Mr. Massey went on to do some wonderful things after his time in Fresno, including serving as conductor of the Toledo Symphony, the Vermont Symphony Orchestra, the Green Mountain Mahler Festival and the Middlebury College Orchestra. The college reports that his career included stints as associate conductor of the Cleveland Orchestra, the San Francisco Symphony and New Orleans Symphony, and a conductor or leader of the Rhode Island Philharmonic, Oregon Mozart Players, the Milwaukee Symphony, the Racine Symphony, and the Indonesian National Symphony Orchestra in Jakarta.
He was born in England and studied at Oxford University, where he earned bachelor’s and master’s degrees. In 2002, he became a U.S. citizen.
Mr. Massey is remembered fondly by musicians who played with him in Fresno.
“My mother,” says the celebrated pianist, singer and songwriter, who headlines Saturday’s final Fresno Philharmonic pops concert of the season, titled “Great Balls of Fire.” (I’m giving away two pairs of tickets to the event; details are below.)
It’s only fitting that on this Mother’s Day weekend, he will play one of his mom’s favorites, Gershwin’s “Rhapsody in Blue,” he tells me in a phone interview. Here’s a rundown on the concert:
The program: Along with Gershwin, DeSare will join with the orchestra to play songs by such favorites as Elton John, Billy Joel, Ray Charles, Nat King Cole, Jerry Lewis and Irving Berlin. You can look forward to boogie-woogie, ragtime, straight-out pop and rock ‘n’ roll. “It’s for people who really love piano music,” he says. “I based the program on what I loved when I was a 10-year-old kid.”
Music director Rei Hotoda guides the orchestra through an emotional and intellectually vibrant program
I can now say I’ve played with the Fresno Philharmonic. Just call me 2nd Cellphone, 143rd Chair.
At Sunday’s concert in the Saroyan Theatre, I held my “instrument” aloft during composer Tan Dun’s spirited “Passacaglia: Secret of Wind and Birds.” For 54 seconds, as my phone chirped and sang with noises that sounded like an aviary at feeding time, I became part of the orchestra.
Was it just a gimmick? I can see how some might feel that way. But in the context of Tan Dun’s buoyant piece, whose bevy of sound effects includes clapping, snapping and cooing by the musicians (and not just the percussionists), the audience participation felt like an integral part of the experience. In those 54 seconds, that usually unbridgeable gap between the orchestra and audience disappeared. We were in this together.
It was wonderful.
Sunday’s concert, titled “Heaven & Earth,” had a theme of mysticism and spirituality. It wasn’t just about religious or “sacred” music, mind you, though Poulenc’s “Gloria” falls into that category.
Instead, music director Rei Hotoda crafted a program that was catholic in the true sense of the “small c” version of the word. It felt encompassing. It resonated both intellectually and emotionally. It was, for me, the most moving concert I heard all season. I’m still thinking about it days later.
For one thing, it includes several pieces that Hotoda is just wild about. Of Debussy’s “La Mer,” for example, she says: “I can’t say how much I love this piece. It’s one of the most incredible symphonic works ever written. If I could eat a piece, this would be the piece I would eat.”
Win two tickets to the Fresno Philharmonic’s “Of Heaven & Earth” concert. To enter this giveaway, leave a comment on this post telling us if you’ve ever let your cell phone go off in a concert or theater event and how you reacted. (Or, if you don’t want to ‘fess up, just say why you want to attend Sunday’s concert.) Deadline to enter is midnight today (Friday, April 13). Two pairs of tickets will be given away. The winners will be picked at random and notified by email.
She’s excited, too, about the diversity of the program: There are two living composers (Jennifer Higdon’s “blue cathedral” and Tan Dun’s “Passacaglia: Secret of Wind and Birds” are featured), and two of the pieces (“La Mer” and “Passacaglia”) are examples of Asian-influenced music, one of Hotoda’s passions. Poulenc’s choral work “Gloria” is a remarkable version of the traditional Latin Mass.
Salute to American composers: All three composers on the program were American, and knowing that going in, it definitely colored my perception. In the first piece, John Adams’ “Short Ride in a Fast Machine,” I found myself thinking of bustling cities and bright prospects. Instead of latching onto much of a melody, thanks to the minimalism of the score, my listening experience was guided by the precise jackhammer tempo and the sharp sense of building something. In fact, I thought of buildings, and in a weirdly specific way: I got this image of tall, graceful skyscrapers under construction, the hard-hatted workers nonchalantly sitting on high steel beams taking a lunch break, the wind whipping amiably past as they ate sandwiches and chugged hot coffee from heavy-duty thermoses. I thought of vast American cities taking shape. The percussion section got a workout, as it has several times this season, and the precision and driving energy of conductor Rei Hotoda’s baton gave the experience a crisp vitality.
