Sophia Cavaretta, soprano Charlotte Cramer, alto Carter Crouch, soprano Adeline Cycholl, alto

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Leonardo Nolasco, soprano Samuel Prieto-Bueno, alto Kornel Racz, alto Eivissa Tinney, soprano/alto Huiling Zhang, soprano Matthew Zhang, soprano Andrew Zhang, alto

GIRL CHOIR OF SOUTH FLORIDA The Girl Choir of South Florida (GCSF) is the region’s premier singing ensemble for young women, dedicated to musical excellence and transformative education. With singers ages 6 to 18, GCSF provides a rigorous yet supportive environment where choristers develop exceptional vocal technique, musicianship and confidence.

Performing a diverse repertoire—including classical masterworks, contemporary compositions, folk traditions and Broadway favorites—GCSF is committed to artistic growth and innovation. The choir has commissioned and premiered works by renowned composers such as Eleanor Daley, Bob Chilcott and David Brunner.

GCSF frequently collaborates with leading arts organizations, including the Master Chorale of South Florida, Lynn University Philharmonia and Brazilian Voices. The choir has performed at prestigious venues such as the White House and has toured nationally and internationally, with past performances in New Orleans, San Francisco and London.

In June 2025, GCSF will make its Carnegie Hall debut.

Rooted in high-quality music education, GCSF’s curriculum emphasizes sight-reading, ear training and vocal artistry, meeting Florida’s Sunshine State Standards for Arts.

Through rehearsals, workshops and movement training, singers develop technical skills and expressive artistry that prepare them for success on and off the stage.

MEMBERS OF THE GIRL CHOIR OF SOUTH FLORIDA PERFORMING TODAY Sylvia Rose Aycock, Artistic and Executive Director Mariana Acevedo Valeria Acevedo Sophia Aguinaga Autumn Byington Valentina Clemente Emma Contreras Zoey Cueto Ava De Stefanis Mira Dhruva-Malmsten Sky Dixon Ruth England Lucy Fasulo Catherine Fitzpatrick

Sienna Friel Peyton Ganpath-Singh Madison Gause Mikhayla Harper Gia John Nia John Anyelin Lamarque Brianna Mendizabal Niara Morvan Shalah Muhammad Judith Pearlyn Patiance Julianna Patiance Emma-Rose Ridley

Graciela Rodriguez Abigail Scott Esme Scott Kitty Scott Haley Seal Nina Semenova Lilly Shafor Sofia Singer Olivia Thompson Lucia Tobon Juliana Wachs

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MASTER CHORALE OF SOUTH FLORIDA From Beethoven to Broadway, Bach to Bernstein, the Master Chorale of South Florida performs works by the full range of beloved classical and contemporary composers, along with some lighter fare.

The Master Chorale is a highly select, auditioned ensemble comprised of 120 singers from Broward, Miami-Dade and Palm Beach counties. Originally founded in 2003, the Chorale is thriving under artistic director and conductor Brett Karlin.

The Master Chorale communicates the transformative and unifying power of choral music by performing a rich and varied repertoire. Since its premiere performance of Mozart’s Requiem (in honor of the Florida Philharmonic Orchestra and Chorus), the Master Chorale has delighted South Florida audiences with classical music’s greatest works. These have included Handel’s Messiah, Beethoven’s Symphony No. 9, Brahms’ German Requiem, Verdi’s Requiem, Bernstein’s Chichester Psalms, Haydn’s Lord Nelson Mass and Bach’s Mass in B minor. In response to audience demand, the Chorale recently added a concert of lighter fare to its yearly concert series, performing such delights as Broadway favorites, movie music and Gilbert & Sullivan.

In addition to its own concert series, the Master Chorale is in high demand for featured guest performances with other musical organizations. Throughout its history, the Chorale has collaborated with The Cleveland Orchestra, New World Symphony, Russian National Orchestra, Andrea Bocelli, Itzhak Perlman, Franz Welser-Most, Giancarlo Guerrero and James Judd, among many others.

The Master Chorale is an avid proponent of maintaining a strong cultural fabric in South Florida and supports its community by engaging local solo artists, orchestras and other nonprofit organizations.

MEMBERS OF THE MASTER CHORALE OF SOUTH FLORIDA PERFORMING TODAY Brett Karlin, Artistic Director SOPRANO Jane E. Andersen Monique L Belch Denise Campbell Miki Cayard Deborah Christie Nicole M. Dominguez Ruth Dunbar Maria Gaston Hannah Gauthier Gabrielle Grof Christina Hutcheson Victoria Kaufman Maria Márquez Esmeyer Martinez Maureen O’Brien Sarah Quick

Gina Robichaux Jessica Jane Rucker Jennifer Sardiña Johanna Sharp Lori Snow Erica Williams Michelle Williamson ALTO Daniela Abratt-Cohen Anna Lise Arvelo Aura Maria Chàvez Becca de la Zerda Carolyn DeSanti Gretchen Fasulo Marci Gelb Gayle Giese

