We are excited to have you join us for the grand finale of our 56th Season of the Longview Symphony Orchestra! Your continued support ensures our ability to help grow the next generation of musicians and musiclovers, bring top-quality musicians to our area, and provide educational and family experiences that are sure to unite and enlighten.
Please consider becoming a supporter of our 2025-2026 Concert Season. Your gift ensures another successful season for the Longview Symphony Orchestra! Wonderful benefits and privileges are extended for your sponsorship, including print and media exposure, complimentary event tickets, recognition in program and more!
The power of music to unite and inspire us is boundless. With your help the Longview Symphony will continue to grow, educate, and enrich.
Thank you for your support of the Longview Symphony!
Longview Symphony is a recognized 501(c)(3) not-for-profit
Ben Maines
air Conditioning, inc
“Serving East Texas, Since 1949”
Supporting the Longview Symphony League since 1968!
When you support the LSL, you support Fine Art and Fine Entertainment, in Longview.
From its humble beginnings, the LSO has brought the “World, to Longview, with world class musicians… performing with professional East Texas musicians. This was only possible with generous donations of our local patrons.
Please consider, making a tax-deductible gift, to the Longview Symphony League.
AND a salute, to all the past and present LSL Board members, LSO musicians, Conductors, patrons, contributors, and advertisers…. Cheers to the LSO, and the next 50 years!
TX 75693
Ready for tomorrow.
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C O n C ert S p O n SO red in part by:
The Longview Symphony is supported in part by grants awarded through the City of Longview Cultural Activities Advisory Committee and the City Council funded by the hotel occupancy tax, and the Texas Commission on the Arts.
t hank y O u t O O ur Symph O ny Sp O n SO r S
mae S trO
City of Longview
Crain Foundation
Longview Symphony Foundation
Texas Commission on the Arts
CL a SS i C a L Dan Sorey
Charlotte & John Wrather
Rosa May Griffin Foundation
C hamber
Estis Compression FLOWCO
Hollandsworth Foundation
Paula & Dr. Kim Howard
Eleanor & Dr. John Kirk VeraBank
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en CO re
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t
Niki & Darren Groce
Priddy Design Build
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Texas Bank and Trust
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ribute S and m em O ria LS
Address your tax-deductible contributions to the Longview Symphony. Undesignated contributions will be placed in the Crescendo Fund. Contributions to the Crescendo Fund may be made online at www.LongviewSymphony.org or mailed to the Longview Symphony, P.O. Box 1825, Longview, TX 75606. If you wish to make a memorial or estate donation, please designate to the Legacy Endowment or the Longview Symphony Foundation. Mail contributions to Longview Symphony, P.O. Box 1825, Longview, TX 75606. Would you like to support the Symphony?
Please see us at our table in the lobby during intermission.
Advanced Roofing
Mary & Bryan Benson
Bodacious BBQ
Bullard Family Foundation
Samantha & Paul Bradley
Mimi & Bruce Cammack
Cassity Jones Building Material
Cindy Graham & Ken Day
Cobb Electric
Coghlan Crowson
Coolidge and Company Real Estate
CrossFit Electrica
Diagnostic Clinic of Longview
Ellen & Dr. Jay Gordon
Gregg County Historical Museum
Henry & Peters
Linda & Patrick Hill
Anne & Jim Hugman
Carol Blair & Robbie Lepire
Longview Eye Associates
Karen & Randy Maines
Patricia & Laney Newman
Patriot Erectors
Sloan Law Firm
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SWEPCO
Judy & Wiley Thomas
Dr. Tiffany Turner – Christus Pediatrics
Karen & David Wright
Suzanne Stadden Brown Tuma
Women’s Health Boutique
F und
Edible Art | Barbie & Jim Deborah | Jan & Sam Forester
Lynette Goodson | Ellen & Dr. Jay Gordon | Karen & Brent Haas
Jeannie and Dr. Craig King | Christina & Matthew Nehrling
Karen & Ron Peters | Betsy & Dr. Joseph Pistone
Nancy & Dr. James Sawyer | Craig Vanbiber | Nell & Johnny Ward
Julie & Wayne Young
In memoriam of Logan Damewood by Nan Mitchell | In memoriam of Mary Taylor by Nan Mitchell | In memoriam of Pilar McLemore by Dr. Joseph & Betsy Pistone
In memoriam of Dorothy Sayre by Bruce & Ruth Hathaway | In memoriam of Joan Rathbun by LouAnne & Steve Rainey |In memoriam of Andrew McCumber, Grandson of Nancy Starr by Claire English | In memoriam of Gail Grisham by Claire English
In memoriam of Raymond & Patricia Curry by Nan Mitchell | In memoriam of Mary Murdoch by Dr. James & Nancy Sawyer and Nan Mitchell | In memoriam of Bill Rice by Claire English | In memorium of Dr. Tom Smith by Claire English
In memoriam of Dr. John Richard Lucas by Francye & Dan Phillips
In memoriam of Pilar McLemore by Jo Popma and James Smith
In memoriam of Randall Anderson by Niki and Darren Groce
Chartered in 1976, the Longview Symphony Foundation is designated as a 501(c)(3) charitable trust by the Internal Revenue Service. Because of generous contributions from friends of the Longview Symphony and conservative investments of the Foundation’s assets by its Trustees, the trust has continued to grow, providing a solid underpinning for the Permanent Endowment Fund (PEF). A portion of the investment income of the trust is made available to the Longview Symphony League, Inc., in support of its ongoing music education and cultural programs.
