Ravinia 2026 Issue 2

and Native American music. Dvořák drafted the bulk of the symphony in the spring of 1893, be- fore leaving for Spillville, and refined the score over the summer. Anton Seidl and the New York Philharmonic Orchestra scheduled the premiere of Symphony No. 9 in E minor, op. 95 (“From the New World”) for a December 15, 1893, concert at Carnegie Hall. The enthusiastic and expectant audience represented the cream of New York so- ciety—mostly “members of the fairer sex,” one re- viewer reported, due to the rain—including Mrs. E. Frances Hyde and Mrs. John D. Rockefeller. The symphony’s triumphant premiere, though not entirely lauded by the press, became the high point of Dvořák’s time in the United States. His vision for an American idiom, as demonstrated in this symphony, involved a melding of New World folk influences bonded together by a com- positional form perfected in the Old World. In these four movements, one hears the English horn evoking a soulful African American hymn ( Largo , later provided lyrics as “Goin’ Home”), a flute piping a pentatonic Native American mel- ody ( Allegro molto ), and a recurring motive that perfectly fits the name “Hi-a-wa-tha.” Contempo- rary critics complained about themes that sound- ed vaguely Scottish or Czech, but those cultures also echoed throughout the musical landscape Dvořák encountered in the United States. How ironic that it took a composer from a dis- tant country who spoke fractured English to re- mind the American public of its rich, largely un- tapped, musical heritage. Dvořák’s “New World” Symphony did not answer the question: What is American music? The score did, however, raise public interest in the issue and ignited a vigorous debate that has persisted for more than a century. –Program notes © 2026 Todd E. Sullivan CARLOS SIMON (b. 1986) Good News Mass Scored for two flutes and piccolo, two oboes, two clarinets, two bassoons, four horns, three trumpets, two trombones and bass trombone, tuba, xylophone, glockenspiel, crotales, vibes, tubular bells/chimes, piatti/crash cymbals, suspended cymbal, mark tree, wind chimes, bell tree, tam- tam, egg shaker, temple block, congas, bass drum, harp, piano, drum set, electric bass, Hammond organ, timpani, SATB choir, amplified soprano, alto, and tenor soloists, amplified spoken word artist (male or female), and strings “God is here!” These three words resound as both proclamation and invitation in Carlos Si- mon’s Good News Mass (2025), a groundbreak- ing orchestral composition with choir, soloists, and spoken word artist that merges gospel fer- vor with the liturgical structure of the Catholic Mass. With libretto by Courtney Ware Lett and poetry by spoken word artist Marc Bamuthi Jo- seph, this work navigates the deep waters of hu- man experience—loss, thanksgiving, joy, and hope—asking us to reflect on the divine pres- ence in life’s struggles and triumphs. Infused with the rich traditions of African American spirituality, Good News Mass elevates the sounds of praise, storytelling, and supplication into a transcendent musical experience. Simon, a multi-genre composer shaped by his Pentecostal upbringing and Western-style con- servatory training, creates a dialogue between his gospel music heritage and the traditions of the Black Catholic community. Drawing from his gospel roots, he joins a lineage of African American composers who have reimagined the Mass form, from Mary Lou Williams and Florence B. Price to contemporary artists like Kim Harris, M. Roger Holland, Robert Ray, and Damien Sneed. In Good News Mass , Simon not only honors this legacy but pushes it further, blending sacred traditions with multi-genre in- genuity to craft a Mass of and for our time. As Simon explains, Good News Mass “explores the ups and downs of being human and finding God in the midst of it all. What does it mean to question the existence of God? Where is God during our seasons of loss? How is God expe- rienced in times of joy and hope?” The compo- sition is both deeply personal and universally resonant, offering listeners a liturgical journey of introspection and celebration. Unfolding in 16 movements across three acts, Good News Mass begins with the “Introit” and culminating in “God’s Love.” It includes reimag- ined liturgical staples—“The Lord’s Prayer,” “Prayer of Confession,” “Lord Have Mercy”— as well as vibrant gospel declarations like “Oh, Give Thanks unto Our Lord” and “The Greatest of These.” Simon’s hallmark ability to weave to- gether diverse musical idioms shines through, combining gospel harmonic syntax, choral grandeur, spoken wordsmithing, and orchestral brilliance. Moreover, a unique feature of Good News Mass is its emphasis on orature, that is, the oral literatures central to Black religiosity. Carlos Simon Joseph’s poetry recalls the West African griot tradition, enriching the performance’s narrative depth. This storytelling is amplified by visual art from filmmaker Melina Matsoukas, creating a multi-sensory experience that bridges the sa- cred and the contemporary. The multi-genre soloists, spoken word artist, and choir infuse the performance with the textures of traditionally versatile “Black church” worship: Hammond B3 organ, congregational singing, gospel choir antiphony, and altar call zeal, all un- derscored by Simon’s orchestral mastery. Commissioned by the Los Angeles Philhar- monic, Boston Symphony Orchestra, Cincinnati Symphony Orchestra, Ravinia Festival, Sphinx Organization, The Royal Concertgebouw, and the National Symphony Orchestra, Good News Mass stands as a testament to the vitality of Black sacred music in contemporary classical spaces. Simon’s work not only affirms the divine in our midst but reminds us that music itself can be a vessel of healing, hope, and love. –Program notes © 2025 Alisha Lola Jones The visuals accompanying Good News Mass were created by Melina Matsoukas , a filmmaker whose brand of provocation comes from a unique, inherently multicultural point of view focused on diverse storytelling. Matsoukas made her powerful feature directorial debut with Queen & Slim , which she also produced. Mat- soukas began her television career as an execu- tive producer and director of the critically ac- claimed HBO series Insecure . She went on to direct Master of None ’s Emmy-winning “Thanks- giving” episode. She has also brought her singu- lar vision to music videos for Beyoncé, Jay-Z, Rihanna, Snoop Dogg, and Lady Gaga, as well as for global campaigns by major commercial cli- ents such as Nike, Beats, and Calvin Klein. Melina Matsoukas MARINALSOP, Ravinia Chief Conductor For Marin Alsop’s biography, see page 97. RAVINIAMAGAZINE • JULY 20 – AUGUST 2 , 2026 90 KENDALLBESSENT(SIMON)