Wynton Marsalis returns to a major international stage with a large‑scale new work: the symphony titled All Rise, conceived in 12 movements and scored for roughly 200 musicians. The piece, announced for the Edinburgh Festival programme, is presented by Marsalis as an attempt to address broad civic themes through a synthesis of orchestral and jazz traditions, and he has described the work as intended to speak to American identity and communal life.
Heinz Hall in Pittsburgh is one venue where Marsalis has tested the score, a place with personal resonance: his first appearance there was in 1984 as a 22‑year‑old soloist in a performance of a trumpet concerto by Haydn under the baton of Lorin Maazel. On recent concert nights he has been positioned within the orchestral ranks rather than as an outward soloist, a placement he summed up to journalists with the remark, “It’s my piece, but it’s not my show.”
The symphony’s scale and instrumentation bring together players from symphonic and jazz backgrounds. Marsalis has spoken about the influence of his jazz mentors on his compositional approach and about personal growth, including learning humility from his wife, comments that accompany the programme notes and interviews around the work’s premieres. The score interleaves large ensemble textures with passages that nod to improvisatory practice, aiming for structural clarity across its dozen movements.
The Edinburgh performances form part of a broader presentation that will involve extended collaboration between Marsalis and participating orchestras and choirs. Rehearsals have emphasized ensemble balance and the logistical demands of a 200‑strong performing force. Festival organisers list the work among several contemporary commissions, and programme materials note the project’s ambition to engage listeners across stylistic boundaries while maintaining orchestral discipline and formal cohesion.