There are many avenues to making a tax deductible transfer of assets into the PEF. Financial and legal advice is available
to assist in the consideration of the various gifting alternatives, such as cash bequests, estate planning, and bequests of appreciated assets.
The generosity of each gift is acknowledged with an individual listing in the concert program. At your request, this listing may be as an anonymous donor. Naming and recognition rights are available for gifts at various levels of participation.
Please contact the Longview Symphony at 903-236-9739 to arrange a meeting with a Foundation representative to discuss your participation in the growth of the PEF.
L O ng V iew Symph O ny League Hall of Fame
The Longview Symphony League recognizes extraordinary patrons and volunteers who have contributed of time, talent, and resources to help make it possible for Longview families to enjoy outstanding musical performances year after year. We invite you to share with us the privilege of honoring these remarkable individuals who make up the Longview Symphony Hall of Fame.
1999- Dr. Berdine Jones, Sara Richkie Whitehurst, Daisy M. Morris
2000- Wells Burton, Charles E. Watkins, Willis H. “Throck” Throckmorton
2001- Gerald G. Mullikin, M.D., W.E. “Gene” Lynn, Hazel Hickey
2002- Alyce Monsour
2004- Dr. & Mrs. B. Reid Clanton
2005- Bob Sweat, Logan & Eleanor Damewood
2006- Franklin Martin Jr., John & Anne Dean Turk
2007- Alvin O. Austin
2009- Dr. Morgan & Alma Ruth Willeford
2010- Richard E. (Dick) Miller
2011- Evalonia Barrett-Bolton
2012- Judy Anne Owens
2013- Ann & Isidor Saslav
2014- Dr. Charles & Paula Kaplan
2019- Maggie Ferrell and Dr. James Snowden
2022- Mary Taylor
L O ng V iew Symph O ny hO n O r rOLL
Cultural Arts Grant
The City of Longview
texas Commission on the arts
Radio Sponsorship
alpha media group
Season Sponsors
ben maines air Conditioning
Crain Foundation
Forbes & butler
Johnson & pace
dan Sorey
Longview regional medical Center
Longview Symphony Foundation
rosa may griffin Foundation
Spring hill State bank
SwepCO
texas bank & trust
Verabank
westlake Chemical women’s health boutique
Guest Artist Sponsor nancy & Jud murray
Official Hotel Sponsor hilton garden inn
Orchestra Rehearsal Facilities
hallsville iSd
Feature Articles
Longview news-Journal
Donation of Music Folders
tatum music
Bach’s Lunch Hosts
trinity episcopal Church, Longview | First presbyterian Church, Longview |
First Lutheran Church of Longview | First presbyterian Church, kilgore
First united methodist Church, Longview | First baptist Church, Longview
Opening nOte S
Dr. Weaver holds a Bachelor of Music from BYU and a Master of Music from TCU, specializing in vocal performance and pedagogy. She earned her Ph.D. in music history, with a secondary area in vocal performance from the University of Oregon in 2006. As the recipient of an International Rotary Foundation Ambassadorial Scholarship, Dr. Weaver conducted her dissertation research in Bologna Italy, exploring compositional ethics of composers in Florence and in northern Italy during the late sixteenth and early seventeenth centuries. She continues to perform actively with early music and contemporary music ensembles.
what i S
Openingnotes ?
Get the most out of Longview Symphony Orchestra concerts by attending Opening Notes. Each Opening Notes is an informal and informative discussion about the program and provide a behind-the scenes look at the art of musicmaking. Your concert ticket is your admission.