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Charlene Gilbert Fran Goldenberg Aaryn Gottesfeld April Green Janet Grubel Karen Hayes Kimberly Jackson Francine Levin Nancy McDonnell Kelly McMurtrey Heather Osowiecki Harriet J Ottenheimer Stephanie Parker Dawn Polizzotti Lea Rasabi Brenda Smith Jennifer Tiel

Jenna Weisberg Dee Weisman Anakae Wiles TENOR Brock Burdach Jason Campbell Kevin DeMars Carl Gelfand Mark W Glickman William Guerin Yulia Khalfina Anthony Krupp Tanya E. Low H. Ian Novack Sean Quinn José H. Ramos

David Rumford Greg Scherba Samuel Sherman Holly Strawbridge Ryan Strouss Christopher Waite Rita Wells Leo Williams BASS R. Mark Blaylock Damien Bleus Gregory Boals Santiago Bownés Clint Bush Jeff Delman Alex Desmond

Fabián Diaz Walter Dickey Michael Farris Alexandre Grand-Pierre Rod Hayes John McDiarmid Paul Morris Joe Oravecz, Ph.D. Richard M. Price II Stuart Rosenthal Michael T Still Jay Stravers Michael Waxer Matthew Wisnoski Randy Zinkus

BRETT KARLIN Recognized for his insightful interpretations and expressive leadership, Brett Karlin has established himself as a conductor of remarkable versatility and depth. Under his baton, the Master Chorale of South Florida has received acclaim for performances that combine musical precision with emotional resonance, including recent praise for “another milestone… with an eloquent, deeply felt performance of Mozart’s Mass in C minor” (South Florida Classical Review).

In his 12th season with the Master Chorale, Karlin is set to lead the ensemble through an ambitious 2024-25 season featuring two monumental oratorios: Felix Mendelssohn's dramatic setting of Elijah and Benjamin Britten's War Requiem in collaboration with New World Symphony—both of which promise to be highlights of the South Florida concert season. The season also includes performances of Gustav Holst's The Planets, Schoenberg's poignant A Survivor from Warsaw and a season finale titled American Voices, celebrating a rich spectrum of American classical music and benefiting Nat King Cole Generation Hope.

Karlin’s previous work with commercial recordings has garnered significant recognition.

As the Assistant Conductor for Seraphic Fire, he contributed to the ensemble’s critically acclaimed and Grammy-nominated album A Seraphic Fire Christmas in 2012. He also took on the roles of Assistant Chorus Master and singer for the ensemble’s recording of Brahms' Ein Deutsches Requiem (London version), which earned a Grammy nomination for Best Choral Performance.

Karlin's commitment to engaging audiences with both timeless and contemporary works has been a defining aspect of his career. Beyond his work with the Master Chorale, he has previously served as artistic director of The Master Chorale of Tampa Bay, music director for the Broward Symphony Orchestra and chorus master for Florida Grand Opera. He has also maintained guest conducting engagements for various choral, orchestral and academic ensembles, including The Symphonia, Lynn Philharmonia and Seraphic Fire.

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NWS is extremely grateful to the following donors who have made philanthropic commitments to the Resonance of Remembrance series.* If you would like to learn more about how you can support this series, please contact support@nws.edu.

EXECUTIVE PRODUCERS Anonymous Karen Bechtel and Will Osborne Adam and Chanin Carlin John and Mary Lou Dasburg SENIOR PRODUCERS Matthew Budd and Rosalind E. Gorin Kleh Family Foundation, William and Patricia Kleh Frayda Lindemann Linda and David Paresky, Laura and Eric Gould, Julie and Mark Paresky Robert Rosenberg and Mary Wolfson Dr. Michael Zinner, MD PRODUCERS Bank of America Alan Bernstein Ira M. Birns and Arlenis Birns and World Kinect Corporation In honor of Barbara Eisenberg by Ronalee and Russell Galbut Leonard and Fleur Harlan * as of February 14 56

As they approach Sicily, Coast Guardsmen raise the same flag they flew during the invasion of North Africa.

The National WWII Museum, Gift of Jeffrey and Mary Cole, 2002.119.006

MTT, BRONFMAN AND BEETHOVEN Saturday, March 29, 2025 at 8:00 PM Sunday, March 30, 2025 at 2:00 PM New World Center, Michael Tilson Thomas Performance Hall John S. and James L. Knight Foundation Stage Michael Tilson Thomas, conductor Yefim Bronfman, piano Alasdair Neale, conductor Richard Strauss (1864-1949) Approx. duration: 24 minutes

Death and Transfiguration, Op. 24 (1888) Alasdair Neale

Robert Schumann Concerto in A minor for Piano and Orchestra, Op. 54 (1841-45) (1810-1856) Allegro affettuoso Approx. duration: Intermezzo – Andantino grazioso 31 minutes Allegro vivace Yefim Bronfman

20–MINUTE INTERMISSION Ludwig van Beethoven Symphony No. 5 in C minor, Op. 67 (1804-08) (1770-1827) Allegro con brio Approx. duration: Andante con moto 31 minutes Scherzo: Allegro Allegro – Presto

The March 29 performance will be a WALLCAST® concert in SoundScape Park.

