Events & Tickets
Feel the lure of Latin Beats at Pulse, where late-night lounge meets orchestra. Delight in a mashup of live electronic grooves spun by Ella Romand, resident DJ at Do Not Sit On The Furniture, alongside the sultry melodies of Alberto Ginastera, Ástor Piazzolla, Roberto Sierra and the world premiere of works for DJ and orchestra by NWS alumnus and Co-Founder of Miami’s Nu Deco Ensemble, Sam Hyken. Grab friends and get there early to get seats for the year’s most highly anticipated program in a club-style atmosphere complete with dynamic lighting and videos. Bonus: Your ticket comes with a free subscription to The New Tropic, Miami’s essential newsletter!
AFTER PARTY DETAILS
This is one night you won’t want to end! So, keep the party going at Hyde Beach at the SLS Hotel (1701 Collins Ave). Pulse ticketholders will have free admission and drink specials from midnight to 2:00 AM, courtesy of the SLS Hotel!
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DJ SET 1: FEATURING DJ ELLA ROMAND
Concluding with Moviendo Con El Ritmo, an original work by Sam Hyken performed by Ella Romand with the New World Symphony.
ORCHESTRA SET 1:
ZEQUINHA DE ABREU Tico Tico (1917)
Arranged by Cliff Colnot
JOSÉ PABLO MONCAYO Excerpt from Huapango for Orchestra (1941)
ÁSTOR PIAZZOLLA Introduction from Suite Punta del Este
(1921-1992) for Bandoneón and Orchestra (1982)
HEITOR VILLA-LOBOS Danza (Miudinho) from Bachianas Brasilieras No. 4 (1941-42)
ARTURO MÁRQUEZ Danzón No. 2 (1994)
DJ SET 2: FEATURING DJ ELLA ROMAND
Together with NWS Fellows Sam Pedersen (viola), Johanna Gruskin (flute) and Joseph Peterson (trombone), and concluding with O Meio, an original work by Sam Hyken performed by Ella Romand with the New World Symphony.
ORCHESTRA SET 2:
ERNESTO LECUONA Andalucía and Malagueña from Suite Andalucía (1928)
Morton Gould and Ferde Grofé
GEORGE GERSHWIN Excerpt from Cuban Overture (1932)
ROBERTO SIERRA The Phoenix from Carnaval for Orchestra (2007)
ALBERTO GINASTERA Malambo from Estancia, Op. 8a (1941)
SAM HYKEN Brasilia for DJ and Orchestra (2018; world
(b. 1981) premiere of NWS commission)
CLOSING SET: FEATURING DJ ELLA ROMAND
PROGRAM NOTES FOR ORCHESTRA SETS
ORCHESTRA SET 1:
ZEQUINHA DE ABREU
Tico Tico (1917)
Arranged by Aloysio de Oliveira
The Brazilian composer and bandleader Zequinha de Abreu introduced his most famous tune,
“Tico-Tico no fubá,” at a dance in 1917. Legend has it that the couples went so wild for the up-tempo number that they looked like little sparrows pecking at cornmeal, a description that stuck as the song’s title. It remains one of the most well-known examples of choro music, the Afro-Brazilian style that parallels American ragtime in its marriage of European harmonies with syncopations descended from slave music.
JOSÉ PABLO MONCAYO
Excerpt from Huapango for Orchestra (1941)
The Mexican composer José Pablo Moncayo was a protégé of Carlos Chávez, the composer and conductor who formed a crucial link between American and Mexican composers. It was Chávez’ idea for Moncayo to write a piece based on the huapango folk dance style for orchestra, a project that began with Moncayo visiting the Veracruz coastal region to transcribe authentic tunes. His 1941 composition Huapango incorporates that folk material but develops it freely and enriches it with sophisticated orchestration.