6:15 pm
LeTourneau University Belcher Center, Allen Lobby (enter through left side door) presented by Dr. Jamie Weaver
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Saturday, april 26, 2025, 7:00 pm
LeTourneau University Belcher Center
2001: a SpaC e Ody SS ey
Richard Strauss
Star t rek Suite
Michael Giacchino
Jerry Goldsmith
Leonard Rosenman
Cliff Eidelman
t ran SFO rmer S: a rri Va L tO e arth
Steve Jablonsky
a p OLLO 13 Suite
James Horner
aL ien Suite
Jerry Goldsmith
James Horner
CO ntaC t: e nd CreditS
Alan Silvestri
i ndependen C e d ay Suite
David Arnold
i ntermi SS i O n
C LOS e e n CO unter S OF the t hird k ind
John Williams
b aC k tO the Future: m ain t heme
Alan Silvestri
a d aS tra: tO the Star S
Max Richter
aVatar Suite
James Horner
m anda LO rian: t heme
Ludwig Goransson
et: a dV enture S O n e arth
John Wiliams
Official Hotel of the Longview Symphony
bO ard OF d ire C t O r S
Paul Roberts President
Dr. Kevin Richardson
Vice President of Perfornamce
Rocio Mendez
Vice President of Development
Barbie Deborah Treasurer
Samantha Bradley
Mallory Chargois
Jon Cromer
Claire English
Lynette Goodson
Rance Hawthorne
Jennifer Jackson
Jenn Eldridge Secretary
Charlotte Wrather Director-at-Large
Shelly Butler
Past President
Niki Groce Executive-Director
Dr. Greg Grabowski, Conductor
Dr. John Kirk
Kenneth Kirkland
Justin McFaul
Patricia Newman
Terrye Nix
Ginia Northcutt
Dr. Joseph Pistone
Jerry (Wayne) Smith
Christina Stanger
Suzanne Brown Tuma
Dr. Tiffany Turner
Wray Wade
Jennifer Ware
L O ng V iew Symph O ny pa S t p re S ident S
Dr. Landon A. Colquitt ......... 1968-1969
Herbert Boyland ................... 1969-1970
Bob Boyett ............................ 1970-1971
Ben Franklin Martin, Jr. ........ 1971-1973
Marvin R. Mikeska................ 1973-1975
Jack T. Buchanan ................... 1975-1976
Wells Burton ......................... 1976-1978
John Cary .............................. 1978-1979
Wesley Ray ............................ 1979-1980
William C. Keese .................. 1980-1982
Steve Adell............................. 1982-1983
W.E. Lynn ............................. 1983-1985
David Holland ...................... 1985-1987
Robert Sweat ......................... 1987-1989
Dr. Gerald G. Mullikin ......... 1989-1991
Throckmorton ............. 1991-1993 Dr. Gerald G. Mullikin ......... 1993-1995 Dr. Clyde N. Clubb .............. 1995-1997
Mrs. Frank (Millicent) Canter. 1997-1999 Dr. Morgan L. Willeford ....... 1999-2002
Richard E. (Dick) Miller ....... 2002-2004 Stanton Nash ........................ 2004-2005 Bryan Benson ........................ 2005-2008 Wayne Smith ......................... 2008-2010
Gregory Grabowski, acclaimed for his engaging, nuanced, and genuine performances, has served as the Director of Orchestral Activities at Stephen F. Austin State University (SFA) since 2019.
Maestro Grabowski has led orchestras including the Bakersfield Symphony, Baltimore Chamber Orchestra, and the Fairbanks Festival Orchestra. He served as interim director of the Flower Mound Symphony Orchestra and Assistant Conductor for the Lewisville Lake Symphony, and has appeared as guest conductor with groups such as the Richardson Symphony and the Dallas Asian-American Youth Orchestra. Grabowski completed his graduate degrees at the University of North Texas and Southern Methodist University, under primary conducting teachers David Itkin and Paul Phillips. He’s been honored to also study with many other distinguished conductors, including Don Schleicher, Nicolás Pasquet, Markand Thakar, Robert Franz, Paul Vermell, Samuel Jones, Harold Farberman, and Leon Botstein.
As Director of Orchestral Activities at SFA, in addition to conducting the SFA Symphony Orchestra (SFASO), Grabowski conducts SFA Opera productions, teaches conducting and music education courses, coordinates the Orchestral Studies area, and has a studio of graduate conducting students. Prior to his return to Texas, Dr. Grabowski served as Orchestra Director at Susquehanna University (Selinsgrove, PA). Under his leadership, the Susquehanna University Orchestra increased in size and prestige and was featured in two national public television performances aired in 2017.
Dr. Grabowski has taught and advocated for music education at every level from elementary school to professional. He began his career in the public schools of Frisco, TX, where he was the Associate Director of Winds and Percussion at Roach Middle School for three years. During his time at SFA, Dr. Grabowski assisted in the creation of the String Project, a community program sanctioned by the National String Project Consortium, in which SFA string music education majors work with elementary schoolaged students throughout Nacogdoches, teaching beginner string instruments classes. He has also instituted yearly educational outreach concerts for local elementary schools, and is a sought-after clinician and guest conductor for all-region and honor orchestras.
