read

Read / Beethoven's 9: A Symphony of Influence

Beethoven’s 9: A Symphony of Influence

Beethoven’s Symphony No. 9 is not only one of the Beethoven’s greatest compositions, but possibly one of the greatest classical music compositions of all time. A piece full of bombastic sounds and joyous energy, it was completely revolutionary for the time. It’s also the first example of a major composer scoring vocal parts in a symphony.

The story goes that, at the premiere of the symphony, either during the second movement or near the end of the finale, the audience erupted into applause. Beethoven, who was still conducting, was turned around by one of the vocalists to accept the cheers from the audience members. The audience took part in a standing ovation, throwing hats and waving hands, so Beethoven (who was profoundly deaf at this point in his life) could understand the celebration of the audience.

Beethoven’s Symphony No. 9 not only impacted the classical music sphere, but pop culture entirely. His symphony has been referenced time and time again, across many forms of media. We’ve complied a list below; see if you can recognize your favorite films or tv shows!

  • European Anthem - In 1972, the Council of Europe adopted Beethoven’s “Ode to Joy” theme as it’s anthem, and became official in 1985. There are no lyrics to the anthem, as the universal language of music expresses the ideals of freedom, peace, and solidarity.

  • Die Hard (1988) - “Ode to Joy” has a surprising feature in the hit 80’s action film (and Christmas movie!) , during the scene in which the building’s vault is broken into. It seems a strange choice for the genre of film, but director John McTiernan wanted to include it as a reference to the following Kubrick film:

  • A Clockwork Orange (1971) - Symphony No. 9 is featured in bits and fragments throughout the film, a favorite symphony of the anti-hero protagonist, that is turned against him in the end.

  • NBA ‘I Love this Game’ Campaign (1990s) - ‘Ode to Joy’ was featured in NBA’s commercial campaign, serving as a soundtrack to describe all the emotional highs and lows on the court.

  • Muppet’s “Ode to Joy” cover - Another fantastic example in the Muppet’s cover repertoire, featuring Beaker on every part.

  • The Compact Disc- It was rumored that the CD was specifically designed to accommodate 74 minutes of music so it could accommodate Beethoven’s symphony.

These are just a few of the many examples of Beethoven’s impact. Whether you’re a long time music fan, or just starting to listen, we hope that this list illustrates just how important music can be to all different aspects of culture.


Sources:
  • https://en.wikipedia.org/wiki/Symphony_No._9_(Beethoven)#Influence
  • https://www.kdfc.com/articles/the-many-lives-of-beethovens-ninth-symphony

Meet the MSO: Rob Patterson, clarinet

Meet the MSO: Rob Patterson, clarinet

We’re bringing the stage to you! We asked Rob Patterson, clarinet for the MSO, a few questions about his experience with the Modesto Symphony Orchestra thus far, what he’s looking forward to and more about himself: from his favorite school subject, and his answer to the question: dogs or cats? Read on and learn more about your Modesto Symphony Orchestra!

MSO: Tell us about yourself, and how you came to play with the Modesto Symphony Orchestra?

I came to Modesto in a very round about way. I met Matthew Oshida, the orchestra’s personnel manager, while we were both playing with the Huntsville (AL) Symphony. We both were from out of town and needed rides so we bonded quickly. After that Matthew started asking me to come out to Modesto. It seemed crazy (I was living in Washington DC at the time) but I figured it would be a fun adventure and I’d get to also visit my older brother in San Francisco. I had so much fun that I’ve been coming back ever since!

Rob Patterson (back left), clarinet. circa 2018

MSO: What is your favorite memory playing with the MSO so far?

My favorite memory so far was playing basset horn on the Mozart Requiem last season. I had never played a basset horn before and it was a great adventure. The guy playing second basset horn with me is now in the New York Philharmonic, so it really was a great experience!

MSO: What are you most looking forward to for the rest of the 2023/2024 season?

The Copland Concerto will be a season highlight for me, what a treat to play such a beautiful piece of music with my friends.


Get to know ROB!

Besides music, what was your favorite subject in school?
I love languages, I finished the Spanish program in my high school early so I started up French as well! I have several of Chinese speaking students and am currently working on my Chinese with DuoLingo, boy is that hard…

What sport would you play in the Olympics? I would compete in Squash, which will officially become an Olympic sport in 2028!

Olive, calico cat and Dewey, beagle

Dogs or cats?
Both. I have a beagle named Dewey and a calico named Olive.

Go to the beach, or go to the mountains?
Sorry to dodge the question again, but both! I have a lot of family in Colorado and I love hiking there. When I go to the beach though I love just completely letting go and basking in the sun. If I’m in a good spot for it, I do love to go snorkeling.


Come see Rob play on stage, and meet him along with the rest of the orchestra at Symphonic Soundtrack this March 15th and 16th at the Gallo Center for the Arts!


Meet the MSO: Don Grishaw, violin

Meet the MSO: Don Grishaw, violin

We’re bringing the stage to you! We asked Don Grishaw, violinist for the MSO and MSYO Concert Orchestra conductor, a few questions about his experience with the Modesto Symphony Orchestra thus far, what he’s looking forward to and more about himself: from his secret talent to his own ‘theme music’. Read on and learn more about your Modesto Symphony Orchestra!

MSO: Tell us about yourself, and how you came to play with the Modesto Symphony Orchestra?

Don Grishaw (circled), violinist, circa 1990s.

I auditioned for the Modesto Symphony when I arrived in Turlock in 1982. The conductor at that time was Sandor Salgo. I have been a member of the violin section ever since. I also conduct the Concert Orchestra division of the Modesto Symphony Youth Orchestra. I am a retired public-school educator. I taught Music and Spanish at the secondary level and bilingual education classes at the elementary level. I am married to my beautiful wife, Angelica, and I have two grown children, Elizabeth and Andrew. We are all musicians.

Don (center), pictured with (left-to-right) daughter-in-law Paige & son, Andrew; wife, Angelica; and daughter, Elizabeth

MSO: What is your favorite memory playing with the MSO so far?

I have many favorite memories of playing with the Modesto Symphony, but I think my favorite memory is when my son Andrew Grishaw performed as a viola soloist with the symphony in 2019. He played the Violet Viola Concerto composed and conducted by David Lockington. It was heartwarming to hear my son play so passionately and to be on stage with him.

MSO: What are you most looking forward to for the rest of the 2023/2024 season?

I enjoy every concert. I enjoy performing new pieces and I enjoy performing pieces that I have played many times before. This season I am most looking forward to performing Beethoven’s 9th Symphony in May. This work amazes me more and more every time I perform it! Beethoven truly speaks to us through music in this great masterpiece.


Get to know don!

If you weren’t a conductor/musician, what would you want to be?
I have been an educator all my life, so I would choose teaching.

What instrument(s) do you play? Violin, viola, and piano

What would be the theme music to your life? “Gema” sung by Los Dandys.  It is a beautiful love song in Spanish that my wife and I call “our song”.

