Hector Berlioz’s Overture to the opera Les Francs Juges (1826) is an atmospheric and suspenseful tale about a political prisoner being rescued from a medieval star chamber, conjuring up the mystery and terror of the dark forest with a brooding, austere motif but ending with lyrical melody filled with hope.

In the three movements of An Elemental Music (2022) Alex Stephenson explores basic musical materials—things that are primary, fundamental, or “elemental”—in fresh and unanticipated ways. At times a sharp and fast-paced piece with unique sounds, always with simplicity and directness, it is a journey of experimentation creating a modern interpretation of classical instrumental music.

Franz Schubert’s Symphony No. 9 (“The Great”) (1826) representing the expansive and heroic scale of the Romantic era, is a massive and life-affirming work displaying rhythmic drive, innovative use of brass and "song-like" orchestral textures.

Hector Berlioz’s Overture to the opera Les Francs Juges (1826) is an atmospheric and suspenseful tale about a political prisoner being rescued from a medieval star chamber, conjuring up the mystery and terror of the dark forest with a brooding, austere motif but ending with lyrical melody filled with hope.

In the three movements of An Elemental Music (2022) Alex Stephenson explores basic musical materials—things that are primary, fundamental, or “elemental”—in fresh and unanticipated ways. At times a sharp and fast-paced piece with unique sounds, always with simplicity and directness, it is a journey of experimentation creating a modern interpretation of classical instrumental music.

Franz Schubert’s Symphony No. 9 (“The Great”) (1826) representing the expansive and heroic scale of the Romantic era, is a massive and life-affirming work displaying rhythmic drive, innovative use of brass and "song-like" orchestral textures.

Tōru Takemitsu: Rain Coming (1982)

A shimmering, meditative work that retains a surprising lightness and joy, evoking a walk through a Japanese garden, with textures that create an impression of rain starting, evolving and eventually dissipating.

Benedikt Brydern: Night Train (2018) (NY premiere) 

The bumpy train ride of this adrenaline-filled piece is reflected in the constant meter changes of the “groove,” with moving notes describing scenery flying by outside the train windows. The journey seems to continue in slow motion through a mysterious landscape, picks up speed and comes to a final stop.

Robin Haigh: Concerto for Orchestra (2023) (US premiere) 

Lying at the heart of Haigh’s music is duality: between sentimental and cerebral, exaggerated and understated, kitsch and classy, and at times swinging quietly between wry sarcasm and disarming sincerity

Tomos Owen Jones: Flow: Journey of a River (2022) (World premiere) 

Reflecting on the nature of rivers – their unique musical atmosphere and ever-changing rhythms – this shines a spotlight on the trickling drops, meandering streams and great roaring rivers crashing into waterfalls that culminate in the inevitable arrival at the sea.

David Vess: Perpetual Dream Machine (2024) (World premiere)

A musical exploration that traverses the ethereal landscape of dreams, blending the evocative sounds of the orchestra with the subconscious mind. This orchestral journey dives into the mysterious depths of human consciousness, capturing the seamless transitions of imagination, reality and the liminal spaces in between.

Igor Stravinsky: Pulcinella Suite (1922)

From Stravinsky’s “neo-classical” period, this re-imagining of a piece attributed to Pergolesi is witty, bright and charming, with crisp, clean textures, energetic rhythms and a sense of playfulness.

Tōru Takemitsu: Rain Coming (1982)

A shimmering, meditative work that retains a surprising lightness and joy, evoking a walk through a Japanese garden, with textures that create an impression of rain starting, evolving and eventually dissipating.

Benedikt Brydern: Night Train (2018) (NY premiere) 

The bumpy train ride of this adrenaline-filled piece is reflected in the constant meter changes of the “groove,” with moving notes describing scenery flying by outside the train windows. The journey seems to continue in slow motion through a mysterious landscape, picks up speed and comes to a final stop.

Robin Haigh: Concerto for Orchestra (2023) (US premiere) 

Lying at the heart of Haigh’s music is duality: between sentimental and cerebral, exaggerated and understated, kitsch and classy, and at times swinging quietly between wry sarcasm and disarming sincerity.

Tomos Owen Jones: Flow: Journey of a River (2022) (World premiere) 

Reflecting on the nature of rivers – their unique musical atmosphere and ever-changing rhythms – this shines a spotlight on the trickling drops, meandering streams and great roaring rivers crashing into waterfalls that culminate in the inevitable arrival at the sea.

David Vess: Perpetual Dream Machine (2024) (World premiere)

A musical exploration that traverses the ethereal landscape of dreams, blending the evocative sounds of the orchestra with the subconscious mind. This orchestral journey dives into the mysterious depths of human consciousness, capturing the seamless transitions of imagination, reality and the liminal spaces in between.

Igor Stravinsky: Pulcinella Suite (1922)

From Stravinsky’s “neo-classical” period, this re-imagining of a piece attributed to Pergolesi is witty, bright and charming, with crisp, clean textures, energetic rhythms and a sense of playfulness.

NCO’s 2025-26 season opened with its Fall concerts, "Uncharted Journey" --  two world premieres and two iconic works of the late 19th century and mid-20th century.

“Three Dances for Orchestra” by Pierre Fontaine (a winner of our “call for scores”) is an homage to the composers of La belle epoque, mixing baroque European dances and modern musical techniques. Learn more about Pierre Fontaine here.

Matt Curlee’s “Decay No. 3” was commissioned for NCO and is a meditation on the frailty of memories and the passage of time. Learn more about Matt Curlee here.

NCO also performed Debussy’s “Prelude to the Afternoon of a Faun”, an alluring call beckoning the listener with hushed, captivating intensity. 

This program was anchored by Dmitri Shostakovich’s Symphony No. 6, created between and outside the political influences that defined his 5th and 7th symphonies. Alternately melancholy in its Largo passages, and then suddenly drunk, happy and lightning fast, it follows no standard symphonic form, theme or structure. It is Shostakovich unleashed – which he rarely was.

NCO’s 2025-26 season opened with its Fall concerts, "Uncharted Journey" --  two world premieres and two iconic works of the late 19th century and mid-20th century.

“Three Dances for Orchestra” by Pierre Fontaine (a winner of our “call for scores”) is an homage to the composers of La belle epoque, mixing baroque European dances and modern musical techniques. Learn more about Pierre Fontaine here.

Matt Curlee’s “Decay No. 3” was commissioned for NCO and is a meditation on the frailty of memories and the passage of time. Learn more about Matt Curlee here.

NCO also performed Debussy’s “Prelude to the Afternoon of a Faun”, an alluring call beckoning the listener with hushed, captivating intensity. 

This program was anchored by Dmitri Shostakovich’s Symphony No. 6, created between and outside the political influences that defined his 5th and 7th symphonies. Alternately melancholy in its Largo passages, and then suddenly drunk, happy and lightning fast, it follows no standard symphonic form, theme or structure. It is Shostakovich unleashed – which he rarely was.