Events & Tickets
WALLCAST® CONCERT: SEASON OPENER WITH MTT AND YUJA WANG
Let the celebration begin! MTT opens NWS’s 30th Anniversary Season with a blockbuster program of Russian masterworks starring piano virtuoso Yuja Wang. One of the world’s greatest talents and Musical America’s 2017 Artist of the Year, Wang takes on two musical giants with her trademark panache. Sergei Rachmaninoff’s Fourth Concerto is a worldly kaleidoscope of styles—from New York jazz to Parisian impressionism—while Sergei Prokofiev’s Fifth Concerto is a wildly virtuosic showstopper. Drama and romance leap from Prokofiev’s vivid portrayal of Shakespeare’s classic and Nikolai Rimsky-Korsakov’s Capriccio espanol brings the fiery rhythms of flamenco to the orchestra stage.
This concert is sponsored in part by Micky and Madeleine Arison Family Foundation and William Strong.
WALLCAST® concerts are free. No tickets required. Document your WALLCAST® concert experience using #WALLCAST and #citimiami on social media!
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Mobile Program: Text the word “WALLCAST” to 91011 and receive a link to the mobile program.
Citi Pre-Concert Chat: Join NWS Fellows Darren Hicks, Rachel Sandman and Stephen Kehner for a free Pre-Concert Chat in SoundScape Park! These half-hour chats begin one hour prior to the performance.
Restrooms: There are restrooms available at all times located directly in the south east corner of SoundScape Park. Restrooms inside the New World Center will be open to WALLCAST® Concert Club members after intermission ends until 10 minutes before the end of the performance.
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Approx. Duration: 15 minutes
Cappriccio espagnol, Op. 34
Scene and Gypsy Song
Approx. Duration: 24 minutes
Concerto No. 4 in G minor for Piano and Orchestra, Op. 40
(1926; revised 1941)
Approx. Duration: 22 minutes
Concerto No. 5 in G minor for Piano and Orchestra, Op. 55
Allegro con brio
Moderato ben accentuato
Toccata: Allegro con fuoco (più presto che la prima volta)
Approx. Duration: 26 minutes
Suite from Romeo and Juliet, Op. 64
Introduction to Act I
The Young Juliet
Dance of the Knights
Romeo Avenges Mercutio
The Death of Tybalt
Cappriccio espagnol, Op. 34
Approximate duration: 15 minutes
Nikolai Rimsky-Korsakov rose to prominence among the group of nationalist composers known as the “Russian Five.” In the wake of a successful fantasy for violin and orchestra on Russian themes, he turned to Spain for inspiration in Capriccio espagnol. Between that work and his next published opus, the Arabian-themed Scheherezade, Rimsky-Korsakov established a model for sparkling, evocative orchestration that is still the envy of composers to this day.
Capriccio espagnol begins with festive wake-up call in the form of an Alborada, the morning equivalent of an evening serenade.
In the Variations movement that follows, the horns present a sweet and peaceful theme over a steady accompaniment.
The variations offer a master class in orchestration, reframing the same slow-moving theme in a dazzling array of symphonic colors.
A slightly modified repeat of the Alborada, transposed to a different key, bookends the Variations movement.
The most demonstrably “Spanish” music of Capriccio espagnol comes in the dramatic fourth movement labeled Scene and Gypsy Song. Solo cadenzas capture the free-flowing spirit of the cante jondo, or “deep song,” an emotionally charged style of flamenco singing.
The final movement takes up a Spanish folk dance style, the Fandango. The Gaelic tone of the music is well suited to the remote northern region of Asturias, which was settled by the Celts (who brought a form of bagpipes) and never conquered by the Moors.
Classic orchestration textbook by Rimsky-Korsakov
Online orchestration course developed from the Rimsky-Korsakov textbook
Concerto No. 4 in G minor for Piano and Orchestra, Op. 40
(1926; revised 1941)
Approximate duration: 24 minutes
Sergei Rachmaninoff established a solid reputation as a composer and conductor in the early years of the 20th century, but it was his virtuosity at the piano that elevated him to international stardom. When the Russian Revolution forced him into exile at the end of 1917, he embraced the lucrative but exhausting business of touring as a virtuoso pianist around the United States and Europe, relegating his composing to the rare breaks in his performing schedule.
