tag:www.joseherstrada.com,2005:/blogs/hernandez-estrada-blog?p=13
Hernández-Estrada Blog
2018-08-20T21:51:32-05:00
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tag:www.joseherstrada.com,2005:Post/5395212
2018-08-20T21:51:32-05:00
2021-10-16T11:03:43-05:00
Finding your voice (a Sistema experience)
<p>Finding your voice </p>
<p>By Jose Luis Hernandez, Director of Sistema Tulsa </p>
<p>Whenever a new student joins Sistema Tulsa we begin the process of pairing them with an instrument that they will learn and play throughout the year. It is a journey that begins with discerning affinities towards a particular instrumental sound. The students are always moved at how the pitches can have such a wide range and personality. "Clarinets have such a mellow sound and tubas can really roar," they say. Others are intrigued when Mrs. Morgan, our strings teacher, demonstrates on the violin and wonder how it is possible she can turn a piece of steel wire into a silky-smooth sound. </p>
<p>Students will also gravitate towards what the instrument looks like. Some like the polished brass instruments and how you can see your reflection on them. Students are also inspired to listen to their own singing voice and realize that there is a promising sound emanating from an instrument that already belongs to them! </p>
<p>We let everyone listen and try every instrument and somehow, there in between, the students find their instrument and voice (or maybe the instrument finds them!). As a general rule, beginning students who are in our Elementary-age program don’t take instruments home to practice (unless you are a singer!). First, we want to make sure that they have acquired a certain level of ownership and skill on the instrument. Since the instruments are very fragile they are also taught how to take care of them. </p>
<p>One of my favorite moments in the life of the program comes around the end of the year whenever we are preparing for a big concert. I know that a few students will come to see me and ask if they can take their instrument home to practice. </p>
<p>Last year, Taylor and Fiona were both quick to petition that they take their instrument home. I often ask our students why. Knowing the why allows me to get to know the students better. What I find out is that they love music and that they want to get better at their instrument. They also tell me that a concert is an important event and they want to sound and be their best for themselves, their families and their peers also. This mindset tells me a lot about our program culture. We are a community that is constantly aspiring to be a better version of itself and we are on this journey together. From our students to our teachers, families, and volunteers, we all feel a sense of needing to give our best each day. </p>
<p>From a vantage point, I am able to experience how the program has evolved over time. It was no surprise for me to learn through the results of our most recent survey that the majority of our students find truth in the fact that “no matter who you are you can always become better at music.” And they are also unfazed at challenges—they say that difficult music doesn’t make them give up, “I just keep going until I get it right.” What begins as a fun game of trying out instruments progresses to life-changing and affirming possibilities for our students. </p>
<p>We hope and pray that music and the care of a Christian community help them find more success and joy in their lives. </p>
<p>*Sistema Tulsa welcomes new students and families for an onboarding workshop on August 16-17.</p>
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tag:www.joseherstrada.com,2005:Post/5393955
2018-08-19T23:17:43-05:00
2021-10-09T15:07:30-05:00
Sistema Tulsa at the Oklahoma House of Representatives
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<p><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/af1b2e5f5b9fc3c3db14d4555883451ca21eecfd/original/dsc-0742.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p>On April of 2018, Sistema Tulsa students and teachers traveled to Oklahoma City to participate as a featured ensemble of “Oklahoma Arts Day.” The event was sponsored by the non-profit Oklahomans for the Arts and brought a group of forty young musicians to perform classical masterworks including the official state song “Oklahoma!” by Rogers and Hammerstein. The Capitol’s south portico was filled with music and the atmosphere was festive. Students served as ambassadors for the advancement of arts education across our state. “This was our first tour performance, Mr. Hernandez said, “Our students shined not just as musicians but as citizens.” The visit was championed by the Tulsa area Representative Karen Gaddis who also formally introduced the program before the House of Representatives and a Citation of Commendation and Congratulations was presented on the House Floor to students and leaders for their artistic and educational contributions to the city of Tulsa and the State of Oklahoma.</p>
<p><em>Here are my remarks on the occasion of Sistema Tulsa recognition with a citation of commendation and congratulations from the Oklahoma House of Representatives as motioned by Representative Karen Gaddis of Tulsa. </em></p>
<p><strong>Dear Mr. Speaker, members of the House of Representatives, Rep. Karen Gaddis, fellow Oklahomans. </strong></p>
<p>It is an honor to accept this recognition on behalf of Sistema Tulsa students and our team of tireless educators and leaders who believe that investing in the arts experience is a worthwhile endeavor. We at Sistema Tulsa believe that every youth (no matter who they are or where they come from) in this state should have the right educational opportunities that would enable them to thrive. I know that you are working on taking historic and bold steps for education funding and are thinking about what education reform looks like. Today we celebrate the Arts in our State and showcase how much impact the exercise of our creativity can have in our social and economic life. In our program we teach our student more than music, we teach them the art of compromise. In order for an orchestra to be successful and make great music, everyone must listen to each other and figure out what it is that they are trying to express. Take a look at a musical score and you see many moving parts all intertwined and complex and to make it work everyone must agree to focus on the same harmony, the same beat, and the same purpose. And then they take it to the highest level where nothing less than excellence is expected. Promise me you will think about this idea. This is the only way that we musicians can make beautiful music. We wish you many blessings and Thank You for this recognition. We will do our best to continue our work and make it grow.</p>
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<p><iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/INQgILK9VW4?start=200" width="560"></iframe></p>
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tag:www.joseherstrada.com,2005:Post/4446751
2016-11-01T02:27:12-05:00
2017-01-05T13:55:05-06:00
Essay: Opening the Paradox of Conversations
“Opening the Paradox of Conversations”<br><br>Thank you for welcoming me at the Philips Theological Seminary today to lecture on the subject of Conversations. My presentation today is titled “Opening the Paradox of Conversations.” This class couldn’t have been more appropriate at this time—a time of growing political anxieties, virtual realities, and spiritual decay. I don’t mean to paint a crisis out of our times, because we are not living in an impossible crisis. You are an optimistic group of people. Yet, I do want to point you to these fragile states of awareness—to urge you—in your role as seekers of truth and conveyors of purpose, to examine the role of conversation for hope. And today, I would like to focus on hope. But first let me tell you how we will approach our time together.<p>I’ve been tasked today with exploring metaphors that would help us understand the idea of conversation. Conversation or the experiment of “living together” is a matter of great complexity. I’ve set myself a lofty goal—to use music as a metaphor to understand the dynamics, tensions, and resolutions of such an experiment. This essay is also a result of my observations of contemporary life. Some of the issues (musical and beyond) will resonate with you in particular ways. I invite you to challenge my own thinking as well. Overall, my goal is to encourage you to pursue relevant connections to your field of work and ask you to offer plausible applications. For our purposes, and in addition to music, we will visit the fields of, education, theology, politics, and philosophy. Let’s make this a multidisciplinary exploration! </p>Let’s talk about conversations. What is a good conversation and where does this idea come from? By definition conversations are dialogues. I also think they are more than that--they can be pinnacles of purpose. In the mid-fourteenth century, the etymological definition of the word conversation denoted the act of living with or “having dealings with others.” The Latin roots of the word imply “being with” (com-) and “often” (-versare).<br><br>My art form including both the performative and appreciative aspects of it has everything to do with conversation. A conversation with the art form, the art work (or composition in this case), and the performer/interpreter are all part of the equation. In speaking of the art form we take into account its place in history—we realize that Mozart couldn’t have been possible without Bach and Dylan wouldn’t have been possible without Guthrie. You get the idea. The art work itself is a matter of great complexity because it couples the continuum of history together with the contemporary intentions or vision of its creator. Intention is where the creative process begins, but ironically creativity is not all free since some of it is still constrained by the evolution of the art form. Let me illustrate further.<br><br>The history of music is divided in periods like the renaissance, baroque, classical, romantic, etc. Changes or innovations came very slowly and gradually throughout time. We did not ever have major shifts of thought from one year to another. Yes, there were pivotal events but these were happening as a result of the bubble being more than ready to burst. (You might have heard about the famous riot following the first performance of the "Rite of Spring" by Stravinsky. This was certainly one of those pivotal moments in the history of music; and yet it was met by skepticism and disdain.) The performer is a messenger, one who has to take the history, the artwork, and give it to us in real time and space. The performer is also constrained by her technical vocabulary or skill. The greatest musicians have worked on their technical abilities so much that this is not an issue, but for the majority of us, it is a work in progress. You might be beginning to draw the parallel with your own discipline. Who are you? Are you the performer, the historian, or the purveyor of new ideas? Each role is of significant importance. And each role requires a specialized skill.<br><br>These three roles all converge in the artistic elements of music. Let’s take the conductor of an orchestra for example, she will need to have a knowledge of the time period where the work lives to discern any particular historical performance practices or intent regarding context (or at least to inform the orchestra of what the work represents). She will also need to study the actual work of art and look at the score for the notes and the rhythms. Finally she will have to form an interpretation of the work. This is where the creative process becomes manifest again. And this is also where we learn that the creative process is not exclusive to the composition process but can also be found in the process of interpretation. That is a conversation in itself, a very meaningful one. And the test of a true masterwork a well, since it invites us to a continuous exploration of meaning. <br><br>Musicians in the orchestra don’t have the entire score or layers of instrumentation available to them while they play. They only see their own part. Now, I want to show you an orchestra score. There are more than 16 parts stacked on top of each other here. How do you begin to listen to all of this at once! This where the conductor or moderator of the musical experience comes in to try to make sense of all of these parts and make sure that they are in sync and in tune. I promise you that conductors do a lot more than wave their hands. But here is the challenge—they can also get in the way! And more often than not, they do because they might want to micro-manage the experience or worst of all bring all the attention to themselves. The traditional practice itself makes it very difficult to separate the conductor from the ensemble and to make it a more democratic experience for all. This begs the question, do we need conductors? The answer for now is yes. There have been some experiments with smaller chamber orchestras like the Orpheus Chamber Orchestra that are conductor-less but even then, individuals or groups of musicians will still take the helm. Influencing is a natural human response.<br><br>Next time you are in your classroom notice who the influencer is and why? Is it because they are officially in charge of the class like I am now? Or is it because they are prepared to share ideas or because they are just too irresistible? Does gender play a role? You can formulate your questions and criteria. In this political cycle there has been a whole lot of influencing going on. The surrogates on television, rally-goers, church-goers, your grandmother, you name it. You will always listen to some more than others because your moral or political affiliations are already in tune, and you might dismiss others because it makes you feel uncomfortable. Now, let me pose to you the idea that good conversations are supposed to be uncomfortable. Is that an ironic statement?<br><br>This class is a bit uncomfortable for me. I have never taught to a group of theologians and certainly nothing I have done has prepared me for this experience. I still accepted this opportunity with the hopes that it would be an experience where I could learn from others and hopefully grow in my own thinking abilities. So I am taking this time to stretch my abilities and make my brain hurt a little bit.<br><br>The work of a good conversationalist is not to impose a point of view but in the words of the modern French philosopher Michel Foucalt, to analyze his own thinking and to continually examine evidence and assumptions so that he can then shake up routine ways of working and thinking. This is a very tedious process but when it is done right you can truly make a difference. The early Methodist church thinkers, specifically John Wesley expressed the idea of thinking and letting think at the same time. Do you notice there is an implicit tension in this argument? The formation of political, social, or spiritual will is a matter of self-determination. It cannot be imposed, although we might want to think we can. This was the belief of the Spanish Catholic church when they conquered Mexico and tried to bury all native expressions of the Divine. Granted, the people later experienced a revival focused on syncretic practices that honor the local history and theology of the colonizing church. I think this example falls well into your study of practical and systematic theology, which was explained so eloquently to me by your professor Dr. McGarrah Sharp.<br><br>Speaking of will, the perpetual debate of nature vs. nurture comes into play here. In my own experience as a teacher, I can tell you that you can nurture all you can and want, but in the end the decision to act accordingly rests solely on the student and according to his will. So, let us not be discouraged when the outcomes don’t materialize exactly as we envisioned them. As theologians and practitioners of faith you have the Holy Spirit on your side; and that conversation with the Divine is of particular importance.<br><br>There are some established techniques which connect the individual to the Spirit. I know that meditating on Scripture is one of them. Reading the verses slowly, pausing between in each word, and letting the ebb and flow of each cadence surround you with its presence. I remember that as part of my education growing up in a Christian school we were asked to memorize verses, sometimes complete passages with up to ten or twenty verses! To this day, I remember many of these passages and they live deep within my soul.<br><br>As I share this, I am also drawing parallels with the experience of music and the kinds of conversations performers or interpreters might have with the scores. When you practice a passage of music of great technical difficulty you begin with deciphering the inner workings of the notes—the shapes of the notes, their duration, and the physical effort required to actually make them come alive. Practicing on the keyboard for example, you might start very slowly and consciously playing each note in sequence with the right fingering to minimize mistakes. Doing this slow, consistent, and deep practice activates a part of the brain that triggers the secretion of myelin, a protein that helps develop muscle memory so that the passage then becomes automatic and flawless in performance.<br><br>Once the technical hurdles are solved the interpreter can invoke the powers of creativity and make her interpretation transcend the notes or the score. This is why music performance is such an enigma to many. It is easy to believe that many great performers are somehow touched by the muses to exert power over their listeners, but this is not at all how it goes. There are layers upon layers of preparation, meditation, and practice over time to achieve any kind of meaningful conversation the score itself or with an audience in the room. For the artist, instant gratification is not part of this experience.<br><br>I am told that as young Pastors you will be entering in a territory that will be quite challenging with multiple and opposing views are being discussed regarding the future of the church. Passionate arguments are being made for one issue or the other. I won’t go into them today, but you know exactly what I am speaking of. There are deep divides and tensions stemming from issues like marriage and inclusion for example. Again, to echo Foucalt, if one arrives at the table with the intention of moulding the will of the other, that same conversation will falter! Abrahm Lincoln said the same of our own country, if we falter and lose our freedoms, it will be because we destroyed ourselves.<br><br>Some modern thinkers have referred to orchestras not just as groups of individuals making music but as examples of social life. One such thinker is Jose Antonio Abreu who said that orchestras are groups of people that decide to come together to agree with themselves. First and foremost, they agree with the goals of music. That is melody, harmony, and rhythm. They might not agree with the repertoire all the time or with the conductor but they agree that to make good music they must focus on these elements. So already, there is a point of convergence in the experience. Can you think of ways in which you can find points of intersection among your adversaries? In the orchestra, each musician depends on each other and their fate as performers are bound up in each other. So they must let the score guide that process (remember the music with all the parts written in it). If the score is guiding force, where do we leave the conductor and the aspirations of the musicians themselves? This is still an interesting conundrum which brings me to the forces of truth.<br><br>I recently read a piece by a young theologian named Michael Stark on the Huffington Post, he was exploring the why of our tense political climate and he drew the work of Father Thomas Merton, a 20th Century monk. He said that:<br><br>“The basic falsehood is the lie that we are totally dedicated to truth, and that we can remain dedicated to truth in a manner that is at the same time honest and exclusive: that we have the monopoly of all truth, just as our adversary of the moment has the monopoly of all error.” When we enter into these extreme bias says Stark, our “ability to listen and learn from those with whom we disagree disintegrates. As a result, we fight and convince ourselves that those with whom we disagree are full of ignorance, and hold views that we might deem unfairly as dangerous.”<br><br>Now, let me give you an example of this by way of Amy Schumer, the very well-known comedian. It was recently reported in the NY Times that during she singled out a Donald Trump supporter and invited her to the stage to justify her support before her 8,000 plus audience. She referred to the political candidate as an “orange, sexual-assaulting, fake-college-starting monster.” I am not here to defend or support any candidate and whoever you vote for is your decision alone based on your own will which is also sacrosanct. What I do want to point out is the process and modus-operandi of this conversation. Do you think this was the best way for Ms. Schumer to show support to her cause? Does this episode help mend the fractures of our Union? This election cycle is very interesting because in part, it is about influencing the supremacy of impassioned truths. Our human capacities do not and can never reach the absolute. Yet we try and try and we become more and more frustrated with the outcomes. I want you to be attuned to these challenges. I am also trying to be more attentive to this phenomenon.<p>Assumptions fuel the rise of polarized societies. These come in different shapes and forms. Some are well meaning—when a person in a wheelchair gets overwhelmed with helping hands to the point that they also want to press the elevator button for him. Others which might be rooted in racial stereotypes can occur—when a Black man (who was to become US President, but no one knew about it yet) is mistakenly handed keys to a car at the valet section of a prominent social club; or when a White high school student gets treated unfairly because someone assumes that affirmative action somehow doesn’t apply to him. When we assume right or wrong we enter into a realm of misunderstanding.</p>
<p>A few days ago, I spoke to a group of executives here in Tulsa and I made a blunder of painting progressives as people that celebrate diversity and are invested in building strong communities as a result. Someone came up to me at the end and asked, “What about conservatives? We also believe that we can achieve the same objectives,” he said. After this conversation, it was clear to me that as citizens there is more than can brings us together rather than divide us. Yet, these common denominators are not often found in strictly binary approaches to political ideology. It is worth taking a look at the Pew Research study on "political typology." You’ll find that many of your views can co-exist with that of a person from a rival political party. It is an eye (and mind) opening experience. </p>Obviously achieving meaningful conversations is a real challenge. How can we move towards places of encounter or resolution? I can draw lessons from the orchestra as metaphors for this. Did you know that the etymological meaning of the word orchestra as expressed by the Greeks is the “dancing place”? Let’s start there with examining the beat and how musicians can either react or respond to the beat in music. You might already be aware that part of the function of a conductor is to keep a steady beat by way of the baton, which by the way, could also be seen as a symbol of influence. Let me show you how this works. I brought the baton with me today. I begin by drawing up a pattern that musicians in the orchestra can read. These patterns are generally very consistent among conductors, with some slight aesthetic variation to show your personality. Four pulses per measure looks like this. And this is how 6 pulses per measure look like. Conductors aren’t the only people that use symbols of influence like the baton. Pastors use stoles and robes. I’ve seen some wear their doctoral robes with three bands to signify their attained academic degrees. (From a layman’s perspective, I think this is unnecessary).<br><br>Let’s go back to the idea of reacting vs. responding. I want you to try to react to my pulse by clapping each time you see each beat in my 4/4 pattern. Ready? Now I would like for you to try to respond to my pulse. In order to do this you will have to anticipate the next pulse in such a way that you can meet me at the inflection point. Do you notice the difference? Which exercise yielded the best ensemble?<br><br>I think it is obvious that the second try was the best. Rather than reacting to the pulse you engaged in a conversation with me. You read my gestures in such a way that could predict the right timing of each clapping sound. Now let’s make this exercise a bit more sophisticated by adding nuance. This time I will give you a melody in 4/4, “Joyful, joyful we adore Thee.” Your job will be to read my gesture in such a way that can anticipate where I am going with cadences and dynamics of the melody line. Let’s try.<br><br>I want you to be aware that I am aware that this might an exercise of manipulation. This is where the role of a conductor becomes challenging. But to dissipate any conflict of interest, one can always refer to the score and try to follow it as faithfully as possible. Now, saying that the conductor plays a manipulative role is a rather cynical approach. Each conductor loves the music so much that she is willing to take these risks.<br><br>Something that was very interesting today is that I did not instruct you to listen to each other as you clapped beats or sang the melody, but you did it anyways. You took the risk of succeeding (and failing) together and you emoted a sentiment of trust at the same time. And this is something very important that we can learn from the orchestra because ultimately the roots of good conversations in the orchestra or elsewhere stem from trust.<br><br>The paradox of conversations lies in the idea that successful experiments, especially those that can move us forward into the realm of understanding, come with varying degrees of uncertainty and fear. This fear is natural because we protect what is most dear to us. And to a great degree our own truths are our most guarded and relished patrimony. And to cherish the act of living with others and for others, we must also go to great lengths to protect the truths of all.<br><br>Jose Luis Hernandez - October 2016
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tag:www.joseherstrada.com,2005:Post/4419315
2016-10-14T11:35:20-05:00
2016-10-16T12:53:44-05:00
Executives of Tulsa Speech 10/14/16