Greg grew up in Edison, New Jersey, where he began his musical studies as a jazz saxophone player and woodwind specialist. He now lives in Nacogdoches, TX with his wife, mezzo soprano Dianna Grabowski, and two sons, Ben and Sam. Aside from music Greg enjoys spending time on his many hobbies, including woodworking, photography, home renovation, and devising fun adventures with his family.
Flute
Jessica Ogilvie, principal
Sue Bugg
piccolo/Flute 3
Jennie McRae
Oboe
Jenna Sehmann, principal
Ryan Estes
english horn
Kristin Perry
Clarinet
Timothy J. Wright, principal
Vanessa Davis
bass Clarinet
William Nichols
bassoon
Neva Abrisz, principal
Cody Hunter
Contrabassoon
Kristoff Hairr
horn
Andrea Denis, principal
Raymond Garcia, asst. princ.
Thomas H. Hundemer
Manny Jasso
Charles Gavin
trumpet
Jake Walburn, principal
Christopher Barber, asst. princ.
Glenn Bessinger
Michael Scarlato
trombone
Thomas Mensch, principal
Danny Vinson
bass trombone
Heather Mensch
tuba
J.D. Salas
timpani
Chandler Teague, principal
percussion
Anthony Armistead-Robinson, principal
Kevin Ogilvie
Mike Britt
Doug Parmalee
harp
Cherith Hendrich
piano
Dr. Kaden Larson
mu S i C ian S
Violin i
Dr. Jennifer Dalmas, concertmistress
Renee Ward
Alba Madrid Walburn
Dr. Julia Hector
Christopher Reed
Nathalie Reestrom
Paul Lundin
Jonah Raychev
James Nolet
Shelby Rotramel
Violin ii
Anna Larson, principal
Jamie Reason
Shannon Roberts
Tristan Roberts
Diego Pastor
Corey Bowe
Michelle Frederick
Maggie Taliaferro
Javier Laya
Josias Ramos
personnel manager
Jessica Ogilvie
Librarian
Sue Bugg
Viola
Shane Almendarez, principal
Ethan Cole
Sherry Williams
Dustin Woods
Brandon Chandler
Richard Leppert
Brigette Kelling
David Mills Cello
Evgeni Raychev, principal
Caleb Moore
Chanhee Lee
Katie Eckhardt
Ella Gaertner
John Velez
double bass
Andrew Goins, principal
Bob Simmons
Deborah Scarlato
John Porter
Daniel Chan
Stage manager
Ty Hood
Vice president of production/ Longview Symphony League
Dr. Kevin Richardson
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Greetings fellow earthlings, and welcome to the Longview Symphony Orchestra’s celebration of cinematic music that transports us “out of this world.” As long as human beings have been gazing at stars, we have wondered if we are alone in the universe or if there are other beings in “the final frontier” “In a galaxy far, far away.” Radio shows, television series, and films have encouraged us to imagine possibilities beyond our own world, and a primary component of all these programs is music. Ask yourselves if your favorite galactic explorers or most-feared extra-terrestrials would be as fantastic without their theme music. Would the action on screen feel as exciting without the swirling of strings and the blazing of brass? If you have joined us this evening, your answer is probably “That would be highly illogical, Captain.”
Music literally amplifies what we are seeing on the screen. It helps us to understand whether our brave space travelers might be in danger or if they are merely falling in love with one of their colleagues. It lets us know whether or not the strange beings arriving on earth or good or evil. It increases our sadness when characters we care about are lost and brings us joy when our world is saved from destruction by people much like ourselves. It pulls us to the edges of our seats when action unfolds at the speed of light and guides us through meditation as we see the vast expanse of the stars. Music reminds us that beings from space might experience “Human” emotions, making them relatable. It also reminds us that, while races from other planets may be ruthless and cruel, humans must choose kindness instead. Music gives us hope that, if we are sharing our universe with strangers, we can encourage them to be our friends.
The only thing more exciting than hearing our favorite music while watching the big screen is hearing it played by a live symphony orchestra starring musicians who love the music as much as we do. We hope you enjoy our star-studded spectacular of music for intrepid explorers.
The most important stars of our show are the musicians of the orchestra and their fearless leader Maestro Grabowski. But some of the other big stars are harder to spot. These are the composers who created the music we love. Let’s shine a spotlight on their innovation and creativity.
