To the editor:

What does a composer do at the dawn of the 20th century, when the shadows of Mozart, Beethoven, Schubert, Liszt, Wagner and many others still loom so large? How does one break free from the weight of classical and romantic traditions to find a new, unmistakably personal voice?

Some reached for fresh harmonic languages, exotic scales and folk inspirations; others turned to atonality, whole-tone sonorities and complex rhythmic patterns. And then there was jazz — a musical revelation. Its syncopated pulse, improvisational spirit and deep roots in blues and African rhythms tempted many composers, who sought to merge its vitality with the refinement of European art music. Sunday night’s Lake Placid Sinfonietta concert traced this very journey of musical exploration.

The evening opened with “Printemps” by James Stephenson. The title — French for “spring” — suggests renewal. The piece takes on a light, neoclassical form, its melodies and balance rooted in tradition yet enriched by contemporary harmonies. Though the newest work on the program, “Printemps” sounded the most classical in spirit — a gentle reminder that “new” sometimes arrives clothed in the familiar.

Jacques Ibert’s “Concertino da Camera” followed — a compact yet dazzling showcase for alto saxophone and chamber ensemble. Its two movements form a striking contrast: the first, “Allegro con molto,” demands virtuosity, pushing the saxophone into its highest register with dazzling brilliance, while the second, “Larghetto,” lingers in an atmosphere of intimacy and lyricism. Daniel Gordon, last night’s soloist, brought the technical mastery and poetic sensitivity the piece requires. His cadenza, both elegant and spirited, highlighted his command of the instrument and personal artistry.

The French composer Darius Milhaud offered one of the evening’s most vivid glimpses into the marriage of jazz and classical forms.

First captivated by American jazz in London in 1920, he later traveled to New York, where he immersed himself in the vibrant energy of Harlem clubs, meeting musicians who deeply shaped his imagination. The result was “La Creation du Monde,” a ballet inspired by African creation myths.

With its blues-inflected harmonies, swinging rhythms and luminous orchestration, Milhaud’s score became one of the earliest integrations of jazz into the classical tradition, controversial in its day but profoundly influential.

And then, the culmination: George Gershwin’s “Rhapsody in Blue.” Composed in 1924, it remains perhaps the most iconic fusion of jazz exuberance and classical sophistication. With Stuart Malina at the piano, the performance was less a traditional concerto than a spirited conversation, even a love letter, between soloist, orchestra and audience.

As the last notes of “Rhapsody in Blue” soared into the hall, the evening became more than a performance: it was a farewell. Stuart Malina, at once pianist, conductor and storyteller, offered not only Gershwin’s vision of a new American sound, but also his own final gift to the Sinfonietta and its devoted listeners. It was a grand finale in every sense — applause that followed was not only for Gershwin, but for Malina himself: a standing ovation for the music, the journey and the man who has shaped so many Sinfonietta evenings for the audience.

Jean Alper

Lake Placid