<p>Executives of Tulsa Club Speech - 10/14/16 <br><br><em>by Jose Luis Hernandez</em><br><br>It is an honor to be able to speak at the Executives of Tulsa Club. I am grateful to Tom Campbell for inviting me. Exactly two years ago I arrived here as a new Tulsan. Now I can proudly say that I have embraced this city as my own. And what a wonderful city it is! We have some much: parks and trails, our annual fair, ballet, and the touring Broadway shows. And of course, we have the Philbrook, one of the most beautiful museums in the world. <br><br>I really enjoy the many options for recreation that the city gives us—every week I get to visit at Lafortune Park to play tennis and then I do a few runs on the Riverside trail, just between 41st and 71st. That distance over and back covers about a 5K. I will be participating in the Tulsa Run this year, my first race ever! (I’ve really come to enjoy running, especially because you can easily gauge progress and with the new technology available you can also track your pace and distance, all in real time.) <br><br>In Tulsa, a lot of people care about education and philanthropy. I’ve gotten to meet so many leaders in the field through my work as director of Sistema Tulsa. Interestingly enough I am part of a new wave of educational, religious, and artistic leaders who have also recently arrived or started new leadership roles in the city. People like educator and Superintendent of Schools Dr. Gist, Signature Symphony conductor Andres Franco, Philbrook Director Scott Tullen, or my own colleague David Wiggs, the Senior Pastor at Boston Avenue. Many institutions are celebrating major anniversaries (30 and 40 year anniversaries). So it is time to learn from their accomplishments and move them forward into the future. <br><br>I am glad that some very traditional institutions are now looking to millennials like me for leadership. And that is good, but even better when we can strike a compromise with colleagues who can remind us of the culture and traditions of the institutions where we serve. I am proud to work at the Boston Avenue church, a community that is open to all who would want to experience God’s love. We are lot of more than iconic building and we want to continue to play a role in the progress of our city. Come visit us, we think deeply and let think for yourself as well. (I think David Wiggs would be proud of me for putting in this plug here this morning). <br><br>Now that I’ve touched on the subject of millennials I should say (and quoting data from the Pew Research Group), that this group represents the most diverse population in the history of our country. So obviously this same group will bring about a long lasting change to the American way. <br><br>We are very optimistic in spite of the tragic events that have shaped our generation—9-11, Columbine, Katrina. We are more tolerant of races and other groups different from our own. Unfortunately, as a whole, we have become less and less engaged in the political process. I noticed one of your members today brought in signs regarding one of the questions on the next local ballot. That’s good. Regardless of where you stand on the issues it is good to engage in conversations about our future. <br><br>Millennials also long for more and deeper human relations, but at the same time, in the Age Facebook and virtual realities this has actually become harder to achieve. <br><br>I was born in a small Texas town very close to Mexico. I learned English when I attended a US school for the first time in the 4th grade. I am proud to be a first generation American. My parents grew up in Mexico and met in college. My dad was the book worm, my mom the social butterfly. Opposites attract, right? Here is an explanation by way of physicist David Bohm—when we see seeming polarities, look for the larger truth that contains them both. And so my parent’s larger truth fell into the realm of fear of God, hard work, respect for others, and the belief that strong families are pillars of successful communities. <br><br>My early experiences as a volunteer at church and at the local Lion’s Club led me to discern the responsibility to care for others less fortunate than I. At the same time my journey as a student musician taught me how to harness my own imagination. I remember fondly the eye-care crusades that we led for very poor families through the Lion’s Club. I also remember my first piano recitals, how I felt so special because people cared about my work. <br><br>I don’t mean to make this autobiographical speech, but I think it is important that I share at least a little bit of my own story because ultimately our stories and experiences clamor to become intertwined. By invoking our shared stories as a metaphor for community, we honor the ultimate goal of our citizenry. The Founding Fathers called this building a “more perfect union.” And yet in spite of our progress, this public “union” is still both the greatest virtue and challenge of our times. <br><br>Our personal stories also shed light on why we do what we do. Eric Booth, a teaching artist active at Lincoln Center and a mentor of mine, often quotes an idea that affirms that 80% percent of what we teach is who we are. You can substitute what we teach, with what we think or what we care about. As leaders it is important for us to be mindful of how we conduct ourselves, what we feed our mind, body, and soul. It all makes an impact in how others perceive our influence. Hopefully this 80% analogy is a golden nugget for you to take home. <br><br>About 5 years ago, I took a sabbatical and moved to Boston to take part in a special training program for young musicians who are passionate about social justice. (Taking a sabbatical makes me sound like a professor on the verge of retirement, but I was only 27!) I would call this training program a music educator’s version of AmeriCorps. For a year I studied methods to nurture human development through the practice of music alongside fellows from across the US. Together, we became missionaries of the social mission of art, as our sponsor Dr. Abreu would call us. <br><br>Dr. Jose Antonio Abreu has been a boundless source of inspiration and energy for me. His educational philosophy, which was first applied in Venezuela is known as El Sistema (or the system). It is thriving in 25 countries around the world and now in Tulsa. There is a new book called "Playing for their Lives" that chronicles the expansion of this important thinker's ideas. I would say that El Sistema works as a living and breathing experiment of how the learning of music can nurture the individual and how the individual can transform his community and lead a fruitful life. And because it is an experiment, there is room for leaders to model each chapter after the needs of the community they serve, and as a natural consequence, after their own aspirations for shaping the common good. This is something that is very appealing to me. <br><br>In Tulsa, I am now working with close to 100 students and families who attend the program as members of orchestras and choirs. Each orchestra and choir is a public space that brings students from across the school district to form a diverse community. We do not charge tuition or require an audition. Everyone is free to attend the program if they make a commitment to put in the work (and it is hard work!). <br><br>An orchestra is a community that comes together for the sole purpose of agreeing with itself, says Abreu. And what is it that they need to agree upon? They agree to make music together. And what does that imply? That is a question that I constantly ask myself. <br><br>Let’s elaborate on a few ideas—in practice, making music together in an orchestra makes you accountable to the group. You are responsible for the success of the overall music and you cannot let your peers down. This is a quality that is important to succeed in the workforce. Robert Putnam, an academic who has studied the demise and revival of American communities wrote that trust is the dominant predictor of success in any community. If one is reliable; you can surely trust him or her. And if we can trust each other we can make progress. <br><br>There are also the physical and metaphysical properties of music. Music is sound but what is sound and what is there? As a musician I have observed several things. First, that sound can move you emotionally—it can lead you to experiences that are sometimes difficult to explain. The fact that you can’t see the sound makes it almost mystical. <br><br>I also heard Dr. Abreu refer to the phenomenon of sound as an invisible language. What makes sound so powerful in the context of building community through music is that one does not have talk about the need to work together because integration is already explicit in the goals of music. Voices and instruments in tune and playing in unison or harmony are perfect examples of this same integration. What music does is that it provides a platform where these voices and instruments can meet, without empty rhetoric getting in the way. <br><br>When I think of orchestras, I think of the virtues of public spaces. Let’s take parks for example. I am amazed at the new local project called the Gathering Place led by banker and philanthropist George Kaiser. Of course, this will be more than a public park; it is also going to be a platform to bring people together and to interact with each other. When you visit our public parks, whether it is Riverside or Lafortune parks, you can feel the pulse of and celebrate the diversity of our city. These spaces are vibrant and colorful where many languages are spoken and people can experiment with the idea of togetherness. We often hear progressive politicians talk about how we are stronger together; but these promises fall short of ideas for the actual practice of becoming stronger together. Why? (There are no cut and paste formulas that will work for every single city or community.) <br><br>Because of this same challenge, leaders must develop opportunities to help people enter into the stories of others. In my case, let me give you an example from a teaching moment at a symphonic rehearsal. There is now a growing anxiety regarding immigration to our country. Our Community Youth Orchestra at Sistema Tulsa was rehearsing a work by Dvorak. Every time I introduce a new work, I like to give a short lecture about its origins, why the piece is important, and what it can teach us. The New World Symphony was composed by a Czech immigrant who in the late 1800’s landed in a small rural town in Iowa. While in America he discovered African-American spirituals and other Native American musical expressions. One of his new friends, a man named Harry Burleigh, sang spirituals to him and he internalized the style and weaved it into a very sophisticated creation that transcends borders and has stood the test of time. “These beautiful and varied themes are the product of the soil,” Dvorak said. As they play this work, our students are entering into the chronicles of history, negotiating their own identities through the stories and ideas of others. And that is the beginning of a process to discern the potential that we have as a “union,” or at least to begin useful conversations about who we are and what we can become. <br><br>What I see as a way to bring us closer together is to learn from experiments like the Gathering Place or Sistema Tulsa. Our orchestra is a microcosm of the entire Tulsa community. We are African, Native, Hispanic, Asian, and White Americans working towards one goal, one ideal. We are also converging or meeting in a church with a membership that has been historically homogeneous but is now slowly establishing a new identity. Of course, these shifts of purpose happen very slowly and gradually, and they can come with certain amount of tension and anxiety. <br> <br>To alleviate the burden of change, one has to think very strategically and lead by example. One can also apply the rules of public policy. During a professional development course at the Harvard Graduate School of Education, I learned that people will not only support most what they help create but also what they can clearly understand. I also learned a useful technique that perhaps you could also apply when trying to enact change in your companies or work areas. It brings visioning and public-policy thinking together to bring people into the core of your idea and then invite them to develop and model it after the place or community where it will be implanted. It is called the “Eight-Fold Path” by Eugene Bardach. <br><br>The “path” includes several steps: a definition of the problem to solve, collection of evidence pertaining to the problem, identification of alternatives that can solve the problem, criteria by which to weigh the best course of action, a projection of outcomes, examination of costs vs. benefits, and documentation through storytelling. <br><br>This is speech is an example of storytelling. <br><br>Not everyone knows this but before we started Sistema Tulsa we worked for an entire year to define our mission. We sought out key leaders in the community who could teach us about how to best position our program as a change agent. (Looking for moral support is important.) We looked at resources that were already available in the community, we set up a timeline, and looked years ahead. We asked many questions like – How would we know that the program was actually working? Or how would we know our investment and energy was being put to good use? <br><br>After our first year of operation and through early independent research done by OSU-Tulsa we affirmed our program’s ideals—Sistema Tulsa is inclusive of all races and socio-economic groups, it is giving children a better love of music and broadening their horizons, it is teaching lessons in discipline and community. <br><br>Also, 100% of parents would recommend the program to other parents. 93% of parents believe that the program has taught their child to work hard to reach his/her goals. And my favorite stat – 97% of students want to get better at playing their musical instrument and 87% of them believe they have made their families proud. <br><br>Most importantly, we are learning how to work together and how to build a community that is constantly aspiring to better itself. One of our students said it best: “We learn important things here, and we have the opportunity to do something very special.” <br><br>So my friends, all it takes for steady and systematic change is that we bring the best of ourselves to each opportunity and to make sure that those opportunities can also motivate, inspire, and nurture others at the same time. Also, most ideas for innovation can already be found right in front of you. Take what you know, take what you love, and make something out of it. Ideas abound, our job is to experiment and practice connecting the dots to come up with something entirely fresh and new (They call this simple formula <em>genius</em>). <br><br>I hope that my message this morning spoke to you in some way. I hope that you can begin to think of music as a metaphor for community building and most importantly, that we can continue to aspire to be good friends, colleagues and neighbors as our communities grow and evolve over time. <br><br>If you or people that you know can help me take my work to the next level please let me know. I would be happy to continue the conversation. More about Sistema Tulsa (its mode of operation, funding, and goals) can be learned from our annual report which is found our website<br><br>Thank you all. I am so glad to meet you. <br> </p>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/4260461
2016-07-02T00:42:01-05:00
2021-10-09T10:24:08-05:00
Sistema Tulsa Faculty to Hone Skills at Carnegie Hall
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/be2eb33f870c398ef887599dcca31774dc4de12b/original/pny-carnegie-hall-gallery7-laptop-1040-529.jpeg?1467438107" class="size_l justify_center border_" /><br><br>FOR IMMEDIATE RELEASE </p>
<p>Tulsa, OK – July 1, 2016 </p>
<p>Sistema Tulsa Faculty to Hone Skills at Carnegie Hall </p>
<p>Music teachers selected to attend a Music Educator’s Workshop in New York City </p>
<p>Sistema Tulsa music educators will travel to New York City and hone their skills as part of Carnegie Hall’s prestigious 2016 Music Educator’s Workshop. The Music Educators Workshop is a community of ensemble directors from around the country who come together to learn from each other and from top-notch guest faculty, to attend concerts at Carnegie Hall, and to explore their important role as purveyors of musicality and creativity. </p>
<p>The music workshop will be focused on studying and choosing effective literature and repertoire to motivate students and awaken their artistic sensibilities. </p>
<p>Four teachers, including Sistema Tulsa Director Jose Luis Hernandez, will be in residence learning at the Resnick Education Wing at Carnegie Hall from July 13-16. Hernandez said that this opportunity will bring the faculty closer together and provide them with skills that they can utilize in Sistema Tulsa rehearsals and in their own school contexts. Best of all, this opportunity is free of cost to them. “This is a win-win for our program and our schools, he said, “teachers will bring back new tools and knowledge that will benefit Sistema Tulsa students and many more throughout our local public school system.” </p>
<p>Kelsey Rooney, a General Music teacher at Grissom Elementary and Lead Teacher for Sistema Tulsa said, “I hope to become a better teacher at this workshop so that I can continue to teach and inspire students to the best of my ability.” </p>
<p>Teachers attending: Amy Clark (Chouteau Elementary), Lauren Harper (Holland Hall), Greg Dorst (private studio), Kelsey Rooney (Grissom Elementary) </p>
<p>###</p>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/4112488
2016-03-30T12:05:18-05:00
2017-01-12T20:06:44-06:00
Across the Americas
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/44d289e3539758fee160548fcbd874adb562077b/medium/ensemble-logo-1.png?0" class="size_m justify_left border_" /><br><br><br><br><br><br>My recent guest column for The Ensemble, a monthly newsletter reporting on the U.S. and Canada Sistema-inspired movement. <br><br>April 1, 2016 </p>
<p>"Across the Americas" </p>
<p>What began as a simple spaghetti dinner with Maestro Abreu in New York quickly turned into a continental mission – as things tend to do, with the Maestro. “We are going to generate a continental project with the Simon Bolivar Orchestra of Venezuela,” he told me. I had just heard him give a lecture about unifying the Americas through music, and we talked about the mentoring relationship between two Mexican musical giants, composer Carlos Chavez and conductor Eduardo Mata, and the Simon Bolivar in its early days. It’s imperative, Abreu told me, that the spirit of this once-thriving alliance be rekindled. </p>
<p>In short order, I was in Caracas with two of Mexico’s top young musicians, bringing a new piano concerto to the Bolivars. The piano soloist was Abdiel Vazquez; the piece we premiered was Piramide del Sol, by Juan Pablo Contreras. </p>
<p>Working with the orchestra, I experienced firsthand the total commitment to music and the generosity of spirit that contribute to their distinctive greatness. I got used to hearing the brass section continue to fine-tune intricate passages long after our rehearsal ended. (The power of the string sound was a treasure to behold!) It was common for me to receive words of encouragement from orchestra members. Right before the performance, many wished me well. </p>
<p>What can we learn from the Bolivars, we who work with young U.S./Canadian Sistema programs? First, we need to do everything we can to nurture the feeling of interdependence in our orchestras—you are responsible for others and they are responsible for you. We need to think in terms of inspiring motivation in our ensembles so that they can take ownership of their own learning and outcomes. </p>
<p>The second lesson is about the “continental project.” We need to keep generating links with programs beyond our own geographical domains. The Bolivars’ path to becoming one of the world’s leading orchestras involved a diligent exchange and confluence of artistic cultures from the Americas to Europe and back. By actively listening to the sound of others, the orchestra was able to find its voice. If we listen closely across continents, we too will begin to find our voices.</p>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/4089904
2016-03-15T22:59:29-05:00
2022-01-07T00:05:06-06:00
Atlanta Music Project Take two!
<p>Pre-concert gathering with Exec. Director and Concertmaster. Just before going on stage with the Atlanta Music Project!<br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/0985339da441d5a23e8a6ae5cf704199e347df13/original/img-1277.jpg?0" class="size_l justify_center border_" /><br>All together now. Great to collaborate with these wonderful young musicians! #elsistema #music #education #AMP<br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/59ba79d88301a0c3d0ce7b8456eb05ad195ec6d5/original/img-5642.jpg?0" class="size_l justify_center border_" /><br> </p>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/4089896
2016-03-15T22:47:00-05:00
2021-06-14T07:51:00-05:00
Piramide del Sol (Full Performance Video)
<p>I am delighted to share this video of my performance with the Simon Bolivar Orchestra of Venezuela in Caracas last November. This is a brand new Piano Concerto by Juan Pablo Contreras, a leading young Mexican composer. At the piano is the phenomenal Abdiel Vázquez - Pianist who was also a joy to work with! More music to come… </p>
<p>Muy contento de compartirles este video de mi presentación con la Orquesta Sinfónica Simón Bolívar de Venezuela en Caracas el pasado mes de Noviembre. Disfruten de un nuevo Concierto para Piano de Juan Pablo Contreras, uno de los más importantes compositores jóvenes de México. Como solista el fenomenal pianista Abdiel Vázquez con quien disfrute mucho compartir este concierto. Más música por venir… </p>
<p style="text-align: center;"><iframe class="justify_center" data-video-type="youtube" data-video-id="bMofZldaj1c" data-video-thumb-url="http://img.youtube.com/vi/bMofZldaj1c/0.jpg" type="text/html" src="https://www.youtube.com/embed/bMofZldaj1c?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="360" width="480" allowfullscreen="true"></iframe></p>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/3992440
2016-01-21T13:45:00-06:00
2021-09-20T06:25:24-05:00
New Appointment - James and Mary Barnes Foundation Director of Sistema Tulsa
<p><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/1fb059a4bde75caaa2e01ff4b60a2da11db15118/original/announcement.png?1453405492" class="size_l justify_center border_" /><br><br>Jose Luis Hernandez is now appointed as The James and Mary Barnes Foundation Director of Sistema Tulsa! The Barnes Foundation Trustees are pleased that their support will "enable the Boston Avenue United Methodist Church to offer children in Tulsa a chance to enrich their lives."<br><br>"I am proud of the work we do at the Boston Avenue United Methodist Church and Sistema Tulsa," says Jose Luis. "Our program focuses on excellence, community, and partnerships to grow a more prosperous youth. I am delighted of this appointment that allows me to share my passion for music and education!"</p>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/3967353
2015-12-23T17:58:53-06:00
2017-01-12T20:06:44-06:00
Sistema Tulsa First Notes - a memorable milestone!
<a contents="Recent article/interview " data-link-label="sistema-tulsa-memorable-milestone-the-word.pdf" data-link-type="file" href="/files/215253/sistema-tulsa-memorable-milestone-the-word.pdf" target="_blank">Recent article/interview </a>on Sistema Tulsa published on The Word. December 25, 2015. <br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/ed9f4f642e7066c2d68f7e8c8530bc00a508776f/original/chrome-legacy-window-12232015-25051-pm.jpg?1450915049" class="size_l justify_center border_" />
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/3964382
2015-12-14T23:17:36-06:00
2022-05-15T02:53:15-05:00
Sistema Tulsa Plays their "First Notes"
It is inspiring to witness the beginning of young musicians’ journeys. You see them shining and feeling proud about themselves and their work. All of a sudden music means something special for them and for the community that supports them. Someone wrote to me the day after the December 11th Sistema Tulsa concert and said that we had experienced an honest-to-goodness Christmas miracle. I am proud of the work we are doing in Tulsa. <br><br>Es muy inspirador ver el principio de la trayectoria futura de jóvenes músicos. Los ves brillar y sentirse seguros de sí mismos y de su trabajo. De pronto la música significa todo para ellos y para la comunidad que los apoya. Alguien recientemente me escribió para decirme que el concierto del once de Diciembre había sido un milagro. Estoy muy contento por el trabajo que estamos realizando en Tulsa.<br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/8b46d0e8da04627d12c56bf91b23e572abbe4de0/original/dsc-0508-001.jpg?1450156840" class="size_l justify_center border_" /><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/851ab2305324876131b33f037203d48c2a546a08/original/dsc-0504.jpg?1450156523" class="size_l justify_center border_" />
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/3944859
2015-11-30T01:20:00-06:00
2017-01-12T20:06:44-06:00
Debut con la Orquesta Sinfónica Simón Bolívar
Fue una enorme satisfacción colaborar con la OSSBV en Caracas. El 20 de Noviembre tuvimos un excelente concierto donde alcanzamos un alto nivel de concertación artística y nivel interpretativo junto con el pianista Mexicano Abdiel Vazquez y el compositor Juan Pablo Contreras. Gracias a su energía y entrega logramos un gran concierto que además de ofrecer de la mejor música nos recordó la gran narrativa musical y cultural que hermana a México y Venezuela. <br><br>Para mí fue de gran emoción estar inmerso dentro del mundo sonoro tan vigoroso de El Sistema y de poder entrar en dialogo con esa experiencia. La noche del concierto recordé los consejos del Maestro Abreu y su generosidad para con todos nosotros, el linaje artístico de Carlos Chávez y Eduardo Mata con la orquesta, mi propia trayectoria musical y todas las personas que me han concedido su fe y sustento a través de los años. Todo convergió ahí en ese momento tan especial.<br><br><<<a contents="EL PROGRAMA" data-link-label="ossbv-20-de-noviembre-web-8.pdf" data-link-type="file" href="/files/212993/ossbv-20-de-noviembre-web-8.pdf" target="_blank">EL PROGRAMA</a>>><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/2e088d7a18dc2e7289ca54b3b72adfc6a8d02370/original/img-20151120-234007.jpg?1448254748" class="size_l justify_center border_" /><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/76072ddabd0ee299e1475fafb8c87bbdb9c4868c/original/img-4352.jpg?1448263664" class="size_l justify_center border_" /><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/3310b0d69d7064aaf6c1317ca5a5b5e2a132b402/original/img-5224.jpg?1449509709" class="size_l justify_center border_" /><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/05d3ca272f96e8f774f3071ebd2c94f15be3e736/original/img-4362.jpg?1449306900" class="size_l justify_center border_" /><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/757376a91f7506e1d30b641783e33fca3d12a01a/original/img-4426-1.jpg?1449040362" class="size_l justify_center border_" />
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/3965483
2015-11-12T00:25:00-06:00
2017-01-12T20:06:44-06:00
Sistema Tulsa Director to lead Simón Bolívar Orchestra
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/87157ea12b3e7484a82a2b8dc36d1b1a3d5ec2ac/original/jose-luis-hernandez-estrada-elsistema-sede.jpg?1411598896" class="size_l justify_center border_" /><br>November 12, 2015 <br><br>By Shari Goodwin for "The Word"<br><br>Jose Luis Hernandez, director of Sistema Tulsa, is about to realize a dream come true. He has been invited to be a guest conductor for the renowned Simón Bolívar Symphony Orchestra of Venezuela in Caracas. </p>
<p>This invitation brings him full circle. </p>
<p>“I graduated from TCU in 2006, then went to study in Europe,” he explains. “I was just starting to think about the art of conducting when I stumbled on a NY Times article about this miraculous El Sistema orchestra. Dr. Abreu’s idea of social change through music was compelling. God spoke to me through that article.” </p>
<p>He heard that orchestra for the first time the following year while touring in Mexico. “I had tears in my eyes; it was as if I had fallen in love with music all over again. Music meant the world to these musicians, and they were very inspiring in communicating their message.” </p>
<p>Jose Luis finished his professional studies and started a Sistema program along the US-Mexico border working with a diverse community. </p>
<p>In 2009, Maestro Jose Antonio Abreu, founder of the Sistema movement, was awarded the TED (Technology, Entertainment, and Design) Prize and was granted a wish: to identify “gifted young musicians, passionate about their art and social justice,” who would take his vision to the world. </p>
<p>Jose Luis was one of those chosen for a year-long fellowship at the New England Conservatory, and he traveled between Boston and Caracas to study and prepare to lead the program further. He has started orchestras in Oklahoma City, and now in Tulsa at Boston Avenue. </p>
<p>Jose Luis is now studying scores to prepare for his time with the orchestra next week. He will rehearse with them for three grueling hours every morning, then he hopes to visit Sistema students and leaders in the afternoons. The concert is November 20. </p>
<p>“When I step on that podium, I will be ready to share my love of music and to lead them well,” he says. “This orchestra is used to working with the world’s very best conductors. </p>
<p>“This will be my opportunity to thank them for the gift of inspiration.”</p>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/3893808
2015-10-12T14:44:27-05:00
2021-10-22T14:33:27-05:00
Sistema Tulsa teaches lessons beyond music
<a contents="" data-link-label="" data-link-type="url" href="http://www.tulsaworldtv.com/Sistema-Tulsa-a-new-music-education-program-at-Boston-United-Methodist-Church-29761112?ndn.trackingGroup=91468&ndn.siteSection=tulsa_nws_loc_sty_pp&ndn.videoId=29761112&freewheel=91468&sitesection=tulsa_nws_loc_sty_pp&vid=29761112" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/38f0221bc1a1783e7c30b2557f762b2dd681aa4e/original/chrome-legacy-window-1222015-14209-am-001.jpg?1449125357" class="size_l justify_center border_" /></a>
<p>By JAMES D. WATTS JR. World Scene Writer</p>
<div id="blox-story-text"><div id="paging_container"><div>
<p>Excerpt /<a contents=" Read More" data-link-label="" data-link-type="url" href="http://www.tulsaworld.com/scene/artsandentertainment/sistema-tulsa-teaches-lessons-beyond-music/article_22fbcd55-b9ab-54a6-a2ae-ca20bba4d37a.html" target="_blank"> Read More</a></p>
<div><p>The purpose of El Sistema, Hernandez-Estrada said, “is to use music, to use our culture, as the vehicle to raise up a new generation of achievers and give them the tools they need to succeed. “All instruction is done in ensembles, and we meet five days a week, so the instruction is intensive,” Hernandez-Estrada said. “The idea is to develop a sense of discipline and focus, as well as the ability to work accurately and to work well with others.</p></div>
</div></div></div>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/3944845
2015-10-12T01:05:00-05:00
2017-01-12T20:06:44-06:00
Magical Evening of Music with Wynton Marsalis
<p>Those who attended the Jazz at Lincoln Center Orchestra’s concert experienced a world class musical event. Wynton Marsalis and the orchestra members all demonstrated outstanding composing, arranging and jazz performance skills to a full Tulsa Performing Arts Center crowd. The concert was a benefit for Sistema Tulsa, the social change through music education program that began here last month to help Tulsa students.<br><br>I had the opportunity to offer a welcome message and introduce the musicians before their performance. After the concert, Mr. Marsalis graciously spent time with some of the students. Special thanks goes to the Brannin Family Foundation for their generosity in underwriting the excellent concert.<br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/643fbf8bd426f2a7f1cbc9950f00e5448c053c65/original/334a2101.jpg?1449039579" class="size_l justify_center border_" /><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/7dfa55c5701939ba71a439314039a693e064ebf1/original/334a2095.jpg?1449039601" class="size_l justify_center border_" /><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/962f27798bd9b3def7010e59e10398e941b1defa/original/334a2075.jpg?1449039710" class="size_l justify_center border_" /></p>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/3870534