Introduction from Suite Punta del Este for Bandoneón and Orchestra (1982)
Ástor Piazzolla merged Argentinean popular music and 20th-century classical styles to spearhead the movement known as “new tango.” Born in Argentina, Piazzolla spent much of his childhood in New York. At eight he took up the bandoneón, a South American folk instrument in the accordion family, which he continued to play in his New Tango Quintet. Composed in 1982 and named for a favorite resort town in Uruguay, the Suite Punta del Este comes from the concert music side of Piazzolla’s career, pairing a bandoneón with string orchestra.
Danza (Miudihno) from Bachianas Brasilieras No. 4 (1941-42)
Reflecting his dual footholds in Brazilian and European musical traditions, Heitor Villa-Lobos composed a series of nine works titled Bachianas Brasilieras, in homage to J. S. Bach and to his homeland. He completed Bachianas Brasilieras No. 4 in 1941 as a suite for solo piano, and he orchestrated it the next year. The final movement, first drafted for piano in 1930, takes after the syncopated dance style with very rapid and fussy footwork known as Miudinho (literally “niggling”).
Danzón No. 2 (1994)
The Mexican composer Arturo Márquez composed the Danzón No. 2 after a 1993 visit to Veracruz. Situated on the Gulf of Mexico, the region had a long history of cultural exchange with Cuba, which is how it became a hotbed of the danzón dance style most closely associated with the nightclubs of Havana. Márquez’s composition features the distinctive clave rhythm (a pattern of five asymmetrical strikes) played on the claves, a pair of resonant wooden sticks.
ORCHESTRA SET 2:
Andalucía and Malagueña from Suite Andalucía (1928)
Arranged by Morton Gould and Ferde Grofé
As a virtuoso pianist and a composer-songwriter equally at home in concert halls and popular clubs, it’s no wonder that Ernesto Lecuona has been called “The Gershwin of Cuba.” For all his work in Afro-Cuban genres, Lecuona is best remembered for a suite rooted in the Flamenco sounds of Andalucía, the region located in the southern-most part of Spain. He published the original version for piano in 1928, but the memorable tunes have cropped up in all manner of transcriptions.
Excerpt from Cuban Overture (1932)
Even after Broadway made Gershwin rich and famous by his mid-20s, he still aspired to create music that would be taken seriously in the concert hall. His 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 prepared under Schillinger’s supervision was a concert overture inspired by a recent vacation to Cuba, a work that Gershwin introduced in 1932 in front of a stadium audience of more than 17,000 New Yorkers under its original title, Rumba, later changed to Cuban Overture. The score includes parts for the authentic Afro-Cuban instruments Gershwin brought home from his trip, and it incorporates the five-note clave rhythm that he would have heard many times in his nights out in Havana, dancing the Rumba.
The Phoenix from Carnaval for Orchestra (2007)
Roberto Sierra’s music unites the flair of his native Puerto Rico with the technique he developed while studying in Europe, including a degree from the Royal College of Music in London and lessons with György Ligeti in Hamburg. With a title and musical quotations borrowed from Schumann, Sierra’s 2007 orchestral work Carnaval paints character sketches of fantastical creatures, ending with The Phoenix. This mythical bird perpetually rises from the ashes—emerging here, as Sierra described it, into “a glorious Latin dance.”
Malambo from Estancia, Op. 8a (1941)
On the strength of his first ballet, Argentina’s Alberto Ginastera won over the influential dance producer Lincoln Kirstein, who was on a Latin American tour with the troupe he co-founded with George Balanchine. Kirstein commissioned a new ballet set in the pampas, the fertile lowland plains of Argentina, for which Ginastera devised a scenario based on José Hernández’ epic poem Martín Fierro. Completed in 1941, the ballet follows a gaucho (equivalent to an American cowboy) through the course of a single day on an Estancia, or cattle ranch. For the Malambo, Ginastera drew inspiration from the traditional gaucho dance of the same name, in which men show off and compete with lightning-fast, percussive footwork, typically accompanied by guitars and drums, approximated in Ginastera’s robust orchestration.
Brasilia for DJ and Orchestra (2018; world premiere of NWS commission)
Brasilia is a work for DJ, Moog soloist and full orchestra.
