The program opens with a sinfonia that sounds almost rude in its brightness — intentional, according to the conductor, who wants the first movement to feel like daylight hitting varnish.

Art survives when it stops apologizing for difficulty.

Critics will argue about tempi; audiences will argue about ticket prices. The more interesting debate is architectural: halls built for speech are being asked to carry bass lines they were never meant to hold.

We followed the tour through rehearsal rooms where musicians negotiated bowings like diplomats — small decisions that accumulate into a sound.