2015-09-26T21:15:33-05:00
2015-09-26T21:20:04-05:00
Interview from Public Radio Tulsa
<br>From Public Radio Tulsa: <br><br>On this edition of Studio Tulsa, we learn about the nonprofit program known as Sistema Tulsa. Per its website, <a href="http://sistematulsa.org/">Sistema Tulsa</a>"envisions how a comprehensive and inclusive music program can positively impact the social, cognitive, and aesthetic realms of youth development. Supported by partnerships with the Boston Avenue United Methodist Church and the Tulsa Public Schools, Sistema Tulsa plans to provide a model for accessible, ensemble-based music programs that enrich the lives of local youth across varied underserved communities. Inspired by the philosophy and values of El Sistema in Venezuela, the program aspires to grow and support youth musical ensembles that exemplify and nurture the pursuit of excellence and high aspiration. <br><br>In this edition of Studio Tulsa, Jose Luis speaks "both eloquently and incisively about the profound ways in which music can enrich the lives of students -- as well as the families and communities of those students." <br><br>Listen here: <a contents="&nbsp;http://publicradiotulsa.org/post/sistema-tulsa-education-enrichment-mentoring-empowerment-and-social-changethrough-music#stream/0" data-link-label="" data-link-type="url" href="http://publicradiotulsa.org/post/sistema-tulsa-education-enrichment-mentoring-empowerment-and-social-changethrough-music#stream/0" target="_blank">http://publicradiotulsa.org/post/sistema-tulsa-education-enrichment-mentoring-empowerment-and-social-changethrough-music#stream/0</a>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/3773598
2015-07-10T17:07:03-05:00
2020-10-09T01:30:45-05:00
Remarks in support of Sistema Tulsa at TPS School Board of Education
<p dir="ltr"><em><iframe class="justify_inline" data-video-type="youtube" data-video-id="rt9MP-5Qg1M" data-video-thumb-url="http://img.youtube.com/vi/rt9MP-5Qg1M/0.jpg" type="text/html" src="https://www.youtube.com/embed/rt9MP-5Qg1M?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="315" width="560" allowfullscreen="true"></iframe><br>Remarks given at the July 7, 2015 Regular TPS School Board of Education meeting in support of agenda item G-6. </em><br><br>With your permission Madam President: <br><br>My name is Jose Luis Hernandez. I am founding director of Sistema Tulsa. I would like to begin by thanking the School Board for allowing me the opportunity to comment on the Memorandum of Understanding that is being recommended today, which outlines a partnership between the Boston Avenue United Methodist Church and the Tulsa Public Schools in support of Sistema Tulsa.</p>
<p dir="ltr"><a contents="Sistema Tulsa" data-link-label="" data-link-type="url" href="http://sistematulsa.org%20" target="_blank">Sistema Tulsa</a> is a brand new after-school music program with an educational impact focus that will launch on September 9th of this year. On its first and pilot year, it will serve up to 80 students representing three Elementary schools—Burroughs, Chouteau, and Lee. These students will participate in the program daily, receive free tuition, instruments, and instruction from quality teachers, some of which are music teachers in the district.</p>
<p dir="ltr">Our program envisions music education as a tool for human development and social transformation among underserved communities. From the Boston Avenue perspective, it is also an opportunity to provide our fellow citizens with access to what we believe can be best described as an "affluence of the spirit."</p>
<p dir="ltr">Our model is adapted from El Sistema, an international arts learning movement now present in 35 countries and in over 90 communities in the United States. The model supports a philosophy of education based on moderating learning experiences within high-functioning, aspiring, and nurturing communities. Research shows that students participating in musical ensembles with Sistema program around the US are improving their academic achievement, developing empathy towards others, fostering integration among their peers, and persevering through the discipline and focus that the practice of music requires.</p>
<p dir="ltr">A few weeks ago, our Superintendent of Schools, Dr. Deborah Gist, sent out a survey to the Tulsa community so that they could help us discern the most critical needs for education in our district. "What is the purpose of K-12 public education in Tulsa?" she asked. 80% respondents said, and I quote, “To help students fulfill their potential and have choices in life.”</p>
<p dir="ltr">I see Sistema Tulsa as playing a part in response to that need.</p>
<p dir="ltr">Sistema Tulsa affirms that the intensive study of music framed as part of a social or community experience can help participants develop critical habits of mind that will allow them to be persistent in spite of adversity, produce accurate work, work well with others, and think about their future in a positive light.</p>
<p dir="ltr">We will measure positive gains over time with the help of researchers from the Center for Music in Education in Boston and the OSU Center for Family Resilience.</p>
<p dir="ltr">For the past several months we have been working with Principals, PTA presidents, music teachers, and other leaders to shape the purpose and pedagogy of our program. We’ve transferred the most relevant practices and ideas from El Sistema in light of our working context. The process has been very rewarding. It has allowed us to plant the seeds for a truly community led program that can also aspire to be a model for partnerships-in-education.</p>
<p dir="ltr">On behalf our program, its advisory committee and funders; our students, families, and staff. We thank the district for all of the support given to this cause. I also would like to thank Rochelle Klein who helped us lead the effort to bring this MOU to the Board today. Also, the district Fine Arts and Music Coordinators deserve our recognition, as well as the lead Elementary ILD Director for supporting our work. </p>I know that we will do a good work together and will look forward to receiving the School Board’s feedback and input as we sustain and grow this program over time. We are delighted to formally begin this partnership. Thank you very much.
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/3748370
2015-06-20T15:54:03-05:00
2015-06-20T15:54:03-05:00
Charting a Path to Clarity in Sistema-inspired Work
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<p><em>First Published June 19, 2015 on the Sistema Fellowship Center <a contents="Blog" data-link-label="" data-link-type="url" href="http://sistemafellows.typepad.com/my-blog/" target="_blank">Blog</a></em><br><br>One of my education systems professors at the Harvard Graduate School of Education recently shared that “People support most what they help create.” (Cassidy 2015) For Sistema-inspired leaders and especially those who have delved into program design, applying this simple but powerful aphorism can help them chart a compelling vision for change.</p>
<p>Outcomes are an important piece of visionary thinking, but let us also not forget the value of leveraging people and ideas. This is how we can create economies of scale and bring programs to the next level. We know that music education produces a myriad of social, cognitive, and aesthetic outcomes and there is ample evidence to support its value, yet we seldom focus on music education as public policy. Every single Sistema program in the US and elsewhere has the potential of being an experiment of that possibility. They are producing relevant outcomes at the local level and soon enough researchers and practitioners will collaborate at the national level. The field has the potential of being successful at this practice. To reach such a level of sophistication we must pause and consider what is working and how we can multiply its effects. So my hope for this blog is to draw attention to a powerful framework that can help Sistema-inspired leaders think more deeply about their work and position their practice as relevant interventions that can lead to systemic change.</p>
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<div>Sistema has been an influential force in arts education worldwide. As it became widely disseminated through the media and other scholarly explorations, the Venezuelan program presented us with opportunities and challenges to engage with music education as an innovation for solving a community’s deepest social needs. A leading scholar in the field of international education, noted that innovations, whichever part of the world they hail from, must be “reinvented by adaption.” And discerning the context in which we operate is key to their successful application. Equally important is that discerning leaders should know which elements to transfer and which to leave behind. Some “innovative” ideas can be “superficial and inaccurate” so we must be careful as we consider them as plausible. (Reimers 2015)<p>I am currently working to design a Sistema-inspired program in Tulsa, Oklahoma, that will affirm the value of music-in-education. Our work is designed to serve as a platform to culture aspirations for human development in a group of inner-city elementary level students. To gain dexterity in the process of program design, I’ve been applying a tool called the “Eightfold Path” as outlined by Eugene Bardach in his book, <em><a href="http://www.amazon.com/Practical-Guide-Policy-Analysis-Eightfold/dp/1608718425" target="_blank">A Practical Guide for Policy Analysis: The Eightfold Path to More Effective Problem Solving</a>. </em>This tool charts a clear path to conceptualize designs that can be embraced at both the social and political level. The “path” includes several steps: a definition of the problem to solve, collection of evidence pertaining to the problem, identification of alternatives that can solve the problem, criteria by which to weigh the best course of action, a projection of outcomes, examination of costs vs. benefits, and documentation through storytelling. You might have also heard of “logic models” as a parallel idea and found the tool to be useful (if you have not done so, I recommend exploring the Kellogg Foundation’s <a href="https://www.wkkf.org/resource-directory/resource/2006/02/wk-kellogg-foundation-logic-model-development-guide" target="_blank">Logic Model Development Guide</a>), but the Bardach approach posits a more contextual approach that invites practitioners to really “see” their work at work in the midst of landscapes of constant fluctuation and change. </p>
<p>We tend to think of policy makers as specialized technicians sitting in an ivory tower dictating how public benefit programs should operate. The beauty of our field is that most Sistema-inspired leaders have the opportunity to take on multiple roles and so many of them might already be engaged in the practice of policy making without realizing it. From that vantage point, the practice of policy making can evolve organically as they make critical decisions in support of the communities that they serve. My hope for these leaders is that they would begin charting and documenting their path for change and inviting others to reflect upon that work. This is a critical piece of a program’s sustainability. <br><br>The work that we are doing together across the country (over ninety programs and counting) is a testament of our collective vision for change. But we must bring this change to the next level by thinking broadly and transferring ideas and frameworks from other disciplines into our work. Sistema-inspired leaders are adapting a noble educational philosophy that posits bringing music education to the masses but we still have a long way to go to reach our goal. To be successful, we can begin by examining our own work more closely and using relevant tools to test its logic. Local programs can grow stronger when they articulate their goals clearly, establish links with like-minded programs, leverage resources in the community, and bring people together to pursue a shared vision. People will not only support most what they help create, but also what they can clearly understand.<br><br>Jose Luis received an Innovation Grant from the Sistema Fellowship Resource Center to pursue a professional program in educational leadership through Harvard University's Graduate School of Education. He currently lives in Tulsa, Oklahoma, and leads the design and management of <a href="http://www.sistematulsa.org/" target="_blank">Sistema Tulsa</a>.</p>
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joseherstrada.com
tag:www.joseherstrada.com,2005:Post/3697324
2015-05-07T08:48:50-05:00
2015-05-07T08:52:20-05:00
Speech on a "Pedagogy of Compassion" 04/25/2015
On April 25, 2015 I spoke to a group of United Methodist Women in Tulsa, Oklahoma. They are part of a service organization that engages with various social mission throughout the city. I was the speaker for their Quarterly Meeting. I spoke about my engagement with the work of Sistema, music education, and social justice. (Sistema is an after-school and full scholarship music program that serves youth and families who can benefit from an intensive, disciplined, and joyful approach to education.) I focused on sharing several ideas. One that resonated was the role a pedagogy of compassion plays in redefining priorities for education. Here is an excerpt of my speech which I have recently revised to follow an essay format:<br><br>You will recognize these words: “Do all the good you can. By all the means you can. In all the ways you can. In all the places you can. At all the times you can. To all the people you can. As long as ever you can.” These are the words of John Wesley. His teachings were instrumental in the founding of Methodism and they continually inspire many to think in terms of offering their lives as instruments of service in a spirit of social action or communal fraternity.<br><br>We need to think service in terms of a pedagogy of compassion. Such pedagogy may not just apply to the work of Sistema or music education but can spill over in and through other service missions. So many projects that you are already part of. In order to discern our role in nourishing compassion, we need to take a hard look at the reality of our world. Not in the way the famous actress Gwyneth Paltrow was challenged by the Food Bank of New York and sought out to live on $29 a week for food and then failed what turned out to be a widely broadcasted publicity stunt. Not like that. I am talking about getting to know people at the core of their humanity. Yet getting to know people also means suffering with them. That can be difficult for so many of us. Where should we start? Nelson Mandela said, that human compassion must bind us to one another—not in pity or patronizingly, but as human beings who have learnt how to turn our common suffering into hope for the future. Let’s pause and ponder the words. I invite you to explore those ideas. What does a pedagogy of compassion really entail? Does it entail experimenting with whether you can survive on little money for food or really getting to know people at the core of their humanity? And to suffer along with them. Those who are in service to others cannot ever pontificate from a pedestal. You might fight in the trenches, be in the trenches. Before my speech today, someone asked me whether I had an assistant to take Sistema student applications to schools or do some of the things that directors don’t have time to do? I said that I did not need such help. I need to take those applications myself. See the Principals, meet with parents, and speak to teachers. I need to meet them face to face so that I can feel who they are. To understand where our participants come from. I need to know the needs that inhabit their being. Because when I do that I realize that I have a lot to learn. We can all learn from one another. As we do, we come to cultivate a richness, an affluence of the Spirit as a community and as people. Even as we struggle and also as we thrive together.<br><br>As an educator, it is very important for me to engage with social contexts. What are some of the challenges that students living in poverty today face? I am asking about Tulsa, and Chicago and Philadelphia and the inner cities across the country. The Harvard Center for the Developing Child has uncovered many of these general challenges. The list several and include environments of violence in neighborhoods where there are almost daily thefts and drive-by shootings. Chronic parental neglect not because of choice, but because parents must work extra shifts and have other jobs to make ends meet; and they can’t see their children to bed, or read them a story, or sing them a lullaby. And then there is economic uncertainly. These all can become toxic stressors that impede proper brain development. The stressors have an impact in the development of executive functions, the brain’s air traffic control system, if you will. Working memory, mental flexibility, and inhibitory control are all essential tools that young people need to succeed later in life as they go to school, engage with their families, and play soccer at the local league. Here in Tulsa, George Kaiser is working to alleviate some of those challenges by providing a robust services platform for children between 0-3 years of age. This is the time when brain architecture is developed and is a crucial moment to invest to change the trajectory of child’s cognitive and emotional capabilities. This is important.<br><br>I hear educational leaders talk about the need to improve test scores and build better school infrastructures as if these could improve in a year or two. It doesn’t work like that. There are no magic wands to achieve instant success. We first need to understand where people are coming from. And then work with them and suffer with them. We have a lot of challenges. One of such challenges is segregation in our schools. Years after the civil rights movement, we the people have still have not achieved the ideals of equality and justice that all rightfully and unequivocally deserve. As I travel to schools in Tulsa, I see schools that are made up of a large number of minorities, sometimes up to 90 percent. And this is due in part because there is residential segregation. This of course is a larger issue that merits revision into many archaic public policies. Richard Rothstein has written eloquently about this and has expressed that social and economic disadvantage—not only poverty, but also a host of associated conditions—depresses student performance and that "concentrating students with these disadvantages in racially and economically homogenous schools depresses it even further." As we are building the Sistema Tulsa program, I’ve been very much aware of this phenomenon. And I ask myself, if we are truly looking to seek a social change through music education and believe that the orchestra can be a model for integration and social inclusion, shouldn’t we bring students together to play from all walks of life, rich and poor? So we are finding schools that together would strike that balance. Yet when I mentioned Lee Elementary to a few people, a school known for its maturity and perceived higher economic affluence, I received criticism. “Isn’t your Sistema program, an initiative for the poor?” they said. I believe this criticism was unfounded and lacked seriousness or understanding. I explained that our logic follows a research based approach and belief that if we integrate disadvantaged with more privileged students we can help narrow the achievement gap. Rothstein further explains that if we were to only focus on those students who are challenged the consequences of disadvantage would be exacerbated. So we must work towards inclusion not just in the orchestra but in the universe of our daily conversations, work spaces, and positions of leadership.<br><br>Not too long ago, I visited Chouteau Elementary to promote our program as part of a formal presentation. As I walked out of the room a family of Hispanic descent stopped me and asked, “Are you Mexican?” I said yes, my parents grew up in Mexico. Their eyes light up and I could sense that the little girl felt very proud about this. All of a sudden there was validation towards her heritage and in being able to feel that she can play a part in shaping the fabric of her own community. This also reminds me of the need to be role models for children. Especially teenage boys who because of their engagement with video games or music videos might develop a distorted view of the world and their role in it. (There aren’t that many male teachers in our schools. A recent study concluded that 1 of 10 Elementary level teachers is male. We need to encourage more participation because strong male role models are an important piece of the educational process.)<br><br>Speaking of views that shape habits of minds, I am also concerned about the amount of standardized testing that goes on at our schools. A few days ago, I sat as a monitor to the Oklahoma Core Curriculum Test or OCCT and I learned much from this experience. I was also reminded of Paulo Freire’s luminous book “Pedagogy of the Oppressed” as he warns socially conscious educators of employing any kind of activity that might have the potential to depreciate students. Every year, as test results come in to schools that are at-risk or disadvantaged their report cards tell them that they have made very little or no gains whatsoever. A letter grade of F is issued, and as a result, the community becomes demoralized. This tells them, as Freire contends, that “they’re good for nothing” and with time “they finally believe it.” This is a very dangerous educational practice. We must do everything we can to turn these flawed perceptions of non-aspiration around. This where I think music education can play a liberating role by recognizing each person as an asset, including them in an experience far greater than themselves, and weaving them into the fabric of beauty. And as they work hard to sound better they come to the quiet and spiritual realization that "nothing will work unless they do" (wise words from Maya Angelou). I think this is what compassion is all about. The British poet Siegfried Sassoon wrote a poem that I really like and I think it reflects the kind of feelings I’d like to impress upon you today:<br><br>Everyone suddenly burst out singing;<br>And I was filled with such delight<br>As prisoned birds must find in freedom,<br>Winging wildly across the white<br>Orchards and dark-green fields; on - on - and out of sight.<br><br>Everyone's voice was suddenly lifted;<br>And beauty came like the setting sun:<br>My heart was shaken with tears; and horror<br>Drifted away ... O, but Everyone<br>Was a bird; and the song was wordless; the singing will never be done.<br><br>The bird is such a compelling metaphor as for everyone must find their voice and their passion and then sing it out loud to the world. As compassionate people, we must be there to help make that happen and feel that our song is bound up with theirs in the darkest and brightest passages of harmony. Even in the midst of our condition, I am still hopeful. And I hope that you will be too because we need people like you to help others understand how to make our communities a better and much richer place.<br><br>-Jose Luis<br>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/3644557
2015-04-06T19:41:36-05:00
2015-04-06T19:44:43-05:00
A few thoughts on Education - April, 6, 2015
<p>A few days ago, I visited with students and parents at a local Tulsa Elementary school to speak about music education and our Sistema Tulsa project. I enjoy these opportunities because I can connect and learn from them. I always feel that effective education should be a "from the ground up" or grassroots process if you will—where parents, teachers, and students must all "play" in concert to make it work.<br><br>As I shared a dinner in the school cafeteria, I met a mother and daughter who told me that they really enjoyed their school. As the conversation unfolded, I learned that the daughter, a third grader, had a few pieces of constructive criticism to share. She said, I make the Principal’s Honor Roll every time, yet I don’t feel like receive the recognition I deserve.” She believes that the school pays too much attention to behavior management and to her it seemed that doing well in that area carried more weight as far as rewards were concerned. I wonder if the school, or any school for that matter, has a process in place to hear the feelings, attitudes, or aspirations of their students. I know this would not be an easy task given the extraordinary demands teacher face on daily basis, but I learned that even taking a few minutes to hear a concern over a quick dinner can make a big difference to make a student feel included.<br><br>This exercise of inclusion can be productive on many levels. First of all, because it recognizes someone’s viewpoint and this can be important in the educational process. When Howard Gardner was in here in Tulsa to lecture on his ideas as part of the Brock International Prize in Education, he explained the concept of “individuation.” He shared that teachers must be conscious of each student’s intellectual profile (I would also add an emotional profile as rendered by the contextual circumstances of their own life). Interestingly enough, individuation is not a new practice. It happens often in the context of personal instruction or tutoring which for the most part only the more economically affluent students can partake in. In urban school districts where poverty might be an issue, all who participate in education cannot shy away from the potential of being as present as we can be in the life of each student. This of course is a parent’s responsibility first but needs to also be balanced among different supporting pillars.<br><br>I remember my first piano teacher used to say that it took the participation of the student, the teacher, and the family to reach success. I know that educational leaders often try their best to plan activities where the three can meet and share. The parent teacher conference or the “Rise and Shine” general assembly come to mind. Lately, I witnessed another type of bonding experience—the Music Festival. Around thirteen Elementary schools in Tulsa met to make music together through "Orff" ensembles and choral groups. About 200 students shared the stage with several teachers taking turns at leading the music. The general atmosphere at these events is always one of pride and celebration. It always impresses me to see so many cameras and flashes shining around, as if this were a Garth Brooks concert. But the whole point of the experience goes much farther than the waves that a musical tune can produce or the images that can be captured on a cell phone. This is about the experience of being in the presence of a much more hopeful future. As students sang (and they sang with gusto) you could sense that they felt that they were part of something important. How many times have students left a testing room feeling elated or proud about themselves?<br><br>Back to Gardner and his talk, in addition to individuation there was also “pluralization” in learning. This idea has everything to do with finding ways to teach a specific idea from multiple perspectives. There is research to prove that the arts can teach us much more than playing a note in tune or drawing a line with finesse. In fact, there are several experiments around the country having to do with what experts call “expeditionary learning” where mathematics or language can be taught from a musical perspective. I have not fully participated in this but I presume that this would work given I can still remember all 50 states and all the Books of the Bible (since they were taught to me in the form of a song).<br><br>Beyond the academic realm, I do think that there are things that only the arts can teach us. The great American jazzman Wynton Marsalis speaks eloquently on this subject. He uses music and swing as a metaphor for inclusion. “Music necessitates listening to and working with others in fulfillment of the requirements of ensemble performance,” he says, “The art of swing is the art of balance, of constant assertion and compromise.” I like the word compromise because it implies trust. And perhaps this is just what we need more of today. We need to find ways to listen better to each other, to recognize that viewpoints which might be foreign to us still matter, and to celebrate our diversity in the broadest sense of the word. I remember the student at the local Elementary school and ponder that this is perhaps why it is so important that we can listen to the most vulnerable of voices because they can teach us how we should lead and how the music should sound.<br><br>-Jose Luis<br> <br> </p>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/3526616
2015-02-12T19:35:54-06:00
2020-06-27T06:10:52-05:00
El Sistema 40
<br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/0c98786fe1bf16f55b7ffa13074086711de4be0c/original/dudamel-hernandez-abreu.jpg?1423262779" class="size_l justify_none border_" /><br>Por su transcendencia social y educativa, El Sistema es uno de los más importantes proyectos culturales de nuestros tiempos. En su 40 aniversario, me uno a la celebración de sus logros e ideales sublimados por el trabajo constante y paciente de su fundador José Antonio Abreu. Me siento muy orgulloso de poder ser parte de ese gran sueño de proyección hacia el futuro. ¡Felicidades! <br><br>Because of its social and educational significance, El Sistema is one of the most important cultural projects of our time. On its 40th anniversary, I join the celebration of its achievements and ideals guided by the constant and patient work of its founder José Antonio Abreu. I feel very proud to be part of this great dream of growing better futures. Congratulations!
