Events & Tickets
NWS AT DEZERLAND PARK
WALLCAST event at Dezerland Park
14401 NE 19th Ave.
North Miami, FL 33181
NWS kicks off its 33rd season with a special Drive-In WALLCAST® concert experience at Dezerland Park! Enjoy the Fellows, MTT and special guests on Dezerland's 13 x 36-foot LED screen from the comfort of your own cars. Program selections include highlights from previous seasons, live performances by this season's Fellows and more surprises. Honk your horns and flash those lights for the standing ovation we've all missed.
This event marks the season’s first in-person event and will be a celebration of the communal concert-going experience, one of the great traditions of classical music, in a safe, socially distanced setting.
Are you a NWS subscriber to either the Vivace or Allegro package? You can opt-in to this performance by calling the NWS Box Office or emailing email@example.com. RSVP required by 4:00 PM ET on Saturday, October 17.
To become a NWS subscriber, click here or call the NWS Box Office at 305.673.3331.
*Advance reservations required. Ticket sales end at 4:00 pm on the day of the event. Tickets will not be available for purchase at Dezerland Park.
Approx. Duration: 11 minutes
Wolfgang Amadeus Mozart
Approx. Duration: 6 minutes
Concerto No. 14 in E-flat major for Piano and Orchestra, K. 449
III. Allegro ma non troppo
Approx. Duration: 21 minutes
Pines of Rome
The Pines of the Villa Borghese
Pines Near a Catacomb
The Pines of the Janiculum
The Pines of the Appian Way
Approx. Duration: 16 minutes
Symphony No. 5 in C-sharp minor
V. Rondo — Finale: Allegro
Approximate duration: 11 minutes
George Gershwin was 11 when his family first brought a piano into their apartment. Four years later, after some lessons in classical repertoire including Chopin and Debussy, Gershwin dropped out of high school and found work as a “song plugger” on Tin Pan Alley, New York’s row of music publishing firms. His breakthrough came in 1919, when the influential performer Al Jolson added the song “Swanee” to a revue; Jolson’s recording sold millions of copies and put Gershwin on the map as a top songwriter.
While Broadway (and, eventually, Hollywood) made Gershwin rich and famous, he still aspired to create serious concert music. Gershwin’s earliest efforts could hardly have been more successful—they included Rhapsody in Blue (1924), the Piano Concerto in F (1925) and An American in Paris (1928)—but he decided to seek guidance anyway from a Russian composer and teacher in New York, Joseph Schillinger.
The first score Gershwin prepared under Schillinger’s supervision was a concert overture inspired by a recent vacation to Cuba. The work debuted under the title Rumba on August 16, 1932, in front of a stadium audience of more than 17,000 New Yorkers. Gershwin later changed the title to Cuban Overture, which he thought offered “a more just idea of the character and intent of the music.” He brought home an arsenal of Cuban percussion from his trip, including claves, bongos and maracas, which all figure prominently in the raucous outer sections. The five-note pattern played by what Gershwin called “Cuban sticks” is an authentic clave rhythm, one which he would have heard many times in his nights out in Havana.
Wolfgang Amadeus Mozart
Concerto No. 14 in E-flat major for Piano and Orchestra, K. 449
Approximate duration: 6 minutes
Fed up with his hometown of Salzburg and unable to find a suitable long-term job, the 25-year-old Mozart moved to Vienna in 1781. He was soon married with a growing family to feed, and he kept up a breakneck schedule of freelance gigs that included teaching keyboard lessons, pursuing opera commissions, selling scores for publication, cultivating private patrons and producing subscription concerts where he debuted his new piano concertos and other works that exploited his talents as a performer.
He may have started the Piano Concerto in E-flat major (K. 449) as early as 1782 with the intention of playing it on one of his self-produced concerts, but he set it aside and only finished the score in February of 1784. In his log of compositions, he noted that it was intended for Barbara Ployer, a teenaged piano student for whom he wrote two (or maybe three) of his concertos. She lived in Vienna with her uncle, an agent for the Salzburg court, and he funded this private commission and staged the debut concert in his own house the month after the score was finished.
Not long after Mozart had arrived in Vienna, a supportive older patron drew him deep into the neglected art of fugue as practiced earlier in the century by Bach and Handel. The crisp counterpoint of this Concerto finale is an enduring sign of Mozart’s respect for that learned tradition, starting with a passage that gives the second violins a prominent counter-line against the bouncy melody played by the first violins. The same quality fuels an approach to the piano part that often gives equal weight to the right and left hands, rather than splitting them into a hierarchy of melody and accompaniment.
