Auburn Symphony Orchestra: Rhythm & Revelry

A season finale is a celebration.

Rhythm & Revelry begins with sacred joy in Omar Thomas’ Come Sunday, a tribute to the Hammond organ’s central place in Black worship. The first movement, “Testimony,” prepares the spirit with a sound world shaped by Bach, blues, jazz, and R&B. The second, “Shout!,” bursts into the ecstatic moment when celebration takes over. Thomas writes with love, energy, and purpose, honoring Black culture through music that sings, moves, and lifts the room.

From there, the spotlight turns to violinist Nathan Amaral in Tchaikovsky’s Violin Concerto. Born in Rio de Janeiro, Amaral began violin through a social project in Mangueira and has since become one of the most compelling young violinists on the international stage. He won First Prize at the 2024 Sphinx Competition and the Grand Prize of the 2024 CAG-YCAT Competitions, and Yo-Yo Ma has praised his rare ability to move beyond technique into the heart of musical expression. Tchaikovsky’s concerto gives him a perfect canvas: soaring melodies, dazzling passagework, and emotional sweep from first note to last.

Then Auburn Symphony takes center stage. Ravel’s Boléro begins with a single rhythm and one unforgettable theme, repeating again and again as the music grows from a whisper to a blaze. Each section of the orchestra gets its moment to shine, turning one simple idea into a thrilling display of color and control.

Strauss’ Der Rosenkavalier Suite brings the afternoon to a lavish close. Drawn from his beloved opera, the suite mixes romantic sweep with elegant waltzes and the glittering richness of Vienna imagined through Strauss’ 20th-century orchestral voice.

From worship to virtuosity to full-orchestra spectacle, Rhythm & Revelry sends the season out with brilliance, abundance, and joy.