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) (US 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) (US 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.