Toward the end of the penultimate movement of the New York Philharmonic’s world premiere performance of John Adams’ Scheherazade.2 at Lincoln Center, violinist Leila Josefowicz stood silent at the front of the stage. She bent slightly forward, clutching her instrument by her side. The strings rustled menacingly, encroaching and retreating again with conductor Alan Gilbert’s gestures, before the full force of the orchestra blasted her and all of Avery Fisher Hall with a condemning, sneering chord. Josefowicz slowly tilted her head back, eyes closed, as blows of horns, percussion, and cimbalom rained down. When she did raise her violin to play again, her notes were muted, gagged but refusing to be silent.