WALLCAST® concerts are made possible with support from Premier Sponsor The Dr. M. Lee Pearce Foundation, Inc. Additional support provided by Kokusai Denki and Knight Foundation. Knight Foundation and New World Symphony: Reimagining Classical Music in the Digital Age. Para programas en español visite nws.edu/program.

Please be sure to silence your cell phones. Flash photography is not permitted.

Access live captions at nws.edu/captions.

CARNIVAL CORPORATION IS THE PREMIER SPONSOR OF THE NEW WORLD SYMPHONY. NWS 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. NWS MEDIA IS POWERED BY KNIGHT FOUNDATION. KOKUSAI DENKI IS A TECHNOLOGY PARTNER OF THE NEW WORLD SYMPHONY. YAMAHA IS THE OFFICIAL PIANO OF THE NEW WORLD SYMPHONY. Pianos are generously provided by Piano Music Center. Concerts are recorded for archival and possible broadcast purposes.All dates, times, programs, prices and artists are subject to change.

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MTT, BRONFMAN AND BEETHOVEN RICHARD STRAUSS Death and Transfiguration, Op. 24 (11888) Approximate duration: 24 minutes The young Richard Strauss took after his father (a famous horn player) in developing a preference for the older and more buttoned-up Classical style of Mozart and Beethoven. It was only once Strauss left home that his ears opened up to the “music of the future,” to quote a phrase associated with his new musical idol, Richard Wagner. In time, Strauss would inherit Wagner’s mantle as the king of progressive opera, but first he followed another radical innovator, Franz Liszt, into the storytelling realm of the symphonic poem. After completing two tone poems (his preferred term) based on existing literary tales— Macbeth and Don Juan—Strauss devised his own plot for his third effort, titled Death and Transfiguration. When he conducted the premiere himself in 1890, it confirmed that the 26-year-old, having already made a splash a few months earlier with Don Juan, was destined to shape the course of German music.

It was important to Strauss that the audience would be able to follow the narrative that he was conveying purely through orchestral means, and he provided various versions of a synopsis, including flowery verses by his friend and mentor Alexander Ritter that were printed with the score. The slow first section introduces a man lying on his deathbed in a humble room, the passing of time marked by the throbbing of a clock (or perhaps his own heartbeat). His dreams bring pleasant memories. Next comes a fast and agitated section that teeters feverishly on the brink between life and death, interrupted by dreams that visit happier times and the first hint of the “transfiguration” theme that will ultimately bring deliverance. The slower third section looks back once more to contented memories and noble ideals, but death draws ominously close, until the final transition comes with a swirling rise and a sudden stillness punctuated by the reverberations of a tam-tam (a large, flat gong) that represents the hammer-blow of death. Out of those rumbling depths of despair, the orchestra makes a gradual, consoling climb, and then a single held note from the violins welcomes the transfiguration theme that bestows its soothing grace on the remainder of the score.

However audacious it was for the 26-year-old Strauss to position himself as an expert on the arc of dying, he was clearly onto something. 60 years later, on his own deathbed, he told his daughter-in-law that dying was “just as I composed it in Death and Transfiguration.”

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ROBERT SCHUMANN Concerto in A minor for Piano and Orchestra, Op. 54 (1841-45) Approximate duration: 31 minutes Robert Schumann’s own self-assessment, as of the age of 20, was that his “talents as musician and poet are at the same level.” He soon committed to a life in music, and he organized his life in Leipzig around piano lessons with the distinguished teacher Friedrich Wieck. Schumann’s fanatical practice regimen, combined with his ill-advised use of a finger-strengthening device, resulted in permanent damage to his right middle finger, but at least there was a silver lining to his aborted piano career: Schumann came to know his teacher’s daughter, Clara, a gifted prodigy who would become his wife 12 years after they first met.

After many false starts and failures, Schumann finally made headway in composing for the orchestra in 1841, when he completed two symphonies and a three-movement “Symphonette” (later recast as the Overture, Scherzo and Finale), plus a Phantasie for piano and orchestra designed as a feature vehicle for his wife. Clara, more than eight months pregnant, read through the single-movement work that August at a private session with the Leipzig Gewandhaus Orchestra, conducted by their friend Felix Mendelssohn.

With the addition of two more linked movements, the Phantasie expanded in 1845 into Schumann’s first and only piano concerto.

The opening movement comes with an unusual tempo marking—Allegro affettuoso, meaning “fast and affectionate.” After a stabbing entrance, an oboe leads a wind chorale in a melody that descends tenderly to the repeated keynote. Those first four notes, C-B-A-A, are rendered in German as C-H-A-A, thereby spelling Chiara, the Italian equivalent of Clara. This encoded tribute to his wife suffuses Schumann’s first movement, and it makes a significant appearance later in the Concerto.

To answer the four-note descent of the “Chiara” theme, the central Intermezzo responds by arriving with an exchange of four rising notes, a device that immediately unifies these sections composed four years apart from each other. In a contrasting passage, the cellos swoon through a big, romantic melody while the piano comments in the margins.

