American conductor Na'Zir McFadden is recognized for his ability to engage audiences through dynamic and expressive performances that honor tradition while embracing fresh perspectives. At just 25 years old, he has held esteemed positions with the Detroit Symphony Orchestra and Jacksonville Symphony. Career highlights include debuts with the Boston Symphony Orchestra, Dresdner Philharmonie, Baltimore Symphony Orchestra, San Diego Symphony, Nashville Symphony, Utah Symphony Orchestra, North Carolina Symphony, New Mexico Philharmonic, Philadelphia Ballet, Ann Arbor Symphony Orchestra, Kalamazoo Symphony Orchestra, and Civic Orchestra of Chicago.
COPLAND, Fanfare for the Common Man
BARBER, Second Essay for Orchestra
COPLAND, A Lincoln Portrait (McFadden)
SCHUMAN, New England Triptych
ELLINGTON (arr. COLÓN), Caravan
ELLINGTON (arr. HAYMAN), Sophisticated Lady
ELLINGTON (arr. SEBESKY), It Don’t Mean a Thing If It Ain’t Got That Swing
TCHAIKOVSKY, 1812 Overture
Na'Zir McFadden's interpretation was consistently songful, dancing, and attuned to the music’s expressive nuances. For exuberance and extroversion, the Praeludium and Rigaudon snapped—concertmaster Nathan Cole’s solos in the latter were spot-on—while the Musette’s hemiolas were shapely and urgent. Meantime, the Sarabande and Air unfolded as models of restraint. Throughout, conductor and string orchestra paid close heed to the suite’s dynamic range. As a result, the Air, particularly, came across with real poignancy, its central maggiore episode shining like a ray of light between the affectingly dissonant turns of its outer thirds.