David Arnold (B. 1962) has loved music and films since childhood and credits his music teachers in school for helping him find a way to express the melodies that were constantly filling his head, especially after watching movies. As a composer who grew up in the sixties and seventies, it is no surprise that his musical tastes and ideas are broad. He says his greatest musical influences are John Barry, (a formidable Bond composer), Stevie Wonder, Debussy, Tschaikovsky, and Mahler.
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Arnold is recognized for writing great melodies and for finding music that is sympathetic with every character or situation he writes about.
The British composer conductor, and musician got his break in 1993 when his house mate, Danny Cannon asked Arnold to create the score for The Young Americans, his first film as a director. Today, Arnold is best known for scoring Star Gate, five James Bond films, the 1998 Godzilla, the Amazon series Good Omens, and the score to Independence Day from which we will hear music this evening.
Film, video game, and television composer Michael Giacchino (b. 1967) Also learned from a wide variety of compositional influences and composes in many genres and styles. He enjoys working with traditional orchestration and then expanding it with the sounds of electric guitars, novel percussion, and synthesizers. We know him best for films such as Up, The Incredibles films, The Batman, and, of course, films in the Star Wars franchise. Tonight, his music is featured in a suite from Star Trek.
Jerry Goldsmith (1929-2004) maintained simultaneous careers as a composer, conductor, and orchestrator, and enjoyed working in the television and film industry for nearly fifty years. He studied at USC where he took classes with his mentor Leonard Rosenman (1924-2008). He got his start writing music for radio shows for CBS, but moved on to television work in the 1950s. His television credits include episodes of The Twilight Zone and Dr. Kildare. He composed the score for his first feature film in 1957 and, by the 1960s, was recognized as one of the most innovative composers working in cinema. His best known films include Planet of the Apes and the films in the Oman franchise. This evening, we hear music from his scores for Star Trek and Alien.
Ludwig Göransson (B. 1984) was named after Ludwig van Beethoven, perhaps inspiring him to forge his own career as a musical prodigy, working as a composer, conductor, musician, and record producer. He began studying music during childhood in Sweden, playing Jazz, several types of Rock, and Hip-Hop. He emigrated to Los Angeles in 2007 to attend graduate school at USC, where he studied music for motion picture and television. While in graduate school, he connected with fellow student and film director Ryan Coogler, for whom he composed his first film in 2011. The pair have since collaborated on several films including Black Panther. Our program this evening features music from Goransson’s score for the Disney television series The Mandalorian.
Composer, conductor, and producer James Horner (1953-2015) composed almost exclusively for film. A native of Los Angeles and the son of a set designer, he always felt at home in the film industry. He began composing in 1978, shortly after earning his doctorate at UCLA. He worked on one hundred and sixty film and television productions during his thirty-eight-year career. Among the most famous
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are Titanic, The Wrath of Con and Avatar. Horner’s music is recognizable for its inclusion of Celtic themes and motives and for its incorporation of electronic sounds and choral passages alongside traditional orchestration. Horner is also remembered as a borrower of works by Classical composers. He has utilized or reworked themes by Schumann, Prokofiev, and Khachaturian. This evening, commemorating the tenth anniversary of Horner’s tragic death in 2015, we perform two of his galactic compositions Apollo Thirteen from 1995 and Avatar from 2009.
Steve Jablonsky (B. 1970), also a California native, attended UC Berkeley where he planned to study computer science. Only a year later he found himself studying music composition instead. He also learned to play several instruments. In the hope of combining his experience with music and technology, Jablonsky took a chance and made a cold call to Hans Zimmer’s Remote Control Productions and landed a job as a producer at his U.S. company shortly after graduation. Working as an assistant to Harry Gregson Williams and later to Zimmer, Jablonsky learned the art of composing for film, television, and video games. He continues to work with the company today. Jablonsky composes in a wide variety of genres including rock, electronic music, and classical music, all of which he utilizes in his video game scores and cinematic compositions, such as the films in the Transformers franchise.
Max Richter is a favorite composer of the LSO. The German-born, British composer (B. 1966) grew up and earned his education in the United Kingdom, where he still resides. He composes orchestral music, operas, ballets, film and television scores, and stage works. His fluency with all genres and facets of music gives him the ability to blur the lines between classical and popular styles. For example, he often combines electronic or synthesized sounds with the more traditional sounds of an orchestra. Many of his works reflect his perceptions or memories of world events or his political impressions regarding those events. Richter has been proclaimed one of the most influential composers working today. He is also known for composing music that listeners find particularly engaging, but in more modern ways. His music has been featured in our last two chamber concerts. This evening we hear music from the film Ad Astra.