A clever transition pivots from the four-note upward segments back to the “Chiara” theme, which then accelerates into the lively new pulse of the finale. Coming from a composer who was neither a piano virtuoso nor a natural-born creator of large-scale compositions, this marvelously cohesive Concerto is a testament to Schumann’s hard-earned union of heart and craft.

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LUDWIG VAN BEETHOVEN Symphony No. 5 in C minor, Op. 67 (1804-08) Approximate duration: 31 minutes Beethoven made his first sketches for the Fifth Symphony in 1804. He composed the bulk of the symphony in 1807-08 while working concurrently on the Sixth Symphony, and he introduced both works during a four-hour marathon concert in Vienna on December 22, 1808, at which the frigid temperatures and under-rehearsed orchestra made more of an impression than the immortal music heard there for the first time.

The Fifth Symphony comes from the heart of Beethoven’s “middle” period, a phase when his encroaching deafness changed his relationship to composing and performing, and when the crystalline classicism of his early works gave way to a more focused and concentrated manner of writing. Rather than issuing flowing melodies, Beethoven’s quintessential works from this period build highly integrated forms out of compact, elemental materials.

The most famous musical nugget Beethoven ever conceived—perhaps the most recognizable motive ever penned by a composer—comes at the start of the Fifth Symphony, when the orchestra delivers four unadorned notes: three short repetitions of G dropping to a sustained E-flat, representing two notes from the home triad of C-minor. This one motive fuels the entire first movement based in Beethoven’s favorite key for stormy and fateful music, and traces of it return later in the Symphony.

The second movement features a double set of variations, alternating the development of two contrasting themes. Some of the accompanying rhythms echo the short-short-shortlong rhythmic pattern from the first movement, contributing to the symphony’s organic cohesion.

The Scherzo retreads the central tonal conflict of the work, juxtaposing a moody first theme in C-minor and a spry section in C-major that exploits the meticulous counterpoint of a fugue. A coda builds tension that releases directly into the triumphant finale, anchoring the redemptive new key of C-major with the added brilliance of piccolo and trombones in the orchestration.

– © 2025 Aaron Grad Aaron Grad is a composer and writer based in Seattle. In addition to providing program notes for the New World Symphony, Orpheus Chamber Orchestra, Baltimore Symphony Orchestra and others, he is also the artistic director of Many Messiahs, a project that reframes George Frideric Handel’s masterpiece as a collective call for justice.

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Photo by Dario Acosta

YEFIM BRONFMAN Internationally recognized as one of today's most acclaimed and admired pianists, Yefim Bronfman stands among a handful of artists regularly sought by festivals, orchestras, conductors and recital series.

His commanding technique, power and exceptional lyrical gifts are consistently acknowledged by the press and audiences alike.

A frequent touring partner with the world's greatest orchestras and conductors, Bronfman’s 2024-25 season begins with the Pittsburgh and NDR Hamburg symphonies on tour in Europe followed by China and Japan with the Vienna Philharmonic. With orchestras in the U.S. he returns to Cleveland, New York, Houston, Portland, Los Angeles, Philadelphia, Baltimore, Miami, Sarasota and Pittsburgh, and in Europe to Hamburg, Helsinki, Berlin, Lyon and Vienna. In advance of a spring Carnegie Hall recital his program can be heard in Austin, St. Louis, Stillwater (Oklahoma), San Francisco, Santa Barbara, Washington, D.C., Amsterdam, Rome, Lisbon and Spain. Two special projects are scheduled in this season—duos with flutist Emmanuel Pahud in Europe in the fall and trios with Anne-Sophie Mutter and Pablo Ferrandez in the U.S. in spring.

Born in Tashkent in the Soviet Union, Bronfman immigrated to Israel with his family in 1973, where he studied with pianist Arie Vardi, head of the Rubin Academy of Music at Tel Aviv University. In the United States, he studied at The Juilliard School, Marlboro School of Music and the Curtis Institute of Music, under Rudolf Firkusny, Leon Fleisher and Rudolf Serkin. A recipient of the prestigious Avery Fisher Prize, in 2010 he was further honored as the recipient of the Jean Gimbel Lane prize in piano performance from Northwestern University and in 2015 with an honorary doctorate from the Manhattan School of Music.

MAR 29 - 30 - MTT, BRONFMAN AND BEETHOVEN

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Photo by Eisaku Tokuyama

ALASDAIR NEALE Alasdair Neale is the Music Director of the Sun Valley Music Festival (SVMF). The 2025 season will mark 31 years at the helm of the Festival (formerly Sun Valley Summer Symphony). As Music Director of the SVMF, Neale has propelled this festival to national status: it is now the largest privately funded free admission symphony in America.

In 2024 Neale completed his five-year tenure as Music Director of the New Haven Symphony Orchestra. His appointment came after an extensive international search and marked for him a return to the city where he lived, studied and began his professional career more than 30 years prior.

