Ramping up to Y2K, Kurt Masur, then music director of the New York Philharmonic, wanted to assemble an evening’s worth of premieres under the umbrella title “Messages for the Millennium.” Characteristically, he expected those messages to be hopeful. Among the composers chosen was the London native Thomas Adès, who delivered instead a choral piece he called America: A Prophecy. Under the false flag of a title from William Blake, Adès delivered a newscast of Apocalypse as seen through the eyes of 16th-century Mayans as well as a wild-and-crazy visionary back in Spain. Writing for The New York Times, James R. Oestreich found the premiere under Masur “roiling and disturbing,” the loud snores of a nearby patron notwithstanding. In the current program, Adès offers his own account of the piece. As the evening’s captain-and-commander curator-conductor, he sails us to his New World across the shimmering expanse of Kaija Saariaho’s Oltra Mar (Beyond the Sea)—a composition that springs from the same imaginative sources as her opera L’Amour de Loin. The showpiece for the glamorous Yuja Wang is Einojuhani Rautavaara’s explosive Neo-Romantic Piano Concerto No. 1, preceded by Charles Ives’s brief Orchestral Suite No. 2, which contains worlds. —Matthew Gurewitsch