Alan Silvestri (B. 1950) was Born in New York City and raised in Teaneck New Jersey. As a young person, he nurtured dreams of a career as a Jazz guitarist. For two years he attended the prestigious Berklee School of Music in the hope of realizing this dream before deciding that he needed money more than he needed school. So, in 1970, with no plans, goals, or funds, he moved to LA and took part time work as a studio musician. In 1972, however, he got a break in the form of an offer to score a low-budget film. He purchased a book about film scoring and succeeded in creating the score for The Doberman Gang. He has now been composing television and film scores for over forty years and has more than one hundred feature films to his
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credit. He also juggles careers as a conductor, orchestrator, and producer. Silvestri is recognized for his emotional melodies in films like Forest Gump, for his sparkling holiday themes in Polar Express and for his riveting action sequences in films for the Marvel Cinematic Universe. His experience with Jazz adds flare to Who Framed Roger Rabbit, and his driving rhythmic style is on display in Ready Player One. Tonight, we hear Silvestri’s work in the main theme from Back to the Future and in the end credit theme from Contact.
Richard Strauss (1864-1949) is the only composer on our program to have been born in the nineteenth century. His father, a horn player in the Vienna court opera trained Strauss on the music of conservative composers who favored classical harmony and ideas. But when young Strauss finally discovered the music of Richard Wagner, he also discovered his musical passion. He infused his compositions with the chromaticism, large orchestration, and prolonged phrases favored by the legendary opera composer, and, by the twentieth century, had pushed tonality to its limits. Strauss began his career by writing orchestral works called tone poems. These are one-movement works with multiple sections that tell stories in music or provide a musical portrait of a person or a scene. His Don Juan, of 1890, for example, describes the famous philanderer’s emotions and exploits during three separate periods of his life. Don Quixote, on the other hand, describes actual scenes and battles from Cervantes’ novel. Also sprach Zarathustra, composed in 1896, Tells the story and comments on the philosophic ideas of Friedrich Nietzsche’s novel of the same title. We will hear the opening section of this piece tonight.
The stars would not be stars without the presence of the brightest of them all, John Williams. Williams (b. 1932) needs little introduction, as many of us are familiar with his music for iconic films outside the Star Wars franchise, such as Harry Potter, Jaws, Superman, the films of the Indiana Jones trilogy, Schindler’s List, and many others. Williams studied piano at the Julliard School of Music, but soon made his way to Los Angeles where he began work as a studio musician playing for television shows and movies. His conservatory education made him familiar with classical music of the past, while his upbringing, his studio work in L.A., and his interest in composition led him to become familiar with the music of early Hollywood film score composers, such as Max Steiner and Erich Korngold. Williams’ own work as a film composer was recognized in the 1970s when he began collaborating with Stephen Spielberg and George Lucas. He continues to compose and has plans for several new projects.
ALSo SPRAcH ZARAtHuStRA - 2001 SPAce oDySSey by Richard Strauss
If Friedrich Nietzsche shocked the population of Europe with his ideas about a superhuman who would conquer the faults of humanity through their quest for excel-
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lence, Richard Strauss shocked the world with his 1896 tone poem about the experiences of Nietzsche’s literary character. The composer’s previous tone poems had been about characters from the ancient past upon whom audiences could reflect at a distance. But to create a sonic portrait of a character who represented current, hotly contested ideas about humanity itself was unthinkable, until Strauss brought Zarathustra to life with a gigantic orchestra and some of the most experimental music composed at the close of the century. Strauss divides the piece into nine sections, each titled after a specific chapter from Nietzsche’s novel. The tone poem lasts about thirty-three minutes and has nothing whatsoever to do with a world beyond earth except in its discussion of the breadth of human possibility. Fortunately for us, however, Stanley Kubrick intervened, making the opening two minutes of Strauss’ tone poem one of the most universally recognized pieces of music on earth. Strauss titled this brief section “Sunrise” after the opening chapter of Nietzsche’s novel. He intended the rising opening motif to symbolize the breaking of a new, brilliant dawn. For most of us, though, it represents the epic battle of wits between humans and machines played out in Kubrick’s classic film.