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/3483172
2015-01-23T16:39:55-06:00
2017-01-12T20:06:44-06:00
Music Among Friends / January 25
<img src="//d10j3mvrs1suex.cloudfront.net/u/53545/d9f97898f7dd2d62982d298f49fcaabd521c1c5b/medium/boston-avenue-methodist-church.jpg?1422052653" class="size_m justify_right border_" /><br>I am pleased to share an upcoming musical performance in Tulsa, OK. <br><br>Next Sunday, January 25, some of Tulsa’a most gifted instrumentalists will join members of Boston Avenue’s music program to perform a beautiful concert of chamber music at 5:00 p.m. The concert is free and open to the public.“This concert will feature pieces that are quite intimate and expressive,” says Joel Panciera. In addition to two new vocal works by American composers, the concert will include solo concertos by J. S. Bach and Wolfgang Mozart. <strong>Jose Luis Hernandez-Estrada</strong> will be a featured soloist on the Mozart piano concerto. The chamber group will also perform movements of Handel’s famous Water Music. <br><br><em>The concert is free and open to the public.<br>Boston Avenue United Methodist Church<br>1301 S Boston Ave, Tulsa 74119 </em><br>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/3479615
2015-01-21T23:18:31-06:00
2015-01-23T16:26:38-06:00
New England Conservatory "Innovation Grant"
I am happy to share that I am the recipient of the New England Conservatory's <em>Sistema Fellows</em> Resource Center<strong> Innovation Grant</strong>. This grant will allow me to pursue advance studies through the Harvard Graduate School of Education professional program "Leading Change in Education Systems." The committee stated their support in helping me "pursue learning of personal interest that will also contribute to the growth and thinking of the rest of the field."
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/3428326
2014-12-22T16:28:12-06:00
2017-01-12T20:06:43-06:00
The Messiah at Boston Avenue
I recently had the opportunity to conduct in a performance of Handel's masterpiece "Messiah" during the Advent Season at the Boston Avenue Church in Tulsa. It was a concert full of joy, warmth, and beauty. And a wonderful testament to the idea that music can bring people together and make communities stronger. I am grateful to music director Dr. Joel Panciera, Susan Panciera (organist), the Chancel Choir, and the Tulsa Symphony Orchestra musicians for all of their support and generosity of spirit. <br><br>Wishing everyone a Merry Christmas! <br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/e435f481f3b71b4c18e61c0ac6781cbffa9695a6/original/img-20141222-161219.jpg?1419287119" class="size_l justify_left border_" />
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/3346655
2014-12-01T12:56:05-06:00
2017-01-12T20:06:43-06:00
Music in the Advent and Christmas Season
<br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/b3d235d92c51b7232b93a2087955c635de0de9fa/original/boston-avenue-methodist-episcopal-church-tulsa-ok-interior-hymnal.jpg?1417460933" class="size_l justify_none border_" /><br><br>I am pleased to share two upcoming musical performances: <br><br><strong>The annual Advent Festival of Lessons and Carols will be held on Sunday, December 7th at 4 and 6 p.m.</strong><br><br>This service is patterned after a similar one held at King’s College Chapel in Cambridge, England. Scriptures will be shared by readers of all ages, and those readings will be interspersed with hymns and carols accompanied by a chamber orchestra. Singers and instrumentalists will be led by Dr. Joel Panciera and Jose Luis Hernandez-Estrada. The rich acoustics produced by the long shape and marble surfaces of Great Hall create a sound much like that in the great cathedrals of England, where this service began. Those attending should arrive early as the hall fills quickly.<br><br><strong>The Nineteenth Annual Natalie O. Warren Presentation of Handel’s Messiah will be held on Sunday, December 21st at 5 p.m.</strong><br><br>Boston Avenue Church's <strong>Chancel Choir</strong> will join forces with members of the <strong>Tulsa Symphony Orchestra</strong> to perform George F. Handel's timeless masterpiece, Messiah. This concert performance of Messiah will include movements from all three parts of the oratorio. Singers and instrumentalists will be led by Dr. Joel Panciera and Jose Luis Hernandez-Estrada.<br><br><em>Both services and concert are free and open to the public.<br>Boston Avenue United Methodist Church<br>1301 S Boston Ave, Tulsa 74119 </em>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/3328129
2014-11-25T13:50:31-06:00
2014-11-25T13:56:31-06:00
Awaken the Dawn (Broadcast)
<br><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/TsW56Oezeoc?rel=0" width="560"></iframe>
<div style="text-align: center;"> </div><em>Awaken the Dawn</em> is the title of my latest piano solo composition. It was dedicated to the congregation of Boston Avenue United Methodist Church in Tulsa. This is the live broadcast that aired November 9th on KTUL-TV Channel 8.<br><br>Happy Thanksgiving!
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/3247177
2014-11-20T14:55:54-06:00
2014-11-20T15:04:06-06:00
Professional updates 11/2014
<br>Two exciting professional updates: <br><br>I am delighted to share news of my <strong>recent appointment</strong> as program director of <strong>Sistema Tulsa</strong>, a forthcoming El Sistema-inspired program for the city of Tulsa, Oklahoma. Sistema Tulsa is a visionary community-wide project of social change through music. Inspired by the educational philosophies of <a contents="El Sistema" data-link-label="" data-link-type="" href="http://youtu.be/rYXK8TZADws" target="_blank">El Sistema</a> in Venezuela, the program will grow and support children and youth musical ensembles that exemplify and nurture a culture of aspiration. In concert with Tulsa Public Schools and numerous community partners, the project will be hosted and led by the <strong>Boston Avenue United Methodist Church</strong>. <br><br>I <strong>have been accepted</strong> into the 2015 cohort of <em>Leading Change in Education Systems</em>, a professional program of the <strong>Harvard Graduate School of Education</strong>. The program examines the challenges of leading the development and implementation of effective policy and practice in order to provide quality education.
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/3277118
2014-11-11T14:39:44-06:00
2017-01-12T20:06:43-06:00
Album Release - Sounds Blooming
My new piano solo album “Sounds Blooming” is now available via iTunes digital release. The recording was made in Boston’s WGBH studios and features an array of introspective and modernist works by John Cage, Claude Debussy, Gustav Mahler, and others.<br><br>My nuevo álbum de piano solista “Sounds Blooming” ya está disponible vía formato digital de iTunes. La grabación fue producida en los estudios de la WGBH en Boston y contiene una colección de obras modernistas e introspectivas de John Cage, Claude Debussy, Gustav Mahler, entre otros. <br><br><a contents="https://itunes.apple.com/us/album/sounds-blooming/id939047043" data-link-label="" data-link-type="" href="https://itunes.apple.com/us/album/sounds-blooming/id939047043" target="_blank">https://itunes.apple.com/us/album/sounds-blooming/id939047043</a><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/ee4c9cc4c2457af915fb0787b83b05338a3017e2/original/sounds-blooming-high-res.jpg?1415738282" class="size_l justify_left border_" />
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/3213517
2014-10-02T01:55:00-05:00
2017-01-12T20:06:43-06:00
El reto de aprender (y enseñar) a dirigir
<div class="captioned justify_none"><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/bc3bdb0c29afa23e28a737d228fd244f05c218de/large/img-20140917-230326-001.jpg?1412223103" class="size_orig justify_none border_" /><p class="caption">Los jóvenes aprenden de las orquestas en formación… </p></div><br><em>Por José Luis Hernández-Estrada</em><br><br>Entre las responsabilidades que se me asignaron dentro de mi reciente visita al Sistema Nacional de Coros y Orquestas juveniles de Venezuela destacó la impartición de un taller para diez jóvenes directores orquestales con sede en el núcleo rural de Mamporal. El grupo estuvo compuesto por algunos integrantes ya con preparación y experiencia en la dirección orquestal. Y otras nuevas batutas con poca experiencia pero con amplia pericia en su instrumento musical. Además de trabajar dentro un plano teórico y artístico tuvimos también la oportunidad de reflexionar sobre ideas en torno a la concertación comunitaria y el liderazgo social. Vi en ellos a un grupo sólido con una hermosa vocación musical y de servicio. <br><br>En Venezuela existe ya una gran escuela en torno a la materia. Basta revisar los éxitos internacionales de algunos de sus integrantes de mayor proyección: Dudamel, Matheuz, Paredes, entre otros. El trabajo de los pedagogos venezolanos iniciado por José Antonio Abreu y seguido con igual devoción por Teresa Hernández, Felipe Izcaray, Gregory Carreño, entre otros, ha cobrado particular trascendencia a raíz de los objetivos propuestos y metas alcanzadas. Se esta formando—por necesidad y convicción—una cantera importante de talentos que aspiren a cumplir con las expectativas de expansión del Sistema y masificación de su creciente excelencia artística. <br> <br>Habiendo casi una infinidad de orquestas con las cuales los estudiantes pueden practicar, los postulantes al podio comienzan desde muy temprana edad. Cosa que no sucede en ninguna otra parte del mundo. (Tan solo en los conservatorios y universidades norte americanas, los estudios formales de dirección orquestal no aparecen hasta el grado de maestría). En la gran mayoría de los casos estos nuevos talentos venezolanos surgen de las filas de las orquestas manifestando su liderazgo de manera natural—solicitando más responsabilidades, asimilando su arte con mayor profundidad, y comenzando a imaginar su relación para con sus compañeros dentro de una dinámica de acción social. Asimilar esta visión del director no solo como músico, si no como agente social, adquiere importancia dentro de la didáctica musical. <br> <br>Dice el maestro Abreu que para gestar un director debe existir una ambición de liderazgo acentuada por la humildad. Debe oír todo y oírlo bien. También debe de ser un autodidacta voraz. Debe de saber controlar el tempo. Y revelar sus errores como una experiencia viva que otorgue nuevas soluciones. El maestro mexicano Eduardo Mata concebía la dirección orquestal como un acto de creación—“La música no existe hasta que suena…es decir, hasta que el interprete la realiza en el tiempo.” Daniel Barenboim apunta hacia un universo pragmático al decir que la disciplina consiste primordialmente en “educar el oído.” Leonard Bernstein en uno de sus aforismos dionisíacos se refiere a que uno no debe hacer música, debe <em>ser</em> la música.<br> <br>De vuelta a nuestro taller, asimilo el reto con alto compromiso, ¿Como se enseña a dirigir? Aún cuando existen textos académicos, análisis, y observaciones de expertos que nos muestran técnicas pedagógicas es difícil diseñar un plan académico que pueda ser aplicado a todos los alumnos por igual. La realidad es que cada futuro director es único y sus anheles son distintos. Cada uno se asoma al podio con su propia fuerza y pulso interior. Este se va perfeccionando con el tiempo, la experiencia, y el estudio profundo de las partituras (dentro de su contexto tanto histórico como estilístico). Para sentir la música hay que sentirse parte de la plasticidad del sonido. A medida que las armonías transcurren en el espacio-tiempo, el director debe de ser sensible a sus señales y permutas, moldeándolas con sus manos y su gesto. Y para lograr esa hazaña debe saber escuchar, que ineludiblemente es lo mas difícil de lograr. Todo gira en torno a la audición aguda y perspicaz. ¿Todo eso se puede enseñar?<br> <br>Creo que en gran medida esto depende del alumno y su sensibilidad. Eso si, debe de haber logrado un alto nivel en su instrumento principal que le permita generar una estética sonora propia, también una actitud de servicio hacia la música, y un compromiso con la idea de que cómo director se tiene que ganar su oficio a través de la paciencia y la constancia. Más importante aún, generar e interiorizar (con el tiempo) ideas claras de lo que se quiere comunicar. Al finalizar el taller, una de mis alumnas me decía cuan difícil era todo eso. Nunca pensó que algo que pareciera ser tan fácil a la vista fuera tan complejo en la práctica. Habiendo escuchado su dilema, creo que logramos cumplir con el objetivo pedagógico que nos propusimos todos—el de reconocernos como un producto inacabado. “Es un proceso,” le dije. “Cada quien va encontrando el rumbo para alimentar la conciencia del líder que llevamos dentro.”
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/3204612
2014-09-25T21:50:19-05:00
2017-01-12T20:06:43-06:00
Mahler en Mamporal
<div class="captioned justify_none"><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/faa56cf0b15cfca105dca563edade7a3d7095e88/large/img-20140917-230419-001.jpg?1411699551" class="size_orig justify_none border_" /><p class="caption">Aún cuando el ensayo ha terminado, la música sigue sonando...</p></div><br>Eran las tres de la tarde en punto y comenzaba mi primer ensayo con la orquesta sinfónica de la juventud Barloventeña. En Mamporal de Tacarigua. Un poblado encumbrado entre cerros y pastizales verdes—aledaño al mar abierto. Muy cerca de la misma tierra que vio nacer al libertador Simón Bolívar hace poco más de doscientos años. Para llegar ahí desde Caracas hay que bajar hasta Guarenas, después a Guatire, y finalmente en el momento que el aire se siente más puro y limpio, doblas hacia un paraje rural que te lleva directo al pueblo. La casa de la orquesta, humilde, con acabados rústicos. Y como los ensayos se realizan en salones con suelo de barro y techos de lámina el calor es fuerte. <br><br>Justo sobre la hora un joven de mirada risueña con arco y violín en mano me pregunta, “¿Que vamos a estudiar hoy?”<br> <br>“Mahler,” le respondí (con voz de asombro).<br> <br>Si. Música de Gustav Mahler. La música de los paisajes coloridos e infinitos. La del amor y la resurrección. La más compleja de todas. ¿Cuanto trabajo cuesta llegar a dominar tan imponentes partituras? Puede uno tardar una vida entera solo atreverse a dialogar con ese arte. Pero ahí en el recóndito pueblo, a pesar de las carencias, no hay nada que detenga el valor por enfrentarse a la magnitud de esos retos. El sacrificio de muchos para llegar ahí es enorme. Algunos que viven en caseríos tierra adentro hacen hasta dos horas solo para llegar al ensayo. Los maestros que los enseñan (muchos de ellos de su misma edad) lo hacen con una devoción y orgullo que anima el espíritu de lucha de todos los que comparten el núcleo musical.<br> <br>Antes de proseguir con el relato tengo que confesar algo. Yo no creía que una orquesta alejada de la ciudad capital, con pocos maestros y recursos pudiera abordar un repertorio tan sofisticado. No es normal que una orquesta juvenil toque la <em>Segunda Sinfonía </em>de Mahler. Pero El Sistema nunca deja de sorprender. ¿Cuál es el secreto? Es la pregunta que hacen constantemente educadores, cultores, y embajadores de todo el mundo.<br> <br>Siempre me ha llamado la atención el deseo por aprender entre los jóvenes músicos venezolanos. En los ensayos puedo ver que los músicos están siempre al filo de sus sillas listos para descifrar el gesto y recibir alguna nueva idea. En los pasillos los jóvenes te abordan constantemente para disipar dudas. Para un profesor no hay nada más grato que saber que la instrucción es bien recibida y muchas veces atesorada. ¿Que los motiva a querer aprender música tan religiosamente?<br> <br>Creo que uno de los grandes logros del proyecto entre los jóvenes tiene que ver con lo que pudiéramos llamar la edificación de su espíritu humanístico. Me refiero a que la música que ellos tocan dentro del contexto social en el que se practica se vuelve mucho mas que un arte <em>sui géneris</em>. La experiencia de compartir las narrativas sonoras que evocan las partituras se vuelve una necesidad (a veces de carácter urgente) dentro su cotidianidad. Mas allá de adquirir una técnica o proeza musical, cada miembro de una orquesta vislumbra el punto de encuentro hacia la construcción de su ser interior. Es así como la orquesta en su conjunto se vuelve un engranaje de motivación idóneo porque a medida que transcurre el tiempo se llega un poco mas cerca a la perfección. Toda esa experiencia de lucha es transferible a múltiples dominios de acción dentro y fuera de la música. Esa es la base de la visión Abreuista al postular la formación de mejores seres humanos a través de la educación estética.<br> <br>Dentro del transcurso del ensayo me viene a la mente todo esto. Y aprendo de los jóvenes que la oportunidad de hacer música es una experiencia que nos va transformado a todos a raíz de su pulso y el nuestro. Y pondero la idea de que si Gustav Mahler estuviera con nosotros diría que así había imaginado su música—con el tesón y alegría que le imprimen las orquestas del sistema venezolano. Al ver los semblantes radiantes de los noveles músicos comienzo a creer nuevamente en nuestra capacidad por alcanzar objetivos fantásticos. Me vuelvo más optimista sobre nuestro futuro. Y me llena el alma de una riqueza espiritual que me hace sentir libre y sereno. “Da capo, una vez más, con fuerza,” les digo. Vamos a conquistar el destino.<br> <br>Caracas, Venezuela - <em>Septiembre, 2014. <br><br>Este texto es dedicado a mis amigos y colegas queridos de la FundaMusical Simón Bolívar. A los alumnos y maestros de Mamporal. A nuestra unión y lazos de amistad. Gracias a todos. </em>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/3202393
2014-09-24T17:49:21-05:00
2017-01-12T20:06:43-06:00
José Luis Hernández-Estrada: “En los pueblos de Venezuela reside el corazón de El Sistema”
<div class="captioned justify_none"><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/87157ea12b3e7484a82a2b8dc36d1b1a3d5ec2ac/large/jose-luis-hernandez-estrada-elsistema-sede.jpg?1411598896" class="size_orig justify_none border_" /><p class="caption">En Caracas - Centro de Acción Social por la Música, sede del Sistema Nacional de Coros y Orquestas de Venezuela. Septiembre, 2014.</p></div><br><em>Publicado por Prensa FundaMusical Bolívar<br>Septiembre 19, 2014</em><br> <br>El joven mexicano, uno de los egresados del Programa El Sistema Fellows del Conservatorio de Nueva Inglaterra de Boston, está en el país para dictar una cátedra de dirección a nueve jóvenes promesas de la Sinfónica de la Juventud Barloventeña; además de trabajar con más de 90 niños y jóvenes del núcleo Mamporal, en el estado Miranda<br> <br>Pocos le van a creer. Se ríe, asombrado, al decirlo. El joven director mexicano-estadounidense José Luis Hernández-Estrada asegura que cuando narre la experiencia que ha vivido en el Núcleo Mamporal, ubicado en el estado Miranda, serán contadas las personas que le creerán. “Cuando llegue y les diga que un pueblo con 30 mil habitantes cuenta con una orquesta de alto nivel, que puede tocar la <em>Sinfonía n° 2</em>, de Gustav Mahler, o la <em>Sinfonía n° 2</em>, de Pyotr Ilyich Tchaikovsky, poco me van a creer. ¡Es algo de proporción impactante!”, afirma el músico que cuenta con una Maestría en Música con Especialización en Dirección Orquestal de la Universidad de Texas Pan-American.<br> <br>Lleva ya casi una semana de asombro, lo sabe. El director, egresado del Programa El Sistema Fellows del Conservatorio de Nueva Inglaterra de Boston, se encuentra en el núcleo del Sistema Nacional de Orquestas y Coros Juveniles e Infantiles de Venezuela dictando un taller de dirección para nueve integrantes de la Sinfónica de la Juventud Barloventeña. Con Rosmarly Retortillo, Lino Castillo, Jesús Delgado, Verónica Verdú, Arianni Hernández, Jazmín Oliveros, Miguel Díaz, Edgar Montes, y César Viana, ha descubierto una camada de líderes musicales y comunitarios.<br><br>“Eduardo Mata, director mexicano, decía que ‘la música no existe hasta que suena’. La música se vuelve un acto de creación, y eso es lo que estamos trabajando aquí: cómo vamos a transmitir la música, técnica, audición. En estos chicos veo a un grupo de líderes sociales importantes. No solo serán los nuevos directores de núcleos, sino que ayudarán a contribuir con la meta del millón de niños y jóvenes para 2019”, asegura José Luis Hernández-Estrada.<br><br>Además del trabajo con los jóvenes directores, el músico mexicano ha estado ensayando con las dos orquestas del núcleo de Mamporal, que dirige la profesora Beatriz Repoll, la <em>Sinfonía n° 2</em>, de Gustav Mahler. “En los pueblos de Venezuela reside el corazón de El Sistema. Lo puedo palpar en esa sensación de liberación y felicidad que tienen esos jóvenes cuando hacen música. Este núcleo muestra un trabajo mundial. Aquí está parte de tocar y de luchar. Los alumnos más aventajados enseñan a los más pequeños. Tengo muchachos de 14 a 15 años dirigiendo como unos maestros, porque el sistema pedagógico se vuelve más avanzado cuando lo basas en la confianza al alumno. El Sistema es uno de los grandes proyectos culturales del mundo. Hacemos de la música un medio para la superación y una ventana hacia un universo resplandeciente”, narra el músico que creó en Oklahoma, Estados Unidos, la primera iniciativa inspirada en El Sistema en esa localidad.<br><br>El taller de dirección y el trabajo que realiza el maestro José Luis Hernández-Estrada, en el Núcleo Mamporal, forma parte del trabajo pedagógico del Sistema Nacional de Orquestas y Coros Juveniles e Infantiles de Venezuela, institución tutelada por la Fundación Musical Simón Bolívar, adscrita al Ministerio del Poder Popular del Despacho de la Presidencia y Seguimiento de la Gestión de Gobierno de la República Bolivariana de Venezuela.<br><br>Fuente: <br><br><a contents="http://fundamusical.org.ve/prensa/jose-luis-hernandez-estrada-en-los-pueblos-de-venezuela-reside-el-corazon-de-el-sistema/" data-link-label="" data-link-type="" href="http://fundamusical.org.ve/prensa/jose-luis-hernandez-estrada-en-los-pueblos-de-venezuela-reside-el-corazon-de-el-sistema/" target="_blank">http://fundamusical.org.ve/prensa/jose-luis-hernandez-estrada-en-los-pueblos-de-venezuela-reside-el-corazon-de-el-sistema/</a><br>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/3202311