Virtuoso violinist is helping to celebrate the 100th anniversary of Leonard Bernstein’s birth
Jennifer Koh played with the Fresno Philharmonic way back in 1996, so you’d forgive her for being a little hazy in the memory department when it comes to details. That was more than two decades ago, when the youthful talent was busy whipper-snapping her way into the elite ranks of the world’s concert violinists. Throughout the course of her significant career, she’s played lots of places.
It might come as a surprise, then, that as she returns to play with the Fresno Philharmonic on Sunday, Feb. 25, Koh’s recollections are crystal clear about one particular detail from her Fresno visit. Not to be too dramatic about it or anything, but it changed her life.
The music director of the Fresno Philharmonic at the time was Maestro Raymond Harvey. During rehearsal week, he invited the young Koh — a college student finishing up at Oberlin whose resume included making her debut with the Chicago Symphony Orchestra at age 11 and winning the International Tchaikovsky Competition in 1994 — to dinner at his Fresno High School-area home. He cooked a marvelous gourmet dinner for her, as he was known to do.
She was impressed. “How do you cook so well?” she asked.
Then she admitted to him that she was a complete klutz in the kitchen. How bad a cook was she at the time? Think of her at a level of starting-a-fire badness. (That really happened once when she tried to cook a steak that was frozen. She didn’t know she had to defrost it first.) Koh might have been a virtuoso violinist, but her culinary skills were seriously out of tune.
Forgive me in advance for the likely overwrought equine metaphor, but here’s what the Fresno Philharmonic made me think of after Sunday’s lively concert:
A tall, powerful, spirited and stately thoroughbred horse, one displaying a graceful rhythm and palpable sense of energy to its gait.
Holding the reins, of course, was Rei Hotoda, the orchestra’s new music director and conductor, who is infusing her first season with a passion and vitality that feels infectious. The orchestra looks happy. The audience looks happy. Attending a performance is like a day at the races when your bet pays off.
The orchestra overall sounded wonderful. Do I think the concert was perfect? No. (Read on.) But I think I’m in the minority.
Here’s a quick rundown:
The scene: A very good crowd in the Saroyan Theatre, gathered for an intriguing program consisting of a piece by Fresno composer Kenneth Froelich, Beethoven’s Piano Concerto No. 3 with guest artist Awadagin Pratt, and Tchaikovsky’s Symphony No. 4.
The Froelich: Titled “Spinning Yarns,” this 8-minute work by the Fresno State composition professor was inspired by the jazz tradition of “trading fours,” referring to a point in which the horns and drummer improvise four-bars of music at a time. The fun thing about this piece — and that’s the operative word I’d use to describe it, fun — is that the “Yarns” of the title refers to obviously boisterous stories being swapped by the musicians. The effect is that of a series of spirited conversations unfolding in a crowded noisy room, perhaps a beer joint. Though the music has a driving, pounding quality to it — it’s quite a workout for the percussion — there’s also something familiar and even relaxing about its impact, the way the din of a dozen conversations can seem warm and friendly. I thought it was grand.
With the Fresno State professor’s “Spinning Yarns” featured by the Fresno Philharmonic, get to know the composer. Plus: Win a pair of tickets to Sunday’s concert
You think the job market in your field is tough? Try being a composer. Not only are you competing against other living composers out there to have your works appreciated and performed, you’re also up against an even bigger pool of dead composers whose pieces are revered. It’s quite common for a typical professional symphony orchestra program to feature a lineup of composers who are all long gone. For the flesh-and-blood variety, it can be hard to be heard.
But that’s exactly what Kenneth Froelich, a Fresno State music composition professor, is achieving this weekend. At Sunday’s Masterworks concert, the Fresno Philharmonic will perform Froelich’s “Spinning Yarns.” (The program also includes guest soloist Awadagin Pratt in Beethoven’s Piano Concerto No. 3, along with Tchaikovsky’s Symphony No. 4.) To mark this notable event in Froelich’s career, here are 5 Things to Know about the piece and the composer — plus a bonus item about the rest of the concert. And go to the end of this post to learn how you can win two tickets to the event.
“Spinning Yarns” is inspired by a jazz concept. And it’s not the kind of yarn you might think.
In jazz, the term “trading fours” refers to a point in which the horns and drummer each improvise four-bars of music at a time, exchanging back and forth in a rather transparent musical dialog. The title “Spinning Yarns” evolved from this idea.