It incorporates both sounds of Brazilian House music and fragments of some of the most famous classic Brazilian songs, including “Mas, que Nada," "Aquarela do Brazil" and “A Gira.”
The work is in five parts. The slow introduction incorporates elements of the three songs and original motifs found throughout of the work.
The second section opens with a Brazilian house groove created DJ Ella Romand and is very soon joined by the opening melody of “Mas, que Nada” in the trumpet section. It builds to crescendo, and the Moog soloist is featured for the first time..
The third section maintains the same tempo, but features completely original material with lush strings and soaring melodies.
The fourth section presents the melody of “Aquarela do Brazil” and builds to the final section, which features “A Gira,” the Moog soloist, and the return of “Mas, que Nada,” all leading to a rousing conclusion.
The New World Symphony commissioned this work for Pulse. This performance marks its world premiere.
-- Copyright © 2018 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.
Dean Whiteside was born in New York City and trained in Vienna at the University of Music and Performing Arts. He is in his third season as the New World Symphony’s Conducting Fellow, where he leads a variety of performances and serves as assistant to Artistic Director Michael Tilson Thomas. Mr. Whiteside is founder and director of the Nashville Sinfonietta, hailed by The Tennessean as “a virtuoso band.” He opened the Blair School of Music’s 2013-14 season directing a multimedia realization of Haydn’s Seven Last Words of Our Savior on the Cross called “innovative” by The Tennessean and “deeply meditative and satisfyingly original” by ArtsNash.
Mr. Whiteside’s European debut came in 2011 after winning the Jorma Panula Blue Danube Masterclass and Competition. He has conducted orchestras such as the Boston Symphony, Danish National Symphony, Jacksonville Symphony, Juilliard Orchestra, Opéra Orchestre National Montpellier, Orlando Philharmonic, Polish Baltic Philharmonic, Sibiu Philharmonic, Tonhalle Orchestra Zurich, Tokyo Philharmonic, Wiener Kammerorchester and Zagreb Philharmonic, as well as the Vanderbilt Orchestra on a five-city tour of China. He has served as Cover Conductor to the Dallas Symphony and San Francisco Symphony.
Mr. Whiteside is the winner of the American Prize in Conducting and received second prize and the Zagreb Philharmonic Orchestra Award at the Sixth International Competition of Young Conductors Lovro von Matačić. Other awards include the 2017 Mahler Conducting Fellowship, Bruno Walter Memorial Foundation Conducting Scholarship, Croatian Composers' Society Award, David Effron Conducting Fellowship, Bayreuth Festival Scholarship and David Rabin Performance Prize. He has received fellowships from the Aspen Music Festival, Atlantic Music Festival, Cabrillo Festival of Contemporary Music and Castleton Festival.
Mr. Whiteside has worked closely with such conductors as Bertrand de Billy, Fabio Luisi, Lorin Maazel, Jun Märkl, Kurt Masur, Jorma Panula, Leonard Slatkin and Robert Spano. He began his conducting studies with Robin Fountain at Vanderbilt University.
Music producer, pianist and Resident DJ at Do Not Sit On The Furniture, Ella Romand mixes deep house with progressive melodies. Besides sharing the decks with the likes of Matthew Dekay, Behrouz, Serge Devant, YokoO and Eelke Kleijn, she has also started performing original tracks with the singer/songwriter Emilia Garth, in which Ms. Romand plays the keys and spins.
A French Brazilian, Ms. Romand was brought up in a nurturing musical environment, listening to everything from bossa nova to classical music. Thanks to a natural ear, she began playing the piano at an early age, picking up songs from the radio before composing her own. Her love affair with electronic music began in the late '90s and early 2000s, when she was introduced to the progressive sounds of Sasha. She started exploring music production in 2005, before learning how to disc jockey. Later that year, she was producing and playing at different venues in her hometown Curitiba, Brazil.
In 2006 Ms. Romand moved to the United States to get a degree in Music Technology while her passion for electronic music increased. As a result, her first single, "Sintaque," was released on Beatport in 2009. Originally a project for school, the track got the attention of the record label A Must Have for its minimalistic yet melodic sounds and original samples, such as using sandpaper to replace snare. Ms. Romand has also independently released a chill-out album called Awakening on iTunes under the name E-romand, with some of the tracks being remixed and released on Beatport.