2014-09-24T17:20:10-05:00
2017-01-12T20:06:43-06:00
José Luis Hernández: En Mamporal se forman nuevos líderes sociales por medio de la música
<img src="//d10j3mvrs1suex.cloudfront.net/u/53545/5d6ebfbc39e04d02b064580b4d7d2f14a20a4485/original/jos-luis-hern-ndez-estrada-venezuela.jpg?1411596929" class="size_l justify_none border_" /><br><br><em>Publicado por Correo del Orinoco <br>Septiembre 18, 2014 </em><br><br><strong>Texto/Luis Jesús González Cova<br>Foto/Cortesía FundaMusical Bolívar</strong><br><br>“Me siento privilegiado de estar acá en Mamporal, en esta comunidad musical de ensueño compartiendo con ustedes que son un ejemplo para el mundo. Me siento orgulloso como latinoamericano que sea acá, en Venezuela, donde se está dictando pauta en el mundo en materia musical”, así comenzó la jornada de trabajo de ayer el director mexicano José Luis Hernández frente a unas 90 niñas y niños integrantes del Núcleo del Sistema Nacional de Orquestas y Coros Infantiles y Juveniles de Venezuela, de Mamporal, estado Miranda. <br><br>El maestro mexicano, reconocido internacionalmente, llegó el pasado lunes a la comunidad mirandina, invitado por la Fundación Musical Simón Bolívar, para trabajar durante cinco días en la formación de la Orquesta Sinfónica de la Juventud Barloventeña y de un grupo de directores con edades que van desde los 14 años.<br> <br>José Luis Hernández tuvo la oportunidad de seleccionar cualquier otro núcleo del Sistema, pero prefirió una zona rural, de no tan fácil acceso y donde además su trabajo sería más necesario, entre otras cosas, por la carencia de profesores, como ocurre en Mamporal, un núcleo dirigido por la maestra Beatriz Ripoll, fundado hace ochos años con unas 60 niñas, niños y jóvenes, cifra que se ha multiplicado hasta completar los 400, más nos 500 que son atendidos directamente en las escuelas de la zona.<br> <br>Para el mexicano, esta visita de carácter pedagógico forma parte de una misión institucional de la Fundación Musical Simón Bolívar, pero también de un interés personal de contribuir con el Sistema y con el pueblo venezolano, al transmitir todos los conocimiento que ha tenido la oportunidad de adquirir a lo largo de su vida en instituciones de mucho renombre y prestigio internacional.<br> <br>“Siento que acá en Mamporal, que en los pueblos de Venezuela esta el corazón del Sistema. Acá se siente ese deseo de superación, de hacer las cosas bien. Se ven a las muchachas y a los muchachos alegres, gustosos de hacer música, y de hacer música juntos, que es el gran proyecto que llevamos a cabo: hacer una concertación a través de la música”, comentó al Correo del Orinoco el músico que ya estuvo en la tierra de Bolívar en 2012, cuando conoció de cerca el proyecto fundado por el maestro José Antonio Abreu.<br> <br>El invitado internacional calificó como “un gran trabajo” el que se realiza en el Núcleo de Mamporal, una población de unos 30.000 habitantes con una orquesta sinfónica juvenil capaz de tocar autores tan complejos como Gustav Mahler.<br> <br>“Y no solo tiene la capacidad de tocar ese repertorio, sino que además la interpretan, le imprimen un gesto artístico y pasión latinoamericanista que particularmente me llena de orgullo”, acotó Hernández Estrada.<br> <br><strong>APRENDER CON ALEGRÍA</strong><br> <br>Durante la mañana de este miércoles, luego de un taller solamente con el grupo de incipientes directores, el invitado internacional guió a los nuevos batutas, esta vez directamente frente a la Orquesta Infantil del Núcleo de Mamporal.<br> <br>Mientras aprendían de la mano del mexicano, las y los participantes mostraron una alegría y felicidad como si estuvieran jugando a dirigir una orquesta, pero sin dejar de lado el rigor de la atención que debe prestar quien aprende.<br> <br>Para ofrecer una muestra al <em><strong>Correo del Orinoco</strong></em>, Hernández trabajó primero con la adolescente de unos 14 años de edad, Josmarly Retortillo, en quien el maestro reconoció un potencial talento en la dirección orquestal y con Lino Castillo, un joven de unos 18 años, un poco más experimentado gracias a su trabajo desarrollado al frente a la misma orquesta del Núcleo de Mamporal.<br> <br><strong>EL FUTURO</strong><br> <br>También participaron en el taller con Hernández Estrada los futuros directores y “líderes musicales de Venezuela” Jesús Delgado, Verónica Verdú, Arianni Hernández, Jazmín Oliveros, Miguel Díaz, Edgar Montes y César Viana.<br> <br>Según detalló José Luis Hernández, el trabajo con los directores se concentró en técnicas de dirección, métodos pedagógicos, en la comunicación gestual y la técnica con la orquesta y en el entrenamiento auditivo y vocal para vincularse con los músicos. En líneas generales, nuevos recursos que serán de mucha utilidad durante el resto de su formación.<br> <br>“Además de prepararse desde el punto de vista artístico, estamos discutiendo también las características que debe tener un director como líder social que sepa concertar en una comunidad con distintas visiones. Porque el proyecto del Sistema, pensado orgánicamente, requiere de esos nuevos talentos. Estoy seguro que va haber en este grupo directores que se van a convertir en líderes de la comunidad, que van a tener sus propias orquestas, van a gestionar proyectos y van a hacer crecer el Sistema hasta llegar a la meta del millón de participantes en 2019, ellos van a ser parte de esto”, auguró el experimentado director.<br><br>Fuente: <br><br>Edición digital:<a contents=" http://www.correodelorinoco.gob.ve/comunicacion-cultura/jose-luis-hernandez-mamporal-se-forman-nuevos-lideres-sociales-por-medio-musica/" data-link-label="" data-link-type="" href="http://www.correodelorinoco.gob.ve/comunicacion-cultura/jose-luis-hernandez-mamporal-se-forman-nuevos-lideres-sociales-por-medio-musica/" target="_blank"> http://www.correodelorinoco.gob.ve/comunicacion-cultura/jose-luis-hernandez-mamporal-se-forman-nuevos-lideres-sociales-por-medio-musica/</a><br>Edición impresa: <a contents="http://www.correodelorinoco.gob.ve/wp-content/uploads/2014/09/CO1800.pdf&nbsp;" data-link-label="" data-link-type="" href="http://www.correodelorinoco.gob.ve/wp-content/uploads/2014/09/CO1800.pdf%20" target="_blank">http://www.correodelorinoco.gob.ve/wp-content/uploads/2014/09/CO1800.pdf </a>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/3149441
2014-08-24T15:57:18-05:00
2022-02-22T11:15:13-06:00
(Re) generación de tejido social
<img src="//d10j3mvrs1suex.cloudfront.net/u/53545/8f4c7e1d29803de20a8cae1349b02db1ab15adca/original/sinfonica-ieepo-003.jpg?1403568220" class="size_l justify_none border_" /><br><br>Se habla de las actividades culturales (la música, el teatro, los museos, los festivales…) y otras acciones para la “regeneración del tejido social.” Es la frase de moda. La moneda de cambio. La nueva medicina para curar los males del país. Bien, pero vamos por partes. Comencemos por tratar de definir el termino (que a pesar de tener un timbre tan carismático tiende a ser vago y ambiguo). ¿Que es el tejido social?<br><br>El tejido social es la suma de todas las partes y acciones que conforman una comunidad o sociedad que tenga objetivos comunes. Me viene a la mente la interdependencia entre los miembros de una familia, los actores que conforman una escuela, los herederos de una etnia indígena, los integrantes de una asociación civil o partido político, las clicas y las pandillas. Todos ellos forman una comunidad—un grupo con valores e ideales (para bien o para mal) que los guían y motivan. Existen dentro del núcleo de esos grupos fluidez por el intercambio de información y experiencias, mismas que les permiten entrelazar la estirpe de sus propias historias. (Los antropólogos Lave y Wenger han aludido a esto al debatir sobre su teoría de la <em>comunidad de práctica</em>.)<br> <br>En México el discurso de regenerar el tejido o cohesión social se adhiere continuamente al tema de la violencia e inseguridad. Se habla de como comunidades se han fracturado y de la urgencia de llenar ese vacío con actividades productivas. ¿Que es lo que se esta haciendo en el ámbito cultural? Veamos un ejemplo: <em>“Más que iniciar nuevos proyectos, queremos, a través de muchas convocatorias, recoger las inquietudes de la población y convertirlas en acciones culturales. Lo que estamos haciendo es amplificar la actividad cultural como un elemento absolutamente fundamental para reconstruir la cohesión social de muchas de estas poblaciones que desafortunadamente se han visto afectadas estos últimos tiempos.” </em><br><br>El presidente del CONACULTA aquí citado se refiere al estado de Michoacán, una región que continuamente lucha por su supervivencia y Estado de derecho. Derivado de esa convocatoria se organizarán festivales, ponencias magistrales, ferias de libros, etc. Pero el tema político es sumamente complejo y las acciones y/o recursos que se otorgarán ahí por más bien encaminados o distribuidos nunca serán suficientes. El problema es muy grave. Pero aun quiero pensar que no es imposible de resolver (todavía me quedan algunas gotas de idealismo).<br> <br>Pero creo que el <em>enfoque</em> general debe ser distinto. Debemos hablar de <em>generar</em> tejido y cohesión social. No de regenerar, esto nos limita mucho. Decía Winston Churchill que el político se convierte en estadista cuando comienza a pensar en las próximas generaciones y no en las próximas elecciones. Los problemas que aquejan al país merecen más que intervenciones relámpago. Necesitamos políticas visionarias de largo alcance que se construyan ladrillo por ladrillo. Hombro con hombro. Y no hay mejor lugar para tejerlas que la escuela.<br> <br>La escuela es el común denominador de los mexicanos, todos pasan por ahí (es lo que dicta la ley). Todos aprenden de ella. Quien no recuerda las quermeses, las celebraciones del día de muertos, los bailables, las coronaciones, la estudiantina. Todo esto tiene algo en común—la convivencia. La cultura participativa es un mecanismo de fraternidad y <em>empatía</em>. Ese es el gran proyecto que México debe emprender y cultivar—el de la concertación.<br> <br>Dice el economista y músico venezolano José Antonio Abreu que la practica musical es un modelo idóneo para alcanzar ese objetivo. “La orquesta (y porque no, el equipo de béisbol también diría yo) es la única comunidad que tiene por característica y esencia exclusiva…el concertarse entre si.” ¿Que significa la concertación? “La practica en equipo, el grupo que se reconoce como interdependiente, donde cada uno es responsable por los demás y los demás son responsables por uno.” Creo que si todos pensáramos así, estaríamos más cerca de ser un país más justo. <br> <br>Hay un gran experimento que se esta llevando a cabo en Nuevo León. La Alianza Educativa Ciudadana en esa entidad es un grupo de empresarios que aspiran al bien común y que animan a las comunidades escolares a ser autosuficientes, a concertarse, a apoyarse mutuamente. Cuando llegue a visitar una de las escuelas beneficiadas a las afueras de Monterrey me encontré con alumnos, padres de familia, y maestros que juntos pintaban su escuela, hacían el inventario de útiles, cortaban las ramas marchitas del patio. Todo un engranaje de cohesión y generación de tejido social.<br> <br>Ahí esta el proyecto musical de las orquestas y bandas comunitarias del Sistema Nacional Fomento Musical. La iniciativa de Esperanza Azteca, los ensambles independientes que tocan serenatas los fines de semana. Las orquestas de la Gran Familia que se quedaron en la intemperie. Los equipos de futbol llanero, los niños trikis, las asociaciones civiles, las doñitas que hacen tamales en las cooperativas. Los sueños compartidos son vitales para construir armonía.<br><br>Hagamos de la “regeneración del tejido social,” mucho mas que una moda o frase que suene bien en la televisión. Podemos construir, tejer, y animar. Eso si, sin perder de vista que todos estamos llamados a poner nuestro granito de arena. En ese tenor y aunado a la circunstancia actual, los músicos (además de los maestros, los trabajadores, las amas de casa…) de México tenemos un compromiso histórico con la edificación de oportunidades para un mejor país. Y termino con una nota de esperanza parafraseando a Gandhi y a Bernstein diciendo que todo lo que hagamos pudiera parecer insignificante pero es sumamente importante que lo pongamos en marcha con más pasión y más devotamente que nunca. <br><br>Agosto 2014
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/3143050
2014-08-19T18:36:58-05:00
2017-01-12T20:06:43-06:00
Música apagafuegos
<img src="//d10j3mvrs1suex.cloudfront.net/u/53545/1751794e45ee1ab1a0651e0f256b9f2bebdfaf36/original/dsc02064.jpg?1408484331" class="size_l justify_none border_" /><br><br>En mi reciente blog hable de<a contents=" cómo la música puede combatir la pobreza" data-link-label="" data-link-type="" href="http://www.joseherstrada.com/blog/blog/musica-para-combatir-la-pobreza" target="_blank"> cómo la música puede combatir la pobreza</a> e hice la observación de considerarla como parte de un proceso amplio de educación y desarrollo humano. Uno pudiera argumentar que en México el problema endémico de la pobreza es derivado de la falta de oportunidades en la educación, pero ahora me permito explorar como factores externos pueden llegar a truncar los procesos y efectividad del aprendizaje mismo que señalice hacia el cambio de social. ¿Puede ser la música un factor para solventar este círculo vicioso?<br> <br>El educador y científico social Eric Jensen ha identificado cinco elementos que disminuyen sistemáticamente el desempeño académico de estudiantes en edad escolar. Estos son: la desnutrición, estrés crónico, vocabulario deficiente, esfuerzo reducido, y la exclusión social. Naturalmente atacar todos elementos en conjunto amerita de una intervención integral de políticas públicas en educación, salud, desarrollo social, entre otras áreas. Por ende todo esto requiere de una serie de apoyos, sistemas, y ambientes adecuados para crear nuevos espacios de alcance e impacto entre la población estudiantil. Aunado a esto propongo la música como factor de oportunidades, cambio y atenuante de contextos.<br> <br>Al hablar de contextos no podemos pasar de alto las grandes dificultades que vive México en materia de violencia e inseguridad (la razón por ello amerita su propio análisis fuera de este texto). ¿Cuales serán las consecuencias del estrés crónico que le producen a estudiantes de zonas urbanas, en donde casi diario les asechan persecuciones, enfrentamientos, y balaceras cerca de sus casas, escuelas, e iglesias? (vea usted una muestra de lo a que me refiero, esto en Tepatitlán de Morelos: <a contents="https://www.youtube.com/watch?v=KpiwEvja_G8/" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=KpiwEvja_G8/" target="_blank">https://www.youtube.com/watch?v=KpiwEvja_G8/</a>)<br> <br>Según las recientes investigaciones del <em>Harvard Center for the Developing Child</em>, los contextos de estrés toxico disminuyen notablemente las habilidades neurológicas para desarrollar importantes funciones ejecutivas (las mismas que regulan la memoria, la flexibilidad mental, y el autocontrol). Se ha comprobado que las deficiencias de estas funciones afectan el desempeño académico, el comportamiento, y la salud en general. Esto tiene implicaciones sumamente desastrosas para el futuro del país (estimados funcionarios públicos y legisladores tomen nota). El ejercicio coordinado, afectivo, y disciplinado de la música (aunado a otras intervenciones) puede mitigar ese tren degenerativo de una manera natural y provechosa. Consideren este testimonio de una niña que practica el violín en un programa social de orquesta infantil en Venezuela:<br> <br><em>“Era el primer día de la orquesta de cámara, entonces yo venia temprano. Y casi al llegar aquí me dieron un disparo en la pierna. Y yo lloraba, no por el dolor, si no por que iba perder el ensayo. Cuando uno llega aquí se le olvida todo.” </em><br> <br>La niña dice que se le olvida todo…<br> <br>En términos científicos lo que aquí ha ocurrido es que el ejercicio de la música, el entorno en donde la desarrolla, y la motivación intrínseca que le brinda; le ayuda a mitigar el contexto adverso en el que vive. Recientes investigaciones sobre la materia nos indican que este tipo de actividad puede cortocircuitar la respuesta al estrés y mantenerlo fuera del margen crónico o de peligro. Según los especialistas el estrés comienza en el cerebro y emite una reacción cadena que alerta al cuerpo a nivel celular. Con el paso del tiempo estos interruptores se quedan en posición de encendido permanente…la práctica músical crea una reacción a la inversa (WebMd). Al proteger a los estudiantes de estas condiciones adversas se mejora el desarrollo de las funciones ejecutivas antes aquí mencionadas. No hacerlo desencadena en parte comportamientos erráticos e impulsivos que nos generan más violencia entre otros males. Esto a la larga crea costos muy elevados.<br> <br>Me preocupa como se ha visto afectada la impartición de la educación en México. Me duele ver los videos en <em>YouTube</em> en donde estudiantes son sometidos al terror de las batallas urbanas. Las nuevas generaciones están ahí clamando porque venga algún cambio, alguna oportunidad que los libere de todo eso. Ellos crecen atemorizados por la incertidumbre de que a la vuelta de la esquina les llueva una bala o peor aun que crezcan sin las herramientas que los hagan salir adelante. Habrá que reflexionar sobre todo esto. <br><br><em>Agosto 2014<br><br>Notas: </em><br><br><span class="font_small">Kuchinskas, Susan. “How Music Making Reduces Stress” <em>WebMd</em>, 2010. (Reviewed by Patricia Farrell) <a href="http://www.webmd.com/balance/stress-management/features/how-making-music-reduces-stress">http://www.webmd.com/balance/stress-management/features/how-making-music-reduces-stress</a><br> <br>“InBrief: Executive Function: Skills for Life and Learning” <em>Harvard Center for the Developing Child</em>, 2013. <a href="http://developingchild.harvard.edu/resources/briefs/inbrief_series/inbrief_executive_function/">http://developingchild.harvard.edu/resources/briefs/inbrief_series/inbrief_executive_function/</a></span>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/3137216
2014-08-15T02:29:31-05:00
2021-10-06T03:58:27-05:00
¿Música para combatir la pobreza?
