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Jeff Spurgeon: In New York City, there are lots of ways to get to Carnegie Hall. A subway, a taxi, a walk down 57th Street. You've just found another way to get to America's most famous home for classical music. Welcome to Carnegie Hall Live, the broadcast series that gives you a front row seat to concerts by some of the greatest artists in the world. You hear the performances as they happen. You are part of the audience sharing the experience of music making at Carnegie Hall. I'm Jeff Spurgeon.

Since 2013, Carnegie Hall has brought together some of the most talented young musicians from around this country to be a part of the National Youth Orchestra of the United States of America. That's the orchestra we're about to hear giving us a pretty meaty program, too. A New York premiere by American composer Carlos Simon. The Violin Concerto in E Minor by Felix Mendelssohn with soloist Ray Chen. After intermission, Rachmaninoff's Symphony No. 2.

With us now, I'm Jeff Spurgeon, backstage at Carnegie Hall. With us now is the man whose vision has made this whole thing happen. We are with Clive Gillinson, the Executive and Artistic Director of Carnegie Hall. Clive, it's such a pleasure to have you for this annual concert with us on this broadcast. You must feel so fulfilled at what you've created here.

Clive Gillinson: Jeff, firstly, wonderful to be back with you again, and thank you so much for sharing this concert--

Jeff Spurgeon: It's so exciting to do.

Clive Gillinson: I am thrilled. I couldn't believe when I arrived in America, there was no National Youth Orchestra, since that was one of the most inspiring things that ever happened to me in my youth. I joined the National Youth Orchestra of Great Britain at 16. To this day, a number of years later, it still remains-

Jeff Spurgeon: Just a couple.

Clive Gillinson: -the most thrilling thing that ever happened to me as a young man.

Jeff Spurgeon: How do the musicians come together? How is this orchestra formed?

Clive Gillinson: One of the reasons we were able to do this and started 12 years ago was because you can do auditioning online now. In Britain, they used to travel around the entire country.

Jeff Spurgeon: Small country.

Clive Gillinson: Small country. Here, impossible. The fact that we could do this online and we can actually really find everybody who is a potential member and audition them, listen to them properly, connect with them, really understand who they are as people as well, which is also very important. That's something that made all of this possible.

Jeff Spurgeon: Then the musicians come together for a couple of weeks, actually, just a little north of New York City at Purchase, where they rehearse, get to know each other, get to learn the music, become an orchestra, and then they come to Carnegie Hall and give a concert. It doesn't end there. Where is the tour this year for the NYO?

Clive Gillinson: This is only just the beginning here at Carnegie Hall. We're then going to Osaka, Tokyo, Hong Kong, Beijing, Shanghai, and Seoul in Korea. It's a thrilling tour for them. I mean, quite extraordinary to see the world in that way.

Jeff Spurgeon: The first time for the NYO in Japan.

Clive Gillinson: It is the first time, and we've played in China many times. We've played in Korea as well. This is very special to be going to Japan. Japan is somewhere very special for me, too.

Jeff Spurgeon: We'll talk more about that as the broadcast proceeds. This is a sold-out concert at Carnegie Hall. Parents, friends, observers of this orchestra, which has been a new ensemble every year for about the past dozen years. The orchestra all clad in the traditional NYO uniform. A black jacket, white shirt, black necktie, red trousers, and black and white Converse sneakers. They're all on stage, ready to go. Clive, I know that you want to get into your seat for the first time part of this, but we'll see you again at intermission.

Clive Gillinson: We'll see you at intermission. Jeff, what you mentioned about sold out. There were people begging for tickets outside when I arrived.

Jeff Spurgeon: Right.

Clive Gillinson: Fantastic.

Jeff Spurgeon: Another tribute to your work. Clive Gillinson, Executive and Artistic Director of Carnegie Hall. Clive's going to go to his seat now. The stage door is closed and we are getting ready to meet for the first time the National Youth Orchestra of the United States of America. Bringing to us tonight, first a work by Carlos Simon. An American composer will open this program with the work by Simon that he wrote on the occasion of the 10th anniversary of Andris Nelsons as Music Director of the Boston Symphony just a few years ago. The work is called Festive Fanfare and Overture.

Now, with the stage door closed and the lights down in the house, we are just a couple of moments away from beginning this concert by a group of young musicians representing some 29 states of the United States of America. This is just one of the NYO ensembles, for there's an NYO2 of younger musicians. These people we're about to hear are ages 16 to 19. There is a third ensemble, NYO Jazz, which also is formed each year. Altogether, about 40 states from around the country are represented in this year's NYO program.

