New York City thrives on the energy of generations of immigrants who have called it home.

Yeah, von Staden and the Philharmonic will pay tribute to them with New York stories.

Threads of Our City Centerpiece will be the world premiere of Julia Wolf's Fire in My Mouth, based on the 1911 Triangle Shirtwaist factory fire.

This new piece for the Philharmonic is the third piece in a series of pieces about the American worker.

I have been thinking about women in the workforce, and we're talking about immigrant women from Russia, Eastern Europe and southern Italy, and they came with the skill set.

They know how to sew, and they wind up working on these huge factory floors.

The title was actually said by Clara Lemley, who is one of the amazing politico leaders of the time.

There was an interview with her later sometime around 19 fifties 19 sixties, and she said, uh then I had fired my mouth.

It's a multimedia piece.

My collaborators Jeff Suck.

He's creating a projection design.

We're working with photographs and other kinds of archival material.

Such a gift, really, to be able to lay that on these super high level musicians.

With Jaap conducting, it's really throwing.

Since its memorial for Abraham Lincoln in 18 65 Philharmonic has engaged the crises and questions of its time with music of conscience.

Yup, Buns, Faten and the Philharmonic will explore the intersection of music and social issues.

My symphony came about because I was overcome by the number of friends I lost who died of AIDS.

And so I had the conscience of a need to do that, just as the When I saw the quilt, I felt the immediacy of the quilt.

When you look down and see beautiful tapestries and then you stretch your eyes faras the horizon unseen.

Seymour and I thought music could do it used to be intimate with a turn of the solo violin Huge Symphony Orchestra, demonstrating the tragedy on that maestro knows how to handle the big forces, and this is a very large orchestra, super large orchestra, and requires a Mahlerian kind of performance.

But Jaap is a man who could do that.

We'll do that and I'm so filled.

He's conducting this piece.

I think one of the things that happened to me when I was young as I saw production of Fidelio.

On the one hand, I thought it was amazing that he was this operate that was based on a political impulse.

And yet it was an opera that tried to downplay the political implications of it.

I thought ever since then how great it would be to try to figure out how to make that political story go farther.

There's no Beethoven music in my piece, and there's no Beethoven libretto.

I take things which I think are odd or not pushed farther.

I rewrite them.

It's a version which is made for a symphony orchestra to be an integral part of the performance.

So one of the things I'm very excited about is the New York Philharmonic, and they're incredible power, virtuosity and clarity.

I'm very excited that Yap has such great connection to the original music and to music being written right now.

Ever since it gave the U.

S.

Premiere of Beethoven's Eroica Symphony in 18 43 Philharmonic has championed the music of its time, building on the Philharmonic's commitment to nurturing long term relationships with today's composers.

Yeah, Fun Statement will immerse orchestra and audience in the music of his Dutch compatriot Louis on Grayson I for a long time already.

Certainly since I had read the Odessa off home areas Homer, they say, I had a kind off fear but also interest in Agamemnon.

I had the idea off, I should make a piece on him.

And then I saw off a symphonic poem Experience.

A Season of timely themes that Kendall personal reflection and collective action with the Philharmonic SNU Maestro von Staden.