<img src="//d10j3mvrs1suex.cloudfront.net/u/53545/9543ac9e8c850f8630f90aae1e3f6c0706b4efed/original/img-0521.jpg?1408047034" class="size_l justify_none border_" /><br><br>En México ya es común encontrarnos con algún articulo, tweet, o discurso alusivo al movimiento de las orquestas y bandas juveniles en donde se haga hincapié en la música como herramienta para “combatir la pobreza,” “regenerar el tejido social,” o “disminuir la violencia.” En la mayor parte de los casos muchas de estas hipótesis, al carecer de sustento, se quedan atoradas en un discurso fantástico (por no decir político) y a veces ilógico. Es por ello que considero pertinente hacer un llamado para ir más allá de las pinceladas mediáticas y animar un debate serio en torno a la educación musical como una verdadera disciplina capaz de mediar, transformar, y construir mejores ciudadanos.<br><br>Yo si creo que la educación musical puede animar el desarrollo humano de jóvenes en edad de formación. Pero todos los que abogamos por ella debemos ser cuidadosos al elaborar el discurso (y las estrategias pedagógicas) que sustente la premisa. También debemos ser conscientes de que la música debe ser vista como una <em>herramienta </em>para facilitar nuevos procesos que señalicen al cambio social. Howard Gardner nos brinda la explicación más lucida al respecto—el ejercicio de la música es una invitación para descubrir una pasión interior hacia el aprendizaje. Entonces cuando un joven se da cuenta de que sus esfuerzos se traducen a logros concretos y estos crecen con la disciplina del tiempo, se gesta así, un vocabulario de aprendizaje que puede ser transferido a múltiples dominios de acción mas allá de la practica musical (Scripp et al 2014). A medida de que el alumno adquiere esas herramientas su desarrollo cognitivo y motivación intrínseca (vea usted este niño que ama tanto su violoncello que duerme con el—<a href="http://youtu.be/oIGUXapsI-I?t=39m11s" target="_blank">http://youtu.be/oIGUXapsI-I?t=39m11s</a>) lo hace mas propenso a alcanzar el éxito profesional. Mucho me llama la atención ese proceso de cambio. La educadora Maxine Greene se refería a esto como el fenómeno de <em>wide-awakeness</em>. José Antonio Abreu lo plasma en su idea de <em>ser y no ser todavía</em>. En otras palabras, el ejercicio de la música invita al alumno a descubrir su humanidad como realidad permanentemente inacabada y esto puede ser vital para su desarrollo pleno.<br><br>Me pregunto una vez más, ¿Puede la música combatir la pobreza?<br><br>Si lo creo. Pero para no pecar de ingenuos habrá que pensar la música como parte de un proceso de educación más amplio. Un ciudadano que tenga la capacidad de aprender, pensar y mejorarse continuamente será más completo y luchará por alcanzar sus objetivos desde cualquier posición o estrato social. La investigación contemporánea en torno al ejercicio de la educación estética nos indica que los estudiantes que estudian música son cuatro veces más propensos a ser reconocidos por su desempeño académico. Los estudiantes que se dedican a perfeccionar un instrumento musical ganan terreno a sus pares en perseverancia. También desarrollan su capacidad de retener información en todas las disciplinas académicas. Se disminuye la deserción escolar. Los niños también cultivan sus habilidades de razonamiento abstracto que los lleva a aplicar conocimientos y visualizar soluciones. Es así como la música puede generar un cambio social de raíz. Porque ayuda a desarrollar capacidades cognitivas de una manera mucho más sofisticada (me atrevo a decir) que las matemáticas o las lenguas. Y además por su carácter de actividad comunitaria y afectiva (dentro de los coros, estudiantinas, bandas, etc.) puede ser también factor de cambio del perfil sociológico de sus integrantes. <br><br>Dice Guillermo Sheridan en el blog de <a href="http://letraslibres.com/blogs/el-minutario/musica-para-parchar-mexico" target="_blank">Letras Libres</a> que en México “se enseña poca música en las escuelas y no hay mejor escuela imaginable.” Yo creo que el Estado debe considerar elevar esta disciplina a un lugar de mayor importancia dentro del currículo académico. Al tenor de esa visión, las organizaciones civiles pueden ser participes del proceso gestionando recursos, ideas, y oportunidades. Esto nos puede llevar a desarrollar capital humano y ganar productividad para el bien de todos. Cabe destacar que entre los países que obtienen las más altas calificaciones en matemáticas y ciencias (Japón, Hungría, Holanda, entre otros con alto índice de desarrollo económico) es obligatoria la educación musical. Los jóvenes mexicanos que menos tienen merecen triunfar y ser ejemplo de superación. Hay que hacer el esfuerzo por darles nuevas herramientas para que puedan salir victoriosos del círculo vicioso de la pobreza. Y para vencer ese mal pudiéramos voltear a ver más de cerca la música. Vale la pena el experimento.<br><br><em>Agosto 2014<br><br><span class="font_small">Notas: </span></em><br><br><span class="font_small">Gardner, Scripp, et al. “El Sistema: Music Lessons to Rebuild the World” <a href="http://www.prx.org/group_accounts/8486-radioopensource">Open Source with Christopher Lydon</a>, 2014. http://www.prx.org/pieces/114241-el-sistema-music-lessons-to-rebuild-the-world<br><br>"Re-Investing in Arts Education: Winning America’s Future Through Creative Schools." The President’s Committee on the Arts and Humanities, 2011. http://www.pcah.gov/resources/re-investing-arts-educationwinning-americas-future-through-creative-schools<br> <br>"Lessons from PISA for the United States, Strong Performers and Successful Reformers in Education.” OECD Publishing, 2011. <a href="http://www.oecd.org/pisa/46623978.pdf">http://www.oecd.org/pisa/46623978.pdf</a><br><br>“Music Matters: How Music Education Helps Student Learn, Achieve, and Succeed.” Arts Education Partnership, 2011. <a href="http://www.aep-arts.org/wp-content/uploads/2012/08/Music-Matters-Final.pdf">http://www.aep-arts.org/wp-content/uploads/2012/08/Music-Matters-Final.pdf</a><br> <br>"Prediction: Identifying potential dropouts." The Center for Public Education, 2007. <a href="http://www.centerforpubliceducation.org/Main-Menu/Staffingstudents/Keeping-kids-in-school-At-a-glance/Keeping-kids-in-school-Preventing-dropouts.html">http://www.centerforpubliceducation.org/Main-Menu/Staffingstudents/Keeping-kids-in-school-At-a-glance/Keeping-kids-in-school-Preventing-dropouts.html</a>.<br> <br>*En México, 53.8% de los niños y jóvenes de cero a 17 años de edad son pobres, mientras que tres de cada 10 pasan “hambre.” CONEVAL, UNICEF 2012</span>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/3072488
2014-07-12T12:45:03-05:00
2017-01-12T20:06:42-06:00
Reseña – Royal Philharmonic en Bellas Artes
<img src="//d10j3mvrs1suex.cloudfront.net/u/53545/7b7f20574f25c5b46ff52f798e2646d19ea6c361/large/img-20140709-113149.jpg?1405186998" class="size_l justify_none border_none" alt="" /><br><br>El Palacio de Bellas Artes en la Ciudad de México celebra su ochenta aniversario este año. Para festejar ese acontecimiento, se ha invitado algunos de los artistas y ensambles mas distinguidos del orbe, entre ellos la Royal Philharmonic Orchestra quien nos ofreciera dos magnos conciertos en la sala principal. Bajo la batuta de Pinchas Zukerman la orquesta centro sus programas en obras de Beethoven. El tamaño de la orquesta fue justo lo necesario para el repertorio. Los conciertos internacionales en Bellas Artes tienen un aura especial pues se tratan de acontecimientos importantes. Pudimos observar entre los asistentes a jóvenes, familias, melómanos, funcionarios públicos y algunas figuras de la cultura nacional. <br><br>En el primer concierto el mismo Zukerman asumió la doble responsabilidad de solista y director con el <strong>Concierto para Violin de Beethoven</strong>. Esta practica, aunque sorprendió a algunos de los asistentes, no es nueva. Tiene su razón de ser dentro del contexto del Clasicismo ya que los acompañamientos orquestales generalmente ostentan bloques de ritmo armónico simétricamente definidos y texturas sonoras transparentes. Esto hace posible el solista pueda concertar a la orquesta sin necesidad de recurrir a la figura tradicional del director. Zukerman demostró que tiene un conocimiento profundo de la obra y seriedad al abordar a Beethoven con un timbre solemne. <strong>La Séptima Sinfonía</strong> de Beethoven recibió un cuidado muy especial por parte de la orquesta. Aquí fue donde realmente brillo como ensamble. Se logro un sonido dinámico y robusto en la cuerda. Fue evidente que es una obra que han trabajado detenidamente y a la que le han dado un énfasis cameristico en donde las partes hacen mas por escucharse entre si. Una ejecución virtuosa, llena de brío, con generosas intervenciones por parte de las maderas solistas. Para el segundo concierto escuchamos el <strong>Concierto para Violín y Cello de Brahms</strong>, la ultima obra orquestal del compositor Alemán. Una obra difícil por su contenido, duración, y el esfuerzo que requiere de los solistas, que lograron una participación impecable. Por lo general la <strong>Sinfonía Heroica de Beethoven</strong> nos mostró a un director cerebral con control sobre cada frase y articulación. La orquesta batallo en encontrar el tempo en el Scherzo pero se mostró firme y compenetrada en el movimiento final. Ahí pudimos apreciar una orquesta vibrante y de amplia sonoridad especialmente al llegar al tema de la danza húngara final. Los cornos merecen una mención especial pues lograron los pasajes solistas con seguridad y excelente afinación.<br> <br>Entre otros aciertos— las notas al programa de Juan Antonio Brennan y el hecho que el Palacio de Bellas Artes instalara una pantalla a las afueras del recinto para que mas personas disfrutaran del evento. <br> <br>¡Felicidades al Palacio de Bellas Artes por su 80 aniversario!
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/3056699
2014-07-03T21:10:07-05:00
2017-01-12T20:06:42-06:00
Congrats!
<div class="captioned justify_none"><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/7d860c0161b3981a23bf7817916cce69d83cdd49/large/img-0097-001.jpg?1404439728" class="size_orig justify_none border_" alt="" /><p class="caption">A heartfelt (and a favorite) moment during my brother's wedding celebration. Pictured here singing 'Te Presumo' accompanied by the Norteño group 'Relikia.' Angel and Athaly were married on June 28th in Reynosa, Mexico. Congrats to the newlyweds!</p></div>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/3126478
2014-06-30T00:30:00-05:00
2014-08-08T01:29:56-05:00
Hernandez-Estrada’s new album Sounds Blooming (Preview)
<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/152478328&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="100%"></iframe><br><br><iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/152898259&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="100%"></iframe><br><strong>Coming soon</strong> is a new album of piano solo recordings that include music that I love. I felt this as an opportunity to re-imagine the scores and strive to weave my conscious self into their fabric. This is project is both an experiment in sound conception and a snapshot of a moment in time. I probably will not play these pieces the same way exactly ever again. Such is the beauty of art. I hope that you will enjoy hearing the music. The album will be available for streaming and purchase on Itunes, Spotify, and Amazon.com. In the meantime here are two preview tracks with music by John Cage and Franz Liszt. Stay tuned for updates. <br><br>Recording Details:<br><br>CD Quality - 16 bit / 44.1 khz <br>José Luis Hernández-Estrada, piano<br>WGBH Fraser Studio<br>Piano: Steinway D (Hamburg)<br>Recording Engineer: Jane Pipik<br>May 15, 2014 in Boston<br><br>C.F. Peters Corporation (John Cage) <br>Carlanita Music (Carlos Chavez) <br> <br><strong>Track listing:</strong><br> <br>Erik Satie: Gymnopedie No. 1<br>*Mozart/Hernandez-Estrada: Fantasy K. 397<br>John Cage: In a Landscape (1948)<br>Liszt: Consolation No. 3 in D-flat Major, S. 172<br>Debussy: Clair de Lune from “Suite Bergamasque”<br>Beethoven: Andante Cantabile from Sonata Opus 13<br>Carlos Chavez: Inocencia from “Early Pieces”<br>Schubert: Impromptu in A-flat Major, D. 935<br>Mahler: Adagietto from “Fifth Symphony” (Arr. Singer) <br>Hernandez-Estrada: Light of Love “Aria”
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/3012508
2014-06-12T18:45:41-05:00
2023-10-16T09:44:37-05:00
Las Orquestas Infantiles y Juveniles de México inspiradas por El Sistema—legado, evolución y desafíos
<br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/c799e0472a5b48b9ae0ddec76faa836dd751f16b/original/osim.jpg?1402703246" class="size_l justify_center border_" /><br><br><span class="font_regular"><strong>ENSAYO - Las Orquestas Infantiles y Juveniles de México inspiradas por El Sistema—legado, evolución y desafíos.</strong></span><br><br><em>Por José Luis Hernández-Estrada - Junio de 2014 </em><br><br><strong>El movimiento de las orquestas infantiles y juveniles de México</strong> tiene su génesis en la incansable gestión del ilustre maestro mexicano Eduardo Mata como <a contents="director huésped principal al frente de la Orquesta Sinfónica Simon Bolívar de Venezuela" data-link-label="" data-link-type="" href="https://www.youtube.com/watch?v=gSt9JcxmMrk" target="_blank">director huésped principal al frente de la Orquesta Sinfónica Simon Bolívar de Venezuela</a> a mediados de los años ochenta. El músico oaxaqueño, convencido de que el proyecto artístico/social venezolano reunía los elementos para trazar nuevos horizontes en la constitución del quehacer cultural en México, propone ante el gobierno Mexicano la sistematización y masificación de la enseñanza musical con el objeto de replicar la experiencia de ese mismo programa, conocido universalmente como “El Sistema,” el proyecto de acción social por la música concebido por el músico, economista, y <a contents="reformador social José Antonio Abreu" data-link-label="" data-link-type="" href="http://www.ted.com/talks/jose_abreu_on_kids_transformed_by_music" target="_blank">reformador social José Antonio Abreu</a>. El Maestro Mata, pionero de la introducción en México del modelo venezolano de coros y orquestas infantiles y juveniles, postulaba el programa como una herramienta transcendental para “cambiar el perfil sociológico de un país con las características como las de México y otros países Latinoamericanos en ascendente desarrollo.”<br><br>La incursión del Maestro Mata en Venezuela fue derivada de la afectuosa relación profesional que en su momento cultivo su maestro y también decano de la música mexicana Carlos Chávez con los músicos de ese país. Gracias a la invitación que les hiciera el Presidente Luis Echeverria, México fue el primer destino internacional de la Orquesta Simon Bolívar de Venezuela. En esa ocasión Chávez escucho la orquesta en el Palacio de Bellas Artes y ofreció su apoyo decidido al proyecto convirtiéndose así como el primer artista extranjero invitado y mentor de aquellos jóvenes promesa venezolanos. Con ellos trabajo arduamente transmitiéndoles sus conocimientos pedagógicos y proeza técnica para prepararlos en su debut dentro del Festival Mundial de las Orquestas de Aberdeen en Escocia en 1976. Ahí interpretaron algunas de sus obras y la <em>Sinfonía Heroica </em>de Beethoven llevandose todos los elogios de la crítica especializada. Para <em>El Sistema</em>, la temprana confluencia entre Carlos Chávez y José Antonio Abreu es importante por el hecho que históricamente coincidieron en el pensar y actuar de la música como herramienta de transformación social y como forma de <a contents="elevar a Latinoamérica hacia la cumbre de la cultura universal.&nbsp;" data-link-label="" data-link-type="" href="http://www.joseherstrada.com/blog/blog/brilla-una-luz-el-sistema-en-salzburgo" target="_blank">elevar a Latinoamérica hacia la cumbre de la cultura universal. </a><br><br>Ya en 1989, surge en México el primer proyecto formal inspirado por esa experiencia Venezolana liderado por el director de orquesta y educador musical Fernando Lozano y Manuel de la Cera, quien fuera director del Instituto Nacional de Bellas Artes. Fueron ellos quienes viajaron a ese país sudamericano para palpar la experiencia que tanto motivaba al maestro Mata. Ese primer encuentro fue materializado en la fundación del programa de Orquestas y Coros Juveniles de la Ciudad de México, proyecto que creo una docena de “orquestas-escuelas” delegacionales y comunitarias. En los años siguientes, y a raíz de la necesidad de expandir el proyecto a un plano regional y nacional, se crea el programa de Coros y Orquestas Juveniles de México A.C., una organización civil que en 1996 se convirtiera en lo que hoy conocemos como el Sistema Nacional de Fomento Musical (SNFM) del CONACULTA, organización que atiende, según cifras oficiales a 114 ensambles orquestales afiliados con alrededor de 10,000 beneficiarios. Por su parte el SNFM, organiza un encuentro nacional de orquestas (nivel avanzado), encuentros regionales de orquestas juveniles e infantiles (nivel inicial e intermedio), cursos para directores orquestales, servicio de laudería y lutería para reparación y mantenimiento de instrumentos, entre otros proyectos de apoyo a nivel nacional. Los mas novedosos y de mayor proyección incluyen la Orquesta-Escuela Carlos Chávez (programa de Licenciatura <em>Instrumentista</em> avalado por la Secretaria de Educación Publica) y la Orquesta Infantil y Juvenil de México, ambos proyectos destinados en parte a la identificación y desarrollo de talentos. <br><br>En el 2008, el SNFM bajo la dirección de Sergio Ramírez Cárdenas crea el programa de Núcleos Comunitarios de Aprendizaje Musical (NUCAM), una iniciativa formal con miras a replicar el modelo y red de núcleos Venezolanos. Estos centros, localizados en municipios con bajo índice de desarrollo educativo y socioeconómico, se concebían como herramienta de “fomento y desarrollo social a través de la instrucción y la práctica colectiva de la música.” El proyecto quedo comprendido dentro del Plan Nacional de Desarrollo 2006-2012 y se propuso la meta de inaugurar un centro de educación musical para cada una de las entidades federativas (32 en total). Al final de esa administración federal se logro instituir 12 núcleos atendiendo a 1,000 beneficiarios en 8 estados. Aun así, un logro importante y a su vez catalizador de otros proyectos equivalentes. En el 2009 e inspirado en el trabajo que desde el 1998 venia realizando el violinista Julio Saldaña con las comunidades mas desprotegidas de Puebla surge de la iniciativa privada el Programa Musical Esperanza Azteca (PROMESA), un proyecto que persigue los ideales de la experiencia Venezolana. PROMESA es liderado por el empresario mexicano Ricardo Salinas Pliego quien con su equipo de trabajo busca sistematizar la experiencia de la instrucción y aprendizaje orquestal y coral en todo el país. El proyecto cuenta con un amplio respaldo económico del gobierno federal a través del CONACULTA aplicando un novedoso esquema de co-participación entre gobiernos estatales y la iniciativa privada. Desde 2009, ya se han fundado más de 60 orquestas sinfónicas y coros en el interior de la República mexicana beneficiando a mas de 13 mil niños y jóvenes que junto con sus 800 maestros, además de aprender música, desarrollan "altos valores como la disciplina, la búsqueda de la excelencia y el trabajo en equipo." Dentro de la iniciativa cabe destacar el impulso temprano de personalidades como Leonor Mastretta, el chelista Carlos Prieto, y Benjamin Zander, el director de la <em>Boston Philharmonic Orchestra</em>.<br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/b6ee48f5fd9874816ef2b544de25735948291f2b/original/esperanzaazteca-pic2.jpg?1403567810" class="size_orig justify_center border_none" alt="La orquesta Esperanza Azteca - 2009" /><br>En la actualidad el panorama para los proyectos de transformación social a través de la música en México es ampliamente promisorio. El discurso político de la recién instalada administración federal guiada por el Presidente Enrique Peña Nieto enfatiza importantes matices en torno al uso de la cultura como herramienta de concertación y desarrollo comunitario. El 12 de Diciembre del 2012 durante <em>la </em><em>inauguración del</em> <em>Centro de Artes Musicales de Tijuana</em> y acompañado por el nuevo Presidente del CONACULTA, Rafael Tovar y de Teresa, anuncio “el gran reto que tenemos en el ámbito cultural: el hacer de éste un derecho social, una garantía que el Gobierno tendrá que cuidar y privilegiar, que tendrá que establecer toda una línea de acción de políticas públicas orientadas realmente a garantizar este derecho social de los mexicanos.” En ese mismo evento, le instruyo al Presidente del CONACULTA tener muy en cuenta dentro de la agenda nacional los proyectos de orquestas y coros juveniles que ahonden en la reparación del tejido social de comunidades afectadas por la violencia e inseguridad. Derivado de ese mandato presidencial, el CONACULTA ha impulsado su iniciativa <em>Música en Armonía</em> que busca unificar e impulsar las experiencias y manifestaciones artístico/culturales existentes para fortalecer la identidad nacional y regenerar el tejido social a través del arte y su inherente belleza estética. Este nuevo lanzamiento tiene como impulsores artísticos a el maestro Eduardo García Barrios y el compositor mexicano Arturo Márquez, quien además de dedicar parte de su oficio a la composición de obras de nivel infantil (<em>Alas a Malala</em> es su mas reciente trabajo) también ha venido realizando una labor dentro de la conformación de bandas comunitarias con su programa local <em>Crecer con Música</em>. La iniciativa federal ya ha despegado y se fortalece con una agenda de impartición de talleres a nivel nacional y una concertación con la sociedad civil, conservatorios, y estados que inician nuevos proyectos orquestales académicos y/o comunitarios. <br><br>Dado a la estimulación que ha generado el amplio proyecto artístico/social venezolano y derivado de las giras de sus orquestas cumbres, documentales, publicaciones y <em>críticas </em>periodísticas que las acreditan, se han generado en México importantes proyectos de orquestas PRE-profesionales de alto rendimiento o de proyección nacional. La experiencia Venezolana, misma que trasmite un “animo por la masificación de la búsqueda de la excelencia” (como lo expreso el Maestro Abreu en su reciente ponencia magistral en el Carnegie Hall de Nueva York) ha dado pie a numerosos proyectos que buscan alcanzar logros artísticos similares a los de ensambles tan emblemáticos como la Orquesta Simon Bolívar de Venezuela o la Orquesta Sinfónica Juvenil “<em>Teresa Carreño" </em>que han marcado la pauta y nivel de referencia. Estos proyectos de audición o selección incluyen aquellos cobijados por instituciones de gobierno, conservatorios, orquestas profesionales, y otros programas de desarrollo musical. Entre ellos destacan la <a contents="Orquesta Sinfónica Infantil de México" data-link-label="" data-link-type="" href="http://youtu.be/MiCbBOQ2014" target="_blank">Orquesta Sinfónica Infantil de México</a> y la Orquesta Sinfónica Juvenil Carlos Chávez del SNFM antes mencionadas; la Orquesta de la Escuela Nacional de Música y la recién formada Orquesta Juvenil Universitaria Eduardo Mata de la OFUNAM; el Ensamble <em>Instrumenta Oaxaca</em>; y la Orquesta Sinfónica Juvenil del Estado de Veracruz adscrita al <em>Instituto Superior de Música del Estado de Veracruz</em>. Todas estas se perfilan a una posible internacionalización y cuentan con el rigor técnico para abordar partituras orquestales de nivel avanzado. En el 2012, la Orquesta Juvenil Carlos Chávez fue invitada a realizar un encuentro musical dentro del <em>Youth in Music Festival</em> que organizo la <em>Chicago Symphony Orchestra</em>. La Orquesta Sinfónica Infantil de México a sus 13 años de fundación, cuenta en su trayectoria con algunas giras internacionales, entre ellas las realizadas en Estados Unidos y España.<br><br>Si bien existen proyectos que son bien llevados a cabo, muchos de ellos no continúan por la falta de recursos económicos o la redefinición de prioridades del Estado entre las transiciones de gobierno federal. Es por ello que muchos de los proyectos existentes tendrán que migrar hacia un plano de autosuficiencia y sustentabilidad animando a la sociedad civil a participar en su construcción. Este esquema ya comienza a ser practicado. Cabe destacar algunos proyectos regidos por patronatos locales en búsqueda de la consolidación de una industria cultural sustentable y emanada de las mismas comunidades beneficiadas (un gran reto para la actual administración federal). Por ejemplo, el proyecto de la <em>Orquesta de Baja California</em> que incorpora un proyecto artístico a la par de un proyecto estado/sociedad civil de núcleos comunitarios denominado <em>Redes 2025</em>. <em>En Guadalajara, existe un proyecto de Orquesta Sinfónica Juvenil sustentada en su totalidad por la iniciativa civil con una </em>base de más de 56 músicos jaliscienses que ejercen la práctica orquestal, formando parte de un proceso académico conformado por cursos, encuentros e intercambios, dentro de una red musical-educativa no gubernamental. <em>En el marco de proyectos interdependientes y financiamiento propio o compartido también figuran los realizados en Monterrey y Mérida—dos importantes capitales mexicanas. Un claro ejemplo ya consolidado es del </em><em>Sistema Estatal de Orquestas de Yucatán</em><em>, </em> que trabaja con más de 300 beneficiarios y se desarrolla en los municipios de Timucuy, Izamal, Motul formando parte del Programa Estatal de Fomento Musical para la Niñez y la Juventud. Otro proyecto que apunta a logros similares es el que fuera anunciado y promovido por el tenor Placido Domingo a finales del 2012 en Guerrero, también como sistema estatal de orquestas. En Monterrey, el proyecto denominado “El Sistema México,” una asociación de carácter civil y benéfico encargada de implementar programas de música en escuelas públicas de esa entidad, cuenta con un núcleo enfocado a una comunidad escolar conocida como “La Ciudad de los Niños.” En San Luis Potosí la Fundación Música para la Vida A.C. es el motor que guía la conformación de 10 orquestas infantiles en ese estado en cooperación con el gobierno estatal. <br><br>Los conservatorios ocupan también un lugar importante en el proceso de la educación musical en México. De ellas emanan también coros y orquestas que forman parte del plan de estudios mas no son consideradas prioritarias como foco de formación académica. El Conservatorio Nacional de Música, con más de 140 años de labores ininterrumpidas ha formado profesionales que son baluartes en el impulso de la educación, investigación y difusión de la música en México. En esta institución se han formado muchos de los más destacados creadores e intérpretes de la música nacional. Cabe destacar la labor docente del Maestro Carlos Chávez quien desarrolló las carreras de compositor, director de orquesta y profesor especializado en la enseñanza musical en sus diferentes modalidades. Su pensar influye profundamente en la conceptualización de ese mismo proyecto. Entre los conservatorios actuales, también destacan los apartados de propuestas novedosas de formación musical/humanista como por ejemplo el Bachillerato en Música y Humanidades del Conservatorio de las Rosas en Morelia, un programa pensado con el propósito de adquirir las bases necesarias para realizar posteriormente estudios de licenciatura en música a través de una formación en los ámbitos de las disciplinas musicales, humanidades, y conocimientos científicos. En la Ciudad de México, la Escuela de Música Vida y Movimiento “Ollin Yoliztli” (fundada en 1978), tiene como objetivo la formación de jóvenes músicos de alto nivel. Según datos públicos la integran 250 alumnos distribuidos en las 20 especialidades de nivel medio superior y superior que son impartidas por 75 docentes. En Monterrey, la <em>Escuela Superior de Música y Danza</em> cuenta con un apartado de Talleres Infantiles de Iniciación Musical en donde se desarrolla hasta nueve horas a la semana, desde la técnica instrumental y otros conocimientos teóricos. Otros conservatorios en Mazatlán, Puebla, y Matamoros ofrecen ofertas educativas similares a las aquí mencionadas.<br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/4c73ef4ccf0907624f9cdd2c8b367ae6d71f0a80/original/instrumentaconcierto2.jpg?1403568037" class="size_orig justify_center border_none" alt="Instrumenta Oaxaca - una propuesta de clase mundial " /><br>Todas estas manifestaciones artísticas, propuestas educativas, y proyectos actuales que conforman el movimiento de orquestas infantiles y juveniles mexicanas aquí resumido, son prueba de la gran devoción y compromiso de jóvenes, intelectuales, gobiernos, particulares, y empresas culturales por hacer de la música una parte central de la vida publica, social, y artística del país. Son muchas las iniciativas de orquestas infantiles, juveniles, PRE-profesionales, y profesionales (no abordadas aquí) que ya existen en México. Se han fortalecido y multiplicado a lo largo de los años pero en su gran mayoría continúan en etapa de desarrollo. Son pocas las iniciativas que han llegado a consolidarse como entes sistemáticos a nivel organizacional o que cuenten con productos artísticos de alto rendimiento y con miras a alcanzar un nivel de talla mundial. No existe a la fecha algún proyecto o alianza de carácter nacional que reúna las virtudes y fortalezas de tan importantes esfuerzos compartidos. Más inquietante aun es que por el momento ningún proyecto privado o del Estado haya sido sometido a estudios de impacto longitudinal. ¿Como podremos abogar por todos estos proyectos de <em>carácter social</em> si no nos hemos preocupado por probar su capacidad para provocar un auténtico cambio transformador? La experiencia venezolana nos muestra el compromiso por estos esfuerzos. Basta con revisar los proyectos de medición y evaluación del Banco Inter-Americano de Desarrollo, desde donde se han realizado estudios para comprobar y validar el trabajo de las orquestas infantiles y juveniles dentro del ámbito de regeneración social. Los resultados son favorables y contundentes. (Estos mismos han coadyuvado a la obtención de sendos préstamos y financiamiento para fortalecer su infraestructura y desarrollo institucional.)