Our maestro this year is conductor Gianandrea Noseda. We met him a few days ago while the orchestra was rehearsing. We asked him about Carnegie's invitation to work with this group of musicians and if he approaches this assignment as a conductor or more as a teacher.

Gianandrea Noseda: A little bit of both. I have to anyway treat them as professionals, as young professionals. There are elements of lack of experience where I need also to teach or just to remind them things that in a professional orchestra you don't need to remind to the players. From the other side, from the other hand, you find a lot of enthusiasm, a lot of fire that maybe in some professional orchestra is difficult to find. How to combine the high professionalism, a high experience in a professional orchestra, how to combine with the fire of the youngsters and vice versa, how to inspire the fire and enthusiasm they have with a bit of professionalism? It's a little bit of both.

Jeff Spurgeon: Conductor Gianandrea Noseda, speaking of working with the National Youth Orchestra of the United States of America. The applause you just heard was for the concertmaster for the first half of this concert. She is Kayla Lee, a violinist from San Jose, California. Now, as soon as that tuning exercise is completed, Maestro Noseda is backstage chatting with some of the staff from the NYO. It does take a large number of people, in addition to the orchestral players themselves to make this amazing ensemble work.

With that, let's see, we've tuned a couple of sections. Looks like the violins are going to get out on the act. Very shortly, we'll have that stage door open for this work by Carlos Simon, which will be followed by a performance of Mendelssohn's famous E minor Violin Concerto with one of the top young acts of today, the violinist Ray Chen. Now, there goes the stage door, and out goes Gianandrea Noseda, renowned opera and orchestral conductor, music director of the National Symphony Orchestra, and this year, the conductor of the National Youth Orchestra of the United States of America. All these young musicians, ages 16 to 19, on their feet now taking their seats to bring us Carlos Simon's work to open this concert by the NYO from Carnegie Hall Live.

[MUSIC - NYO of the United States of America: Carlos Simon's Festive Fanfare and Overture]

[applause]

Jeff Spurgeon: The National Youth Orchestra of the United States of America, playing Carlos Simon's Festive Fanfare and Overture in its New York and Carnegie Hall premiere. The work written just last year to mark an anniversary for Andris Nelsons as Music Director of the Boston Symphony, and presented for the first time on this concert. Now on stage, the composer Carlos Simon here in the house to hear this work performed by the NYO USA, as this orchestra of young musicians from 29 states around the country plays at Carnegie Hall and gets ready to embark on a tour of Asia.

Applause for Carlos Simon with the NYO on its feet and conductor Gianandrea Noseda. Now there's going to be a bit of a stage change. A few players added, a few chairs moved around before the next work on our program. The famous E minor violin concerto of Felix Mendelssohn, featuring Taiwanese-Australian soloist Ray Chen, who first came into the public eye in 2008 when he won the Yehudi Menuhin Violin Competition. Then the following year, he won the Queen Elizabeth competition. Ray Chen, now a sought-after soloist with the world's best orchestras. We talked to him yesterday about working with the NYO.

Ray Chen: This project is more than just a performance. It's more than just a tour. It's about mentorship. It's about the relationship of, okay, finding the right type of soloist who can be looked up to and isn't that far off in age. Where you find this, okay, like, "I can ask them questions. I can have access to all of the insights," and to be able to learn as they're in the orchestra to what's going on, like, "Why does he make those choices?" Let's use this time wisely together to learn from each other. That's the attitude.

Jeff Spurgeon: Ray Chen's had a few days of rehearsals with this orchestra, and we talked to him about what the interactions with these young people have been like.

Ray Chen: This project is more than just a performance. It's more than just a tour. It's about mentorship. It's about the relationship of, okay, finding the right type of soloist who can be looked up to and isn't that far off in age. Where you find this, okay, like, "I can ask them questions. I can have access to all of the insights," and to be able to learn as they're in the orchestra to what's going on, like, "Why does he make those choices?" Let's use this time wisely together to learn from each other. That's the attitude.

Jeff Spurgeon: With just a few rehearsals under their belts between Ray Chen and this orchestra, yet they are all ready to go. Gentlemen, you can head on out anytime. Yes. All right. Ray, you ready?

Ray Chen: Yes, absolutely. Absolutely. Such a pleasure to be here.

Jeff Spurgeon: Okay, well, good. It's nice to see you, but really, they want you on stage. We're just waiting, and there the stage door is open and out go Ray Chen and Gianandrea Noseda. Chen is a big social media and YouTube star. He has an instruction app for learning to play classical music and is, as I say, very well known. Those cheers are for him and for Gianandrea Noseda and the National Youth Orchestra of the United States of America, now bringing you Felix Mendelssohn's Violin Concerto from Carnegie Hall Live.