Pines of Rome
Approximate duration: 21 minutes
Ottorino Resphigi, a native of Bologna, Italy, will forever be linked to his adopted city of Rome. After studying violin and composition in his hometown, he set out for Russia, where he spent two seasons playing viola in an orchestra and taking lessons from master orchestrator Nikolai Rimsky-Korsakov. Further time abroad in Berlin, studying with Max Bruch, helped hone Respighi’s voice. A teaching position brought him to Rome in 1913 and he soon made his first big splash with Fountains of Rome in 1916. He eventually expanded his tribute into a trilogy, adding Pines of Rome in 1924 and Roman Festivals in 1928.
The trees that Respighi referenced were stone pines or “umbrella” pines, a common sight in Rome with their broad, umbrella-shaped canopies rising over bare trunks. (These trees also produce the pine nuts that are a staple of Italian cuisine.) He crafted the score as four connected vignettes, beginning with a sparkling scene meant to evoke children playing at the Villa Borghese, Rome’s large park occupying the former gardens of the wealthy Borghese family.
The second episode depicts pines near an unspecified catacomb, the hallowed ground represented by slow music in the manner of plainchant.
The third section, featuring a long clarinet solo set up by a piano interlude, captures a full moon illuminating the pines on the Janiculum, a hill with an expansive view over the city. In an early example of electro-acoustic music, the score calls for a particular recording of a nightingale call to play over the closing measures.
The final section represents pines on the Appian Way, the legendary road into ancient Rome that stretched all the way to the Adriatic Sea (on the heel of Italy’s “boot”). As Respighi wrote in his own program note, the marching music ushers in “a fantastic vision of past glories. Trumpets blare, and the army of the Consul bursts forth in the grandeur of a newly risen sun.”
Symphony No. 5 in C-sharp minor
Approximate duration: 16 minutes
Gustav Mahler began his Fifth Symphony in the summer of 1901, a few months after nearly dying from an intestinal hemorrhage. By the time he returned to his summer villa to complete the symphony in 1902, his world had turned much rosier: he had met and married Alma Schindler, and she was expecting their first child. Mahler tinkered with the symphony’s orchestration until the premiere performance, which he conducted in October 1904 in Cologne, and he continued to make various changes in the following years. Reflecting later about his struggles to perfect the Fifth Symphony, he wrote, “Clearly the routine I had acquired in the first four symphonies had deserted me altogether, as though a totally new message demanded a new technique.”
Mahler’s first four symphonies drew much of their energy from vocal music, in particular his own settings of Des Knaben Wunderhorn, with the first quoting its melodies and the next three incorporating actual singers. With the Fifth Symphony, Mahler’s “new message” steered him closer to absolute music than in any previous work. One new factor in Mahler’s musical thinking was counterpoint, triggered by a study of Bach’s music. The Bach influence arises directly in brief fugato passages and more generally in the careful layering of simultaneous motives. On a larger scale, the work reflects the epic tradition of Beethoven’s Fifth and Ninth symphonies, which, like Mahler’s Fifth, journey from minor-key openings to major-key conclusions.
The Finale gives the horn a prominent role, joined at the beginning by other pastoral woodwind solos. Then, in a sign of Bach’s influence, a fugue works its way through the strings as the finale gathers momentum.
A variant of the same bright chorale that offered false promise in the second movement returns at the end, and this time it delivers the symphony to a triumphant conclusion, completing the strange and scenic journey from C-sharp minor to D major.
Even Mahler himself seemed overwhelmed by the perplexing depth and range of this symphony. “Oh, heavens,” he wrote in that same letter to Alma, “what is the public to make of this chaos in which new worlds are forever being engendered, only to crumble into ruin the next moment? What are they to say to this primeval music, this foaming, roaring, raging sea of sound, to these dancing stars, to these breathtaking, iridescent and flashing breakers?”
-- Copyright © 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.
What to Expect:
Click here to read Dezerland Park’s venue rules. Ticketholders must follow all posted instructions while visiting Dezerland Park. When outside your vehicle, face coverings and social distancing are required.
HOW TO TUNE IN
Tune your car radios to 107.1 FM for the pre-concert performances and concert.
Restrooms are available on site. To access, cross the street outside the entrance gate to the Dezerland offices. A bathroom attendant is on duty and will clean and disinfect after each use.
WHERE IS DEZERLAND?