<br><br>En México son muchos los estudiantes de música pero pocos los que logran obtener un titulo académico en la materia aun cuando existe el deseo y la voluntad. Son pocos los espacios disponibles para estudiar y desarrollarse profesionalmente. Los presupuestos que rigen las principales facultades de música del país no son los adecuados. Dado el pujante desarrollo de El Sistema en México, estamos ante una coyuntura que pudiera señalizar nuevos rumbos dentro de la educación musical en nuestro país. Ya desde años atrás, para el historiador y fundador del <em>Instituto de Investigaciones Estéticas</em> Manuel Toussaint, para lograr un artista completo hacia falta motivarlos y fomentar su inserción en el mundo cultural y promover su participación en la enseñanza. El Maestro Abreu en entrevista para <em>La Jornada</em> va mas allá al decir que “No pueden ser simples instructores. Tienen que ser apóstoles, hombres y mujeres consagrados de corazón a la tarea.” <br><br>Es por ello que tenemos que renovar el papel del músico bajo una nueva figura de artista/ciudadano, oportunidad que los conservatorios y universidades pudieran adoptar para renovarse y coadyuvar en la formación de artistas comprometidos con su arte y la justicia social. Ya no el músico solo como intérprete de la experiencia estética si no como forjador de un futuro digno para las nuevas generaciones a través de ese mismo arte vivo y consciente. Esto es precisamente lo que en su momento postulo el Maestro José Vasconcelos al reconocer que sobre toda determinación o definición el “arte debe comprometerse con los problemas sociales y culturas del país.” Si se quiere llegar a formar un movimiento o movimientos de orquestas nacional, organizado, sustentable y de innovación pedagógica, debemos impulsar a una nueva generación de jóvenes que nos ayuden a formular visiones renovadas del quehacer musical mexicano. Su inclusión dentro de ese nuevo marco social abrirá su campo de acción, mercado laboral, y dignificación. Esto debe de tener un apartado especial dentro de la política cultural mexicana.<br><br>Urge también cohesionar las iniciativas existentes como proyectos interdependientes y no aislados. Habrá que buscar las formas para que las más importantes iniciativas puedan trabajar en conjunto (dentro de algún proyecto o proyectos emblemáticos). Es necesario contar con sedes y espacios para la práctica orquestal de carácter nacional pero a su vez descentralizados. Rescatable, esta por ejemplo, la propuesta del SNFM de crear <em>Centros Regionales de Entrenamiento Musical</em>, iniciativa que no vio la luz en la pasada administración federal. Al mismo tiempo, debemos reconocernos como parte de un movimiento orquestal mas globalizado, extrayendo los mejores maestros, técnicas, y perspectivas del exterior, y al mismo tiempo, convirtiéndolas en experiencias inherentemente mexicanas, formula que ha rendido importantes frutos en Venezuela (en donde dentro del gran proyecto social que les ocupa, nunca se ha perdido de vista la concertación de la excelencia artística y su identidad nacional). <br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/8f4c7e1d29803de20a8cae1349b02db1ab15adca/original/sinfonica-ieepo-003.jpg?1403568220" class="size_orig justify_center border_none" alt="" /><br>Habremos de tener una visión ganadora y de éxito. Que los mejores músicos y orquestas se presenten en las mejores salas del mundo y participen de encuentros internacionales para compartir de experiencias que motiven a todos a seguir superándose y encontrarse relevantes dentro de la cultura universal. Comparto las enseñanzas del Maestro Abreu al decir que el enfoque central de El Sistema es primordialmente social—no es formar músicos profesionales—si no encauzar a la juventud a encontrarse y reflejarse en los caminos del bien, la verdad, y la belleza. Bien porque el ejercicio colectivo de la música implica concertación y por ende empatía. Verdad porque la música es una ciencia exacta y adquiere su forma dentro de la disciplina y proporciones puntuales de la estética. Belleza porque la música es un misterio generador de perfección—es algo infinito—resplandeciente y sonoro al mismo tiempo. Estas son las condiciones sociales de la música y las que denotan su inmensa riqueza espiritual. Entonces nuestro quehacer tiene que ser sinónimo de esa misma integridad. Cualquier programa pensado desde un planteamiento social y para las masas nunca debe de ser un programa pobre. Aquellos que menos tienen merecen de los mejores maestros, instrumentos, salas de ensayo, y oportunidades que los hagan salir adelante. México tiene la capacidad de brindar a sus jóvenes lo mejor. <br><br>Quiero imaginar que en un futuro cuando los sistemas de orquestas y agrupaciones comunitarias crezcan de tal manera que cada pueblo y ciudad tenga una orquesta o un coro del cual se sientan orgullosos, habrán de tener la dicha también de compartir su arte (emanado de su suelo y experiencia colectiva) en las máximas catedrales de la música. Ellos contarán su historia de éxito en el Palacio de Bellas Artes de México, en el Festival de Salzburgo o el Carnegie Hall de Nueva York. Que de esa misma familia que toca y canta con tesón y alegría surgirá un grupo de nuevos ciudadanos comprometidos con el perfeccionamiento de la educación y la ciencia, las letras y las leyes. Y otros que creen la nueva escuela de composición musical que aumente el linaje de Chávez, Revueltas, Márquez y Lavista. Que descubran y enseñen al próximo Gustavo Dudamel y se conviertan en los nuevos <em>Solistas de México</em>. Es ahí mismo, encumbrado en la magnitud de aspiraciones colectivas y sueños compartidos, donde cualquier proyecto que enaltezca nuestra mexicanidad ha de encontrar su rumbo. Y para convencer habrá que apostarle a la excelencia y tener la fe de que todo puede ser posible. Este ideal será cual tendrá que animar esa gran red orquestal que ya se empieza a vislumbrar en México.<br><br><strong>Referencias: </strong><br><br>"Contra La Delincuencia Y Drogadicción: Música." <em>Proceso</em>., Julio 2002. <br><br>Cuesta, José. <em>Music to My Ears: The (Many) Socio-Economic Benefits of Music Training Programs</em>. Tech. Washington: Inter-American Development Bank, 2008. <br><br>Inter-American Development Bank. “Venezuela. Propuesta de préstamo para un programa de apoyo al Centro de Acción Social por la Música – Fase II” PR-3161, IADB, Washington DC. USA., 2007. <br><br>CONACULTA. <em>Música En Armonía, Una Gran Base Social Para El Beneficio De Miles De Niños Y Jóvenes Del País</em>. 2013 ed. Mexico, DF.: CONACULTA, 2013. Num. 2024. <br><br>Peña Nieto, Enrique. "Discurso: Enrique Peña Nieto Inauguración Del Centro De Artes Musícales." Tijuana, MX. 12 Dic. 2012. Web. <<a href="http://www.presidencia.gob.mx/articulos-prensa/inauguracion-del-centro-de-artes-musicales/" target="_blank">http://www.presidencia.gob.<wbr></wbr>mx/articulos-prensa/<wbr></wbr>inauguracion-del-centro-de-<wbr></wbr>artes-musicales/</a>>.<br><br>Tello, Judith. "Combatir La Violencia Con Música." <em>Proceso</em>., 3 May. 2013. <br><br>Usi, Eva. "Nuestro Proyecto Busca Revertir la Tragedia Del Centralismo: Abreu." <em>La Jornada</em>., 30 Oct. 2007. <br><br>Fotografías: Orquesta Sinfónica Infantil de Mexico, Orquesta Sinfónica Esperanza Azteca, Ensamble Instrumenta Oaxaca, Orquesta Sinfónica Juvenil IEEPO <br><br><br>Acerca del autor: <em>José Luis Hernández-Estrada es un músico de origen mexicano. Como Sistema Fellow del New England Conservatory forma parte de una nueva generación de artistas “comprometidos con su arte y la justicia social” impulsados por el Maestro José Antonio Abreu. Es egresado de Maestría en Música por la University of Texas Pan-American y autor del libro “Aesthetics of Generosity: El Sistema, Music Education, and Social Change.” </em>
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2017-01-12T20:06:42-06:00
"Passionate about their art and social justice"
<img src="//d10j3mvrs1suex.cloudfront.net/u/53545/e1701940231129d49d76640b9b30aea1642452ef/large/conducting1.jpg?1401512467" class="size_l justify_none border_none" alt="" /><br><br>It was a great pleasure to attend the graduation of the fifth and final class of Sistema Fellows—<a contents="Jose Antonio Abreu’s TED Prize wish to change the world" data-link-label="" data-link-type="" href="http://www.ted.com/talks/jose_abreu_on_kids_transformed_by_music" target="_blank">Jose Antonio Abreu’s TED Prize wish to change the world</a>. It was a wonderful time of celebration and connection. I was very happy to visit at the <a contents="New England Conservatory" data-link-label="" data-link-type="" href="http://necmusic.edu/" target="_blank">New England Conservatory</a> and see many past and present fellow Fellows who gathered to share and reflect upon our work thus far. I am grateful for the Conservatory’s dedication and investment in the work that we hold dear. The impact that the Fellowship has made upon the field is already vast and far-reaching. “50 gifted young musicians passionate about their art and social justice” have inspired countless of other leaders and cultural institutions across the US and around the world to re-imagine music as vehicle for enacting social action and building hope in society. The Sistema Fellows’ work is helping make music a priority not just in the education realm but also in the social policy sphere by advancing the message that the exercise of music can impact a social transformation, promote integration, and provide a higher quality of life. It has been a tremendous honor to advance and be a part of Maestro Abreu’s vision. I am excited about seeing El Sistema grow and nurturing its development. <br> <br>As part of the celebration <a contents="TED.com wrote" data-link-label="" data-link-type="" href="http://blog.ted.com/2014/05/28/how-50-music-teachers-are-creating-5000-musician-citizens-in-us/" target="_blank">TED.com wrote</a>:<br> <br>“The Sistema Fellows Program, housed at the NEC, was indeed about more than musicianship. The intensive curriculum focused on leadership and community development, and included a month‐long residency in Venezuela. During this residency, the Fellows saw El Sistema in action and got to know Abreu. For him, an orchestra brings people together, and the US-based Sistema Fellows are ambassadors for his big-picture thinking. They 50 of them landed in the program because of their passion for playing music, teaching music and using music to foster understanding between people of diverse backgrounds.”<br> <br>The Chair of the Sistema Fellows committee and dear friend Suki de <em>Bragança </em><a contents="pointed out in her remarks" data-link-label="" data-link-type="" href="http://sistemafellows.typepad.com/my-blog/2014/05/sukis-graduation-remarks.html" target="_blank">pointed out in her remarks</a>:<br> <br>“More than ever I am convinced that each Class of ten was appointed by the Muses to experience growth and discovery together, in short, was compelled to meet at the crossroads of Boston. I applaud our fearless leader Tony Woodcock for pledging to commit the resources to this Program that fosters in this country and beyond the now legendary movement for social change, El Sistema. My fellow Committee members and I believe that you are entrusted with a precious resource that in five years has already benefitted the communities in which you serve, making an impact on countless children’s lives, neighborhoods, and assisting in the rapid fire growth and high quality of nascent nucleos both in the United States and with our neighbors abroad. Following the model of El Sistema that insists on excellence in music and is based on absolute trust in teachers, peer teaching, and barring exclusion from the right to make music, you too will take these values and as the core group of fifty, transfer this precious legacy on to those who have not been privileged to train directly with NEC.” <br><br><em>Photo Credits: E. Huang, R. Roberts, Hernandez-Estrada. </em>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/2955355
2014-05-18T18:58:25-05:00
2021-12-23T04:53:42-06:00
Sounds Blooming in Late Spring
My most recent visit to Boston included recording solo piano at WGBH. I had a wonderful time working at the Fraser Studio and with sound engineer Jane Pipik. I am happy to share that a new album with modernist classical works will be released soon. I'll look forward to sharing the music as well as the conceptual framework and process of bringing this deeply personal project to fruition. <br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/2ec537a8fd2259e2f3c5fa78294277f7ec979ea2/large/img-20140516-083318.jpg?1400456545" class="size_l justify_none border_" /><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/210793d4c7fc076800af611a498d6f04656fc3a7/large/img-20140515-112820.jpg?1400456950" class="size_l justify_none border_none" alt="" /><br><br><em>May 2014 in Boston, MA</em>
0:38
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/2872070
2014-04-15T10:26:49-05:00
2017-01-12T20:06:42-06:00
Atlanta Music Project Celebration
<img src="//d10j3mvrs1suex.cloudfront.net/u/53545/eb2391d93e9f18897abb5da031329d7c1804bfb6/original/laurencohan-hernandez-estrada-amp.jpg?1398990985" class="size_l justify_none border_" /><br><br>Atlanta Music Project co-founders Dantes Rameau and Aisha Bowden have invited me to guest conduct the Sistema-inspired South Bend/Gilbert House Children's Orchestra in their <a contents="end of year concert celebration" data-link-label="" data-link-type="" href="http://www.atlantamusicproject.org/amp-orchestral/concerts/" target="_blank">end of year concert celebration</a> at the Midtown W in Atlanta. I’ll spend a full week working with the orchestra and their teachers to prepare for the event. The final performance will feature over one hundred musicians who are "forging confidence, ambition, and creativity through music." The concert will also feature celebrity host <a contents="Lauren Cohan" data-link-label="" data-link-type="url" href="http://lauren-cohan.org/" target="_blank">Lauren Cohan</a>, star of <em>The Walking Dead</em>. Stay tuned for updates from Atlanta. <br><br>Learn more about the vision behind the Atlanta Music Project: <br><br><iframe frameborder="0" height="234" src="http://www.cnn.com/video/api/embed.html#/video/living/2010/11/16/nr.music.to.fight.poverty.cnn" width="416"></iframe> <br><br><strong>Updates 05/20/14 </strong><br><br>The <a contents="concert " data-link-label="" data-link-type="" href="http://youtu.be/9XwVbnjqhgw" target="_blank">concert </a>was a success. The Atlanta Music Project is clearly <strong>a leading social change through music program</strong> in the United States. I am thankful for the opportunity to collaborate with their students, leaders, and advocates. It was wonderful to meet so many diligent youth who are forging a brighter future each day—making music with true joy and commitment. This week, I heard a third-grade clarinet player with skills well ahead of his age. I saw dedicated teachers who know how to nurture talent and build confidence in their orchestras. I met glowing parents proud of their students and a community of leaders who understand that giving youngsters a platform to engage in the pursuit of excellence is a noble and worthwhile investment. I was also inspired by our concert host Lauren Cohan, a passionate advocate for music who is kind to share her time and influence in support of those who need it most. There are many others who play a part in the program’s success. <em>Sistema Fellows</em> Dantes Rameau and Aisha Bowden are the co-founders and visionaries behind the project and lead everyone with infectious enthusiasm. What great gift my friends have given to the city of Atlanta! <br><br>See the picture sets by Anthony Alston Jr./Solidarity Films: <br><br><a contents="https://www.facebook.com/media/set/?set=a.785337434819507.1073741867.134499223236668&amp;type=1" data-link-label="" data-link-type="" href="https://www.facebook.com/media/set/?set=a.785337434819507.1073741867.134499223236668&type=1" target="_blank">https://www.facebook.com/media/set/?set=a.785337434819507.1073741867.134499223236668&type=1</a><br><a contents="https://www.facebook.com/media/set/?set=a.785263008160283.1073741866.134499223236668&amp;type=1" data-link-label="" data-link-type="" href="https://www.facebook.com/media/set/?set=a.785263008160283.1073741866.134499223236668&type=1" target="_blank">https://www.facebook.com/media/set/?set=a.785263008160283.1073741866.134499223236668&type=1</a><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/d8dc281e02594c3de0018588d7660d356730d099/large/laurencohan-hernandez-estrada-amp4.jpg?1400635331" class="size_l justify_none border_none" alt="" /><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/04714350fb8d1a11e8d31f3f6165481c05e44ac5/large/laurencohan-hernandez-estrada-amp1.jpg?1400635415" class="size_l justify_none border_none" alt="" /><br>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/2825118
2014-03-28T01:55:59-05:00
2017-01-12T20:06:42-06:00
On the National Summit of Creative Youth Development
<strong><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/31821a4f90acdeaf42645a3dd5ab10ac9e553704/medium/logo-nscyd.png?1399091860" class="size_m justify_none border_" /><br><br>Commentary on Emerging ideas for a call to action</strong><br><br><em>On the National Summit of Creative Youth Development - </em>Strategic Priority 5: Facilitating Social Change and Social Justice<br> <br><strong>“Make young people’s work visible to, and their ideas heard by, wide audiences.”</strong><br> <br>The social reformer Jose Antonio Abreu often quotes the words of Mother Theresa—“the most miserable thing about poverty is not the lack of bread or roof, but the feeling of being no one.” The creative arts provide some of the best tools help bring up a new generation that feels more joyful and confident about their chances for success. And while we have done a great work already in the field, it is not always enough. Schools still suffer from budget cuts in the arts and after-school programming for youth does not yet include all those who cannot afford participating in a theatre school or a youth choir. Unfortunately, the arts are still a luxury in many communities, yet there is a great and growing hope in the fact that so many people are already committed to finding avenues to serving those with the greatest needs and most limited resources. Many examples abound, a quick look into the <a contents="National Arts Guild " data-link-label="" data-link-type="" href="http://www.nationalguild.org/Home.aspx" target="_blank">National Arts Guild </a>non-profits membership and the <a contents="US Sistema-inspired programs" data-link-label="" data-link-type="" href="http://elsistemausa.org/whos-involved/members/" target="_blank">US Sistema-inspired programs</a> should give us a picture of the scope.<br> <br>Upon reading the proposed <a contents="National Summit Creative Youth Development&nbsp;policy agenda" data-link-label="" data-link-type="" href="http://creativeyouthsummit.org/documents/National%20Creative%20Youth%20Development%20Summit%20Briefing.pdf" target="_blank"><em>National Summit Creative Youth Development</em> policy agenda</a>, I am hopeful in that the core of the social justice discussion today is centered in part on the ideal of student visibility and recognition. When I worked as part of a collective impact initiative to bring free music education to underserved children in Oklahoma City, I saw how important it was to provide opportunities for students to share their accomplishments with others. Open-rehearsals and concerts in churches, conferences, and universities provided for a space where families could attest to their student’s progress and feel proud about them. Our students felt acknowledged for their hard work and were encouraged to continue to strive for success. Newspaper articles and <a contents="television reports" data-link-label="" data-link-type="" href="http://www.news9.com/story/24217583/el-sistema-orchestra-performs-first-concert-in-okc" target="_blank">television reports</a> highlighted many of their accomplishments. This public recognition is important for the sustainability of youth development programs overall yet imperative for the future of many a youngster in poverty who might feel disenfranchised from the potential of a life of value and contribution. <br> <br>What can we do to make young people’s work visible to, and their ideas heard by, wide audiences? Here are a few ideas:<br> <br><strong>Programs need champions</strong> that will advocate strongly for their students. These individuals of influence can come from within and beyond the arts sector. But in order for them to participate effectively they must fully understand (and articulate) the nature and scope of the social change a program aspires to create.<br> <br><strong>Consider the impact of scale</strong>. When like-minded programs and initiatives come together as larger ensembles or collaborative productions their audiences grow and their messages of change can magnify and garner the attention of entities who might not have noticed their individual efforts. <br> <br><strong>The media can be a great ally</strong> to help promote young people’s accomplishments. Program leaders must always keep in mind that these opportunities can be scarce and hence must thoroughly prepare students to showcase their best possible and most inspiring work. Their pursuit of excellence will encourage the public’s ample support. <br> <br><strong>A student’s work can become socially relevant</strong> when shared with an empathic purpose. Young people can reap enormous benefits from being mentors to others, performing for people who might not have access to the arts experience, or inspiring others to also envision their life as purveyors of beauty. <br> <br>In closing, the movement for social justice through the creative arts is alive and well. There are still many challenges to solve but the provisions enumerated in the “Strategic Priority 5: Facilitating Social Change and Social Justice” will be instrumental to helping hundreds of leaders, advocates, and students in the arts improve the mechanisms that will allow us to better serve our communities. Artistic experiences can be life-changing for those who have the opportunity to participate in them. Let us continue making sure that these truly become a patrimony of society.<br><br>@joseherstrada
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/2814464
2014-03-26T10:28:58-05:00
2014-03-26T11:08:54-05:00
March 26
On the anniversary of Beethoven's death —<br><br>yearning in solitude<br>the messenger enamored <br>a poetic hope
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/2791435
2014-03-22T00:07:50-05:00
2017-01-12T20:06:42-06:00
Thoughts for a more joyful art
<div class="captioned justify_none"><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/f3eec80176cd21fa781c6d7955b535bd243cdb15/large/elsistemasalzburg.jpg?1399091375" class="size_orig justify_none border_" /><p class="caption">'Simon Rattle leads the Orquesta Nacional Infantil' - Photo Credit: FundaMusical Bolivar</p></div><br><a contents="In my previous post," data-link-label="" data-link-type="url" href="http://joseherstrada.com/blog/blog/above-all-else-joy" target="_blank">In my previous post,</a> I wrote about musicians being reminded of the spirit of joy that inhabits their art. The conversations that followed my sharing of the Salzburg rehearsal story have prompted me to try to bring forth a few ideas to help bring us (musicians) to realizing a deeper meaning to the experience of music. These thoughts have been inspired by my own work as a conductor and teacher with <a contents="El Sistema " data-link-label="" data-link-type="" href="http://youtu.be/JxcLk4uJaIk" target="_blank">El Sistema </a>and elsewhere. In many ways these are also pedagogical in nature. They often guide my work as I seek to help others bring forth their best music-making. Please feel free to share these with fellow musicians. They are conveniently expressed in 'Tweet' form. <br><br><strong>A few ideas to help ensembles and musicians transcend with a more joyful art: </strong><br><br><strong>Be idealistic </strong>in your experience of sharing music. Everyone should play for a reason; those that truly know <em>why they play</em> as opposed to <em>how to play</em> can generate the kind of meaning that will draw more people in.<br> <br><strong>Be creative</strong> with your playing. Draw every ounce of surprise, melancholy, mischievousness, and defiance (you name it) from the score and dare to extend the boundaries of what was originally conceived. <br> <br><strong>Be generous</strong> in your music-making. Powerful connections can be made when listening intently to your neighbor’s part while you play yours. This is called interdependence—you are responsible for others and they are responsible for you. Everybody wins. <br> <br><strong>Be grateful</strong> for your gift. Remember that even today, the opportunity to learn music is rare; and the fact that you are a musician makes you a purveyor of beauty, one of the world’s most sought-after riches.<br> <br><strong>Be present</strong> in the moment, or better yet… <em>show</em> the music. A musical performance is not just an aural experience but a visual one as well. On stage, thoughtful gestures can help highlight your musical intent and presence.<br> <br><strong>Be committed </strong>to excellence. You should always aim to give the performance of your life, but remember, that perfection should never be the goal. A performance is always both the end and beginning of your learning a piece of music. This is an infinite process. <br> <br>And…don’t forget to smile. It tells everyone that you love what you do. <br><br><em>March 2014</em> <br>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/2647641
2014-02-25T23:41:03-06:00
2017-01-12T20:06:41-06:00
Above all else: Joy
<br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/00db608f900e1b8e2c56fbd346714633143a8f2c/medium/img-20140704-061123.jpg?1404515846" class="size_m justify_left border_none" alt="" /> I was <a contents="recently invited to participate in a concert" data-link-label="" data-link-type="" href="http://www.bostonavenue.org/news-and-events/invite-a-friend-to-music-among-friends-february-23-2014" target="_blank">recently invited to participate in a concert</a> with members of the Tulsa Symphony at the elegant Boston Avenue Church of Tulsa. It was a wonderful experience. One of my favorite things about traveling is seeing new places and meeting new friends through music. I certainly made many friends there! I am very fond of museums and my gracious hostess, Janet, took the time to share many of the <em>open secrets </em>surrounding the nationally-renowned Philbrook Museum. In our tour, she pointed out a work by sculptor Harriet Frishmuth. She was one of the very few American students of the great master Auguste Rodin. The story goes that as a young sculptor she had struggled with finding her own personal stamp and was looking for someone or something to inspire that gift. The great French master had one piece of advice for her—show joy. This reminded me of Salzburg. A few months ago, I traveled there <a contents="to bear witness yet again to the miracle of El Sistema" data-link-label="" data-link-type="url" href="http://www.joseherstrada.com/blog/blog/brilla-una-luz-el-sistema-en-salzburgo" target="_blank">to bear witness yet again to the miracle of El Sistema</a>, the system of youth orchestras and choirs envisioned by the Venezuelan social reformer Jose Antonio Abreu. As we were both listening to a very young conductor lead the rehearsal of a children’s orchestra, he noticed something was not quite right. There were some minor issues with the ensemble and the intonation was somewhat scrappy. (This was an <a contents="important concert" data-link-label="" data-link-type="" href="http://youtu.be/YhXiJH9yF2c" target="_blank">important concert</a>, the stakes were very high.) Maestro Abreu, known to be conscientious for precision and of the slightest of technical details didn’t try to point to these issues. Instead, he quickly interjected to offer advice. “Muestren <em>Alegría</em>,” “Show Joy,” he said to the musicians. With that brilliant stroke the room began to light up, there were smiles exchanged. Everyone became much less worried of the technical hurdles and more into the feeling of letting go and enjoying themselves. That feeling was contagious even to the dozen or so people that were at the rehearsal. It was then that the <em>music</em> really happened. It was a reminder to all that joy has to be one of the most important ingredients of artistic transcendence and the only vehicle for authentic communication. In the words of Mother Theresa of Calcutta, showing joy generates “a net of love by which you can catch souls.” And that is the greatest gift an artist can offer. Both Abreu and Rodin are right—it is joy that makes all the difference. <br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/4c1679d64b70c5e2ca3ba27b391b3ac0e9028f50/large/img-20140704-062420.jpg?1404516454" class="size_l justify_none border_none" alt="" /><br>The Philbrook Museum gardens.