[MUSIC - Ray Chen and NYO USA: Felix Mendelssohn's Violin Concerto in E minor]

[applause]

Jeff Spurgeon: From Carnegie Hall Live, violinist Ray Chen, conductor Gianandrea Noseda, and the National Youth Orchestra of the United States of America. The 2025 edition of this ensemble gathered from this year 29 states across the United States to come together to Carnegie Hall to bring you as part of their concert the Mendelssohn Violin Concerto in E minor. Ray Chen, a dynamic player on stage who shows wonderful imagination and enthusiasm, and connection with the orchestra, and also manages to play the thing without any apparent effort at all.

Of course, a cheering audience for a violinist who is a great star among young people all around the world and an incredible experience for these young musicians, ages 16 to 19 years of age. The cheers you're hearing now are for this orchestra, for the soloist and conductor are backstage at Carnegie Hall. You've just heard them chatting and back out they go.

Each year, the National Youth Orchestra is accompanied by a celebrated conductor and a celebrated soloist on their sojourn at various connections, various music-making points around the globe. This year, the NYO is headed to Asia for a five-stop tour, including the orchestra's first time ever visit to Japan. Now on stage, hand in hand, Noseda and Ray Chen and the NYO. Time for another curtain clamp. Ray Chen pulling a couple of stray pieces of horse hair from his bow. We're pretty sure we're going to get an encore. I can tell you backstage that Carnegie's Executive and Artistic Director Clive Gillinson has just dropped in. He'll join us in intermission. He and Ray Chen are chatting.

If you've ever waited longer than you thought was necessary in a concert hall, it may be that they're just chatting backstage. That's what's happening right now. The cheers are calling out Ray Chen and Gianandrea Noseda once again. Chen is a huge star on YouTube. He has an app that helps musicians connect. That was Ray Chen asking for more applause for the National Youth Orchestra of the United States of America. Another bow for this group of young people, wonderfully attired once again in their red slacks and black coat and black necktie.

We were informed before the performance that the neckties are not clip-on, they're actual neckties. They're not messing around with this uniform. Now, Ray Chen backstage one more time. Tuning just a bit, and we'll see if we get an encore. The audience certainly is not going to let them go. This time, instead of both coming to the front of the stage, Noseda is taking his seat among the orchestra. We are going to get an encore from violinist Ray Chen on this concert by the National Youth Orchestra of the United States of America from Carnegie Hall Live.

Ray Chen: Wow, thank you so much.

[applause]

Ray Chen: Now, before I play something for you, I just wanted to say how much of an honor and a privilege it is for me to be here sharing the stage with such wonderful, talented musicians of the NYO USA. Thank you so much.

[applause]

Ray Chen: This concert here today isn't just a concert, it's a send-off. I'm sure you all know that we're going go on tour to Asia. Can you imagine, you're 18 years old? I was learning how to do laundry when I was 18. 18 years old and you're playing on the world's greatest stages. Hong Kong, Shanghai, Beijing, Tokyo, Osaka, part of this amazing tour put together by Carnegie. Can you imagine the excitement? What a wonderful thing.

[applause]

Ray Chen: Thank you for being here to celebrate with us and to send us off on this wonderful tour. To celebrate, I have a little something as well. This is Ysaye's prelude.

[MUSIC - Ray Chen: Eugene Ysaye's Opus 27 No. 2 Violin Sonata prelude]

[applause]

Jeff Spurgeon: Violinist Ray Chen with an encore on this Carnegie Hall Live broadcast of the National Youth Orchestra of the United States of America. That was the opening movement of Eugene Ysaye's Opus 27 No. 2 Violin Sonata, or solo violin. The movement titled Obsession. The subject of the Obsession obviously JS Bach, whose music Ysaye quoted from directly at the beginning of the work.

Now offstage, Ray Chen is with us. Will there be-- It seems not. We're just following what's happening outside. The house lights are going to come up. We've reached intermission of this concert from Carnegie Hall Live by the NYO. I'm Jeff Spurgeon. I'm sitting alongside Clive Gillinson, the Artistic and Executive Director of Carnegie Hall. We have a pair of headphones for you. There we are. We also have violinist Ray Chen back here with us to chat a little bit about your experience playing, it seems to me, Ray, if I can not overstate, my sense was you had a fairly good time out there.

Ray Chen: Oh, it's a tremendous, amazing energy out there. It's Carnegie Hall. What do you expect? There's already the mystique, the aura. I like to say that it's where dreams come true. You have such an incredible acoustic in itself, but then what it does is it's so real. The music, the layers, the textures are so visceral and real that then yet-- again, it's Carnegie Hall with all the mystique. It's very much that dream, but yet reality. Its dreams come true right here. That's the energy.