Dezerland Park is located at 14401 NE 19th Ave., North Miami, 33181. Gates open at 6:00 PM and the concert begins at 7:30 PM. For best viewing spots, we recommend arriving early.
NWS at Dezerland Park will take place rain or shine. There are no refunds for inclement weather.
NWS Salutes Our Donors
We are pleased to recognize the following donations made between July 1, 2019 and June 30, 2020.
Maestro’s Circle Diamond Tier
Mr. and Mrs. Adam Carlin
City of Miami Beach
Miami-Dade County Department of Cultural Affairs*
The Hearst Foundation
John S. and James L. Knight Foundation
The Kovner Foundation
Maestro’s Circle Gold Tier
$100,000 - $249,999
The Micky and Madeleine Arison Family Foundation
Sarah Arison and Thomas Wilhelm
Art Mentor Foundation Lucerne
Carnival Corporation & PLC*
Maxine and Stuart Frankel Foundation
Kleh Family Foundation, Mr. and Mrs. William Kleh
Sir Michael Moritz and Ms. Harriet Heyman
Northern Trust Bank, John Fumagalli
Helena Rubinstein Philanthropic Fund at The Miami Foundation, Diane and Robert Moss
Karen Bechtel and William Osborne
Susan D. Kronick and Edward Manno Shumsky
Maestro’s Circle Silver Tier
Sari and Arthur Agatston
AMD Family Fund
Blavatnik Family Foundation
Bruce and Martha Clinton, The Clinton Family Fund
Dan J. Epstein Family Foundation
Frank Family Charitable Foundation, Mary and Howard S. Frank
Rose Ellen Greene
Mr. and Mrs. Harry M. Hersh
Mr. and Mrs. William L. Morrison
National Endowment for the Arts
Dr. M. Lee Pearce Foundation, Inc.
SunTrust now Truist | Beth and John Geraghty
Sol Taplin Charitable Foundation
Ms. Dorothy A. Terrell
Michael Tilson Thomas and Joshua Robison
The Wege Foundation
Ira M. Birns and Arlenis Birns, World Fuel Services Corporation
Akerman LLP – Andrew Smulian and Neisen Kasdin
Florence and Sheldon Anderson
Arthur F. and Alice E. Adams Charitable Foundation
The Batchelor Foundation, Mr. and Mrs. Jon Batchelor
Mr. & Mrs. Richard B. Bermont
Dr. Matthew Budd and Ms. Rosalind E. Gorin
Mr. and Mrs. Michael Carpenter
Trudy and Paul Cejas
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Hitachi Kokusai Electric America, Ltd.
Jackson Health System
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The Kirk Foundation
Mr. and Mrs. Enrique Lerner
Alan and Diane Lieberman
Albert H. and Jane D. Nahmad Foundation, INc.
The Nowak Family Charitable Remainder Trust, Robert J. Nowak
Merle and Michael Orlove
The Robert and Jane Toll Foundation
Judith Rodin and Paul Verkuil
Ms. Judith Schalit
State of Florida, Department of State, Division of Cultural Affairs and the Florida Council on Arts and Culture
Sylvester Comprehensive Cancer Center
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Mr. and Mrs. Jay Massirman
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Omega Healthcare Investors
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PKS & OIS
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Carol and Irv Smokler
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Verity Partners, Inc.
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Langer Holdings Corp., Lynne and Roger Langer, Sr.
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The Miami Foundation
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Mr. Paul S. Woehrle
Dr. and Mrs. Stanley Worton
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.
Gabriela Montero’s visionary interpretations and unique improvisational gifts have garnered her critical acclaim and a devoted following on the world stage. Anthony Tommasini remarked in The New York Times that her “playing had everything: crackling rhythmic brio, subtle shadings, steely power…soulful lyricism…unsentimental expressivity.”
A graduate and Fellow of the Royal Academy of Music in London, Ms. Montero has performed with many of the world’s leading orchestras to date, including the Royal Liverpool, Rotterdam and Oslo philharmonic orchestras; Gewandhausorchester Leipzig, NDR Sinfonieorchester Hamburg, Zürcher Kammerorchester, Academy of St Martin in the Fields and Australian Chamber Orchestra; the Pittsburgh, Houston, Toronto, City of Birmingham, Barcelona, Lucerne and Sydney symphony orchestras; The Cleveland Orchestra, National Arts Centre Orchestra of Canada and orchestra of the Komische Oper Berlin.
