Events & Tickets
Grab your friends and head over to New World Center in South Beach for our unveiling of the newest lounge-meets-orchestra collab: New World Symphony and local DJs Dude Skywalker featuring world premieres of works for orchestra and DJ by Sam Hyken.
The spotlight's never too bright for our DJs and select orchestra members, who will show off their immense solo talents in this one-night-only event. Get up close and dance alongside the performers, or arrive early to grab a seat and immerse yourself in our late-night lounge vibe.
Get Your Glow On, Wear Your Neon Colors!
* Friends of NWS members with tickets to Pulse are invited to the special pre-concert cocktail on the rooftop of the New World Center, with complimentary cocktails and light bites. To join, visit nws.edu/friends.
DJ SET 1: FEATURING DJs DUDE SKYWALKER
Concluding with Bonvenon, an original work by Sam Hyken created in collaboration with Dude Skywalker.
ORCHESTRA SET 1:
DMITRI SHOSTAKOVICH Festive Overture, Op. 96 (1954)
JOHANN NEPOMUK HUMMEL Trumpet Concerto in E-flat major, S. 49 (1803)
(1778-1837) III. Rondo
MAURICE RAVEL Tzigane (1924)
GEORGE ENESCU Romanian Rhapsody No. 1 in A major, Op. 11 (1901)
DJ SET 2: FEATURING DJs DUDE SKYWALKER
Together with NWS Fellows Elizabeth Oka (viola), Masha Popova (flute), Ansel Norris (trumpet) and Joseph Peterson (trombone), and concluding with Pocket Square, an original work by Sam Hyken created in collaboration with Dude Skywalker.
ORCHESTRA SET 2:
JULES PEGRAM Neon Nights (2011)
CARL MARIA VON WEBER Clarinet Concerto No. 1 in F minor, Op. 73 (1811)
(1786-1826) III. Rondo
PIOTR ILYICH TCHAIKOVSKY Piano Concerto No.1 in B-flat minor, Op. 23 (1874-75)
(1840-1893) III. Allegro con fuoco
IGOR STRAVINSKY Finale from The Firebird (1910; revised 1919)
SAM HYKEN Sky Walker for DJs and Orchestra (2017; world
(b. 1981) premiere of NWS commission)
CLOSING SET: FEATURING DUDE SKYWALKER
PROGRAM NOTES FOR ORCHESTRA SETS
ORCHESTRA SET 1:
Festive Overture, Op. 96 (1954)
Shostakovich composed the Festive Overture in a three-day burst in 1954, just in time for an anniversary celebration of the October Revolution. The work is unabashed Soviet propaganda, with elements borrowed from a beloved overture by Glinka, the first great hero in Russian music. A bold fanfare begins the Overture and returns near the end, establishing a bright and ceremonial tone.
JOHANN NEPOMUK HUMMEL
Mvt. III from Trumpet Concerto in E-flat major (1803)
A child prodigy from a musical family, the seven-year-old Hummel made such an impression on his piano teacher that he was invited to move in with the family. (That teacher was Mozart.) After touring Europe for five dazzling years, Hummel returned to Vienna, where he found himself locked in a fierce rivalry and on-again-off-again friendship with the only pianist of comparable talent. (Beethoven, of course.) When Hummel needed a steady job in his early 20s, all it took was a word from a supportive older composer to his longtime employer. (That would be Haydn and the fantastically wealthy Esterházy family). This is all to say that Hummel was a musician who earned the respect of his most esteemed colleagues, and one who would probably be better known if he hadn’t been surrounded by such trailblazers.
One work that does stand out is Hummel’s Trumpet Concerto in E-flat major, composed for the New Year’s festivities in 1804 at the Esterházy palace. The soloist, Anton Weidinger, had pioneered a trumpet with keys (a forerunner to modern valves), allowing Hummel to develop smooth, lyrical melodies that would have been impossible on earlier, bugle-like instruments.