Jeff Spurgeon: That's got to be true for the young people on stage with you. You've worked with them. How many rehearsals did you have? How much time have you spent with this group?

Ray Chen: We've had two rehearsals only. Can you believe it? Two rehearsals plus a dress. It's incredible how much they've grown from even the first rehearsal. I mean, grown as musicians, but grown as people. I was chatting with them in between rehearsals, finding time. Getting asked questions, everything from, of course, the usual violin playing that you would expect, to also skincare routine as well.

Jeff Spurgeon: Do you have a skincare routine you want to share? How did you answer that question? It was a real question.

Ray Chen: I just say my pores just sweat a lot, so when I'm on stage, I'm sweating. That's good. That's good. Exercise is good.

Jeff Spurgeon: Clive, every year we engage one of the world's great soloists to play with the NYO. What do you look for in a soloist? What does somebody like Ray Chen bring along when he comes to join the NYO?

Clive Gillinson: You've all heard every element of that, which is Ray's incredible playing, but his passion, his enthusiasm, his willingness to join with the orchestra, he's not here to sit aside as a great soloist. He wants to be part of what is an absolutely passionate, extraordinary group of people. Ray inspires them and is part of that, but they inspire each other. I think that's what's wonderful.

Jeff Spurgeon: It's clearly true. Can you talk a little bit about how you communicated with the orchestra in rehearsal, maybe with the maestro, about putting the Mendelssohn concerto together?

Ray Chen: Of course. I think that one of the benefits of playing the Mendelssohn violin concerto is that everyone already has it in their ear. This isn't just any youth orchestra. This is the National Youth Orchestra. It's a very high level of individuals who already know most of the repertoire. At least heard it at some point, especially when it comes to Mendelssohn violin concerto. There was definitely advantage there. There's also an advantage that-- I think most of them have seen a lot of my videos on social media, so I felt an immediate kinship. It was like we were leaving off from the last conversation. We're continuing where we left off. That was really cool as well.

When it came to actually the rehearsals, it was so straightforward. It almost felt like they already knew what I was going to do. Maybe they had done-- I don't know, a listening session or something like that. I swear, it was so effortless. Of course, Maestro Noseda was a huge, huge part of that. I kid about them watching the videos and stuff like that, but Maestro Noseda couldn't have done this without him and his guidance and his mentorship.

When it comes to putting together such a vast repertoire in such a short amount of time, it's not easy. You have to carefully balance between being motivational and yet holding people accountable, holding young people accountable. How do you do that? I saw his rehearsals. I watched him how he did it. It was such a unique and incredible experience. Anytime, open rehearsals, I highly recommend you go and watch those.

Jeff Spurgeon: Ray, you've made a change in violins. You were, for a few years at least, playing the Dolphin Stradivarius that Jascha Heifetz played.

Ray Chen: That's correct.

Jeff Spurgeon: What I understand is you aged out of that violin. You can't play it after you turn 35 or something like that.

Ray Chen: That's right. The Nippon Music Foundation, who generously loaned it to me, they have a mission to support young artists. It's like any mission where-- like here with NYO, you age out at one point, but you have the support while you have it. I'm incredibly grateful for the support that they gave me. Then, when I turned 36, I had to give it back. I've been on the search for a new instrument this year. I've tried 24 different Stradivaris and Guarneri del Gesù this year alone. This one that you heard tonight, this is a 1727 Stradivarius. I am quite fond of it. Fingers crossed that it works out.

Jeff Spurgeon: All right. Violinists and their relationship with their instruments are a complex thing. It's not just a simple romance. We hope this infatuation works out. Ray, thank you so much for a really thrilling performance and all the wonderful enthusiasm. By the way, you're going to make a great broadcaster. You don't even need a microphone. It was wonderful the way you were on stage. Didn't even need it.

Ray Chen: I was trying to project. I was trying to project. Thank you so much for having me here.

Jeff Spurgeon: [unintelligible 01:00:00]

Ray Chen: Yes, yes. All right.

Jeff Spurgeon: You came across beautifully.

Ray Chen: All right. Thank you.

Jeff Spurgeon: Thank you so much. Violinist Ray Chen with us on this concert broadcast from Carnegie Hall live, celebrating the 2025 edition of the National Youth Orchestra of the United States of America. Clive Gillinson, artistic and executive director of Carnegie Hall. What do you have to say about the first half of this concert, and your impression of this year's group?

Clive Gillinson: Well, firstly, I think one of the things Ray said about Noseda and the way he's worked with the orchestra, he doesn't feel as though he needs to step down for them at all. He treats them as if they're a professional orchestra. The demands you'd make on a professional orchestra. I think that was really what Ray was saying, that they can give everything, and you should demand everything of them because they're capable of everything. That's one of the most thrilling things. Frankly, you shut your eyes and you think you're listening to one of the top orchestras in the world.