What are you binge-watching right now? I like crime dramas. S.W.A.T. is my favorite.

Do you have a secret talent? Horses. In my younger days, I worked at a horse pack station in the Sierras guiding summer pack trips.

If you had a time machine, would you go back in time or into the future?
I would go back in time so I could relive the days of the Old West.

Go to the beach, or go to the mountains?
Hard choice, but I would pick the mountains. I love the smell of the mountains and the scenery is always gorgeous.


Come see Don play on stage, and meet him along with the rest of the orchestra at Symphonic Soundtrack this March 15th and 16th at the Gallo Center for the Arts!


Discovering Dawson's Masterpiece: The Negro Folk Symphony

about the composer

Discovering Dawson’s Masterpiece: The Negro Folk Symphony

William L. Dawson, composer

Born on September 26, 1899, in Anniston, Alabama, William Levi Dawson emerged as a prominent composer, conductor, and educator, contributing significantly to the cultural landscape of the 20th century. Among his notable works, the Negro Folk Symphony stands as a testament to his artistry and commitment to celebrating Black American musical traditions.

Dawson’s journey in music began at an early age, and he quickly became a skilled trombonist. As a teenager, he ran away from home to pursue a musical education at the Tuskegee Institute, now known as the Tuskegee University. After graduating with honors in 1921, Dawson went on to pursue a Bachelors of Music from Horner Institute of Fine Arts, and a Masters Degree in Composition from the American Conservatory of Music. Dawson’s exposure to the rich heritage of Black American folk music during this time laid the foundation for what would become one of his most celebrated compositions.

After completing his studies, he was given tenure from the Tuskegee Institute, where he conducted the 100-member choir in several nationally recognized broadcasts and performances, including performances at the White House and Constitution Hall. Dawson also went on an international tour with the Tuskegee Choir to the British Isles, Europe, and the Soviet Union under the sponsorship of President Franklin. D. Roosevelt. Beyond his many achievements and honors, Dawson’s symphony is what gave him the most notoriety in the sphere of musical arts.

Composed in 1934, Dawson’s Negro Folk Symphony is a groundbreaking work that masterfully blends classical forms with the vibrant rhythms and melodies of Black American folk music. Dawson drew inspiration from spirituals, work songs, and other traditional tunes, infusing the symphony with a unique cultural resonance. In a 1932 interview, Dawson said: “I’ve tried not to imitate Beethoven or Brahms, Franck or Ravel…the finest compliment that could be paid to my symphony when it has its premiere that it unmistakably is not the work of a white man.”  

Negro Folk Symphony had its world premiere on November 14, 1934 by the Philadelphia Symphony Orchestra, under direction of Leopold Stokowski, at Carnegie Hall. It was an instant, but fleeting success at first before falling into obscurity until 18 years later. After a several-week tour in West Africa in 1952, Dawson was inspired to revise his symphony and integrate the unique rhythms and musical experiences from his trip. This revised symphony is what is commonly heard today.

The Negro Folk Symphony not only showcases Dawson's compositional prowess but also serves as a significant cultural statement. It is a shining example of the excellence of Black American musicians and composers, once lost to time, getting the recognition that they deserve in the modern orchestral sphere.  .  In a time when racial inequality and discrimination were pervasive, Dawson's work highlighted the beauty and strength inherent in Black American musical heritage. This symphony has endured as a symbol of resilience and cultural pride, continuing to be performed and celebrated by orchestras around the world.


Listen to Dawson’s Legacy Live!

Come hear William Dawson’s Symphony No. 3 this February 9th & 10th at the Gallo Center for the Arts!


Learn more about Dawson (Reference):

Read / Growing Together with Music

Growing Together with Music

by Nicholas Hersh

Nicholas Hersh & Pitman High School Orchestra

The 21st-century symphony orchestra should have two fundamental missions: presenting musical experiences for the community at the highest possible artistic caliber, and providing opportunities in music education for as many children as possible. The most cynical amongst us might say we're simply preparing the next generation of music lovers to come to the symphony! Of course, anyone who has taken music lessons, or been in a school or after-school musical ensemble, knows that there’s so much more to the experience than simply “how to music.”

Music educators teach a myriad of skills, like cooperation (“open your ears and play together!”), critical thinking (“who has the important line here?”), problem solving (“try this fingering!”), attention to detail (“don’t rush the eighth notes!”), and discipline (“practice!!!”). And there is nothing so satisfying for a student as mastering a piece of music and performing it in front of gathered friends and family.

Nicholas Hersh & Johansen High School Band

My own years in school orchestra and youth orchestra were formative for my life and career, instilling in me a deep appreciation for the symphonic experience that led me to become a conductor. It’s a core tenet of my vision for the MSO to continue to invest in music education, and to expand its reach as far as possible.


The Future in Action: Interview with MSYO’s Rylan Post

The Future in Action: Interview with MSYO’s Rylan Post

The MSO is proud to announce that Rylan Post, concertmaster of the MSYO Symphony Orchestra, has been appointed the concertmaster of the Mariposa Yosemite Symphony Orchestra. He will be the fourth concertmaster appointed in the orchestra’s 21-year history, and the youngest at 15 years old. Conductor and Mariposa Yosemite Symphony Orchestra founder, Les Mardsen, announced the appointment in early December 2023, emphasizing Rylan’s artistic maturity, technique, and tone quality. We were able to meet with Rylan and go over his musical past, present, and goals for the future.


MSO: Firstly, we want to talk about you and your musical journey, your time with the MSYO, and any significant influences and inspirations shaping your passion for music?

Rylan Post: I am 15 years old and a junior at El Capitan High School, and was born and raised in Merced. I started taking violin lessons at the age of 3. I’ve also been playing the alto saxophone since I was 9 and am currently playing in both marching band and jazz band at my school.

In 2018 when I was 10 years old, I joined the Modesto Symphony Youth Orchestra, in which I am currently concertmaster. I had already joined the Merced Union High School District orchestra a year before, despite being too young, and was looking for a group that challenged me while staying within my age group. That was when my violin teacher at the time, Caitlin Hunsuck Serpa, informed me of MSYO, which both of her brothers had participated in when they were younger. I enjoyed the opportunity so much that it was worth the drive from Merced every Wednesday.

Modesto Symphony Youth Orchestra 2018

Rylan Post (pictured, front row, second violin from the left) and the Modesto Symphony Youth Orchestra in 2018.

Being honest, I must accredit most of my achievements in music to Ms. Caitlin, as she’s my biggest musical inspiration and musical mentor to this day. She not only taught me everything I know as a violinist, but also instilled in me a deep love for music and those who play it.  

MSO: Being named concertmaster is an amazing achievement! Could you please tell us more about your history with the Mariposa Yosemite Symphony Orchestra (MYSO), and how you became concertmaster?