StAR tRek Suite
Michael Giacchino, Jerry Goldsmith, Leonard Rosenman, and Cliff Eidelman
Several of the works on this evening’s program are suites. In musical terms, a suite is a group of pieces or themes that are meant to be performed together. This work, for example, is a suite of theme songs and important melodies from many of our favorite Star Trek series. You will recognize the groundbreaking theme from the original television show as well as music from more recent spin-offs. Arranged specifically for symphony orchestra, this suite boldly presents the Enterprise as no one has ever heard it before.
tRAnSfoRMeRS “ARRivAL to eARtH” - by Steve Jablonsky
Jablonsky’s brilliant theme “Arrival to Earth” presents the idea of a force of robots arriving on our world from a variety of viewpoints. In the quiet, suspicious beginning of the piece, we hear the confusion and speculation happening on earth as the robots are noticed. But this soon gives way to an expansive melody containing both major and minor chords. It expresses wonder mixed with fear. Before long, we hear snare drum patterns underpinning the melody, giving it a militaristic air. Are the shape-shifting bots here to wage war? The most surprising element of the work is the use of choral singing that sounds like ancient chant. This makes us wonder who is praying, and for what? Perhaps some people are fearful while others hope for salvation. As the music shifts between the primary theme, the solemn singing,
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the sounds of military drums and the volume and intensity of the orchestration, we realize that we are viewing the arrival of the transformers from every possible angle.
APoLLo 13 Suite - by James Horner
Once more, we hear several themes (this time from a single film) woven together in a suite for orchestra. Horner’s majestic cinematic masterpiece captures the humanity of the American astronauts of the Apollo 13 crew, the sense of duty they feel to their country, the danger and excitement of their mission, and the vast expanse of space. The composer helps us to think about important details by using layers. The piece opens with the sound of snare drum, often a sign of military action or duty. The militaristic idea is reinforced by another layer, a beautiful trumpet solo filled with heroic, open intervals like those heard in bugle calls or in music about soldiers. But as the low brass and eventually the strings and woodwinds enter, a third layer reminds us that the heroes are human beings with close ties to earth. While familiar melodies from the film move in and out of the texture, the presence of the snare drum reminds us of duty and danger, while the trumpet signals bravery and American loyalty. The sweeter music from the strings and woodwinds touches our hearts as we consider the humanity of the crew in danger and so far from home.
ALien Suite - by, Jerry Goldsmith and James Horner
The movie Alien and its closely named sequel are dark and intense films filled with surprise and suspense. So, Alien composer Jerry Goldsmith and Aliens composer James Horner chose to create music that intensified those moods. They did this by creating music that listeners recognize as texture. While memorable melodies are certainly present, most of the music does not revolve around characters and their individual emotions. Rather, it was designed to build an overall sense of darkness and uncertainty. It is quiet but constant, as though lurking in the background or waiting just around the corner. The music is ever present, but changes happen slowly, which makes time feel as though it is standing still. Instead of giving each character a relatable theme, as happens in other films, the composers use music to tell us about what is in their heads or about the appearance of their world. In this suite, we will hear music from both films and will understand how two different composers created similar atmospheres.
contAct: enD cReDitS - by Alan Silvestri
While many of our themes from out of this world highlight the vast expanse of space, the fear of the unknown, or the idea of human annihilation, Alan Silvestri’s End
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Credits theme from contact focuses on peace and hope. Composed for a traditional orchestra and piano, it is largely a quiet and introspective piece played by strings, piano and woodwinds, with occasional brass support for climactic moments. The primary melody is gentle but shows a melancholy edge that makes it feel personal rather than about the fate of the entire planet. Silvestri mixes melodic techniques of popular music with classical accompaniment ideas that make this theme sound timeless, as though it could be about the future or the past. While secondary themes hint at uncertainty or concern, the music always feels close to the human spirit rather than alien to it.
inDePenDence DAy Suite - by David Arnold
Composer David Arnold created this suite for orchestra from the most memorable themes in his block buster film Independence Day. In it, we hear Arnold’s gifts for stirring melody and high-energy action music. This suite of themes creates a short synopsis of the ideas in the film. It opens with a beautiful melody that makes listeners think of their lives on a festive but normal Independence Day. But the melody soon gives way to the pulsing, driving sounds of action sequences. The sounds represent speed, anxiety, danger, loss, heartbreak and, eventually, success. In the final portion of the suite, we hear a new orchestration of the original theme that sounds like the triumphant conclusion of the movie. It includes references to the military associations with the American holiday, and assurances that the world has been saved, once again.
cLoSe encounteRS of tHe tHiRD kinD Suite - by John Williams
We often speak about music as a “universal language” underscoring the hope that everyone can understand the images and emotions it evokes. But it takes a brave and gifted composer to meet the challenge of scoring a film based on the premise that extraterrestrial beings would communicate with humans through music. Fortunately, the universe has given us John Williams, who has a long history of making us believe amazing things. Like the suite from Independence Day, this suite for orchestra from Close Encounters of the Third Kind is inspired by the plot of the film. We hear several memorable themes from the 1977 Spielberg classic in a logical order. Williams’ ability to provide a sonic portrait of the events on the screen will help us to understand the confusion, anxiety, and urgency we hear in the opening music. It is designed to create tense emotion without melodic content. But as we learn about the characters in the film and understand their connections to the extra-terrestrial beings, we begin to hear sweeping melodies with lush, romantic accompaniments. As the missing survivors are recovered safely, we hear the sounds of intergalactic success, triumph and
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gratitude. Twinkling percussion suggests stars while bold timpani and brass fanfares celebrate the first musical collaboration with beings from another world.