Jeff Spurgeon: It's really--

Clive Gillinson: You wouldn't imagine you're listening to 16 to 19-year-old kids.

Jeff Spurgeon: I think a point that is always good to make about this ensemble is that this is a group of young people who are not necessarily planning to be professional musicians. These are not kids who've been to Curtis. These are not fast-track kids from Juilliard or from one of the major other schools around the country. Music might not be their first vocational choice. That's been an important part of the understanding of what NYO is all about.

Clive Gillinson: It certainly is. The reality is probably only half of them will become professional musicians. To be in NYO, you cannot be a full-time music student. It's got to be a part of your broader life. The minute somebody does become a full-time music student, they have to leave. In fact, because our view is they then get access to being able to play with orchestras with other full-time music students. This is for people who have not reached that state and yet they are so multi-talented. They will be extraordinary in many, many fields. Literally half of them will do other things. The other half will become professional musicians. Now we've got 100 players playing in top orchestras all around America, getting top jobs everywhere too.

Jeff Spurgeon: It's an incredible legacy that has become a part of the story of the National Youth Orchestra of the United States of America. A couple of those musicians are with us now. We want to welcome trombonist Matias Vidal-Russell. Do I say that right?

Matias Vidal-Russell: Yes. Correct.

Jeff Spurgeon: You're from Boise, Idaho, I believe.

Matias Vidal-Russell: I am.

Jeff Spurgeon: Representing West Hartford, Connecticut, on the team this year, violinist Mindy Zhao. Welcome, Mindy. Your first time in NYO, right?

Mindy Zhao: Yes.

Jeff Spurgeon: Tell us about your journey here. How did it go?

Mindy Zhao: Well, I started violin when I was five or six because my mom used to play, and she just always played for me. I picked it up, loved it ever since. Auditioning was, honestly, a bit of a last-minute thing for me, because it came right after college applications. I still remember the morning of opening the results, I was just shocked. I was in shock. It was amazing. I'm so excited and so grateful to be a part of this group and to travel the world and do the wonderful things we have ahead of us.

Jeff Spurgeon: Right. Have you been to Asia before?

Mindy Zhao: When I was younger, yes. My family is originally from China. When I was really young, we go to visit family and such. The last time we went was two, three years before COVID, so it's been quite a while. It's really exciting to have this opportunity to go and actually play for family members who I haven't seen in a while. It's really special. I'm really excited.

Jeff Spurgeon: Matias, you've been here before. This is your second time in the NYO, right?

Matias Vidal-Russell: This is my second time. Correct.

Jeff Spurgeon: All right. How is the journey different this year, having retraced a few of the steps?

Matias Vidal-Russell: It's really interesting. The first year, I was guided along by the people that came before me that taught me the ropes, not only how to play in such a great ensemble, but also literally taught how to navigate Carnegie Hall. The backstage area is difficult to navigate.

[laughter]

Mindy Zhao: Yes, it is.

Matias Vidal-Russell: It's been amazing. I love seeing how the orchestra grows every year just because there's different people in here. The orchestra has its own personality. It's really special. More than a youth orchestra that you have in your hometown.

Jeff Spurgeon: Mindy, what's your favorite piece on this program?

Mindy Zhao: That's hard. They're all wonderful, but I would have to say the Rachmaninoff. It's been an all-time favorite for me. I still remember the first time I heard the [unintelligible 01:04:43] Movement, actually, and it kind of changed my life. It's so beautiful. To be able to play with this group it's so exciting. I said this to a friend, but I think I was more excited about seeing what we're playing for our program this summer than actually opening my acceptance.

Jeff Spurgeon: I'm in, but what are we doing? Was your deal. I'm in. Great, but what are we doing? That's wonderful. Matias, what are you loving on this program particularly?

Matias Vidal-Russell: Definitely the Rachmaninoff. I'm a trombone player, so that's the thing I get to play the most on.

Jeff Spurgeon: I was going to say, there's not much for you in the Mendelssohn, is there?

Matias Vidal-Russell: Yes, not a lot. A lot of great listening.

Jeff Spurgeon: [laughs] What do you love about the Rachmaninoff?

Matias Vidal-Russell: Oh, well, I'm not used to playing in such great orchestras. It's so apparent how great an orchestra is, because on the first rehearsal, it already sounds like a performance. I think that's just such an incredible aspect. Honestly, we could be playing anything and it would still be amazing. Sitting in the back, having lots of rest account, I get to listen to the whole orchestra day in day out, and listening to my colleagues and missing entrances because I'm still listening is such an amazing experience.