In 2023 Neale celebrated his 22nd and final year as Music Director of the Marin Symphony. After he assumed the post in 2001, he was hailed for invigorating the orchestra and establishing it as one of the finest in the Bay Area.

Neale’s appointment with the Marin Symphony followed 12 years as Associate Conductor of the San Francisco Symphony and Music Director of the San Francisco Symphony Youth Orchestra. From 2001 to 2011, he served as Principal Guest Conductor of the New World Symphony and from 2001 to 2014, he served on the faculty of the San Francisco Conservatory of Music.

Neale’s discography includes a recording of Aaron Jay Kernis’ Colored Field with the San Francisco Symphony, featuring English horn player Julie Ann Giacobassi which won France’s Diapason d’or award following its release. He may also be heard on New World Records conducting the ensemble Solisti New York in a recording of new flute concertos.

He appears on the Bay Brass recording Sound the Bells, released in 2011 on the Harmonia Mundi label and nominated for a Grammy Award for Best Small Ensemble Performance.

Neale holds a bachelor’s degree from Cambridge University and a master’s degree from Yale University, where his principal teacher was Otto-Werner Mueller. He lives in Paris.

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G RA C E

The Music of Michael Tilson Thomas The New World Symphony congratulates Michael Tilson Thomas on the release of GRACE: The Music of Michael Tilson Thomas, a four-disc collection honoring MTT’s lifetime of contributions as a composer. Released by Pentatone for MTT’s 80th birthday, the set spans more than five decades and features 18 works, from premiere recordings to remastered archival recordings available for the first time, including ones of New World Symphony.

Order now at nws.edu/grace All net proceeds from GRACE: The Music of Michael Tilson Thomas will be donated to brain cancer research at the UCSF Brain Tumor Center.

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NEW WORLD SYMPHONY FELLOWS - 2024-25 VIOLIN

Morgan Bennett 1st-Year Fellow Omaha, NE McGill University, BM, GPD Royal Danish Academy of Music, MM @morganbennett_violin

Archer Brown 1st-Year Fellow Minneapolis, MN San Francisco Conservatory, BM

Jacob Buhler 3rd-Year Fellow Lake Grove, NY Eastman School of Music, BM Cleveland Institute of Music, MM @jakeblr.jpeg

Jaimee Cao 2nd-Year Fellow Thousand Oaks, CA University of Southern California, BM Rice University, MM

Connor Chaikowsky 2nd-Year Fellow Baltimore, MD Rice University, BM @connor__chaikowsky

Hannah Corbett 1st-Year Fellow Maple, Ontario, Canada University of Toronto, BM Rice University, MM @hj_corbett

Diego Diaz 2nd-Year Fellow Barquisimeto, Lara, Venezuela Universidad Centroccidental Lisandro Alvarado, BM Roosevelt University, MM, PD @diegojdiazc

Sean Diehl 1st-Year Fellow Andover, MA McGill University, BM

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Sadie Hamrin 1st-Year Fellow Bemidji, MN Baylor University, BM McGill University, MM @sadiehamrin

Yuna Jo 1st-Year Fellow Seoul, South Korea Manhattan School of Music, BM Yale University, MM

Deurim Jung 1st-Year Fellow Seoul, South Korea Northwestern University, BM The Juilliard School, MM @deurimjung

Yunjung Ko 1st-Year Fellow Seoul, South Korea Seoul National University, BM Manhattan School of Music, MM, OPC

Natalie Koh 2nd-Year Fellow Singapore Yong Siew Toh Conservatory, BM DePaul University, MM @nata_de_kohkoh

Wing Yan Alison Kwok 2nd-Year Fellow Hong Kong Manhattan School of Music, BM Cleveland Institute of Music, MM

Freya Liu 1st-Year Fellow San Jose, CA Boston University, BM Yale University, MM

Mai Matsumoto 1st-Year Fellow San Jose, CA The Juilliard School, BM, MM @maimatsuviolin

Ye Jin Min 3rd-Year Fellow Ilsan, South Korea Sydney Conservatorium of Music, BM Yale University, MM, DMA @yejinminviolin

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NEW WORLD SYMPHONY FELLOWS - 2024-25

Floriane Naboulet 2nd-Year Fellow Perpignan, Occitanie, France Paris Conservatory, BM University of Southern California, MM

Soomi Park 1st-Year Fellow Seoul, South Korea Yonsei University, BM Indiana University, MM @so__omi

Janani Sivakumar 1st-Year Fellow Chicago, IL Indiana University, BM, MM

Allison Smith 1st-Year Fellow Dublin, OH Rice University, BM, MM @allison.smith.violin

Jesse Thompson 1st-Year Fellow Williamsport, PA Duquesne University, BM, AD, MM @Jess.Thompson.583

Marissa Weston 2nd-Year Fellow Valparaiso, IN Indiana University, BM Carnegie Mellon University, MM, PC

VIOLA

Sung-kyung Yoo 2nd-Year Fellow Seoul, South Korea Kyung Hee University, BM McGill University, AD Rice University, MM

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Michael Ayala 1st-Year Fellow San Antonio, TX University of Michigan, BM Northwestern University, MM, MS @michaelayalav