RP: Last May, MYSO’s conductor Les Marsden reached out and asked me if I was interested in the role of acting concertmaster while the current concertmaster was out of state for work. I felt intimidated to be faced with a “real” orchestra at first, but I knew it was a once-in-a-lifetime opportunity so I accepted the invitation. When the concertmaster’s move became permanent, I was offered the chance to make my role permanent. I feel very privileged to play alongside the talented, experienced members who I respect and learn so much from.

MSO: What are the differences you’ve experienced between performing with your high school orchestras & bands, Modesto Symphony Youth Orchestra, and Mariposa Yosemite Symphony Orchestra?

RP: Over my 12 years of being a part of the music community and the performing arts, I have played alongside many different groups and interacted with many different types of people. That’s my favorite part of my musical variety. Across my school programs, my district orchestra, MSYO, and MYSO, I’ve been challenged in multiple ways and have needed to adapt to different situations and people in order to make the best music possible.

For example, my school programs tend to perform simpler music than my orchestral groups, but are much more competitive due to the nature of band reviews and CMEA competitions. I would consider MYSO my greatest challenge, as we not only play very difficult music, but it is also a group of mostly adults, which adds to the pressure of being concertmaster. Nonetheless, across all of my groups there is a level of respect and camaraderie maintained that is unlike any other.

MSO: Now that you’ve performed in all various ensembles and solo, which do you prefer?

RP: I consider myself a very extroverted person and I like to do things with others in general, so naturally I prefer to play in ensembles than in solo. Since I was little I’ve always been fascinated by the way instruments harmonize with one another, despite differences in appearance, pitch, or method of playing. Seeing a piece come together after weeks of hard work is so satisfying to me, and MSYO has given me that satisfaction countless times over the years. Being able to share this joy with the students and musicians around me is a priceless feeling.

MSO: What have you enjoyed about your experience with the MSYO and what do you look forward to this upcoming season?

RP: I’ve grown up not only as a musician, but as a person as well over the years I’ve been in MSYO. The memories, experiences, and friendships we’ve built here at MSYO are something so unique and precious, and I’m sure I’ll cherish them as long as I play music. As my senior year creeps closer and closer, I’d just like to focus on enjoying every moment, every song, and every concert.

This upcoming concert, I’m so excited to finally be able to perform under the direction of MSO Principal Pops Conductor Ryan Murray. Lastly, I’d like to express my gratitude to all of the parents, music educators, and MSO/MSYO staff for supporting our musical journey. I can’t wait to share our beautiful selections with those who love the music as much as we do.


See rylan and the msyo perform!

Come watch the MSYO perform Mozart, Rimsky-Korsakov, and Tchaikovsky this February 10th at the Gallo Center for the Arts!


Get to Know MSO's New Music Director Nicholas Hersh!

Get to know Nicholas Hersh!

We are so excited for Nicholas Hersh’s to join our Modesto community, and we can’t wait for you to meet him. We asked him to share a bit about himself from what instrument he plays to his favorite pizza topping. Keep reading to learn more about Nicholas!

If you weren’t a conductor/musician, what would you want to be?

Probably an astronomer—I’m fascinated by space and celestial bodies!

Star Wars or Star Trek? Lifelong Star Wars nerd, reporting in

What instrument do you play?

Cello.

What was the first concert you went to? The first I really remember is The Magic Flute at the Chicago Lyric Opera when I was about 6 or 7.

Besides music, what was your favorite subject in school?
My high school had a fantastic curriculum called Chem-Phys, where you took Chemistry and Physics jointly. I wasn’t great with the Chem, but absolutely loved the Phys!

Dogs or cats?
Love them all, but seeing as I have two cats at home...

Describe yourself in three words. Curious. Creative. Committed.

Do you have a secret talent?
Not too secret (see Instagram), but I make sourdough bread.

What is your favorite pizza topping?
Cheese, cheese and more cheese!

What would be the theme music to your life?
John Williams’ “Adventures on Earth” from E.T.: The Extra Terrestrial

Go to the beach, or go to the mountains?
First one, then the other! But I just went skiing for the first time, and I LOVED it.


Nicholas on joining the MSOA:

“I am beyond thrilled that my first music directorship will be in such a vibrant, music-loving city as Modesto. There was a certain electricity in the Gallo Center when the MSO musicians and I collaborated last year, shared not only onstage but with the audience as well; together we’ll grow that energy, creating bespoke artistic experiences for the entire Modesto community and cementing the role of music education for all ages as a driver of social good.

Orchestral music has endured, and I believe symphonies will continue to serve as a vehicle for great music. You have gathered onstage a group of virtuoso musicians working together toward a unified musical vision, and an audience gathered in the house to take it in. It’s a bit of an odd ritual—this mysterious congregation! But it’s the sense of community the orchestra creates, with every musician and concertgoer participating, that gives an orchestra concert its staying power: when the lights go down and the sound of some eighty acoustic instruments envelops you and those around you...well, there are few words to describe that sensation.”

Click to enlarge.

Click to enlarge.

Announcing Our New Music Director, Nicholas Hersh!

Announcing Our New Music Director, Nicholas Hersh!

The Modesto Symphony Orchestra Association is excited to announce that our Board of Directors has named Nicholas Hersh as our next music director! Nick will be the ninth music director in our 93-year history, and we are eager to see how Nick’s artistic vision and passion for music education will raise the MSOA and our programs to new heights!

Plan Your Picnic-Perfect Evening!

Plan Your Picnic-Perfect Evening!

Whether you’re a seasoned Picnic veteran, or this is your first time enjoying Picnic, we know a lot goes into planning your picnic-perfect evening. The MSO has put together a Picnic Planner to ensure that you have an unforgettable night with us!

1. pack for success!

  • Bring a comfy blanket, or low sand chairs to sit and enjoy the show (seats lower than 9”, and backs must be lower than 32” from the ground)

  • Water, don’t forget to hydrate!

  • A cooler for your non-alcoholic beverages, your favorite snacks, or picnic meal.

2. Skip the Line!

We will have an Express Bag Check for anyone with a clear bag or no bags.

3. leave these at home.

  • No outside alcohol please!

  • Video and audio recording equipment.

  • Grills, cooking devices, or anything with an open flame.

  • Pets (Service animals are welcome).

  • Please, no fireworks, noisemakers, or items that may disturb the peace.

4. Save a tank of gas!

  • Worried about finding parking? We highly encourage you to use a RideApp service (like Uber or Lyft), especially if you plan to enjoy our wine offerings at Picnic.

  • There is a designated pickup and drop-off spot for services located in the GREEN Premier Parking Lot 4. Use address 100 Administration Circle and follow the signs to the right for RideApps drop-off and pick-up.

5. pack a picnic!

  • Guests are welcome to bring their own picnics, as simple or complex as they like, to Picnic at the Pops!

  • Don’t want to worry about the hassle? We got you covered! Pre-order a picnic dinner from The Village Butcher to have ready on-site for you to enjoy.

