American conductor Na’Zir McFadden has been awarded the Sphinx Organization Medal of Excellence!. This Medal recognizes extraordinary leaders in the classical music field who are transforming lives while addressing the systemic obstacles within Black and Latino communities.

The Sphinx Medal of Excellence is the highest honor bestowed by the Sphinx Organization.  Along with a $50,000 career grant, Sphinx annually awards the Medals of Excellence to three artists who, early in their career, demonstrate artistic excellence, outstanding work ethic, a spirit of determination, and an ongoing commitment to leadership and their communities. Na’Zir joins violinist Nathan Amaral and percussionist Josh Jones as the 2026 recipients.

Upon receiving this award, Na’Zir shared,  “This recognition fills me with an overwhelming sense of gratitude, joy, and humility. Moments like this invite reflection: on the people who believed in me early on, the communities that shaped me, and the responsibility that comes with being entrusted to carry a profound legacy forward.

Sphinx has long stood for possibility, excellence, and access, and receiving this honor strengthens my commitment to the work that has always mattered most to me. I remain deeply dedicated to education and community engagement, and to creating meaningful pathways for the next generation of Black classical musicians; paths that affirm their belonging, nurture their artistry, and encourage them to imagine themselves boldly within this field.

At the core of my work is the belief that learning never stops. In my opinion, to be a conductor is to be a lifelong student of the score; continually studying, listening, questioning, and growing. I’m excited for how this recognition and expanded platform will support my own artistic development and allow me to lead with even greater clarity, passion, and intention. I hope to continue honoring the richness of our musical traditions while embracing innovation and new voices, shaping performances that feel rooted, alive, and forward-looking.

I receive this honor with deep appreciation and a renewed sense of purpose.”

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Na'Zir McFadden's interpretation was consistently songful, dancing, and attuned to the music’s expressive nuances. For exuberance and extroversion, the Praeludium and Rigaudon snapped—concertmaster Nathan Cole’s solos in the latter were spot-on—while the Musette’s hemiolas were shapely and urgent. Meantime, the Sarabande and Air unfolded as models of restraint. Throughout, conductor and string orchestra paid close heed to the suite’s dynamic range. As a result, the Air, particularly, came across with real poignancy, its central maggiore episode shining like a ray of light between the affectingly dissonant turns of its outer thirds.