Daniel Guevara 2nd-Year Fellow Cali, Colombia / Miami, FL Lynn University, BM, MM

Shek Wan Li 2nd-Year Fellow Hong Kong New England Conservatory, BM Indiana University, MM

Tyler McKisson 1st-Year Fellow Arvada, CO University of Northern Colorado, BM University of Colorado, Boulder, MM University of Cincinnati CollegeConservatory of Music, AD @tylerkissonwho

Rituparna Mukherjee 1st-Year Fellow Kolkata, India Oberlin Conservatory, BM, BA New England Conservatory, MM @rituparnam_

Nicholas Pelletier 3rd-Year Fellow Duluth, GA New England Conservatory, BM Rice University, MM

Srivishnu Ramankutty 1st-Year Fellow Miami, FL New World School of the Arts, BM Lynn University, MM @visva.rupa

Joshua Thaver 2nd-Year Fellow Houston, TX Baylor University, BM University of Michigan, MM @allinthaver

Seth Van Embden 3rd-Year Fellow Millville, NJ Rutgers University, BM Northwestern University, MM

Toby Winarto 3rd-Year Fellow Los Angeles, CA Manhattan School of Music, BM, MM @tobywinarto

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NEW WORLD SYMPHONY FELLOWS - 2024-25 CELLO

Hana Cohon 3rd-Year Fellow Seattle, WA Northwestern University, BM New England Conservatory, MM San Francisco Conservatory, PSC

Kamila Dotta 3rd-Year Fellow Caracas, Venezuela / Montevideo, Uruguay University of Colorado Boulder, BM Rice University, MM

Jordan Gunn 1st-Year Fellow Champaign, IL Eastman School of Music, BM

Mizuki Hayakawa 1st-Year Fellow Yokohama, Japan The Juilliard School, BM, MM @m.hayakawa

Jessica Hong 3rd-Year Fellow Holmdel, NJ The Juilliard School, BM, MM

Marcie Kolacki 2nd-Year Fellow Phoenix, AZ Peabody Institute, BM Manhattan School of Music, MM, PS

David Olson 3rd-Year Fellow Ashford, CT Cleveland Institute of Music, BM Rice University, MM

Samantha Powell 2nd-Year Fellow Frisco, TX Cleveland Institute of Music, BM University of Cincinnati College-Conservatory of Music, AD

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BASS

Jacob Diaz 2nd-Year Fellow El Paso, TX Indiana University, BM, PD

Alexander Wu 1st-Year Fellow Penn Valley, PA Pennsylvania State University, BM Peabody Institute, MM @alexwuuu105

Ian Grems 1st-Year Fellow Denton, TX University of North Texas, BM Southern Methodist University, MM @iangrems

Esther Kwon 1st-Year Fellow Tacoma, WA University of Cincinnati CollegeConservatory of Music, BM, BA Yale University, MM @estherheejee

Hector Ponce 1st-Year Fellow San Jose, CA Eastman School of Music, BM, PC Yale School of Music, MM, MMA

John Shank 2nd-Year Fellow Elizabethtown, PA Duquesne University, BM

Matthew Peralta 3rd-Year Fellow New York, NY Purchase College, BM Yale University, MM

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NEW WORLD SYMPHONY FELLOWS - 2024-25 FLUTE

Emily Bieker 3rd-Year Fellow Waukee, IA DePaul University, BM Eastman School of Music, MM

Jamie Kim 1st-Year Fellow Los Angeles, CA University of Southern California, BM The Juilliard School, MM

OBOE

Robert Diaz 1st-Year Fellow Clearwater, FL New England Conservatory, BM @rob.diaz_

Elizabeth McCormack 1st-Year Fellow Needham, MA Northwestern University, BM New England Conservatory, MM

Sooyoung Kim 2nd-Year Fellow Seoul, South Korea Seoul National University, BM Colburn School, MM

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Andrew Port 1st-Year Fellow Carmel, NY New England Conservatory, BM, MM San Francisco Conservatory, PSC

CLARINET

Benjamin Cruz 3rd-Year Fellow South Kingstown, RI DePaul University, BM Eastman School of Music, MM New England Conservatory, GD @bencruz.official

Evyn Levy 1st-Year Fellow Saint Louis, MO Oberlin Conservatory, BM Eastman School of Music, MM

BASSOON

Sunho Song 2nd-Year Fellow Seoul, South Korea The Juilliard School, BM, MM

The Karen Bechtel and William Osborne Bassoon Fellowship

Nina Laube 1st-Year Fellow Highland Park, IL Eastman School of Music, BM The Juilliard School, MM Manhattan School of Music, PC

Michael Quigley 1st-Year Fellow Oakville, Ontario, Canada University of Toronto, BM Manhattan School of Music, MM

Matthew Matheny 2nd-Year Fellow Owasso, OK University of Oklahoma, BM, BME Yale University, MM University of Wisconsin-Milwaukee, PC

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NEW WORLD SYMPHONY FELLOWS - 2024-25 HORN