Ravel wrote Tzigane, his homage to “Gypsy” music, after a 1924 encounter with the Hungarian violinist Jelly d’Arányi. Rather than mimicking authentic musical practices of the Roma people—to use today’s preferred term for that ethnic minority with a rich history in and around Hungary—Ravel invented his own “Gypsy” attitude of fantasy and mystery, continuing a tradition embraced by Haydn (“Gypsy” Rondo), Brahms (Hungarian Dances), Bizet (Carmen), Sarasate (Zigeunerweisen) and so many other outsiders who romanticized Hungary and the “Gypsy” ethos.
The violin opens with a massive cadenza, until the orchestra finally enters after about four minutes, led by vertiginous harp arpeggios that encircle the trembling solo line. The violin plays the work’s primary melody over a droning accompaniment colored by harp and cello harmonics, and a solo clarinet answers with serpentine, Eastern-inflected figures. Pizzicato (plucking) executed with the left hand and ethereal harmonics enrich the violin’s fantastical palette of sound.
Romanian Rhapsody No. 1 in A major, Op. 11 (1901)
George Enescu was a child prodigy who began playing violin at the age of four and composing at five, prompting his family to send him from Romania to Vienna for a world-class musical education. At 14 he enrolled at the Paris Conservatory, where he studied with Massenet and Fauré. He established a successful career in Paris as a violinist and conductor, but he returned often to Romania, where he did most of his composing during summer holidays (at least until the Communist takeover forced him into permanent exile).
Following the model of Liszt’s Hungarian Rhapsodies, Enescu composed two Romanian Rhapsodies in 1901. The First Rhapsody in particular became a crowd favorite, and this festive music written before his 20th birthday shaped the public’s perception of Enescu for the rest of his career.
ORCHESTRA SET 2:
Neon Nights (2011)
Jules Pegram, now a doctoral candidate at the University of Michigan, was an undergraduate at the University of Southern California when he wrote his first work for orchestra, Neon Nights. “I have always been enamored by the hot, vivid glow of neon lights,” Pegram explained in a program note, “particularly those found in Las Vegas and in the South Beach neighborhood of Miami. The dazzlingly bright element neon, often housed in a variety of colorful, quirky-shaped tubes, proved to be an irresistible subject for a musical composition.”
CARL MARIA VON WEBER
Mvt. III from Clarinet Concerto No. 1 in F minor, Op. 73 (1811)
Carl Maria von Weber, born into the theater business, mounted fanciful opera productions in his native German that finally broke the stranglehold of Italian opera. Until his first big success with Der Freischütz in 1821, Weber struggled to hold a good job. He was dismissed from Stuttgart in 1810 over a corruption scandal, and then he traveled for the next three years, including a stop in Mannheim, Germany, where he met clarinetist Heinrich Baermann. When they reunited in Munich several months later, Weber produced a Concerto for the clarinetist to play with the court orchestra. It turned out to be a lucrative encounter, with Weber fielding many requests from the orchestra members for new concertos of their own.
Weber had the advantage of composing for a new 12-key clarinet that Baermann had obtained, a more nimble model than the 5-key models that were common in Mozart’s day. Darting arpeggios and smooth phrases in the cheeky finale make the most of an instrument that goes high and low, loud and soft, and sweet and salty like no other.
PIOTR ILYICH TCHAIKOVSKY
Mvt. III from Piano Concerto No.1 in B-flat minor, Op. 23 (1874-75)
The Piano Concerto Tchaikovsky composed during the winter of 1874-75 was his first work for soloist and orchestra. He was not a virtuoso pianist himself, so he arranged to show the score to Nikolai Rubinstein, the most eminent conductor and pianist in Moscow, and a fellow faculty member at the Moscow Conservatory. Years later, Tchaikovsky summarized Rubinstein’s blunt feedback in a letter: “My Concerto, it turned out, was worthless and unplayable.”
Tchaikovsky wasn’t always the most self-confident composer, but this time he stood his ground, vowing to “publish the work exactly as it stands.” To secure a first performance, Tchaikovsky went outside Rubinstein’s circle and solicited the famous German conductor and pianist Hans von Bülow, who loved the work and asked for a set of parts that he could take with him on tour. That’s how this landmark Russian Concerto first reached the public in Boston, in October of 1875. The finale played here takes the contours of its rugged theme from a Ukrainian folksong.
