Classical Gassing

Classical Gassing — November 16, 2025

This week’s episode is a heartfelt departure from our usual backstage banter. We dedicate this special recording to Sachiko (“Sashko”) Murata, our November 8th soloist, who delivered an extraordinary performance of the Strauss Oboe Concerto — and then sent Music Director Paul Surapine a deeply personal reflection about her artistic journey.

At Paul’s request, Sachiko recorded her story in her own voice.
What follows is an intimate audio letter about family, identity, artistic struggle, ego, community, and the moment during last week’s concert when everything changed for her.

Sachiko shares:

• how she was handed her first oboe by her father

• the painful years of auditioning across the U.S.

• why she once felt she had “failed” as a musician

• the artistic stubbornness (“kodawari”) that held her back

• the realization — during rehearsal with CHSO — that transformed her playing

• the joy of becoming “one gear” in the beautifully crafted Claflin Hill watch

It’s honest, vulnerable, and profoundly inspiring.
If you’ve ever loved an instrument, chased a dream, or felt shaped by the people who make music with you, this episode will stay with you.

Learn more about our orchestra and upcoming concerts at claflinhill.org.

#oboe, Strauss, #classical_music, #orchestra_life, #musicianstories, #ClaflinHill, #auditionstruggles, #inspiration

Today's 'Classical Gassing' is based on Jon Ceander Mitchell's Program Notes. Click here to read the full manuscript.

This episode dives into the minds of three composers who each, in their own way, redefined what “home” and “heritage” sound like in music. From the experimental soundscapes of Charles Ives, to the late-life renaissance of Richard Strauss, to Antonín Dvořák’s search for the “American voice” in his New World Symphony—we explore how these works continue to resonate across time and continents.

Featuring:

• Charles Ives — The Unanswered Question

• Richard Strauss — Concerto for Oboe and Small Orchestra

• Antonín Dvořák — Symphony No. 9 in E minor, “From the New World”

American iconoclast Charles Ives poses “The Perennial Question of Existence” in a haunting musical dialogue between trumpet, woodwinds, and strings. Written in 1908 and revised decades later, this piece layers sound and silence in a way that feels startlingly modern—each instrument group existing in its own universe. Ives described the strings as “The Silence of the Druids—who Know, See, and Hear Nothing,” a poetic glimpse into his philosophical approach to sound.

By the 1940s, Richard Strauss—once Europe’s most celebrated composer—had weathered two world wars and a fraught relationship with Nazi Germany. Yet in the twilight of his life, he produced a miraculous late burst of creativity, including his luminous Concerto for Oboe and Small Orchestra (1945).
The concerto’s creation was sparked by an encounter with an American GI and oboist, John de Lancie, who asked Strauss if he’d ever considered writing for the instrument. The result: a graceful, tender, and introspective work, born out of the ashes of war and the unlikely spark of human connection.

When Antonín Dvořák came to New York in 1892, he urged American composers to draw from the spirituals and Native American melodies he heard around him. His own Symphony No. 9, however, drew not on existing tunes but on original themes that evoked their character. The result was music both familiar and foreign—rooted in longing, distance, and discovery.
Critics of the day debated fiercely: was this truly American music, or simply Dvořák’s Bohemian spirit wearing new clothes? Whatever the answer, its melodies have since become woven into the fabric of American sound—especially the second movement’s “Largo,” later adapted into the song “Goin’ Home.”

This concert program—and today’s conversation—invite us to ask what defines national identity in music. Is it birthplace, language, style, or emotion? From Ives’ cosmic riddle, to Strauss’s late reflection, to Dvořák’s hopeful bridge between worlds, each piece answers differently.

More information at www.claflinhill.org

🎧 Listen wherever you get your podcasts.
Follow Classical Gassing for more behind-the-scenes stories and conversations with Claflin Hill musicians.