Abroad, Ms. Romand has performed at Black Sensation in Africa, in Bogotá, Colombia and her home country Brazil. In the U.S. she has played in New York, Atlanta, San Diego, Orlando and in Miami at top venues like Tree House, Mansion, Electric Pickle and Casa Tua.
Heralded as “the next accordion star” by Howard Reich of the Chicago Tribune, Julien Labro has established himself as one of the foremost accordion and bandoneón players in both the classical and jazz genres. Deemed as “a triple threat: brilliant technician, poetic melodist and cunning arranger,” his artistry, virtuosity, and creativity as a musician, composer and arranger have earned him international acclaim and continue to astonish audiences worldwide.
Piazzolla, a major influence and the reason Mr. Labro picked up the bandoneón, is also the title of his album with classical guitarist and Grammy-award winner Jason Vieaux and A Far Cry chamber orchestra. Other releases include Grammy Award-winning vocalist Cassandra Wilson’s Another Country and critically acclaimed Hot Club of Detroit’s Junction. In 2012 Mr. Labro embarked on an exciting long-standing collaboration with the Spektral Quartet. Their work has drawn increasing attention and was featured in a 2015 Chamber Music America article entitled “Art of Opportunity” by Paul Brady, who described Mr. Labro as an “A-list star” with “deep jazz cred.” Their 2014 album From This Point Forward, which was included in the Chicago Tribune’s list of 10 new significant classical album releases, is a genre-bending collection of compositions from South America. Infusion, Mr. Labro’s latest release, marks his second collaboration with Grammy Award winner Jason Vieaux. It explores and stretches the repertoire with original arrangement of pieces by Brouwer, Gnattali, Metheny and the British pop band Tears For Fears.
Mr. Labro has collaborated with numerous professional symphonies and chamber ensembles, often playing the dual roles of solo artist as well as composer/arranger. These include the conductor-less Boston-based chamber orchestra, A Far Cry, Spektral Quartet, Ensemble Vivant of Toronto and Curtis On Tour from the Curtis Institute of Music faculty of Philadelphia. He has been a guest artist with numerous symphonies and chamber ensembles such as the Detroit Symphony, Orchestra of St Luke’s, Arkansas Symphony, Grand Rapids Symphony, Cape Cod Symphony, Crested Butte Symphony, Cleveland Pops Orchestra, Lebanese Philharmonic, Qatar Philharmonic, Bijou Orchestra, A Far Cry, Linden String Quartet, Prairie Ensemble and many more.
Mr. Labro’s musical journey has taken him all across North America, Europe, the Middle East and South America. He has performed and collaborated with groups and artists such as Hot Club of Detroit, Brazilian pianist João Donato, Argentinean Grammy Award-winning composer and pianist Fernando Otero, big-band leader Maria Schneider, vocalists Cassandra Wilson and Kiran Ahluwalia, clarinetist Anat Cohen, Lebanese oud master Marcel Khalife, saxophonists Miguel Zenón, James Carter, Chris Cheek, Jon Irabagon and Victor Goines, composers Du Yun and Avner Dorman, harmonica extraordinaire Howard Levy, percussionist Jamey Haddad, bandoneónist Daniel Binelli and guitarists Howard Alden, Larry Coryell, Frank Vignola, Tommy Emmanuel, and John and Bucky Pizzarelli.
Mr. Labro’s past performances include venues such as Dizzy’s, Birdland, SFJAZZ, Blue Note, Yoshi's, The Green Mill and Sculler's, and festivals such as the Newport Jazz Festival, Lincoln Center’s Midsummer Festival, NYC Winter Jazz Festival, Vail Jazz Festival, Detroit Jazz Festival, Jazz Salt Lake City, Jazz Aspen Snowmass, Caramoor Music Festival, SF Performances, Phillips Collection, Fontana Chamber Arts Summer Festival, Soave Guitar Festival (IT), Quebec City Summer Festival (CA), Inchad International Cultural Festival in Constantine (AL), Byblos International Music Festival (LB), Beiteddine Art Festival (LB), Al-Qurain Culture Festival (Kuwait), Daejeon Chamber Music Festival (ROK) and many more.