Sylvia Denecke 2nd-Year Fellow Buffalo, NY Northwestern University, BM @sylvia_denecke

Abigail Black 2nd-Year Fellow Vernon Hills, IL Eastman School of Music, BM DePaul University, MM, GD

Abigail Davidson 1st-Year Fellow Centennial, CO Eastman School of Music, BM Colburn School, MM @abby.davidson

Xin He 2nd-Year Fellow Ellicott City, MD Eastman School of Music, BM Yale University, MM @__xinderella

Taryn Lee 2nd-Year Fellow Salt Lake City, UT University of Colorado, BM Peabody Institute, MM University of Cincinnati College-Conservatory of Music, AD

Jack Farnham 1st-Year Fellow Sunnyvale, CA Northwestern University, BM The Juilliard School, MM

Richard Stinson 1st-Year Fellow Marietta, GA Indiana University, BM The Juilliard School, MM @richardjstinson

TRUMPET

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TROMBONE

Austin Canon 2nd-Year Fellow Miami, FL New England Conservatory, BM The Juilliard School, MM @austin_canon

BASS TROMBONE

TUBA

Graham Mynatt 1st-Year Fellow Springdale, AR University of Central Arkansas, BM Indiana University, MM

TIMPANI

Bridget Conley 2nd-Year Fellow Charleston, SC Vanderbilt University, BM Yale University, MM @bridget.conley

Jake Darnell 1st-Year Fellow Emerson, GA The Juilliard School, BM Boston University, MM Rice University, AD @tubbr.pdf

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NEW WORLD SYMPHONY FELLOWS - 2024-25 PERCUSSION

Caleb Breidenbaugh 3rd-Year Fellow Lancaster, PA Temple University, BM, MM @cbreidenbaugh

Jennifer Marasti 3rd-Year Fellow Merced, CA California State University, Stanislaus, BM, BME Colburn School, MM New England Conservatory, GPD

Leo Simon 1st-Year Fellow Potomac, MD The Juilliard School, BM Manhattan School of Music, MM

HARP

Abigail Kent 2nd-Year Fellow Charleston, SC Curtis Institute, BM Mannes School, MM The Juilliard School, DMA @abigailkentharp

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Ben Cornavaca 3rd-Year Fellow East Brunswick, NJ The Juilliard School, BM Colburn School, PSC

PIANO

Noah Sonderling 3rd-Year Fellow La Crescenta, CA Indiana University, BM, MM University of Texas at Austin, DMA

CONDUCTING

Shih-Man Weng 2nd-Year Fellow Taipei City, Taiwan Boston Conservatory, BM, MM Cleveland Institute of Music, AD University of Miami, DMA @shihmanw

LIBRARY

The Judith Rodin Fellowship for an Outstanding Woman Musician

Molly Turner 2nd-Year Fellow Tacoma, WA Rice University, BM The Juilliard School, MM Colburn School, AD @mollyxiuturner

AUDIO / VIDEO

Claire Oplinger 1st-Year Fellow Morristown, NJ Rutgers University, BM

India Hooi 3rd-Year Fellow Adelaide, Australia The University of Adelaide, BM The Royal Danish Academy of Music, MM @indiahooi.music

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NEW WORLD SYMPHONY STAFF EXECUTIVE Howard Herring** President and Chief Executive Officer Justin Kang Executive Assistant David J. Phillips*** Managing Director, Residential Development Ashley Skinner Senior Vice President for Institutional Culture and Inclusion

ARTISTIC PROGRAMS Courtney Amaro Lighting Director Ana Maria Estevez* Artist Services Manager and Assistant to the Artistic Director Blake Kilgore Production Technician - Audio Specialist Toph Lebrun Production Technician - Audio, Visual and Lighting Specialist

Jason Miller Production Technician

Hyacinth Lilley* Facilities Director

Cassandra Mueller Director of Artistic Planning

Armando Nuñez Facilities Maintenance Technician

Dean Tomlinson*** Assistant Technical Director

Rolande Pierre Security

Adam Zeichner*** Vice President, Program Operations

Fabian Presbot Director of Security and Safety

FACILITIES Cesar A. Sepulveda Senior Vice President of Facilities Mario Campo Facilities Maintenance Technician William Colson Facilities Maintenance Technician Tashana Deavens Security Walter Delia Facilities Maintenance Technician Wayne Ellington Facilities Maintenance Technician Prevenu Ermilus* Security Ricardo Ensenat Security

Martha Levine*** Director, Music Library

Dorothy Harrell* Director of Security

Michael McEvoy* Production Technician

George Jones Security

Alan Miller* Technical Director

Eddy Lamothe Maintenance

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Salvador Reyes Facilities Maintenance Technician Rick Serna* Facilities Director Ginette Vitelis Security Angela Vizzie Facilities Administrative Coordinator

FINANCE AND INFORMATION TECHNOLOGY Humberto Ortega Senior Vice President and Chief Financial Officer Paula Cruz* Director of Accounting Michelle Kucharczyk** Vice President of Business Development Luis Quintero* Vice President of Technology Yuri Rebello Director of Business Development

