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MIAMI — Stéphane Denève, the conductor, has a specific message for the string section of the New World Symphony as they practice Jacques Ibert’s “Escales” on a recent Friday morning. During a break in the rehearsal, he advises them to focus on preparation before playing the next note.
In this particular movement, Denève urges the musicians to mentally envision not only the upcoming note, but also its characteristics such as shape, color, and character. By summoning these elements just before the note is played, it allows the sound to be released with the fluidity and grace of a bird taking flight. Denève, the newly appointed artistic director, specializes in providing sonic guidance that also extends beyond the concert hall. Every aspect of the New World Symphony seems to carry a larger lesson.
Not surprisingly, Denève’s tip proves effective. As the orchestra resumes, the strings beautifully soar through the music, reminiscent of gulls gracefully gliding over a harbor. The overall result is a sound that is, well, more prepared. And that is precisely the objective of this institution.
The New World Symphony is a renowned orchestral fellowship program that combines the elements of an orchestra, an academy, and a classical music laboratory. Founded in 1987 by Michael Tilson Thomas, Lin Arison, and Ted Arison, NWS provides fellowships of up to three years for musicians transitioning from music schools and conservatories to professional orchestras and ensembles.
Regarded as one of the nation’s most prestigious programs, NWS receives over 1,500 applications annually for approximately 35 available spots. As graduates secure positions in other orchestras, the NWS continues to foster partnerships. Currently, 16 former NWS fellows are members of the St. Louis Symphony Orchestra, while 11 serve in the National Symphony Orchestra.
NWS alumni have also found success in the Kennedy Center Opera House Orchestra, as well as the military bands of all branches. This year, 37 of the 87 NWS fellows are first-years, yet the orchestral rehearsal belies the fact that this group is just two weeks old.
Denève, speaking from Tokyo before his arrival in Miami, expresses his belief in the essence of orchestras. He emphasizes the importance of unification and active listening among musicians. Denève sees the slow evolution of orchestras resulting in a unique sound and style. However, the most exciting challenge at NWS is in bringing people together, encouraging them to listen and understand one another, and ultimately forging an orchestra.
The appointment of Denève, the current music director of the St. Louis Symphony and principal guest conductor of the Netherlands Radio Philharmonic, is a significant milestone for New World Symphony. He is only the second person to hold this position in its 36-year history, succeeding Tilson Thomas, who retired in 2022 due to glioblastoma multiforme, a severe form of brain cancer.
Howard Herring, the president and CEO of NWS, explains that Tilson Thomas envisioned a middle ground between the formalities of academia and the demands of professional appointments. Ensuring a strong and secure future for classical music was a core mission of NWS. Herring reveals that NWS is committed to reimagining, reaffirming, expressing, and sharing classical music traditions with as many people as possible.
This commitment translates into various innovations in how classical music is presented at the concert hall. For example, NWS offers “Wallcast” concerts that livestream performances to a 7,000-square-foot projection wall in SoundScape Park. The park is typically filled with hundreds of listeners enjoying the music from lawn chairs. Additionally, NWS holds free Monday and Tuesday performances at the Truist Pavilion, which is located on the ground level.
NWS also organizes a series of “Journey” concerts, where simultaneous performances take place throughout the center. This unique setup allows listeners to explore different areas of the center while still experiencing the music. The architecture of the New World Center reinforces the idea of changing perspectives, with its undulating curves and intricate corners designed by Frank Gehry.
The New World Center, equipped with cutting-edge technology, stands as one of the most advanced performance spaces. Private rehearsal spaces with precision acoustics and high-speed connectivity for remote learning are integrated into the building. The entire center is connected by 17 miles of fiber-optic cable. The concert hall can be reconfigured to accommodate anywhere from 400 to 1,200 viewers, thanks to hydraulic risers. Behind the scenes, a control room manned by a team of engineers and operated by creative director Clyde Scott coordinates up to 20 robotic cameras positioned around the stage.
Despite the technological advancements and forward-thinking initiatives, Herring emphasizes the importance of upholding Tilson Thomas’s unique vision. Tilson Thomas’s departure and health condition cast a shadow of sadness over the institution. However, the search for his successor was guided by a clear criterion: finding someone who could connect with the community at large. Denève emerged as the natural choice.
In many ways, Denève embodies the image of a traditional conductor: a towering figure with a commanding presence and a flair for the dramatic. His performances are energetic and captivating, accompanied by grand gestures and crackles at his fingertips. Even his curly hair seems to fit the conductor mold.
However, Denève deviates from the stereotype of a tyrannical maestro. He cracks jokes, forgives mistakes, and acknowledges the sneezes of his musicians. Before rehearsing Debussy’s “La Mer,” he recites a few lines of Baudelaire and expresses gratitude for his players’ attentiveness to each other rather than just to him.
This belief in the power of collaboration and unity resonates with Denève’s personal philosophy. He views an orchestra as tangible proof of telepathy and the antidote to feelings of solitude. Denève’s perspective echoes the wisdom of Sir Georg Solti, his former mentor, who once said, “When I have a toothache, the orchestra has a toothache.” Denève goes further by expressing that an orchestra allows individuals to experience something greater than themselves: a sense of togetherness through the love of music.
At NWS, fellows receive a stipend, housing, and support for their projects and experiments. They participate in mock auditions, career development workshops, and even receive lessons on professional etiquette. NWS aims to relieve financial concerns, allowing musicians to focus on honing their craft. Beatrice Hsieh, a second-year violin fellow, appreciates the tremendous support provided by NWS, which allowed her to excel during her debut concert in April. Seth Van Embden, a second-year viola fellow, feels comfortable and inspired by Denève’s continuous commitment to self-improvement.
The NWS season opened on September 16 with a sold-out general admission audience of approximately 650. Denève curated a program that paid homage to the blue skies and seas of Miami, as well as the blue seats of the hall and Tilson Thomas’s blue eyeglasses. The performance was flawlessly executed, featuring a “European entrance” by the players…
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