🎙️ Classical Gassing — “From the New World: Ives, Strauss & Dvořák”🌀 Segment 1: The Unanswered Question🎶 Segment 2: Strauss’s Indian Summer🌎 Segment 3: Dvořák’s “New World”💬 Closing Thoughts

Back to the Future: Claflin Hill’s 26th Season Launch

In this episode of Classical Gassing, Host and Artistic Director Paul Surapine take listeners behind the scenes as the Claflin Hill Symphony Orchestra prepares to open its 26th season. They reflect on the challenges and triumphs of the 25th anniversary year, explore the meaning behind the concert theme Back to the Future, and dive into the musical and emotional depth of the program:

• Ives: The Unanswered Question

• Richard Strauss: Oboe Concerto featuring Sashko Marada

• Dvořák: Symphony No. 9, “From the New World”

Paul shares how CHSO’s collaborative spirit, professional artistry, and deep community roots make every concert an epic life experience.

🎟 Learn more about the Symphony Series and purchase tickets: claflinhill.org/symphony-series

In this heartfelt and inspiring episode, Bernadette Stockwell sits down with Paul Surapine, Executive and Artistic Director of the Claflin Hill Symphony Orchestra, to talk about what truly makes Claflin Hill unique. From humble beginnings to becoming a “hub of culture” for Central Massachusetts, Paul reflects on how the orchestra has stayed true to its mission for more than 25 years — building community through music, one concert (and one musician) at a time.

Together, Bernadette and Paul explore the orchestra’s evolution, the musicians who found their artistic “home” at Claflin Hill, and how music serves as an instrument of community. Along the way, Paul shares vivid metaphors — from wandering minstrels to trout fishing — that beautifully capture the soul of this orchestra and its people.

Highlights:
🎶 The story behind a new piece of Claflin Hill collateral — and Paul’s reaction from vacation
🎻 How Claflin Hill became a cultural hub connecting musicians, audiences, and towns across the region
🌍 The international journeys of orchestra members — and how they found home in Massachusetts
💬 Why Claflin Hill is more than an orchestra: it’s an instrument of community
🎟️ Upcoming season opener (Nov. 8): featuring oboist Sashko Murata and Dvořák’s New World Symphony
🎄 Early-bird Holiday Pops offer and season ticket info at www.claflinhill.org

Tune in for stories, laughter, and insight into how one symphony orchestra continues to strengthen the cultural fabric of its community.

When one Broadway ticket costs more than an entire Claflin Hill Symphony season, it’s time to rethink what “a night out” means.

In this heartfelt and funny conversation, Executive & Artistic Director Paul Surapine reflects on the affordability and accessibility of live music — and why community-supported culture matters now more than ever.

You’ll hear stories about:
🎭 The cost of a Broadway night versus a full symphony season
🎻 The founding philosophy of Claflin Hill — art for everyone
🎶 The excitement of launching our next 25 years
💡 New season packages, including the “Holiday Pops Plus”
❤️ How the community’s love and support keep the orchestra thriving

Whether you’re a longtime fan or just discovering us, this episode reminds us that great music doesn’t have to come with a city price tag.

🎟️ Explore Season Tickets & Packages: ClaflinHill.org
📞 Call the office: 508-478-5924
💌 Join our mailing list to stay tuned for concerts and events

Special shout out to Claflin Hill’s Principal Trumpet, Erich Ledebuhr, who recorded Classical Gassing’s Intro and Outro. We love it!

What do symphony orchestras and NASCAR have in common? More than you might think.

In this episode, Bernadette and Paul Surapine, Executive & Artistic Director of the Claflin Hill Symphony Orchestra, explore the essential role of business sponsorships in sustaining the arts. From playful banter about sponsor logos on a conductor’s tuxedo to heartfelt reflections on community, small business, and the ripple effect of local support, this conversation highlights how the arts are not just culture—they’re also a business.

Paul shares stories from Claflin Hill’s early days, the lessons he learned from local business leaders, and why saying “thank you” is central to CHSO’s mission. You’ll also hear how the orchestra’s innovative digital program book connects audiences directly to business partners, creating a living network of community support.

🎶 Highlights include:

• Why sponsorship is as vital as ticket sales

• How local businesses fuel community life—and how audiences can give back

• The shift from personal to impersonal sponsorship relationships—and how to rebuild them

• A reminder that the arts are a cornerstone of small-town America’s economy

💡 Want to support Claflin Hill? Become a business partner, buy an ad, or simply choose local when you shop and dine. Every connection strengthens the circle.