6. Add-on to your Picnic Fun!

  • Wine generously donated by the E. & J. Gallo Winery will be available to purchase on-site. 100% of wine sales proceeds benefit the Modesto Symphony Orchestra. For the full wine & beverage list, click here.

  • Purchase delicious food from the Sinaloense Food Truck and dessert from Yogurt Mill’s Froyo Truck.

  • Modesto Symphony Youth Orchestra will be selling Glow Products to help you light up your night. 100% of proceeds go towards MSYO scholarships. (Glow product sales are cash only.)

7. Where can you buy tickets?

If you want to get your tickets today, visit in-person or call the Gallo Center for the Arts at 209-338-2100. Tickets are also now available to purchase from our ticket outlets below:

  • Modesto Symphony Orchestra Office:
    911 Thirteenth Street, Modesto, 95354
    Monday – Friday
    10 am to 4:30 pm

  • The Village Butcher:
    1700 McHenry Ave #65, Modesto, CA 95350
    Tuesday – Friday: 10 am to 7 pm
    Saturday: 9 am to 4 pm
    www.thevillagebutcher209.com

  • Carnegie Arts Center:
    250 N. Broadway, Turlock, CA 95380
    Tuesday – Saturday: 10 am to 5 pm
    www.carnegieartsturlock.org

Groups of 10 or more can save 20% off General Lawn Seating tickets! Call the Gallo Center ticket office at 209-338-2100 for more information.

We hope this quick guideline helps you out and we can’t wait to see you all this September!


Light up the night with the mso!

Come watch Capathia Jenkins and Darryl J. Williams, conducted by Ryan Murray, perform Aretha: A Tribute alongside the Modesto Symphony Orchestra this September 9th at the E. & J. Gallo Winery Grounds!


Aretha Franklin, Queen of Soul

Aretha Franklin, Queen of Soul

Aretha Franklin, 1968

Aretha Franklin (born March 25, 1942, died August 16, 2018) was an American singer who was a pioneer of music, and defined the golden age of soul in the 1960s. Her mother was a gospel singer, and her father was a minister, allowing Aretha to perform gospel programs around the country as a young teenager. At age 18, she began recording secular music. While stunningly taleneted, she intially struggled to reach audiences until her 1967 single “I Never Loved a Man (the Way I Love You)” became her first million-seller. Success continued to follow with her albums "Aretha Arrives" (1967) and "Soul '69" (1969), to name a few. She was a highly awarded artist: receiving a Hollywood Star in 1979, being the first woman inducted into the Rock and Roll Hall of Fame in 1987, a Kennedy Center Honor in 1994, a National Medal of Arts in 1999, and the Presidential Medal of Freedom in 2005. Aretha was a dedicated activist, using her platform to promote civil and women's rights, often covering payroll for activist groups, and performing at various benefits. Aretha Franklin was a pioneer in music for Black women, an icon in soul music, and had a major impact on social justice. Her legacy has and will continue to impact the world of music and the arts.

In celebration for our Picnic theme this year and Aretha Franklin’s impact on music, the MSO has selected our top 5 Aretha Franklin songs:

Chain of Fools

Aretha Franklin’s soulful lyrics and the high rock tempo provide the perfect storm for this R&B classic about being unable to leave an unfaithful lover.

I say a Little Prayer

Already an iconic Dionne Warwick song, Aretha’s version is a transformative version that stands out as not only a classic for her music, but considered one of the top 500 songs of all time, according to Rolling Stones.

Respect

While the original song was written by Otis Redding, Aretha’s cover is a staple of music and pop culture. Her version revamps the original song into a strong declaration from a confident woman that she deserves respect from her man. Show some R ● E● S ● P ● E ● C ● T!

(You Make Me Feel Like) A Natural Woman

A legendary song from a legendary performer, which is the expression of finding someone who makes you feel like you can be yourself.

Think

Allegedly written about Franklin’s troubled marriage to Ted White, the song rapidly became a protest song for civil rights and women’s liberation movements, and is known today as a feminist anthem.

Listen to our picnic playlist!


Listen to Aretha’s Legacy Live!

Come hear your favorite Aretha Franklin hits this September 9th at the E. & J. Gallo Winery Grounds!


Learn more about Aretha Franklin (Reference):

The Saga Continues with Empire Strikes Back!

Behind the Podium / June 2 & 3: Star Wars: The Empire Strikes Back in Concert

The Saga Continues with The Empire Strikes Back!

This June 2nd & 3rd, the Modesto Symphony Orchestra returns to a galaxy far, far away when we perform Star Wars: The Empire Strikes Back in Concert, live to film!

Principal Pops Conductor Ryan Murray conducted many of the MSO’s film concerts, including last year’s Star Wars: A New Hope in Concert. This year, he will be leading 84 musicians in perfect time as Star Wars: The Empire Strikes Back plays on a 26’ x 16’ screen (the equivalent of 36 60” TVs!). An impressive feat that is a result of only 5 total hours of rehearsal time together!

Read on as we interview Ryan for an exclusive look behind the stage to see what goes into preparing for a unique concert like this.

MSO: Now that you’ve done Star Wars: A New Hope in Concert, what did you learn from that experience and were there any surprises or challenges that come to mind?

RM: I think that the most interesting thing about performing the Star Wars movies in concert is how much freedom you have as a conductor. The score is written in such a symphonic way that you have the room to be slightly flexible with each performance- each performance is unique and exciting! Obviously, there are key moments where you have to make sure everything lines up exactly, but there are other places where you can let the orchestra be a little bit free and that makes for a really incredible musical experience.

MSO: John Williams’ scores are so iconic and each film he works on is distinctive, even when included in a franchise like Star Wars. Are there any differences to the overall musical tone for this movie, The Empire Strikes Back compared to A New Hope?

RM: There are a lot of similarities in the soundtrack including the overall size of the orchestra, the way the music is scored and the iconic opening credits music, but there is a little bit of a darker tone to this movie. The music is a bit more introspective, and I think emotionally a little bit deeper as well. We get introduced to some new characters in this film including Yoda, and the wonderful music that makes up Yoda’s theme. We also see a great character development arch happening with the main players from the first film and the music reflects that beautifully.

MSO: So, who is your favorite character from the franchise and what is your favorite theme to listen to and which is your favorite to conduct?

RM: It would be hard to pick a favorite character from the franchise, probably Yoda or Darth Vader –  talk about opposite ends of the spectrum! They both have such great music!

I really enjoy conducting the opening theme – that classic Star Wars melody. The opening ten minutes of every Star Wars movie features the entire orchestra and some really challenging music– it’s always a lot of fun! I always enjoy listening to the Imperial March – there is such intensity to that music – and such great brass writing!


The Force is Strong with the MSO

Come join Ryan Murray & the MSO on a trip to a galaxy far, far away in Star Wars: The Empire Strikes Back in Concert this June 2 & 3 at the Gallo Center for the Arts!

The MSO Chorus Makes a Classics Comeback!