Jeff Spurgeon: [laughs] Have you been to Asia before, or will this be your first trip?

Matias Vidal-Russell: I have. I lived in Japan for a year. This will be my return after a long while.

Jeff Spurgeon: Well, you and Clive both have some affection for that land. You guys can pass on some stories when you get over there. Listen, thank you both. Mindy Zhao from West Hartford in the violin section, and trombonist Matias Vidal-Russell from Boise. Thank you both for being with us and enjoy the rest of your intermission. You've got a lot of Rachmaninoff to bring us later on. Thanks so much.

Mindy Zhao: Thank you for having us.

Matias Vidal-Russell: Thank you.

Jeff Spurgeon: Oh, it's a great thrill to talk to you. Clive, we've spent some time with members of the NYO, and there are two other ensembles in the annual program. One is the NYO2, which is for younger musicians. This group is 16 to 19, and the NYO2 has players in it as young as 14. Now tell us about NYO Jazz, and why that's a significant part of this program.

Clive Gillinson: Well, it was part of what I thought we had to do at the very beginning. In fact, we hadn't thought about NYO2 at the very beginning, but NYO and NYO Jazz, I felt jazz is America's art form, and we had a responsibility to be part of nurturing that, looking after that. Even though we did NYO first, because we thought that was the big statement we needed to do in terms of creating it, in terms of drawing in donors and making it as universal as possible, NYO Jazz then was something we were always going to do.

Jeff Spurgeon: Right. Last year, in 2024, while there was an incredible festival happening of youth orchestras from around the world at Carnegie Hall, the NYO Jazz Orchestra was in South Africa. There, they made a recording. They did a number of performances. Tell us about how this recording came about and why it's significant.

Clive Gillinson: Well, we try and capture-- you've been incredible. You've been an extraordinary partner with the Wow Festival last year, when we had orchestras from Africa, from Asia, from Europe, South America, really extraordinary. You helped us to capture all this in different ways. We're always wanting to make sure everything that we do with the National Youth Ensemble becomes part of our history and part of our heritage.

They did this concert in Johannesburg. Both locally and internationally, we wanted to make sure we captured that, and it ended up being a proper recording as well as a broadcast. The good thing was in South Africa, they had quite a lot of time because they had residencies in different areas, because a lot of the time, like this Asia tour, they're traveling all the time, so it would have been much, much harder to do that. They did a lot of teaching, they did coaching, they did playing with other young players there, and they made this recording.

Jeff Spurgeon: All right, let's hear a sample then of this new album. It's called NYO Jazz Live in Johannesburg. This is a piece of music written by Duke Ellington. It was part of a TV series in the early 1960s. Here is the NYO Jazz playing the Theme From 'The Asphalt Jungle'

[applause]

NYO Jazz Presenter: Good evening, Joe Burke. We are NYO Jazz.

[MUSIC - Duke Ellington: Theme From 'The Asphalt Jungle']

Jeff Spurgeon: There you hear NYO Jazz, another project of Carnegie Hall's National Youth Orchestra program, which began with a symphony orchestra, continued with another symphony orchestra for younger players and a jazz ensemble. That was Duke Ellington's Theme From 'The Asphalt Jungle' television series in the early 1960s, inspired by a movie from about 10 years before. Duke Ellington wrote the music for it. That is the opening track on the National Youth Orchestra Jazz Ensembles' new album Live in Johannesburg. We are at intermission of this broadcast from Carnegie Hall live. This is Classical New York 105.9 FM at HD Newark 90.3 FM, WQXW Ossining and WNYC FM HD2, New York.

Backstage at Carnegie Hall. I'm Jeff Spurgeon, bringing you one of the most special broadcasts we present in a year. It's the concert by the National Youth Orchestra of the United States of America, drawing in players who audition via video. They not only play, they also have to provide a personal essay of their work in order to join this ensemble. We're getting ready for the second half of this program, which will consist of the Rachmaninoff Symphony No. 2. It's a piece that's a staple of orchestral repertoire. What is intriguing to the conductor of the NYO this year, Gianandrea Noseda, is that both this piece and the Mendelssohn Concerto that we heard in the first half of the program are, though familiar to audiences. They are new or relatively new to these players.

Gianandrea Noseda: What is stupendously exciting for me is the fact that probably no one of them played Mendelssohn/Rachmaninoff. Will not happen that the perception, "Oh, we know this piece." There is also the curiosity of approaching something big, important for the first time.

Jeff Spurgeon: We also asked Gianandrea Noseda about working with a generation that many of us perceive as being accustomed to instant gratification, quick videos on a phone, shorter attention spans. How does a group of young people respond to a work like this Second Symphony of Rachmaninoff, where in particular, there are some passages that are both slow and long.