👉 Learn more, view our Business Partner list, or get involved: claflinhill.org or call 508.478.5924

THANK YOU to our generous Business Partners.

https://www.claflinhill.org/business-partners

Click the link below to place an order for your ad in our upcoming program book.

https://www.claflinhill.org/advertise-with-claflin-hill

🍂 Fall has arrived in New England — and with it, a brand-new Claflin Hill Symphony Orchestra season! In this episode, host Bernadette Stockwell sits down with Paul Surapine, Executive & Artistic Director, to preview the season opener on November 8.

Paul shares behind-the-scenes stories about loyal season ticket holders, the personal connections that make Claflin Hill unique, and what to expect from an exciting program featuring:

🎶 Dvořák’s New World Symphony
🎶 Strauss’s Oboe Concerto with principal oboist Sachiko Murata.
🎶 Charles Ives’ evocative The Unanswered Question

From movie music connections (yes, even Jaws!) to the special role community plays in keeping the symphony thriving, this conversation captures the spirit of a new season at Claflin Hill.

✨ Learn more and get tickets at ClaflinHill.org.

Claflin Hill Symphony Orchestra isn’t just about world-class performances — it’s also about nurturing the next generation of musicians.

In this episode, Paul Surapine, Executive & Artistic Director, continues the conversation on music education, youth programs, and the “farm team” that helps sustain a professional orchestra. From the Claflin Hill Youth Symphonies to private lessons, recitals, and the vital support of schools and communities, Paul reflects on how early training creates opportunities that lead directly to seats in the orchestra today.

We also zoom out to look at the bigger picture:

• Why music education matters for society

• How arts programs build stronger communities

• The challenges of sustaining these programs in changing times

• A “tornado moment” — asking what rules still serve us, and which ones we may need to rethink

Whether you’re a musician, educator, parent, or listener who loves great music, this episode invites you to think about the future of orchestras and the role of education in keeping them alive.

🎧 Tune in for an honest, thoughtful, and inspiring discussion about the past, present, and future of music education at Claflin Hill — and beyond.

For more information, please visit www.claflinhill.org

In this episode of Classical Gassing, we launch a new miniseries on one of the most vital topics for Claflin Hill and for the arts: education.

Host Bernadette sits down with Paul Surapine, Executive and Artistic Director of the Claflin Hill Symphony Orchestra, to reflect on the role of education in music, culture, and community.

Topics we explore:

• Paul’s first clarinet lesson in 1968 and how family support shaped his musical life.
  

• Why music education is foundational, not a luxury — it builds discipline, teamwork, and creative thinking.
  

• How arts education once flourished in U.S. schools, and the cost of today’s cuts.
  

• Lessons from Steiner schools, where music is a daily, essential part of learning.
  

• The dangers of lowering standards — and the power of teachers to elevate students.
  

• Why cultural education matters as much as science and technology for the future of society.
  

This conversation sets the stage for upcoming episodes featuring Claflin Hill musicians who are also educators.

👉 Share your thoughts, comment, and learn more at claflinhill.org.

When you walk into a concert hall, you see rows of violins, a wall of brass, and the percussionists poised at the back—but why are they always arranged this way?

In this episode of Classical Gassing, Bernadette Stockwell sits down with Paul Surapine, founder and executive director of the Claflin Hill Symphony Orchestra, to explore how orchestras are put together—literally.

From the bird’s-eye view in balcony seats to the perspective of musicians sitting inside the ensemble, Paul reveals:

• 🎻 Why strings sit up front, and why violins always go on the conductor’s left

• 🎺 The “hierarchy” within the orchestra—like a musical army with section leaders

• 🥁 How percussionists choreograph their parts like a ballet of rhythm

• 🎶 What composers intend when they place trumpets offstage or in the balcony

• 👀 Why watching is just as essential to the concert experience as listening

You’ll also hear stories from Claflin Hill concerts, like a child’s first magical moment hearing violins play in the holiday pops, and insights into what musicians really hear (or don’t hear!) while performing.

Whether you’re a dedicated concertgoer or just curious why orchestras look the way they do, this episode will change how you see—and hear—symphonic music.