The centerpieces of Rachmaninoff’s repertoire were the three piano concertos he had composed in Russia, including a revision of the early First Concerto he undertook in 1917. When he carved out a sabbatical from touring in 1925, he used the time in New York and Dresden to fulfill his long-held desire to add a Fourth Concerto, a work he introduced with the Philadelphia Orchestra and Leopold Stokowski in 1927.
In a letter to fellow composer (and dedicatee) Nikolai Medtner, Rachmaninoff expressed misgivings about the Concerto’s length, and his concerns were only amplified by poor reviews, like one from a New York critic declaring the work “long-winded, tiresome, unimportant, in places tawdry.” Rachmaninoff made cuts that shaved about 10 percent of its length before publishing the score in 1928; still unsatisfied, he trimmed another 10 percent in 1941, creating the authoritative version that he once again presented with the Philadelphia Orchestra, now led by Eugene Ormandy. It was the final compositional project and premiere performance for the 68-year-old Rachmaninoff, who died less than two years later.
The Fourth Piano Concerto stands with one foot in the nostalgic, Romantic past, and the other in the forward-looking climate of 1920s experimentation. The first theme from the piano, presented in grand chords, combines swashbuckling virtuosity with free-ranging harmonies voiced in a stuttering orchestral accompaniment.
Rachmaninoff often seems most at ease when writing in a lyrical vein, and the opening movement’s contrasting theme is no exception, with its liquid textures that recall his old classmate Scriabin infused with hints of jazz and Broadway sentimentality.
Seventh-chords and other jazz staples also arise in the central Largo, another sign of Rachmaninoff’s attentiveness to the music he encountered in New York.
With its mercurial, minor-key charms, the finale bears a family resemblance to Rachmaninoff’s other late masterpiece for piano and orchestra, the Rhapsody on a Theme of Paganini from 1934.
The Dies Irae plainchant makes a subtle appearance during a wistful passage. It rounds out Rachmaninoff’s lifelong obsession with the motive that arises in all three of his symphonies, Isle of the Dead, Rhapsody on a Theme of Paganini and his last completed work before this revised concerto, the Symphonic Dances.
Online score from publisher Boosey and Hawkes (requires free login)
Article on Rachmaninoff’s revisions by pianist Scott Davie
Recording of Rachmaninoff playing the Fourth Piano Concerto in 1941
Concerto No. 5 in G minor for Piano and Orchestra, Op. 55
Approximate duration: 22 minutes
Prokofiev was already an adroit composer by the time he enrolled at the Saint Petersburg Conservatory at the age of 13, thanks in large part to his well-off family having hired the composer Reinhold Glière as a live-in music tutor. When Prokofiev finished his studies a decade later, he could point to the two piano concertos he had premiered himself as early highlights on his growing résumé as a pianist and composer.
After fleeing Russia in the wake of the Bolshevik Revolution, Prokofiev hoped to establish a career in the mold of Rachmaninoff, who made an excellent living performing his own concertos with orchestras in the United States and beyond. But Prokofiev failed to win over American audiences, even when he wrote a Third Piano Concerto in 1921 specifically for a U.S. tour.
Next he tried restarting in Europe, but again he was out of step with current tastes. He wrote his Fourth Piano Concerto for left hand only, as commissioned by the wealthy Austrian pianist Paul Wittgenstein, who lost his right hand in World War I; upon receiving Prokofiev’s score in 1931, Wittgenstein replied, “Thank you for the Concerto, but I do not understand a single note in it and I will not play it.” (Prokofiev never got around to rearranging it for two hands as he had intended, and it was not performed during his lifetime.) Prokofiev wrote one last concerto and performed it with the Berlin Philharmonic in 1932, but already the momentum of his career was clear: The only place where he would find the appreciation and compensation he deserved was back in the Soviet Union.
The Piano Concerto No. 5 speaks to the crossroads that Prokofiev faced in his final European years. This unruly Concerto combines five short movements, far enough from the classical mold that Prokofiev planned to title it simply Music for Piano and Orchestra until a colleague talked him out of it. The opening movement forgoes any introductory pleasantries, as if the pianist simply begins playing on a whim and the orchestra must scramble to catch up. It’s a style that plays to the fashions of the day: music as incisive as Stravinsky and as nonchalant as Ravel.