Gianandrea Noseda: I think the concentration span is diminishing nowadays, but already the fact that they decided to try to be a musician already put themselves in a different mindset because they know that rehearsal will be in chunks of 1 hour and 20, which is an eternity. Maybe they are not used to this kind of prolonged concentration, but little by little, I could see, even in the last two days, they developed that. They were more attentive, they were less distracted. That means that also music, not the conductor, teaches how to stay longer in a state of ecstatic beauty.

Jeff Spurgeon: Conductor Gianandrea Noseda. Now this almost hour-long Rachmaninoff Symphony has, we know, made its way into the hearts of some of these young players.

Daniel Towart: The Rachmaninoff Symphony No. 2 is probably my favorite.

Jacqueline Rodenbeck: Really like The Second Movement, specifically of the Rachmaninoff Symphony.

Daniel Towart: The most complex and emotional piece I've ever played.

Jacqueline Rodenbeck: I think it's so cool how it's written like in the fugue style and the melodies being passed around all the time.

Daniel Towart: The Third Movement is definitely my favorite with the clarinet solo, and it is so emotional. I know that in a future concert, there's definitely going to be some tears in that Third Movement.

Jeff Spurgeon: Clarinetist Daniel Towart from Plano, Texas, and violinist Jacqueline Rodenbeck, she's from Tucson, Arizona. Two of the players of this orchestra reacting to the work that we are about to hear. Now the stage door opens. Conductor Gianandrea Noseda leading the 2025 edition of the National Youth Orchestra of the United States of America on stage now with the NYO, ready to bring us the Second Symphony of Rachmaninoff in this performance by the National Youth Orchestra from Carnegie Hall live.

[MUSIC - Rachmaninoff: Symphony No. 2]

[pause 01:44:05]

[MUSIC - Rachmaninoff: Symphony No. 2]

[pause 01:57:02]

[applause]

[MUSIC - Rachmaninoff: Symphony No. 2] [applause]

Jeff Spurgeon: From Carnegie Hall Live, you've just heard Rachmaninoff's Symphony Number 2 performed by musicians who are all ages 16 to 19. They are the National Youth Orchestra of the United States of America. The 2025 edition of this orchestra created since 2013 with the exception of a COVID year every year by Carnegie Hall and the Weill Music Institute, which is the educational wing of Carnegie Hall.

The NYO on its feet, along with conductor Gianandrea Noseda moving through the orchestra section by section. Now back to offer handshakes to the principal members of the bass section and pointing out various other members of the orchestra as this group of young people is on its feet before a sold out crowd at Carnegie Hall, which is also on its feet. Clive, how proud must you be to hear this orchestra?

Clive Gillinson: Is it astounding-- if you shut your eyes, it's a professional orchestra, it's an incredible orchestra, and they're kids. It's just beyond belief.

Jeff Spurgeon: You're going to enjoy some of the tour this year. They're headed to Asia, and you're going to be accompanying them a little bit.

Clive Gillinson: Well, most of the trip. I mean, I'm not going to Osaka tonight. They're leaving after this concert and they're on a plane tonight, but then Tokyo onto Hong Kong, Beijing, Shanghai, and Seoul in Korea.

Jeff Spurgeon: And we should mention too, that again, in addition to the opportunity to make great music together, to showcase their talents, this is an ensemble that also is-- they are in an act of ambassadorship as soon as they cross the borders of America to another country. And that's a piece of what is built in to this orchestra, too.

Clive Gillinson: It was a fundamental part of the concept, that they really traveled the world as youth ambassadors for their country, and they couldn't be better youth ambassadors for their country. And they connect with young people all around the world, as well as audiences all around the world.

Jeff Spurgeon: A remarkable showing tonight, and we're hoping to get a couple of words with maestro Noseda as he comes off stage. Clive, how far ahead do you have to plan to find the leader of this year's orchestra? Was this a deal made a couple of years ago? Wasn't made last week for sure.

Clive Gillinson: It was three years ago. We booked Gianandrea and I mean, I've been wanting to have him here for a long, long time. It was trying to find the right time for him to join us.

Jeff Spurgeon: And in fact, he's joined us right now. Congratulations, maestro, on a wonderful concert.

Gianandrea Noseda: Thank you. Thank you very much.

Jeff Spurgeon: You have done so much work with youth orchestras. Now, this is your first time with the NYO, but you've worked last year on tour with the European Community Youth Orchestra, and there's another youth orchestra in the Pan Caucasian Youth Orchestra. What's in it for you to do this work with young people?

