We are so excited to have cellist Timothy Loo—a Turlock native & MSYO alum—join us for our October concerts, Williams & Rachmaninoff! We were able to chat with him to get his thoughts on the rarely performed Williams Cello Concerto and his journey from Turlock to Hollywood.
MSO: From Turlock to Hollywood, you’ve had quite a career journey! You’ve performed with the LA Philharmonic, can be heard playing in over 1,000 motion pictures, TV shows (even at the Oscars!) and albums, and have worked as a music contractor with John Williams.
What is it like to return to your hometown as a featured soloist with the MSO?
Timothy Loo: I feel honored to be able to come back home because this is where it all started for me. Had it not been for my time in MSYO, I don’t believe I would have the love for orchestral music the way that I do now.
Loo pictured as first chair cello in the formerly known as Modesto Symphony Stanislaus Youth Orchestra (MSSYO, now known as Modesto Symphony Youth Orchestra) conducted by Dr. James Klein in front of Modesto Center Plaza in 1991
What has been the most rewarding part of your career as a musician or working in the industry?
My career has given me a unique balance between business, finance, and music. Working in contracting, payroll, and performing as a cellist may seem like three very different fields, but in practice they have proven to be entirely complementary of one another. My work continues to provide new challenges and opportunities day by day, keeping my life engaging and constantly evolving.
Have you performed Williams’ Cello Concerto before, and how does this work differ from his better known-works of being a film composer?
I have not performed the John Williams Cello Concerto before. I believe I am the first cellist to perform this version (2021) other than Yo-Yo Ma. Maestro Williams’ classical concert music is quite different from his film scores. The most noticeable difference is that when he is writing for film, he is either writing a melody to accompany a character or underscoring the mood of a scene. Whereas his concert works are designed for the listener to use their imagination to create their own narrative. What unites both is John Williams’ gift for melody. He is a master melodist and utilizes that mastery in both his movie scores and his classical concert works.
What has your experience been like preparing this piece? Any parts of it that are particularly exciting or challenging to play?
I wasn’t entirely familiar with this piece when I was asked to perform it, so I first listened to a recording performed by Yo-Yo Ma. I was immediately captivated by the piece and was especially enamored by its form: four continuous movements without any breaks. I was very excited to learn the piece, but also aware of the technical demands required. Fast, virtuosic passages are present throughout the concerto, and the entire range of the cello is utilized. Particularly challenging is the cadenza, which is full of difficult passage work, advanced techniques, and a wide range of dynamics. This concerto lives alongside our most cherished and technically demanding cello repertoire.
Why do you believe the Symphony or live performances are still relevant and important to attend?
Everything in our world moves so quickly, and technology has conditioned us to consume information instantly and in small bits. Live performance offers a chance to be fully immersed in music and art for an extended period. I treasure every moment I get to slow down and just be present.
See Tim in action
