New World Symphony
New World Symphony is also performing May 1.
Michael Tilson Thomas is also performing October 3, October 4, March 5, March 6, and May 1.
Yuja Wang is also performing October 26, February 6, February 11, April 10, and May 1.
Performers
New World Symphony
America’s Orchestral Academy
Michael Tilson Thomas, Artistic Director and Conductor
Measha Brueggergosman, Soprano
Yuja Wang, Piano
with
Kara Dugan, Vocals
Kristen Toedtman, Vocals
Program
MICHAEL TILSON THOMAS Sunset Soliloquy for Solo Piano (NY Premiere)
MICHAEL TILSON THOMAS You Come Here Often? for Solo Piano (NY Premiere)
MICHAEL TILSON THOMAS Four Preludes on Playthings of the Wind (NY Premiere)
SCHUBERT String Quartet in D Minor, D. 810, "Death and the Maiden" (arr. for string orchestra by Mahler; edited by Michael Tilson Thomas)
Event Duration
The printed program will last approximately two and one-half hours, including one 20-minute intermission.Read More
At a Glance
Since studying composition with Ingolf Dahl at the University of Southern California, Michael Tilson Thomas has made space in his conducting career to produce a body of original works, ranging from commemorations of World War II atrocities to send-ups of popular styles, continuing the legacy of his grandparents, the Thomashefskys—the biggest stars of Yiddish musical theater in their day. Tilson Thomas’s Sunset Soliloquy from 2018 resurfaces music that began on his parents’ piano in 1963, trying, he wrote, “as my father and his family before him had always done, to find through improvisation some kind of larger understanding. I was already aware of the many ‘me’s’ whose spirits seemed to inhabit one or another of my hands.” In 2014, Tilson Thomas returned to material drafted for a music theater work in the 1970s to craft a virtuosic showpiece that depicts a chance encounter between ex-lovers in a noisy club, titled after the classic pickup line “You come here often?” Tilson Thomas’s setting of Carl Sandburg’s Four Preludes on Playthings of the Wind also gestated over a period of 40 years, finally reaching fruition as a raucous mash-up of bar band, chamber orchestra, and vocals.
Reflecting his despairing mood in early 1824, Franz Schubert incorporated his tragic song “Death and the Maiden” into the wrenching String Quartet in D Minor, D. 810. Gustav Mahler initiated a transcription for string orchestra in 1894, around the same time he was finishing his “Resurrection” Symphony; now Tilson Thomas’s new edition “completes many of the ideas suggested in Mahler’s arrangement, and introduces many new instrumental ideas relating to the number of people playing, their location, and specific styles of stroke and sound.”