Chorus chat with Daniel Afonso / May 12 & 13: Mozart Requiem

The MSO Chorus Makes a Classics Comeback

Since returning to in-person rehearsals and concerts last season, the MSO Chorus has been steadily working on returning to its full power. We’ve enjoyed their performances at our Holiday Pops! and Holiday Candlelight Concerts, but this May will mark the first time they’ve performed in a Classics Series concert since 2019.

We chatted with chorus director, Dr. Daniel R. Afonso Jr. to gain more insight into our beloved chorus and their return to stage with Mozart’s Requiem.

MSO: Can you give our audiences a brief background of Mozart’s Requiem?

Daniel Afonso, chorus director: Mozart’s Requiem is certainly one of the composer’s best known works—and there are certainly plenty of reasons for it. The music itself is beautiful and full of expressive elements that have made the work very popular for centuries, but the Requiem has also been shrouded in mystery and the subject of folk tales and much gossip. Everything started with Mozart receiving a commission from a mysterious Viennese patron to write a Requiem for his wife—the patron wanted to remain anonymous, sent a messenger to talk to Mozart. To complicate things further, the composer died (at age 35!) while working on this music and before being able to complete the full work. Although we now know much more about the origins of the Requiem, these “tales” and conflicting stories about the work continue to feed audiences and performers with some extra “drama” that adds to the work’s overall appeal.

Another element that contributed to Mozart’s Requiem popularity was the highly fictionalized movie about the composer’s life that came out in 1984, Milos Forman’s Amadeus. It was while watching the movie that I learned about the Requiem and fell in love with it. Later, in 2012, I had one of the highlights of my music career when I had the privilege of conducting the CSUS Chamber Singers and members of the MSO Chorus in a performance of Requiem at Lincoln Center, in New York City.

MSO: There are many iconic sections to the Requiem, like the “Dies irae” and the “Lacrimosa.” What about these sections of the Mozart Requiem do you think audiences will find most exciting to hear or see performed live?

DA: Yes, these two movements do have the most recognizable music of this entire work. And I believe this is due to Mozart’s ability to write music that perfectly depicts the character and meaning of the text. These two movements are part of a larger section of the Requiem called “Sequence” that describes the “judgment day.” The Dies irae begins this section and the Lacrimosa ends it. In the Dies irae, the words describe judgment day as a “day of wrath” when the world will “dissolve in ashes.” And in the Lacrimosa, the words depict a “tearful day” when “the guilty man will rise from the ashes to be judged.” These are powerful and colorful images that Mozart expertly matches to equally powerful and ingenuously constructed musical ideas. The result is music that is both beautiful and expressive, full of different colors and musical elements that at the same time intrigue and fascinate the listener.

MSO: You’ve been the MSO chorus director since its foundation in 2001, what has it been like working with a diverse group of singers for over 20 years?

DA: I absolutely love working with the MSO Chorus! And the diversity in the group’s membership is one of the most interesting aspects of the work to me. We have singers of all levels of ability and musical experience in the group. We have experienced choral singers and some who have music degrees (music teachers, music ministers, etc.). We also have many singers who don’t read music and some who had never been part of a choir before. The power of collective singing comes exactly from that: different people working together with a common goal, helping each other to overcome any challenges and difficulties during the process. And every time the chorus performs, we are reminded of the importance of working together as a cohesive community, and how music can be a powerful tool to bring people together. Now, add to that learning and performing some of the most exciting music ever written for choir and orchestra, and you have the full picture of how wonderful my job is!


Hear Mozart Live

Join the MSO Chorus as they perform Mozart Requiem live this May 12 & 13, 2023 at the Gallo Center for the Arts!

The Perseverance of Florence Price

about the composer

The Perseverance of Florence Price

Florence Price, composer

Florence Beatrice Smith was born on April 9, 1887, in Little Rock, Arkansas. Her father was the only African American dentist in the city and her mother was a music teacher, who provided Florence with her earliest musical training. Florence proved to be highly talented, giving her first piano performance at the age of four, and publishing her first composition at the age of 11. In 1902, at the age of 15, she enrolled in the New England Conservatory of Music in Boston, Massachusetts, and was the only one of 2,000 students to pursue a double major in organ and piano. She graduated with honors four years later with a teaching certificate and an artist diploma in organ performance.

Maude Roberts George, arts administrator

1910 marked the beginning of a new chapter for Florence where she began her teaching career in Atlanta, Georgia before eventually settling in Little Rock after marrying Thomas J. Price and having two children. Increasing racial tensions in the South led the Prices to leave Little Rock and settle north in Chicago. It was here that Florence’s composition career began to take off. In 1928, she published four compositions for piano while studying with Chicago’s leading composition and organ teachers. In 1933, Maude Roberts George, an advocate for the Arts, especially for those underrepresented, paid $250 (the modern-day equivalent of $5,093 ) for Price’s Symphony No. 1 to be performed by the Chicago Symphony Orchestra as a part of the Chicago World’s Fair. This made Florence Price the first Black woman to have her music performed by a major U.S. orchestra. Price’s unique style began to appear in 1938 with the completion of her third symphony. In traditional Romantic fashion, Price’s Symphony No. 3 has four movements. From the beginning of the piece, Price’s modernism shines through with a slow introduction that leads into a turbulent main theme. As the second movement starts, the influence of Black music comes front and center as jazz and blues themes take over in the solo trombone. The third movement continues to celebrate the blues, while introducing a Juba, an African American dance style created by those who were enslaved in the Deep South with specific origins being linked to Charleston, South Carolina. It’s a dance involving stomps and claps and eventually influenced future styles of music and dance in popular culture, such as modern tap dancing, and rhythm and blues singers which eventually influenced rock musicians. In the symphony’s final movement, the African American styles and classical music influences collide, providing joyous energy.  

Over her lifetime, Florence Price composed over 300 works in a variety of genres, including symphonies, choral works, pieces for piano and organ, and many others. She passed away in 1953 at the age of 66. In a time when classical music was largely based on European traditional practices, Price’s compositions were distinctly American and celebrations of her heritage that incorporated Black spirituals and folk traditions. Florence Price was a pioneer in classical music not only for her gender but also for her race. Her legacy brought a new narrative and voice forward that was largely overlooked.

Join us as the MSO performs Florence Price’s Symphony No. on May 12 & 13 alongside the monumental Mozart Requiem.


Listen to Price’s Legacy Live!

Come hear Florence Price’s Symphony No. 3 alongside Mozart’s Requiem, conducted by Anthony Parnther, this May 12th & 13th at the Gallo Center for the Arts!


Learn more about Price (Reference):

Music Education is Fundamental

Support music education and support the future of our community!

Now through the February, the MSO is celebrating our music education programs that provide the fundamentals of fostering the next generation of community leaders and builders. You can help support our community’s youth by giving today!