Finale from The Firebird (1910; revised 1919)
For the 1910 Paris season of the Ballets Russes, the impresario Serge Diaghilev wanted to present something spectacular and distinctly Russian. He already had a vivid concept drawn from Russian folklore, a brilliant choreographer (Michael Fokine), and a dream team of Russian dancers and other contributors—but no composer, after his first choice fell through at the last minute. So Diaghilev took a chance on an unknown 27-year-old, Igor Stravinsky, whose only credentials to that point were a few years of lessons with Nikolai Rimsky-Korsakov, a couple of short orchestral pieces, and some orchestrations contributed to an earlier Diaghilev ballet. Stravinsky dove into the project in the spring of 1910, writing most of the music in Saint Petersburg, before he traveled to Paris for the June 25 premiere, the first performance of his music outside of Russia. The Firebird was a huge success, paving the way for Stravinsky’s even more radical follow-ups with the Ballets Russes: Petrushka and The Rite of Spring.
By the end of The Firebird, a valiant prince—aided by the mythical firebird—has defeated the infernal King Kashchei, freeing the captive princesses. The ballet’s finale serves as an epilogue, as all the characters awaken from a magical slumber and partake in “general rejoicing.”
Sky Walker for DJs and Orchestra (2017; world premiere of NWS commission)
Sky Walker was created using a series of audio samples taken from different electronic productions created by Miami-based DJ duo Dude Skywalker.
The work is in five parts, with the slow introduction serving to introduce its two main motifs. The subsequent sections, which maintain a steady tempo of 123 beats per minute, develop these motifs through various sonic environments. Dance styles explored in Sky Walker include both deep and progressive house and techno music. As in the minimalist stylizes of John Adams, Steve Reich and Philip Glass, each new section is connected by an idea carried over from the previous one.
It is my hope that the work can live equally in both the concert hall and the nightclub.
The New World Symphony commissioned Sky Walker for Pulse. This performance marks its world premiere.
-- Sam Hyken
-- 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.
Dean Whiteside was born in New York City and trained in Vienna at the University of Music and Performing Arts. He is in his second 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. As guest conductor he has led the Juilliard Orchestra, Opéra Orchestre National Montpellier, Orlando Philharmonic, Polish Baltic Philharmonic, Rousse State Opera Orchestra, Sibiu 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 MTT and the San Francisco Symphony.
Mr. Whiteside’s awards include the 2017 Mahler Conducting Fellowship, Bruno Walter Memorial Foundation Conducting Scholarship, David Effron Conducting Fellowship, Bayreuth Festival Scholarship, David Rabin Performance Prize, and Second Prize and the Zagreb Philharmonic Orchestra Prize at the Sixth International Competition of Young Conductors Lovro von Matačić. He has received fellowships from the Aspen Music Festival, Cabrillo Festival of Contemporary Music, Castleton Festival and Tonhalle Orchestra Zurich.
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.
Dude Skywalker is an avant-garde musical project delving into the cosmic side of dance floor & lounge music. The Dude Abides.
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.
Mark Grisez, originally from Fresno, California, is a second-year Trumpet Fellow at the New World Symphony. He has most recently performed as Acting Associate Principal Trumpet of the San Francisco Symphony from 2014 to 2016, playing at Carnegie Hall, Royal Albert Hall, the Berliner Philharmonie, the Royal Concertgebouw, and other halls across Europe and the United States. He has also held the position of Principal Trumpet of the California Symphony in Walnut Creek and played during the summers as a fellow of the National Repertory Orchestra and the Tanglewood Music Center. In May of 2015 he was named Musical America’s New Artist of the Month.
Mr. Grisez received his bachelor's degree in music performance in 2015 from the San Francisco Conservatory of Music, where he studied under David Burkhart and Mark Inouye. While in school, he was a member of the San Francisco Symphony Youth Orchestra, was avidly involved in multiple chamber ensembles and, alongside his brass quintet, represented the Conservatory at the Kennedy Center in Washington, D.C. for the Millennium Stage Conservatory Project.