Two fast movements show opposing sides of Prokofiev’s wit. The first is a clean and dashing march, a style aligned with Prokofiev’s long history of flirtatious music for dance and theater, while the fiery Toccata employs a darker, more menacing humor, its mood and musical material echoing the “European” aspects of the first movement.
The Larghetto is devastatingly beautiful, framing its tranquil outer sections against the heated central climax. Instead of simply rounding out the Concerto with a jovial finale, the closing Vivo veers into a mysterious fantasy that almost fades into oblivion, until an accelerating coda marches it back from the brink.
Video of Sviatoslav Richter’s landmark recording with scrolling score
The Many Faces of Prokofiev as seen through his piano concertos, by pianist Barbara Nissman
Suite from Romeo and Juliet, Op. 64
Approximate duration: 26 minutes
Sergei Prokofiev was one of many artists who fled Russia amid the tumult of the 1917 Revolution, but he was the only major figure who repatriated in the Soviet Union. During his time in exile, first in the United States and later in France, Prokofiev found himself increasingly at odds with the musical elites who championed spiky, dissonant modernism. He found an audience more willing to embrace his self-proclaimed “new simplicity” when he embarked on a concert tour of the Soviet Union in 1927, and state-sponsored commissions for film scores and other major projects drew him ever closer to his homeland.
In 1934, Prokofiev negotiated a prestigious commission to create his first full-length ballet for the Kirov Theater in Leningrad (formerly and now once again the Mariinsky Theatre in Saint Petersburg). He worked with the theater’s director to create a scenario based on Shakespeare’s Romeo and Juliet, but a shakeup in the theater leadership—an early warning sign of Stalin’s “Great Purge”—led the Kirov to drop the ballet. Prokofiev forged ahead and drafted the score in 1935, and he convinced the Bolshoi Theater in Moscow to take over the production, but once again politics and artistic squabbles derailed Romeo and Juliet.
It took until 1940 for a revised version of Romeo and Juliet to reach the stage, including musical changes made by the director over Prokofiev’s objections. During the delay, Prokofiev created several orchestral suites that have become the most common versions of Romeo and Juliet heard in the concert hall. This performance instead features excerpts selected by Michael Tilson Thomas from the first two acts of the full score, preserving their sequence in the dramatic arc of the ballet.
The Introduction to Act I sets the scene at dawn as the city of Verona awakens, until Romeo enters to the sound of bright-eyed plucking. Jumping to the next scene, The Young Juliet prepares for a ball at her family’s house and muses in the mirror. During the ball, the Capulet men present The Dance of the Knights with its brittle, menacing main theme. Prokofiev’s take on the Balcony Scene actually transpires later in the ballroom, with Juliet returning for a lost flower, at which point Romeo emerges from behind a column.
In The Duel from Act II, Tybalt (a Capulet) fights and kills Mercutio (a Montague). In the aftermath, Romeo Decides to Avenge Mercutio, leading to The Death of Tybalt, a sequence featuring some of the ballet’s most spry and ferocious music.
Synopsis from American Ballet Theatre
Video of the complete Romeo and Juliet from Moscow’s Bolshoi Ballet
Thoughts on patriarchy in The Dance of the Knights, from The New York Times dance critic Alistair Macaulay
-- Copyright © 2017 Aaron Grad
Aaron Grad is a composer, guitarist and writer based in Seattle. Besides providing program notes for the New World Symphony, he has been the Orpheus Chamber Orchestra’s program annotator since 2005 and also contributes notes to the Saint Paul Chamber Orchestra and Seattle Symphony.
Audio clips provided by Naxos of America, Inc.
Michael Tilson Thomas is Co-Founder and Artistic Director of the New World Symphony, America’s Orchestral Academy; Music Director 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. He worked with Stravinsky, Boulez, Stockhausen and Copland on premieres of their compositions at Los Angeles’ Monday Evening Concerts. During this same period he was the pianist and conductor for Gregor Piatigorsky and Jascha Heifetz.
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.