Meet the Musician: Gabriela Martinez, piano

Oct. 21 & 22: Rhapsody in Blue

Q&A with Gabriela Martinez

Upcoming this October 21 & 22, internationally recognized pianist, Gabriela Martinez returns to Modesto to perform Gershwin’s Rhapsody in Blue alongside your Modesto Symphony Orchestra. Excited to have her back on the Gallo Center stage with us, we were able to catch up with what she has been up to since last performing with the MSO in 2018.


MSO: We’re so excited to have you back in Modesto performing Gershwin’s Rhapsody in Blue! Are there any specific emotions you feel while performing Rhapsody in Blue? What sort of imagery comes to mind?

Gabriela Martinez: Rhapsody in Blue is one of my favorite concertos to perform.  It’s a truly magical piece where we see a world of “classical” music infused with unique jazz flavors.  It is really an exciting piece to play as we get to experience a world of incredible contrasts – musical, texture, style, and color. We live through a wide range of emotions.  There are amazing rhythmic solos, as well as lush inspired melodic orchestral sections.  

MSO: Last time you visited us was in April 2018, performing Manuel de Falla’s Nights in the Gardens of Spain. What are you most excited about performing with the Modesto Symphony again?

GM: I am so looking forward to being back in Modesto!  I loved my time in Modesto and really enjoyed playing with such an amazing orchestra! I am excited to play with them again and to meet with Maestro Dragon – his reputation precedes him.  He is wonderful, and I am thrilled to work with him!

One unforgettable story about my last visit to Modesto -- while playing the last lyrical solo piano passage of the Falla… THE LIGHTS WENT OUT AT THE GALLO CENTER!!! The whole concert hall was pitch black.  (The power went out in the whole block, and the generator kicked in what must have been seconds, but felt like minutes on stage…) I have been performing concertos since I was 5 years old, and that was a first for me.  Instinctively, I just kept going… and it’s a moment I will cherish forever! The comradery in those moments between audience, conductor, orchestra while navigating uncharted territory together before the power returned is something I will never forget.

MSO: Will you have any leisure time while in Northern California? Do you have any fun plans while being here?

GM: California is one of my favorite places on the planet.  There’s never enough time to explore! It’s been a few years since I was in Modesto though.  Would love to hear any recommendations of places to see, places to eat, have coffee… find me on Instagram @gabrielapiano

MSO: Any upcoming performances/projects are you looking forward to?

GM: I am really excited about my project, a recital program called RESONANCES which I am performing this season. RESONANCES is a journey that invites us to explore the echoes within us; to explore the search and inspiration that happens beneath the surface. It explores music from Brazil, Venezuela as well as new pieces by Caroline Shaw, Sarah Kirkland Snider, Viet Cuong and Missy Mazzoli.


Meet Gabriela in Modesto!

Come watch Gabriela perform Gershwin’s Rhapsody in Blue this October 21 & 22 at the Gallo Center for the Arts!

Artist Biography


Star Wars: A New Hope in Concert By the Numbers

June 3 & 4: Star Wars: A New Hope in Concert

“Never Tell Me the Odds!”


The Force is Strong with the MSO

Come join Ryan Murray & the MSO on a trip to a galaxy far, far away in Star Wars: A New Hope in Concert this June 3 & 4 at the Gallo Center for the Arts!

Behind the Podium / Star Wars in Concert with Conductor Ryan Murray

Behind the Podium / June 3 & 4: Star Wars: A New Hope in Concert

Conductor Ryan Murray Takes the MSO to a Galaxy Far, Far Away!

This June 3rd & 4th, the Modesto Symphony Orchestra travels to a galaxy far, far away when we perform Star Wars: A New Hope in Concert, live to film!

Previously MSO Associate Conductor Ryan Murray has conducted our past two film concerts: Pirates of the Caribbean in 2019, and Pixar in Concert in 2020. This time, he will be leading 81 musicians in perfect time as Star Wars: A New Hope plays on a 26’ x 16’ screen (the equivalent of 36 60” TVs!) at the Gallo Center for the Arts. An impressive feat that is a result of only 5 total hours of rehearsal time together!

Read on as we interview Ryan for an exclusive look behind the stage to see what goes into preparing for a unique concert like this.

MSO: How long does it take for you to prepare for a movie concert and is there any difference compared to preparing for a standard classics or other pops concerts?

Ryan Murray, conductor: It takes anywhere between four to six months to prepare for a movie concert and there are some major differences in how you prepare for these concerts compared to a standard classics or pops concert. The major difference in getting ready for one of these concerts is memorizing and internalizing the tempos of the original movie. Unlike in a traditional concert where the interpretation can vary from orchestra to orchestra and conductor to conductor, in the movie concerts you must play exactly in time with the film! And while I have a special screen in front of me with something called punches and streamers on it to help me line up with the film, the orchestra does not have that information, so it’s my job to really know the score inside and out so that we can make sure everything lines up just right!

Conductor Ryan Murray at the podium, with screen that provides film information in real-time.

MSO: Could you explain the how you use the screen in front of you to help line the orchestra up with what is on the big screen?
RM: Sure, while I’m conducting I have a click track and a special screen in front of me that I use to line everything up with the film. The orchestra does not have that information, so it is really the conductor’s job to make sure that all the tempos line up exactly with the film. Once the movie starts there is no margin for error, and we all must work very hard to make everything match! It is actually a very fun challenge and keeps you on your toes as a conductor!

MSO: Movie concerts are popular among audiences not only because hearing the music live is thrilling, but because the movies tend to be nostalgic for most of us. Does the nostalgia or being a fan of the movie, have an impact on you when you’re prepping or when rehearsing?

RM: There is a big nostalgia element when it comes to preparing a movie concert—especially Star Wars. I can’t think of any music that is more iconic than those opening few minutes of the score. I think we are all really excited about this music and for so many musicians we grew up loving this score—so to put it all together with the live movie and our fantastic audience it’s very exciting!

Conductor Ryan Murray leading the MSO in Pirates of the Carribean: The Curse of The Black Pearl, March 2019

MSO: What do you think makes this John Williams’ score is so iconic?

RM: To me John Williams’ music is so dramatic and the way he writes for the orchestra is absolutely brilliant. The score is full of wonderful melodies and much like an opera, each main character has their own theme. These themes are then developed and transformed throughout the film to help us understand the emotions and the drama of the scene and this element of the movie becomes even more powerful with a live orchestra on stage!

MSO: Are you a Star Wars fan and if so, what is your favorite Star Wars movie?

RM: Yes, definitely a Star Wars fan! I would say my favorite Star Wars movie is either A New Hope—which we are performing, or the Return of the Jedi. Although I didn’t know it at the time, because I didn’t start studying music until high school, I’m sure the symphonic score was one of the major things that made me such a fan of these movies!  


The Force is Strong with the MSO

Come join Ryan Murray & the MSO on a trip to a galaxy far, far away in Star Wars: A New Hope in Concert this June 3 & 4 at the Gallo Center for the Arts!

Meet the Musician: Sandeep Das, tabla

May 6 & 7: Haas conducts Wijeratne & Tchaikovsky

Talking About Tabla with Sandeep Das!

