That same deep contralto sound returns at the start of the slow movement, introducing the song-like opening theme with a singer’s expressiveness. The entire first movement is broad and spacious, with drawn-out harmonies and lyrical solo flights, until the violin returns to the opening melody, now voiced in its luxurious low range. Sibelius’ Violin Concerto opens with the icy chill of muted strings and an expressive melody from the solo violin. The star violinist Jascha Heifetz brought the work back into prominence in the 1930s, and over time it has rightfully become a pillar of the repertoire. He had intended for the German virtuoso Willy Burmester to premiere the work in Berlin, but Sibelius ended up rushing the debut (probably to get paid) and ended up with a disastrous performance from a local teacher. Sibelius first mentioned an idea for the opening of the Violin Concerto in a letter to her in 1902, and then he composed the bulk of the music in 1903. The works he composed at the turn of the 20th century, including Finlandia and his first two symphonies made him a folk hero and a rising international star. When people living in what is now Finland were just starting to coalesce around a language, culture and shared dream of political independence from Russia, Jean Sibelius arose as the musical embodiment of those nationalist ideals.
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Perry suffered a series of strokes in her forties and died at 55, leaving us with only a sliver of the music we might have hoped to receive from this underrecognized talent of mid-century American music.Ĭoncerto in D minor for Violin and Orchestra, Op. An archival recording survives from that performance conducted by William Steinberg it is a marvel to hear Perry’s explosive and elemental gestures played by one of the great orchestras of her time, rendering a modernist sound that was not far removed from the edgy scores Bernard Hermann created for Hitchcock’s iconic films in the same era. That sound is on display in A Short Piece for Orchestra, originally titled Study for Orchestra when the New York Philharmonic premiered it in 1965. During the first of several European residencies, she studied with the French teacher who shaped so many great American careers, Nadia Boulanger, who helped introduce an international perspective that filtered into Perry’s later concert music.
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Download the free Bindle app for fast entry to the New World Center.Īfter studying composition and conducting at Westminster Choir College, Julia Perry began to make a name for herself in the early 1950s by writing music that drew on spirituals and other African American traditions. This concert has required safety protocols.
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It’s the ultimate flexibility with all the subscriber benefits, including free exchanges when plans change! Call the NWS Box Office at 305.673.3331 to create your own series today.Īs an NWS Subscriber, you receive amazing benefits to enjoy throughout the season, including the best seats for the lowest prices and access to our incredibly talented Fellows.
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Click to explore the full subscriptions !Ĭhoose this plus two more concerts to customize your own subscription.
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Subscriptions to the 5-concert Sunday Symphony series begin at $140. Subscriptions for the Saturday One series (4 concerts) begin at $132. Secure a season of world-renowned artists-including mezzo-soprano Sasha Cooke, People of Earth and NWS alumni Christian Reif and Teddy Abrams-performing an exciting range of orchestral music in one of the world’s most extraordinary and intimate venues for experiencing classical music-the New World Center. This concert is part of the Saturday Evening One and Sunday Symphony series. There will not be a pre-concert chat on Sunday, November 21.
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Saturday's performance includes a free pre-concert chat with Fellows in the Truist (formerly SunTrust) Pavilion. The concert opens with the vibrant energy pulsing through Julia Perry’s A Short Piece for Orchestra.
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With the nickname “Beethoven’s 10th,” Brahms’ first foray into the symphonic genre ultimately proved a masterpiece all his own. Johannes Brahms, troubled by Ludwig van Beethoven’s shadow, often lamented “the footsteps of a giant” behind him. When violinist Augustin Hadelich made his NWS debut in 2018, South Florida Classical Review hailed him “a virtuoso of the first order.” Hadelich continues to take the world by storm and returns to perform Jean Sibelius’ Concerto-an unforgettable work of brilliance.