Gianandrea Noseda: First of all, I get a lot of energy, so I get more from them than what I can give them. I think the experience I got in all these years is a time to start to hand over to the next generation, to take care of the next generation of musicians. And I would like to do even a little bit more master classes for young conductors, but at least conducting, I can take care of these young artists. I think they are stupendous, and they have a lot of energy. And my work is just how to point this energy with one goal, one direction, because it's endless. They have endless energy. They are so lovely.

Jeff Spurgeon: Clive, we were talking about the arrangement made two or three years ago. Is this a conversation you make a phone call, you hear, Gianandrea likes to work with young people. How does it happen? How did you make this?

Clive Gillinson: Well, we've been friends for a long time. I brought Gianandrea to the London Symphony Orchestra nearly 20 years ago, when, of course, he was a child, young conductor. But we've been talking for years about trying to involve him with the National Youth Orchestra, and it was a question of finding time in his calendar. But I think three years ago, we had to engage with you to get this.

Gianandrea Noseda: Yeah, yeah, absolutely. And actually, you asked me for the first time, was probably 2017, and I said, "Oh, with pleasure, let's find the time." And I have to say, I blame myself. I didn't have the right time in the right moment. But three years ago, we found this slot and I'm super happy to be available to do that.

Jeff Spurgeon: Well, now, after a few rehearsals and a big concert at Carnegie Hall, everybody's revved up. They've done it, but now they have to go and do it four or five or six more times. How do you help them to maintain the right attitude, to stay focused, to not get let down after. Well, we've done it. Now it's another concert. What's the assignment ahead?

Gianandrea Noseda: There is a mystery when you just enter any stage, there is some electricity that provokes anybody of us to give the maximum. But of course, I recorded in the concert today something that should be better, what I should do in a different way to facilitate their reaction. So probably I will touch-- I will not use a rehearsal to play through the piece, but just to focus in few elements that they will be able to expand in all the symphony, just to find those five, six corners in each piece. And also it will be interesting to see the reaction in different roles. That will be also an element of surprise and also a big-- I mean, it's a great exercise for them. They know the piece, but each role sounds slightly different, so you have to adjust to the role. I will take advantage of the sound check. We have to underline these things.

Jeff Spurgeon: So lots more experiences lie ahead. Maestro, thank you for spending a few minutes with us. You have to catch a plane in about 15 minutes. So we'll say thank you very much for joining us at the Carnegie Hall microphones tonight. Congratulations on being part of this, and have a great, great tour.

Gianandrea Noseda: Anytime. It's a fantastic occasion just to talk to you. Ciao ciao.

Jeff Spurgeon: Thank you so much.

Clive Gillinson: Ciao.

Jeff Spurgeon: And Clive, you're going to catch a plane fairly soon, I think, yourself. So what are you looking forward to as this organization goes to Asia and especially to Japan, which is a country you love very much?

Clive Gillinson: Well, for me, one of the most important things about this is it shows the very best of America. To have these brilliant young students playing, to have them representing their country, to have them saying everything that's best about America, you know, in terms of quality and passion and commitment and, you know, even the intellectual side of why they're there and what they're trying to do with this. I think as well, at the same time, you know, listening to Gianandrea, it's important to remember he treats them like a professional orchestra.

And with a professional orchestra, the first performance is never the end of the journey. You're always growing, you're always developing. And I think that's what he was pointing to as well. And I look forward to hearing him do that throughout the tour. So all the interpretations continue to grow and develop.

Jeff Spurgeon: Clive Gillinson, executive and artistic director of Carnegie Hall. Thank you once again for being with us on this concert. Congratulations on this amazing organization that is the NYO. You need to catch a plane, and we need to get out of here before the stagehands finish clearing the stage. So thank you so much.

Clive Gillinson: Jeff, wonderful to see you again, and thank you for doing this.

Jeff Spurgeon: It's a great privilege. It's a great privilege. And so with that, we thank you for listening. And we conclude this live broadcast from Carnegie Hall with the National Youth Orchestra of the United States of America, Soloist Ray Chen, Conductor Gianandrea Noseda. And we look forward with all of you to the stories we will be hearing from these young people as they go now to perform in Japan and China, and Korea.

This is Classical New York, 105.9 FM and HD, WQXR Newark and 90.3 FM WQXW, Ossining, and WNYC FM HD2, New York. Our thanks to Clive Gillinson and the staff of Carnegie Hall. Our engineering team includes George Wellington, Edward Haber, Duke Marcos, Chase Culpon, and Noriko Okabe. Our production team is Eileen Delahunty, Laura Boyman, Nicole Nelson, and our project manager is Christine Herskovits. I'm Jeff Spurgeon. Thank you for listening. Carnegie Hall Live is a co-production of Carnegie Hall and WQXR in New York.

 

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