While living in San Francisco, Mr. Grisez also performed with the San Francisco Opera, The Bay Brass, One Found Sound and Nomad Session, an eight-member traveling pop-up ensemble of which he is a founding member. He has taught as a brass coach for the Stanford Youth Orchestra and San Francisco Symphony Youth Orchestra and has led masterclasses at Sacramento State University and the San Francisco Conservatory. In his spare time, he enjoys writing, curating a collection of fine pencils, reading too many books and running.
Alexander Lee is a fourth-year Violin Fellow at the New World Symphony. He is a recent graduate of the Eastman School of Music, where he studied with both Charles Castleman and Zvi Zeitlin. While there, he performed with the Boston Early Music Festival Chamber Players, Collegium Musicum, the Eastman School Symphony Orchestra and Philharmonia, Musica Nova, OSSIA, RestisNoise and SoundExchange, as well as in several cantatas, operas, and student and faculty recitals. Mr. Lee has performed concertos with the Eastman School Symphony, Pittsburgh Civic and Pittsburgh Youth Symphony Orchestras. During the summers, he has participated in the Castleman Quartet Program, the Meadowmount School of Music, the Music Academy of the West and the National Repertory Orchestra, where he was Assistant Concertmaster and soloist. Summer activities also include quartet residencies in and around Catskill, New York and Camden, Maine. Mr. Lee is a former section violinist of the Erie Philharmonic and is a substitute for the Charleston Symphony Orchestra, Rochester Philharmonic Orchestra and Symphoria in Syracuse, New York.
Daniel Parrette is a second-year Clarinet Fellow at the New World Symphony. He most recently played as a guest with the Boston and Alabama symphonies. During his summers he has attended Tanglewood Music Center, National Orchestral Institute and Kent/Blossom Music Festival.
Mr. Parrette was previously a Teaching Fellow of the Community Performances and Partnerships program at New England Conservatory, where he completed his bachelor and master of music degrees.
Born in West Point, New York, Mr. Parrette grew up studying the clarinet with his father, John Parrette, former Principal Clarinet of the United States Military Academy Band. He recently completed his graduate studies at New England Conservatory, where he studied with Michael Wayne of the Boston Symphony.
A dynamic and versatile pianist, third-year Fellow Dean Zhang appears internationally in critically acclaimed performances. Dr. Zhang has been praised by The Miami Herald as “a powerful keyboard player,” yet with a “smooth, fluid touch at the keyboard, bringing maximum expressiveness.” A laureate of numerous competitions, he won first prize in the Snowy Range Piano Competition, as well as the MTNA Young Artist Piano Performance Northwest Division Competition. He has been featured as a soloist with the New World Symphony as a winner of its concerto competition and has also performed concertos with the Shanghai University Symphony, University of Wyoming Symphony and National Repertory Orchestra. Most recently, Dr. Zhang was also featured as the harpsichord soloist in J. S. Bach’s Brandenburg Concerto No. 5 with the Omaha Chamber Music Society.
As the former principal keyboardist at the Omaha Symphony, Dr. Zhang performed with the orchestra in more than 200 concerts and presentations during the 2015-16 season. He was invited for two summers as principal keyboardist with the National Repertory Orchestra in Breckenridge, Colorado. Dr. Zhang currently serves as principal keyboardist with the Southwest Florida Symphony, where he was appointed in 2016.
In addition to his achievement in piano performance, Dr. Zhang is an outstanding organist and was featured with the New World Symphony as the organ soloist in Saint-Saëns’ Symphony No. 3. He has also served as the principal organist and artist in residence at St. Matthew’s Episcopal Cathedral in Laramie, Wyoming, and United Methodist Church of Chagrin Falls, Ohio.
After two years of studying management science at Shanghai University, Dr. Zhang was granted a full scholarship at the University of Wyoming where he received his bachelor and master of music degrees as a student of Dr. Theresa Bogard. Under the tutelage of Paul Schenly and Kathryn Brown, he earned a doctor of musical arts degree in piano performance from the Cleveland Institute of Music. Dr. Zhang also studied extensively with Joela Jones, principal keyboardist of The Cleveland Orchestra. A devoted pedagogue, Dr. Zhang joined the piano faculty of the New England Music Camp in 2015 and has presented master classes at universities throughout the United States and China.