Upcoming this May 6 & 7, Grammy-winner tabla master, Sandeep Das will be performing Dinuk Wijeratne’s Concerto for Tabla alongside your Modesto Symphony Orchestra. Fresh from a tour of London, Sandeep took the time to sit down with us to tell us more about this exciting concerto and his instrument, the tabla.


MSO: This is the first time most of our audiences will see this piece performed live, however you have performed this many times before. What is your history with this piece, when was the last time you performed it?

Sandeep Das: I am actually coming in to Modesto right after a tour of this very concerto with the National Youth Orchestra of the United Nations in London, U.K. I feel Dinuk Wijeratne’s Tabla Concerto is one of the finest Western compositions written for my instrument, and I am looking forward to sharing it with everyone in the audience!

MSO: The tabla is an instrument not often highlighted in Western Classical music. Can you tell us more about this instrument, how you got into it, and how it had led you to where you are today?

SD: The Tabla are one of the most popular drums in the North Indian Classical tradition, a complex and highly refined music system that has been passed down orally for more than 4,000 years. There is a fun story about how I got into this instrument: 

One day, when I was about 8 years old, I was sent home from school with a note from my teacher. I had been disturbing the class by tapping on my desk, and when asked to stop, I started tapping my feet! They suggested that I be taken to a doctor. 

Luckily, I had a smart father, and instead of taking me to a doctor, he gifted me my first pair of Tabla, and my lessons began that very night. 

My Guru, Pt. Kishan Maharaj, was a legend of North Indian Classical Music in the same way Bach, Beethoven, and Mozart are revered as legends of Western Classical Music. I learned Tabla in the traditional Indian Guru-Shishya Parampara, a system where the Shishya, or student, lives with their Guru (teacher) as a member of the household while they are learning. 

For 12 years, I lived with my Guru in Banaras, an ancient Indian city known as a historical and contemporary center for intellectual, spiritual, and artistic learning. Music was taught to me not just as an art form, but as a way of life. Guruji would teach when and however he pleased. I was even taught while sitting in the garden, riding horses, and performing on stage with him at a concert!  

MSO: Music education is something that is very important to you, which is evident through your programs like Harmony and Universality through Music (HUM) and Das Tabla School (DTS). Can you elaborate more about these programs you founded and how they help enrich the lives of your students?

SD: I strongly believe that the youth are our future, and we should do everything we can to open the windows of their hearts and minds to what is beyond the places, people, cultures, and ways of life that they know. Harmony and Universality through Music is an Indian nonprofit organization that I founded in 2009, which strives to promote global understanding through performance and education by the HUM Ensemble and provides learning opportunities and scholarships for visually-impaired children with potential in any genre of art to empower them to lead self-reliant lives. Since its inception, HUM has grown in size and now supports nine children through a National Scholarship. 

MSO: Will you have any leisure time while in Northern California? Do you have any fun plans while being here? (Sights to see, places to you have to eat at, etc.)

SD: I am a golf addict and will definitely spend some time golfing!!!

MSO: Any upcoming performances/projects are you looking forward to?

SD: I recently launched a project called Transcending Borders One Note at a Time, which aims to harness the transformative power of music to spread a message of love and compassion, and to inspire positive social change through a variety of media including performances, residencies, community engagement activities, and talks/presentations. As part of that initiative, the HUM Ensemble recently released its debut album, “Delhi to Damascus”, which features a collaboration between Indian Classical and Syrian music. This project is currently touring live performances alongside “Delhi to Shiraz”, a musical celebration of the shared heritage between India and Persia. 


Meet Sandeep in Modesto!

Come watch Sandeep perform Wijeratne’s Concerto for Tabla this May 6th & 7th at the Gallo Center for the Arts!

Meet the Conductor: Akiko Fujimoto

March 4 & 5: Korngold & Dvorak

A Conversation with Akiko Fujimoto!

Having just had her San Francisco Symphony debut on February 17th, conductor Akiko Fujimoto will lead the MSO in March as they perform works by Walker, Korngold, and Dvorak. The MSO is very excited to invite Akiko Fujimoto to meet our audiences in here Modesto!


MSO: Can you tell us a bit about George Walker’s Lyric for Strings, and why you chose to program it into this concert?

Akiko Fujimoto: I thought the lush lyricism of this work would be a good match for the Dvorak, yet they were different enough from each other in the styles, time periods they were composed in and the instrumentation (the Walker is strings only) that they provided contrast. I also felt what they “hugged” the Korngold in the middle very well.

MSO: This is the first time the MSO will be performing a piece by George Walker and we’re excited to introduce his music to the community. Is diversity important to you when programming a concert?

George T. Walker, composer

AF: Of course! Every program needs contrast and diversity unless it is comprised of one long work. Each composition is unique in its language, background and characteristics, and the challenge is in grouping them together in a way that they create the best experience for the audience. I am thrilled to be able to introduce to the MSO audience this important American composer, performer and educator who straddled the 20th and 21st centuries. I think our worlds expand when we add a new composer to our repertoire of listening and performing. It is like meeting a new person – you are stimulated by what they bring to your life that is new and at the same time comforted by what you have in common as people. Some people compare this piece to Samuel Barger’s Adagio for Strings. If you love the Barber, perhaps you will have that experience when you “meet” the Walker.

I think our worlds expand when we add a new composer to our repertoire of listening and performing. It is like meeting a new person – you are stimulated by what they bring to your life that is new and at the same time comforted by what you have in common as people.

MSO: Korngold, best known for being one of the most influential founders of Hollywood film music, brings a sense of imagery and imagination to all of his work, especially his Violin Concerto. When you listen to this concerto, what sort of imagery plays in your mind?

AF: I see this piece as a great piece of absolute music (as opposed to “program music” which is meant to tell a story) because it is very classical in its structure, just masterfully crafted and extremely virtuosic. If Korngold’s music sounds visual and imaginative to us, that is absolutely because he was one of the forefathers of the Hollywood sound, so he was responsible for much of what we associate today with film music. In this concerto he did use themes from his own soundtracks to movies such as the Prince and the Pauper (1937), Juarez (1939) and Anthony Adverse (1936). They are incredibly evocative of all the actions we love in movies, especially romance and swash-buckling adventures.

MSO: You’ve recently worked with our guest artist, Charles Yang back in October 2021, what was that experience like and how excited are you to be working with him again for this concert?

AF: Charles Yang is simply a magician and the perfect person to play this concerto because he, like Korngold, can straddle different worlds and create something extraordinary out of them. I am extremely excited to work with Charles again.

MSO: Can you tell us a bit about Dvořák’s Symphony No. 8, and how it ties together with the Walker & Korngold?

