We in the 21st century consider ourselves quite modern and innovative compared with people of previous centuries, yes? Certainly we can claim superlatives in science and technology. But which century -- the 19th or 21st -- has proved more musically innovative and "modern" for its time?

The ebullient, French-born conductor Ludovic Morlot, 37, who is scheduled to lead the renowned Boston Symphony Orchestra in its two upcoming concerts at Davies Symphony Hall in San Francisco this month, has an answer. It was the serious musical folks in the 19th century.

"More than 85 percent of the concert programs presented 200 years ago consisted of what was then 'new' music. Now, 'new' works composed by our own contemporaries amount to less than 5 percent of our concert programs," Morlot says.

During a telephone conversation following a rehearsal with the prestigious Boston Symphony Orchestra in its world-acclaimed Boston Symphony Hall last week, the congenial Morlot explained in delightfully French-accented English that he considered it "very exciting to present music less familiar to a present-day audience." He added that "finding new voices (composers) to introduce to audiences ought to be part of the mission of a symphony orchestra."

So, at 8 p.m. Tuesday, Morlot will conduct the Boston Symphony Orchestra in Berlioz's "Roman Carnival" Overture; Mozart's Piano Concerto No. 25, with Richard Goode as soloist, and American contemporary

The program scheduled for 8 p.m. Wednesday will feature American contemporary composer John Harbison's Symphony No. 4, Ravel's Suite No. 2 from "Daphnis et Chloe," and Mahler's titanic Symphony No. 1.

Morlot's own life-changing encounter with classical music happened when he was taken to a performance of Wagner's "Lohengrin" at about age 12. "I was seated close to the orchestra pit, and since I had been studying violin, the preludes blew me away! It was a beautiful spectacle for a young violinist."

His musicality was also enhanced by both of his talented grandfathers, one a singer, and the other, a violinist.

Pleased to be making his San Francisco debut during the San Francisco Symphony's 100th anniversary year, Morlot clarified that both of the programs were originally planned by Levine to show off the orchestra's remarkable versatility and flexibility. "I especially look forward to conducting the Harbison and Carter works, since they are part of the BSO's regular diet." The Elliott Carter work, a joint commission by the Boston and Berlin Symphony orchestras, had its world premiere at the International Chamber Music Festival in Jerusalem in 2008, the 100th year of Carter's life.

Carter studied with both Walter Piston and Roger Sessions in his early years, and has since accumulated two Pulitzer Prizes and many other honors. Often atonal and rhythmically complex in style, his music elicits great interest among academics in the music fields.

Harbison, also a Pulitzer Prize winner, has written more than 70 compositions in multiple genres. His style, often deeply expressive and inventive, he says has been inspired by the cantatas of J.S. Bach, American jazz, Stravinsky, and classical forms.

According to Morlot, Harbison's Symphony No. 4 is "one of his lighter works" and features many graceful and inventive elements, including grand orchestral fanfares as well as lyrical passages, many of which reflect deep emotion.

Justifying the inclusion of the Ravel and Berlioz music, Morlot explains that the "Boston Symphony has a huge tradition of French music performance." Its recording of the Suite No. 2 from Ravel's "Daphnis et Chloe" won the 2010 Grammy Award for best orchestral performance.

Morlot has had a close relationship with the Boston Symphony Orchestra since 2001, when he worked under the tutelage of then-conductor Seiji Ozawa at the Tanglewood Music Center. This Tanglewood engagement was followed by an appointment as conductor-in-residence with the Orchestre National de Lyon (his birthplace) under the directorship of David Robertson. Then, from 2004 until 2007, he was appointed assistant conductor for the Boston orchestra under then-music director Levine, who became a strong mentor to his career.

A guest-conducting stint with the Seattle Symphony in 2009 preceded his appointment in June 2010 to succeed Gerald Schwartz as its music director, beginning in its 2011-12 season. In 2012, Morlot will begin a concurrent engagement as the next music director of the La Monnaie Opera in Brussels.

Perhaps yet another meteor has been launched in the musical cosmos.

Tickets for each Davies concert range from $31 to $110. Call 415-864-6000 or go to www.sfsymphony.org.

Contact Cheryl North at cherylnorth@hotmail.com.