DAVID FOGEL featuring SOPHIA AGRANOVICH, Symphonina No. 3

While millions still gather at concert halls and outdoor venues throughout the world to hear timeless – and lengthy - symphonies from the 18th through 21st centuries by favorite classical composers, award-winning composer/conductor Dr. David Fogel is moving the concept forward in unique ways, creating compelling musical narratives in a fascinating, compact form he trademarked called “Symphoninas.”

An outgrowth of The Symphonina Foundation, a non-profit launched in 2020 by Fogel and Gary Gray, Symphoninas are new genre of classical music featuring small, complete melodic symphonies that run about 10 minutes, divided into three or four movements, each the length of a typical streaming pop tune. The non-profit’s mission is to promote opportunities for young people to enjoy, perform, compose and learn about symphonic music – and considering the short attention spans of the younger generation, it’s a genius, transformational idea whose time has come.

Performed by the 30+ multi-generatational members of the 2025 International Symphonina Orchestra, Fogel’s four track EP Symphonina No. 3 (Four Days in the Life of a Princess) is a dynamic updated version of his lush, beautiful, deeply emotional and ultimately thrilling 2020 piece of the same title, divided into four shorter movements to accompany a whimsical fairy tale narrative about a princess who longs to escape the attention of her position and appear to others as an ordinary citizen.

Another exciting bonus to the new rendition is having world renowned, Ukranian born and Julliard educated classical concert pianist, music educator and artistic director Sophia Agranovich perform on the pivotal “Movement 3L The Masquerade Ball.” Sophia brings a joyful, plucky and freewheeling sense of sparkle, wonder and graceful yet energetic dance to the piece, which uses the picturesque setting of the ball as the backdrop for the key moment when the princess receives a mask that allows her to look like a common villager.

Sophia says, “David contacted me about 2 years ago and asked me to be on the judging panel of the yearly Symphonina Competition. Last year he suggested for me to record piano part for Symphonina No.3 and sent me a demo version. This Symphonina appealed to me by its beautiful melodic lines, surprising harmonies, expressivity and overall charm! David is a pleasure to work with. I am honored to contribute to Symphonina projects and support 'a mission of spreading the joy of symphonic music to young audiences around the world', especially being a music educator.”

Though that piece is perhaps the most compelling, each small movement serves the narrative in unique ways. The orchestra sets the tone of the princess’ dual reality (much adored but kind of bored) on “Movement 1: Arrival” with regal horns caressed by whimsical strings, a dreamy overall flow and spirited clarinet, horn and flute musings. The piece artfully conveys her personal tension amidst the grand luxury.

The gentler, lyrical feeling of “Movement 2: Long” comes across in parts like a romantic film score (if we didn’t know the story), but here draws us into the princess’ emotional state as she expresses her longing for personal freedom, confides in her magical mouse friend and experiences relief and happiness when the castle wizard creates a magic mask for her and her mouse to appear as ordinary villagers.  

Naturally, the orchestra follows the masquerade piece/scene by infusing the concluding “Movement 4: Freedom” with triumphant and playful excitement with fast, percussive, high string tones and swirling woodwinds that capture the revelatory moment where the princess escapes with the wizard and the mouse to have fun in the countryside. The actual written narrative concludes: “…until her father, the king, returns,” perhaps laying the foundation for a sequel Symphonina.

For more information on the mission and music of the Symphonina Foundation, please visit: Symphonina Foundation.