AF: As I said earlier, I felt that the lush lyricism is a common denominator to these 3 pieces, yet they are all different. Dvorak’s 8th Symphony is a work that is very close to my heart. If his 9th Symphony “New World” is his American symphony, the 8th is his Bohemian symphony. He was from Bohemia, and this symphony is his ode to Bohemia, with references to sounds of its nature and dances, as he was a firm believer that a cornerstone of any culture’s music was that of its native folk music. This symphony also has all the hallmarks of great Czech repertoire: rhythmic energy, a little bit of exoticism, and a touch of melancholy and longing. It is probably one of the most exciting and lovable symphonies of all times, and I am excited to perform it with the MSO.

This symphony also has all the hallmarks of great Czech repertoire: rhythmic energy, a little bit of exoticism, and a touch of melancholy and longing.
— about Dvorak's Symphony No. 8

MSO: Congratulations on your debut with SF Symphony (conducting Price’s Symphony No. 3, Feb. 17-19), and you’ve conducted in Virginia, Minnesota, and now being the music director of Mid-Texas Symphony! What has your experience been like working with orchestras all over the country? Are there any cultural or regional differences that are amusing or interesting to you?

AF: Each orchestra absolutely is unique and reflects that region and the people in it. While all orchestras share in our love for the traditional symphonic repertoire, the way we present them is different depending on where we play, and who is playing in the orchestra, and who is listening in the audience. As a conductor, it is a fun challenge to try to be the best matchmaker possible between the vast symphonic repertoire and each organization.  Of course, I do not know Modesto or the MSO…yet. So, for this concert, I did my best by doing a search on what else was being played this season, which tells you quite a bit about an organization, and gave it my best stab, so to speak, keeping the Korngold in mind.

Akiko Fujimoto conducts the San Francisco Symphony in Florence Price’s Symphony No. 3. Photo: Stefan Cohen, SF Chronicle, Feb. 2022

MSO: You studied at Stanford University for your Bachelors, and now just performing with SF Symphony, what is it like being back in California? Do you have any fond memories of being in California?

AF: I just came back from the week in San Francisco and am so excited that I get to go back to Northern California so soon again. When I was a college student, I didn’t venture out of campus too much. As an adult, I am so much more curious and have a lot more appreciation for the characteristics of each different state and region, so I feel I am rediscovering it all over again. I have missed the openness of the Californians and feel very comfortable being back in the state.

MSO: Do you have any fun plans outside of work while being in Northern California? (Sights to see, places to you have to eat at, etc.)

AF: I did a lot of walking around the city last week and took in as much landscape, architecture, and cuisines I could, but I know there is so much more, and of course each corner of the region is very different. I look forward to visiting Modesto in a few weeks and getting to know it.

MSO: What upcoming performances/projects are you looking forward to in the near future?

AF: One of the projects I am looking forward to is conducting the world premiere of a new work by composer Tania Leon in my debut concerts with the Arkansas Symphony. As a bonus, I am very excited to conduct in my new home state – I now live about 40 minutes away from Little Rock, which will be the shortest commute by far this season!

MSO: Why do you believe the Symphony or live performances are still relevant and important to attend?

AF: Because the symphonic music offers the widest, broadest, and deepest range of expression for the human experience, and we need to share in that today, perhaps more than ever.


Meet Akiko in Modesto!

Come watch Akiko conduct your MSO this March 4th & 5th at the Gallo Center for the Arts!

Korngold’s Hollywood Legacy: From the Sherwood Forest to Tatooine

Listen to the following video, does anything sound familiar?

You may hear similarities between Korngold’s Main Theme from the movie Kings Row (1942) to the very recognizable main theme from the Star Wars franchise, composed by John Williams in 1977. In fact, Williams has cited Korngold as his main inspiration when composing for Star Wars. While Korngold did not start his career with Hollywood in mind, his legacy has left a lasting impact on film and classical music history.

Erich Wolfgang Korngold, composer

Erich Wolfgang Korngold was born in 1897 to a Jewish family in Austria-Hungary, his father was a prominent music critic of the time. A child prodigy, he began writing his own music by age seven, and by the age of 11 wrote his first ballet Der Schneemann (The Snowman). He had a very active composing career from then into his 20s, writing music for operas, ballets, orchestral scores, and more.

In 1934, producer and director Max Reinhardt invited Korngold to Hollywood to adapt Felix Mendelssohn’s A Midsummer Night’s Dream (1935) incidental music for film. Korngold would then continue to establish himself in Hollywood, even winning his first Academy Award for his work on Anthony Adverse (1936).

Before he began composing for The Adventures of Robin Hood in 1938, Austria was invaded by Germany, and his home was confiscated by the Nazis. Korngold had the fortuitous opportunity to stay in America to help support his family until the end of World War II. He noted that the opportunity to compose for The Adventures of Robin Hood and stay in America likely saved his life. Korngold would go on to win his second Academy Award for that movie score and would ultimately establish the symphonic style that would be later used in action films during Hollywood’s Golden Age.

Errol Flynn as Robin Hood in The Adventures of Robin Hood (1938)

For The Adventures of Robin Hood, a movie that launched actor Errol Flynn’s career, Korngold used a technique from his opera background, of incorporating leitmotifs, or short recurring musical phrases, for specific characters as they show up on screen. Korngold wanted the music to be sophisticated but still accessible to the public and he achieved so by incorporating leitmotifs. He realized that if there were recurring themes throughout the film, this would help the audience better understand what’s going on in the film by creating synergy between the narrative and the score. He would slightly alter the motifs in “thematic transformation” to fit whatever is going on screen. A similar technique can be found in Beethoven’s Symphony No. 9, for example, where in the final movement, Beethoven restates and reinterprets the previous themes introduced in the first three movements.

Korngold had vowed to give up composing anything other than film music until Hitler had been defeated. At the end of World War II, he retired from films to concentrate on music for the concert hall. Facing previous criticisms that assumed he was only successful as a film composer, who sold himself to Hollywood, he was determined to prove himself by producing a work that displayed his virtuosity. His Violin Concerto was the first work that he penned after the end of World War II in 1945. He was deeply affected by the criticism of being a “Hollywood sell-out,” and sought to validate his life’s work. Korngold borrows his own themes from his movie scores. The first movement features themes from Another Dawn (1937) and Juarez (1939), the second quotes Anthony Adverse (1936), and the final movement has themes based on the main motif from The Prince and the Pauper.

His Violin Concerto in D Major was dedicated to Alma Mahler, the widow of his childhood mentor, Gustav Mahler. It premiered on February 15, 1947 by Jascha Heifetz and the St. Louis Symphony, under the baton of Vladimir Golschmann. Heifetz’s performance secured Korngold’s place in standard repertoire and continues to be a popular piece performed to this day.

Be transported back to the Golden Age of Hollywood on March 4 & 5 with the MSO in Korngold & Dvorak, featuring Korngold’s Violin Concerto performed by Charles Yang!


Listen to Korngold’s Legacy Live!

Come watch Charles Yang perform Korngold’s Concerto in D Major for Violin, conducted by Akiko Fujimoto this March 4th & 5th at the Gallo Center for the Arts!


Learn more about Korngold (Reference):