In his free time, Mr. Labro is working on composing a new bandoneón concerto that will be a sequel to his accordion concerto Apricity.
Sam Hyken has had a rich and diverse musical career, which has spanned the globe. Currently residing in Miami, Florida, he is in constant demand as a performer, producer and composer. Along with Jacomo Bairos, he is Co-Founder and Artistic Director of Nu Deco Ensemble, Miami's Genre-Bending Orchestra. He also serves as CEO of the organization.
As a composer, Mr. Hyken's music has been commissioned by several symphony orchestras, such as the New World Symphony, National Symphony, Kansas City Symphony, Louisiana Philharmonic, Charlotte Symphony, Asheville Symphony and Miami Symphony. Other ensembles who have performed his work include the San Francisco Symphony, St. Louis Symphony, Dallas Symphony, Houston Symphony, San Diego Symphony, Detroit Symphony, Toronto Symphony, Jacksonville Symphony, Florida Orchestra, Charleston Symphony, Milwaukee Symphony, Amarillo Symphony, Phoenix Symphony and Orquesta Sinfónica Simón Bolivar of Venezuela. From 2011-15, he was Composer-in-Residence with the Miami Symphony.
As a musical arranger and director, Mr. Hyken has been contracted by various artists, producers and ensembles to adapt and write new music, including Talib Kweli, Ben Folds, Pitbull, Bilal, Kishi Bashi, Monsieur Perine, Dirty Vegas, Magda Giannikou, Danay Suarez, Steven A. Clark, Brika, Tiara Thomas, Rico Love, Raquel Sofia, Leroy Sanchez, Jim Jonsin, Spam Allstars, Res, Afrobeta,Carmen Lundy, Jessie Murphy (of the Brazilian Girls), Glen Matlock (of the Sex Pistols) and the eclectic group ProjectTrio. He has also been commissioned by the Kansas City-based group Quixotic Fusion to write and arrange music for their debut performance of Symphonic Quixotic. Mr. Hyken has served as music director for The White Party 2014, events for Ferrari and FIFA, Art Basel at the W Hotel, New Years Eve at the Setai Hotel, as well many events of the Friends of the New World Symphony. He was also musical director and arranger for the John S. and James L. Knight Foundation's 1000th Random Act of Culture, featuring over 200 performers of multiple genres and mediums.
Mr. Hyken has been engaged as a trumpet soloist and orchestral musician since 1999. In 2004 he was appointed Associate Principal Trumpet of the Singapore Symphony, a position that he held for two years. From 2006-09, he was a member of the New World Symphony under the direction of Michael Tilson Thomas. He was a member of the UBS Verbier Festival Orchestra and the UBS Verbier Chamber Orchestra for five years touring and performing with such esteemed conductors as James Levine, Loren Maazel, Valerie Gergiev, Kurt Masur, Yuri Temirakanov, Christoph Donyani and Charles Dutoit. Mr. Hyken has also worked and performed with many Grammy Award-winning Artists including Yo-Yo Ma, Bobby McFerrin, Chick Corea, Belle and Sebastian, Arturo Sandoval, Jose Feliciano and Jose Carreras. He has also performed with ensembles such as the San Francisco Symphony, Canadian Brass, American Brass Quintet and the London Symphony Orchestra Brass.
Mr. Hyken has been a conductor, teacher, performer, music arranger and scriptwriter for the Miami Music Project, which is a musical organization focusing on using music to promote social change. He has been on faculty at the Frost School of Music at the University of Miami where he taught Pop Music Composition, Virtual Orchestration and Ear Training. He holds a bachelor’s degree from The Juilliard School, a post-graduate diploma with distinction from the Royal Academy of Music in London and a master's degree in Media Writing and Production from the University of Miami.