Lourdes Rivera** Senior Accountant Revenue

Franziska Medina Senior Floor Manager

Andrew Salman* Technology Manager

Jack Mizutani* Senior Director of Special Events

Grace Tagliabue* Senior Accountant Rosa Vila Accounts Payable Associate

INSTITUTIONAL ADVANCEMENT Maureen M. O’Brien Executive Vice President for Institutional Advancement Siggi Bachmann* Senior Director of Research and Design Rafael Baldwin Senior Director of Digital Communications Christina Bonatakis Email Marketing Associate Terrence-Kelly Devonshire Box Office Associate Santiago Estrada House Manager Marci Falvey* Vice President of Communications

Lona Palmero** Development Manager Liz Platt Director of Individual Giving Theo Reyna Director of Foundation and Government Relations Alexa Roxelin Social Media Manager Ruben Sabando Assistant Box Office Manager Sam Sherman Floor Manager Veronica Sierra-Soderman* Development Database Administrator Kewan Smith Senior Director of Individual and Corporate Giving Tatum Travers Vice President of Marketing and Audience Engagement Joelle Vasquez Senior Floor Manager

Luc Fondaire Director of Guest Services

Paul Woehrle** Vice President for Capital and Planned Giving

Julisa Fuste* Vice President of Development

Heydee Zamora Floor Manager

Lietty Garces Web Admin and Developer Emily Greene* Director of Research and Campaign Stewardship Gabriel Guglielmina Marketing Associate Tylee Hooker Floor Manager Michael Humphries** Senior Director of Audience and Ticket Services Maryna Kachurovska Graphic Designer Omar Lawand Development Events Manager Mario Madriz Box Office and Audience Services Manager

MUSICIAN ADVANCEMENT Beth Garcia* Interim Senior Vice President for Musician Advancement and Dean Kristin Baird ◊ Assistant Orchestra and Musician Advancement Manager Daniel Dardon Visiting Faculty and Musician Advancement Manager Felice Doynov Associate Dean of Visiting Faculty and Orchestra Manager Thomas Hadley* ◊ Dean of Admissions, Alumni and Fellow Services

Michael Linville** ◊ Dean of Instrumental Performance Elyse Marrero Director of Community and Equity Impact Jarrett McCourt ◊ Admissions and Alumni Manager Heather Osowiecki Director of Entrepreneurial Leadership Daniel Rivera College Track Mentorship Program Manager Rianna Washington Community Engagement Manager

NWS MEDIA Clyde Scott** Vice President and Creative Director of NWS Media Tamara Benavente Video Production Specialist Matthew Ebisuzaki Video Production Specialist II Dean Gay Chief Video Engineer William C. Hunt* Associate Producer Michael Matamoros Video Production Specialist I and Associate Projection Designer Adolfo Salgueiro Assistant Video Engineer Charlotte Schou* Line Producer Roberto Toledo* Director of Audio Services Justin Trieger* Senior Producer and Sound Designer Shaun Wright* Senior Video Production Specialist * Indicates 10+ years of service to NWS ** Indicates 20+ years of service to NWS *** Indicates 30+ years of service to NWS ◊ Indicates NWS alum

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PLAN YOUR VISIT 78

ONLINE

Visit us at nws.edu

BY PHONE

Call 305.673.3331 Monday-Friday 10:00 AM - 5:00 PM

IN PERSON

New World Center 500 17th Street Miami Beach, FL 33139

STUDENT TICKETS $10 student tickets are available at most New World Symphony performances.

Visit nws.edu/students to learn more.

GROUP TICKETS Bring your friends, coworkers or club to New World Symphony. Discounts and perks are available for groups of 20 or more. Visit nws.edu/groups to learn more and plan your group outing today.

STANDBY MEMBERSHIPS For $55 a month, receive a standby ticket to as many concerts as you'd like at New World Center.

Embrace your adventurous side—you never know where you might be seated! Only a handful of spots remain. Visit nws.edu/standby to sign up.

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“NEW WORLD SYMPHONY IS THE BEST THING IN MIAMI BEACH.” — NWS Subscriber

SPONSOR RECOGNITION Premier Sponsor of the New World Symphony

THE DR. M. LEE PEARCE FOUNDATION MAXINE AND STUART FRANKEL FOUNDATION

ARTHUR F. AND ALICE E. ADAMS CHARITABLE FOUNDATION THE SAMUEL FREEMAN CHARITABLE TRUST

THE ELIZABETH C. LAMBERTSON FOUNDATION

The New World Symphony is a 501(c)(3) organization (Federal Tax #59-2809056). NWS is registered with the Florida Department of Agriculture and Consumer Services (Registration #CH503). A copy of the official registration and financial information may be obtained from the division of consumer services by calling toll-free (800-435-7352) with the state. Registration does not imply endorsement, approval, or recommendation by the state.

The New World Symphony strives to make its performances, events and facilities accessible to all patrons. For more information, please visit nws.edu/access. Children eight years of age or older are welcome at all New World Symphony performances.

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