Ms. Montero is an award-winning and bestselling recording artist. Her most recent album, released in 2015 on the Orchid Classics label, features Rachmaninov’s Piano Concerto No. 2 and her first orchestral composition, Ex Patria, and won Ms. Montero her first Latin Grammy Award for Best Classical Album (Mejor Álbum de Música Clásica). Previous recordings include Bach and Beyond, which held the top spot on the Billboard Classical Charts for several months and garnered her two Echo Klassik Awards: the 2006 Keyboard Instrumentalist of the Year and 2007 Award for Classical without Borders. In 2008 she also received a Grammy Award nomination for her album Baroque, and in 2010 released Solatino, a recording inspired by her Venezuelan homeland and devoted to works by Latin American composers.
Ms. Montero made her formal debut as a composer with Ex Patria, a tone poem designed to illustrate and protest Venezuela’s descent into lawlessness, corruption and violence. The piece was premiered in 2011 by the Academy of St Martin in the Fields. Her first full-length composition, Piano Concerto No. 1, “Latin“, was first performed at the Leipzig Gewandhaus with the MDR Sinfonieorchester and conductor Kristjan Järvi. She gave subsequent performances of the work at the Klavier-Festival Ruhr and on tour with the Orquesta Sinfónica Nacional de Mexico and Carlos Miguel Prieto.
A committed advocate for human rights, whose voice regularly reaches beyond the concert hall, Ms. Montero was named an Honorary Consul by Amnesty International in 2015, and recognized with Outstanding Work in the Field of Human Rights by the Human Rights Foundation for her ongoing commitment to human rights advocacy in Venezuela. She was invited to participate in the 2013 Women of the World Festival at London’s Southbank Centre and has spoken and performed twice at the World Economic Forum in Davos. She was also awarded the 2012 Rockefeller Award for her contribution to the arts and was a featured performer at Barack Obama’s 2008 Presidential Inauguration.
Born in Venezuela, Ms. Montero gave her first public performance at the age of five. At age eight she made her concerto debut in her hometown of Caracas, which led to a scholarship from the government to study privately in the U.S. and then at the Royal Academy of Music London with Hamish Milne. She currently resides in Barcelona with her husband and two daughters.
Stéphane Denève is Music Director of the Brussels Philharmonic, Principal Guest Conductor of The Philadelphia Orchestra, Music Director Designate of the St. Louis Symphony and Director of the Centre for Future Orchestral Repertoire. From 2011-16 he served as Chief Conductor of the Stuttgart Radio Symphony Orchestra and from 2005-12 as Music Director of the Royal Scottish National Orchestra.
Recognized internationally for the exceptional quality of his performances and programming, Mr. 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 new music.
Mr. Denève’s recent engagements include appearances with the Royal Concertgebouw Orchestra, Orchestra Sinfonica dell’Accademia Nazionale di Santa Cecilia, Vienna Symphony, Munich Philharmonic, Orchestre National de France, Czech Philharmonic and NHK Symphony. In North America he made his Carnegie Hall debut in 2012 with the Boston Symphony, with which he has been a frequent guest both in Boston and at Tanglewood. He also appears regularly with The Cleveland Orchestra, New York Philharmonic, The Philadelphia Orchestra, Los Angeles Philharmonic, San Francisco Symphony, St. Louis Symphony and Toronto Symphony.
Mr. Denève enjoys close relationships with many of the world's leading solo artists, including Jean-Yves Thibaudet, Yo-Yo Ma, Nikolaj Znaider, James Ehnes, Leif Ove Andsnes, Leonidas Kavakos, Nicholas Angelich, Lang Lang, Frank Peter Zimmermann, Gil Shaham, Emanuel Ax, Renaud and Gautier Capuçon, Lars Vogt, Nikolai Lugansky, Paul Lewis, Joshua Bell, Hilary Hahn and Natalie Dessay.
In the field of opera, Mr. Denève has led productions at the Royal Opera House, Glyndebourne Festival, La Scala, Deutsche Oper Berlin, Saito Kinen Festival, Gran Teatro de Liceu, Netherlands Opera, La Monnaie, Deutsche Oper am Rhein and Opéra National de Paris.
As a recording artist, Mr. 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 are a disc of the works of Guillaume Connesson with the Brussels Philharmonic (awarded the Diapason d’Or, Caecilia Award and Classica Magazine’s CHOC of the Year) and a disc with Lucas and Arthur Jussen and the Royal Concertgebouw Orchestra, both for Deutsche Grammophon.
A graduate and prizewinner of the Paris Conservatory, Mr. 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 the fellowship programs of the Tanglewood Music Center and New World Symphony.
For more information, please visit www.stephanedeneve.com.