His recorded repertoire of more than 120 discs includes works by composers such as Bach, Beethoven, Mahler, Prokofiev and Stravinsky as well as his pioneering work with the music of Charles Ives, Carl Ruggles, Steve Reich, John Cage, Ingolf Dahl, Morton Feldman, George Gershwin, John McLaughlin and Elvis Costello. He also recorded the complete orchestral works of Gustav Mahler with the San Francisco Symphony.
Mr. Tilson Thomas’ television work includes a series with the London Symphony Orchestra for BBC Television, the television broadcasts of the New York Philharmonic Young People’s Concerts from 1971 to 1977 and numerous productions on PBS’ Great Performances. Mr. Tilson Thomas and the San Francisco Symphony produced a multi-tiered media project, Keeping Score, which includes a television series, web sites, radio programs and programs in schools.
In 1990 Mr. Tilson Thomas and the New World Symphony were presented in a series of benefit concerts for UNICEF in the United States, featuring Audrey Hepburn as narrator of From the Diary of Anne Frank, composed by Mr. Tilson Thomas and commissioned by UNICEF. This piece has since been translated and performed in many languages worldwide. In August 1995 he led the Pacific Music Festival Orchestra in the premiere of his composition Showa/Shoah, commemorating the 50th anniversary of the bombing of Hiroshima. Thomas Hampson premiered his settings of poetry by Walt Whitman, Renée Fleming premiered his settings of the poetry of Emily Dickinson and the San Francisco Symphony premiered his concerto for contrabassoon entitled Urban Legend. As a Carnegie Hall Perspectives Artist from 2003 to 2005, he had an evening devoted to his own compositions which included Island Music for four marimbas and percussion, Notturno for solo flute and strings and a new setting of poems by Rainer Maria Rilke. Other compositions include Street Song for brass instruments and Agnegram, an overture for orchestra.
Among his many honors and awards, Mr. Tilson Thomas is a Chevalier dans l’ordre des Arts et des Lettres of France, was Musical America’s Musician of the Year and Conductor of the Year, Gramophone Magazine’s Artist of the Year and has been profiled on CBS’s 60 Minutes and ABC’s Nightline. He has won 11 Grammy Awards for his recordings. In 2008 he received the Peabody Award for his radio series for SFS Media, The MTT Files. In 2010 President Obama awarded him the National Medal of Arts, the highest award given to artists by the United States Government.
Critical superlatives and audience ovations have followed Yuja Wang’s dazzling career. The Beijing-born pianist, celebrated for her charismatic artistry and captivating stage presence, is ready to register fresh achievements during the 2017-18 season, which features recitals, concert series and extensive tours with some of the world’s most venerated ensembles and conductors. She spent the summer of 2017 on tour with the London Symphony and Michael Tilson Thomas performing Brahms’ Piano Concerto No. 2, followed by a performance of the First Concerto at the Ravinia Festival with the Chicago Symphony, under the baton of Lionel Bringuier. Later summer engagements included concerts with the Munich Philharmonic and Valery Gergiev, a series of performances at the Verbier Festival, and a three-city German tour with the St. Petersburg Philharmonic. She also embarks on play-conduct tours with two of the best chamber orchestras in the world, Mahler Chamber Orchestra and Chamber Orchestra of Europe, and joins the inaugural tour of Jaap van Zweden with the New York Philharmonic and the final tour of Yannick Nézet-Séguin’s directorship with the Rotterdam Philharmonic. Other notable appearances include concerts in Hong Kong, Washington D.C., Prague, Tel Aviv and Berlin.
Winter of 2017 sees Ms. Wang reunite with violinist and frequent collaborator Leonidas Kavakos for a European chamber tour, while in the spring of 2018, she will embark on a vast recital tour at premier venues in New York City, San Francisco, Rome, Vienna, Berlin, Paris and beyond.
Ms. Wang was born into a musical family in Beijing. After childhood piano studies in China, she received advanced training in Canada and at Philadelphia’s Curtis Institute of Music under Gary Graffman. Her international breakthrough came in 2007 when she replaced Martha Argerich as soloist with the Boston Symphony. Two years later she signed an exclusive contract with Deutsche Grammophon and has since established her place among the world’s leading artists with a succession of critically acclaimed performances and recordings.
Ms. Wang has been named as Musical America’s Artist of the Year for 2017.