BAck to tHe futuRe: MAin tHeMe - by Alan Silvestri
Sometimes composers work magic, such as when Alan Silvestri uses music to turn a precocious teenaged boy and an awkward scientist into triumphant heroes who conquer the logistics of time travel, saving their loved ones from hardship and danger. Forty years after the film’s premiere in 1985, Silvestri’s theme still makes us feel like we are hopping back and forth through time ourselves. The main theme begins with a melody in a bright major key soaring over a pulsing accompaniment that drives it forward. But while it is fast-paced, it is joyful and optimistic rather than filled with terror and anxiety. The music lets us in on the secret that there will be thrills and adventures, but that we can probably count on Marty and Dr. Brown to come out on top and to enjoy the ride. Filled with flying flourishes in the strings, sparkling percussion, dramatic brass, and expressive timpani, the theme helps us to imagine speed, flight, and the desire to conquer all barriers, including time.
AD AStRA - by Max Richter
While several of the pieces on our program utilize unforgettable melodies to represent characters or situations, Max Richter’s theme for the 2019 film Ad Astra (To the Stars) asks listeners to develop a mindset or mood by listening to texture, as we learned about in the Alien suite. Richter engages us with familiar harmonies that change slowly and repeat several times so that we become used to the patterns. Rather than melodies with many notes and many ideas, Richter’s simple theme features very long notes played by all the instruments together, so that nothing sticks out or diverts our attention from the quiet, contemplative state he has created. It is perfect music to help listeners ask many of the questions explored in the film, about the universe and our places within it.
AvAtAR - by James Horner
Science fiction film music is at its best when it encourages listeners to care about characters from another world as much as we care for those from our own. James Horner’s rich, lush music for Avatar seamlessly integrates the sounds of two diverse cultures into a single, cohesive masterpiece. In this suite, we hear the rhythmic, spirited worship anthems of the Na’Vi, the traditional, classical music that represents human intrusion, and the fierce sounds of battle as the opposing cultures clash. These are enhanced with choral singing vivid instrumental timbres. Finally, we also hear the musical blending of these cultures as they unite in the hope of a younger generation.
MAnDALoRiAn - by Ludwig Göransson
According to Star Wars lore, the Mandalorians are a proud and ancient race who have adapted to their circumstances by developing a warrior culture and acting as mercenaries and bounty hunters. While they maintain time-honored traditions, they wear modern armor featuring ultra high-tech defense gear and travel to far-flung parts of the galaxy in cool spaceships. How does a composer write a theme for a television series featuring a rebellious bounty hunter from this unique culture? Sounds of traditional orchestral instruments are blended with those of synthesizers, electric guitars, and other modern sounds and popular music techniques in Ludwig Göransson’s theme for Disney’s television series Mandalorian. The relentless pounding of drums pervades the theme, representing the urgency of the warrior’s mission to protect a child with connections to the force. The sounds of exotic instruments and electric guitars signal the idea that our Mandalorian is modern and strong, choosing to make his own decisions. The dark melody in the brass instruments continues its association with our warrior throughout the series, not merely in the opening theme.
e.t. ADventuReS on eARtH - John Williams
The 1982 blockbuster E. T. Extra Terrestrial was one of the earliest collaborations between John Williams and director Stephen Spielberg. Williams expressed concerns about the challenge of composing music that would attract audience sympathy for a character who looked so different from what they were accustomed to seeing onscreen. Yet, he succeeded in convincing viewers to see a being from another planet and a young boy as friends. In the end, Spielberg liked Williams’ theme for the final chase so much that he lengthened the original scene in order to utilize more of it. This evening, we hear “E. T. Adventures on Earth,” a suite featuring many of the most poignant and imaginative themes from the film.
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Legacy Endowment
would you like to provide a lasting remembrance for a loved one who shared or continues to share your love of beautiful music?
The Longview Symphony Legacy Endowment was created to improve the quality of the performances and to support the growth and development of the orchestra. The interest earned supplements the current operating budget.
If you are interested in creating an enduring legacy for your beloved friend or family member, contact the Longview Symphony office, 903-236-9739.
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He R e’s w H at we d o: s ocial e vents | a ssist with Fundraising e fforts | Community o utreach | volunteer s upport for Concerts | e ducational o utreach | Post-concert Receptions
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