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/2550547
2014-02-10T01:29:31-06:00
2021-09-18T05:52:40-05:00
A Valentine's Concert
<div class="captioned justify_none"><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/2802c31e588698c134148ed87878bd26c6dc5a43/large/img-1632.jpg?1392016581" class="size_orig justify_none border_" alt="" /><p class="caption"> </p></div>
<div>At the Roswell Cultural Center, legendary saxophonist James Houlik from Chicago performed the Atlanta premiere of the Russell Peck “Upward Stream” tenor saxophone concerto. John Lemley of WABE hosted the concert that featured Mexican guest conductor Jose Luis Hernandez-Estrada in Tschaikovsky’s Romeo and Juliet Overture-Fantasy. Maestro Ludwig conducted Brahm's Symphony No. 4 and soprano-Megan Mashburn of the Atlanta Opera sang Donizetti’s <em>“Quel guardo il cavaliere”</em> from Don Pasquale and <em>“O luce diquest anima”</em> from Linda di Chamounix. <br> </div><iframe allowfullscreen="" frameborder="0" height="270" mozallowfullscreen="" src="//player.vimeo.com/video/91111913?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="480"></iframe>
<p><a href="http://vimeo.com/91111913">Concert Preview</a> from <a href="http://vimeo.com/user26652291">Hernandez-Estrada</a> on <a href="https://vimeo.com">Vimeo</a>.</p>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/2470516
2014-01-25T23:15:00-06:00
2017-01-12T20:06:41-06:00
Evening at the Champs-Élysées
<div class="captioned justify_center"><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/095bd5e827fb2679278f68a2c2f1ba2a9f4cc4a2/original/champs-lys-es-paris.jpg?1390882184" class="size_orig justify_center border_" /><p class="caption">The ceiling of the Théâtre des Champs-Élysées.</p></div><br>Few musical venues hold an allure as compelling as the Théâtre des Champs-Élysées. It is the very same place where the now legendary riots surrounding the premiere of Stravinsky’s Rite Spring took place. There were fistfights and objects were thrown at the stage. The usually well-mannered French composer Saint-Saëns walked out appalled that the score called for instruments to play in such unusual and deviant ways (expanding the limits of what was thought possible). The choreography did not help either. The Russian dancer Nijinsky infused the scene with jagged dance-like gestures decorated by a morbid primitivism. No wonder the Rite had received such a mixed reception. But this was the year 1913. Paris was entering an era of artistic experimentation pointing towards the <em>avant-garde</em>. How would I love to have been there! As you peruse the space, special attention must be paid to the theater building itself. It is as artful as the work described. The facade is almost too simple. Inspired by the nascent <em>Arts Deco </em>movement of the time, the architecture exudes a fresh perspective and plainness at the same time. (Very unlike the traditional and ornate Parisian trend.) It is always a wonderful experience to visit such historic places and try to immerse oneself in narratives of the olden days. Ironically, no modern works were presented here tonight. I heard both Chopin concerti played by Polish pianist <strong>Rafał Blechacz</strong>, a very intelligent and serious artist who identifies himself very well with the composer’s music. Chopin, a <em>Romantic</em>, lived in Paris for most of his life but seldom played in large venues such as this. Most of his performances were held in private salons or at homes for highly discerning audiences. For this same reason, the music should always convey a sense of intimacy. Blechacz was able to achieve this effect by being both exceptionally close to the music and completely aware that any unnecessary mannerisms would disrupt its natural simplicity. Chopin’s music can be easily spoiled by over indulging in it, but this was never the case. The inner slow movements <em>sang </em>with a controlled and soulful tone and the orchestral accompaniment led by Trevor Pinnock was sensitive to the nuanced phrasing. They were memorable. He gave us three encores. Two short preludes by the same composer and a scherzo from an early Beethoven sonata which came as a very pleasant surprise.<br><br> <br><em>Paris, January 2014. </em>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/2441371
2014-01-21T15:15:00-06:00
2020-07-11T05:25:59-05:00
"Images" de Paris
<br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/bc0c41de0194fac1547d32a698fdd84fdec793ae/large/img-1580.jpg?1390338130" class="size_l justify_center border_none" alt="El Arco del Triunfo " />Frente a el Arco del Triunfo. <br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/9e99e830399090eb679b93e7647ce280f037fa1d/original/dsc00741.jpg?1390338186" class="size_l justify_center border_" />Panoramica de ensayo del Requiem de Berlioz con Gustavo Dudamel en la Catedral de Notre Dame. <br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/221eee9b0ffacf2a4953912ed854e8637eda4cdb/original/img-1600.jpg?1390338286" class="size_l justify_center border_" />Detalle del Palacio Nacional de la Opera <em>Garnier</em>.
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/2393842
2014-01-13T20:55:00-06:00
2017-01-12T20:06:41-06:00
Growing the Music of Hope
<div class="captioned justify_center"><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/b3e485155d1b9764e77419756318897c77d25343/large/okcconcert.jpg?1389480924" class="size_orig justify_center border_" /><p class="caption">'Standing Ovation in Oklahoma City'</p></div><br>Upon completing the <em>Sistema Fellows</em> program at the New England Conservatory, the world’s preeminent training program for “gifted young musicians passionate about their art and social justice,” graduates are required to dedicate at least one year to establish a social change through music initiative following their formal studies in Boston and Venezuela. I chose Oklahoma City as the place to commit my energies to the cause. I knew in my heart that, if I was able to fashion a space where people could dream big and work together in a spirit of generosity, extraordinary things would happen. And they did. I would like to share aspects of this experience as a tribute to my friends and colleagues who offered their generous support throughout my tenure; and to the students who inspired me to give my best each day. <br> <br>Any project that aspires to generate a systemic change will require the participation of an organized civil society. The Stanford <em>Social Innovation Review</em> refers to this as <em>collective impact (</em>broad cross-sector coordination and not just the isolated intervention of individual organizations). In imagining <em>El Sistema</em> for Oklahoma City, it was important to bring a variety of institutions and people in a symbiotic relationship. Two local institutions welcomed me as part of their ministry and academic staff. I received a full-time position at St. Luke’s UMC and an adjunct position at Oklahoma City University. The church and its moral credibility in the community were instrumental to cast a vision. The university and its record of academic excellence and service-thinking was the right vehicle to grow an initiative from a scholarly and research-based standpoint. Others joined us along the way. The Foundation for Oklahoma City Public Schools as a facilitator of community-in-education affairs made it possible to reach out to many of my colleagues and stakeholders in the field. My good friend Jamie Bernstein, the daughter of the great American conductor, helped me introduce El Sistema to state-wide leaders in the arts during the first <em>Music Transforms</em> Symposium. The stage was set. A working group was ready to announce <em>El Sistema Oklahoma</em> as an after-school program to bring hope and social change to children through the collective practice of music. Over one hundred students and families would be invited to join the inaugural Children’s Orchestra. A structure would gradually be formed to multiply this program indefinitely. <br><br>After months of careful planning and organization, a flagship orchestral <em>nucleo</em> was launched early in September. Teachers on-site were chosen on the basis of artistic merit, their potential for professional growth, and ability to inspire and influence others to do good work (over 50 teachers applied for positions). It was also important that everyone grapple with the fact that there was nothing glamorous about this work. The work of education is complex and highly demanding. Helping to meet the needs of others is a mission that requires us to invest our industry in extraordinary ways and with a deep and almost spiritual commitment. When it came time to choose our students, we weren’t looking for those that the general population might deem as musically <em>talented</em>. We spoke to school principals about the importance of identifying students that they cared deeply about and wanted to see <em>turnaround</em> and blossom as successful students. Some other people asked, “How will you do it?” “How will you bring them up?” The answer—you believe passionately and wholeheartedly that your contribution can make a difference (and you empower others to believe the same). I am grateful that Mr. Springer, the now retired Superintendent of the Oklahoma City Public Schools district, rallied strongly behind the project and saw it working well as part of his own strategy to bring about much needed attention to urban schools (many of which have ongoing challenges due to poverty, language barriers, or cultural dissonance). The <em>Abreuan</em> idea that programs are meant to serve as a system to grow citizens and not just musicians resonated strongly with school and civic leaders in the city. I remember telling Heather Hope of <em>News 9</em> that “we were not aspiring to produce virtuoso musicians but rather citizens of virtue, young people with a new confidence and tools to be able to succeed in life.” In order for this to happen, our mission of helping students “share the joy of music and grow as responsible citizens” needed to be embedded deep within our budding organization’s social action philosophy. “It has to be a <em>learning and service</em> organization,” I proposed. In other words, it had to act as a laboratory to help shape new habits of minds that would help responsible and caring adults articulate the ideal of believing in a new and blossoming youth that could achieve success no matter where they came from or what futures others assumed for them. I was very clear about this from the very beginning. This also had to reflect on the quality of their musical training and experience.<em> El Sistema</em> teaches us that culture for the poor should never be a poor culture.<br><br>Having worked with many orchestras throughout Venezuela, I knew the kinds of miraculous artistic feats that could be achieved. Naturally, I asked that we also aim very high—to the point that some of these visions were sometimes met with a friendly skepticism. Deep within the culture of El Sistema is the idea that in order for a social transformation to take place you must both nurture and expect extraordinary artistic results from all participants. The social change that we aspire to stimulate is directly proportional to the success that is being envisioned and achieved through a collective lens of music-making. I would tell our students every day that if you could learn a piece of music with all its intricacies and complexities then they could achieve anything life. Perseverance is one of the most valuable transferable skills one attains from the serious study of music—this alone might literally change or even <em>save</em> your life. For their first concert (at 12 weeks of regular instruction) the children’s orchestra was to play an ambitious arrangement of Beethoven’s <em>Ode to Joy</em>. It was generously provided by one of our <em>Project 21</em> composers-in-residence, a university based group that will provide arrangements and original compositions for other El Sistema-inspired programs through their own publishing house. (Those compositions will also aid in the development of a scaffold system of teaching and learning where students will also be able to interpret as well as create music with the help of their teachers.)<br><br>Our program beneficiaries came from six inner-city elementary public schools representing students and families of a rich cultural diversity and socioeconomic backgrounds. I quickly realized that our orchestra would be emblematic of an inclusive community that could begin to see themselves reach higher and claim the admiration of their fellow citizens. What better vehicle to articulate and empower these voices than through the orchestra? Every student had an opportunity to try each instrument. Assignments were made according to personal affinities and through an assessment of potential success in particular instrument families. By the end of the first week, we were ready for our first rehearsal. The first note was not a pretty sound but it was exciting nonetheless. There was a spirit of transcendence and celebration in the air (now after each rehearsal, stand partners shake hands in recognition of each others’ work, it is their tradition). Surprisingly, the following Friday I had over fifty parents show up at the full orchestra rehearsal. Our students inadvertently told them that we would be hosting concerts at the end of every week! When it came time to for the <em>real</em> concert one parent came to me crying after seeing his son play. “I see him there, focused, smiling, and making these sounds, he makes me so proud.” That same parent later told me that he had lived in fear that his son would not be able to succeed because immigrant families still lack the opportunities that others might take for granted. Another parent pointed out that, unfortunately, urban public school children "don’t get a lot offered to them." Now the program is changing that and the experience of music is already helping create an ascending social dynamic. A student’s accomplishment in music can fill a home with much needed hope. Music also has the ability to strengthen family and interpersonal bonds. This was clear to me as grandparents, uncles, and cousins came with flowers to cheer upon their students at concerts or as one violin student hand-crafted an elaborate card to tell his teacher how much he appreciated her. In a few years time, research currently in progress will show that beyond achieving a musical proficiency superior to the norm, our students would have also achieved a proclivity towards discipline, kindness, truthfulness, and generosity as fundamentals of a moral and ethical life. <br><br>I was fortunate to see our teachers give so much of themselves to others. Every new lesson was an opportunity not just to teach something but to literally <em>be present</em> in the life of our students. Many went out of their way to prepare additional teaching materials, offer extra lessons, visit with parents, and even help students with homework or cope with an issue that needed mending. This communion and exchange <em>from the heart</em> brought our students a sense of value and recognition. Serving our children were also a group of dedicated volunteers from all walks of life. Some were retired educators, former businesspeople, and even military men. St. Luke’s church members helped serve a daily dinner; employees from local companies came to share their time; a Justice of state’s highest judicial court made sure that each chair in the orchestra was at the right place before I gave the first downbeat at each rehearsal (Judge Gurich would later tell me how much she enjoyed doing this. “It was an opportunity to witness people enjoying the best time of their life,” she expressed). To see these men and women contribute so much on a daily basis was incredibly humbling. The most remarkable thing for me to see was how they also benefited from the experience of being in service to others. They too found a place to belong; they formed a community of optimistic peoples, and found joy even in the simplest administrative tasks or logistical chores. I know that their example is going to pay huge dividends in the lives of our students. I fervently believe that positive role models are essential to building up success. Inspiration can work wonders.<br><br>As a leader, or even more importantly, as a teacher, one’s goal is to ultimately inspire towards the understanding and application of knowledge so that it might be used wisely to benefit others. Every Monday morning at the university, I taught a course on <em>social action through music</em> (the nation’s first undergraduate level course on the subject). In it we explored how public value might be fashioned through a sharing of the experiences inherent in art. Central to the discussion was the work of El Sistema and other related frameworks of action. In thinking about the elements of my course, the concept of <em>cultural agent</em> came to the forefront consistently. Throughout the semester, the idea of engaging in “an inter-face between academic learning and civic engagement” became a model for my students. I first learned about this idea through an encounter with a colleague at the Harvard Center for Public Leadership. During my Fellowship year, our Boston-based cohort was invited to present to scholars at the center as part of a study group which explored the arts and humanities as a vehicle for social mobility and agency. In that same spirit, my students explored the role of composers as moderators of student creativity and the role of teaching artists in the classroom to effect transformational change. These were all practical assignments intended to engage and encourage their awareness as artists who could serve simultaneously as active participants and proponents of public affairs.<br><br>The idea of building up citizen artists merits a special mention and further elaboration. One of my favorite experiences was to be able to ask our program faculty members to share a story or two about successes in their everyday work. "What are you observing in your own classroom or domain that is changing or evolving? How can you articulate this in terms of moving towards achieving the mission which we are all part of?" Every Wednesday night as our faculty and staff gathered for dinner these anecdotes became our <em>reason for being</em> (and not yet being). We learned about what could be improved, who needed special attention, and where we should channel our energies in pursuit of our program’s goals. Beyond the practical pedagogy or even the operational structure of any El Sistema-inspired program, knowing and embodying your mission well is of utmost importance. Good work lives in authenticity. And it must always be focused on the mission—“the social mission of art,” as Maestro Abreu would contend.<br> <br>Someone recently expressed to me that she couldn’t imagine the Oklahoma City program without me. What is important to know is that this community, even before I arrived, already had the necessary ingredients to build a world class program. My job was simply to encourage them all. The teachers of Oklahoma are extremely talented. The students are hungry to learn; many influential people already care deeply about their own community and are willing to invest resources and time. I think the key to <a contents="building systems that work " data-link-label="" data-link-type="" href="http://www.joseherstrada.com/blog/blog/ethics-and-aesthetics-in-education-at-the-oklahoma-bar-association" target="_blank">building systems that work </a>lies in communities finding a purpose to act boldly and the passion to work together to achieve more. With some many assets and talent available it would be immoral to let any student fall behind. Education is not the work of a few idealistic individuals, it is the responsibility of all people.<br><br>I am on lifetime mission to share the joy of music. I also believe that engaging in artistic endeavors is crucial to understanding the human condition and to help us rescue the truest essence of the beautiful and the good in life. Music is essential to grow people who are constantly striving and <em>becoming.</em> This is why I am hopeful for the future of my students in Oklahoma City. A seed was planted for them. I will always remember them as people of infinite promise. They were an extraordinary inspiration to me and the driving force behind my work. I am also grateful that this journey led me to meet and collaborate with so many wonderful educators, families, volunteers, church leaders, journalists, and public servants. Together we were able to create a model for the kind of support systems that our societies desperately need to grow a new generation of achievers. My heart is full of joy. <br><br><em>January 2014 </em>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/2230508
2013-12-14T01:25:33-06:00
2013-12-14T01:32:02-06:00
El Sistema Orchestra Performs First Concert In OKC
<script type="text/javascript" src="http://KWTV.images.worldnow.com/interface/js/WNVideo.js?rnd=626263;hostDomain=www.news9.com;playerWidth=630;playerHeight=355;isShowIcon=true;clipId=9633578;flvUri=;partnerclipid=;adTag=News;advertisingZone=;enableAds=true;landingPage=;islandingPageoverride=false;playerType=STANDARD_EMBEDDEDscript;controlsType=overlay"></script><strong>By Heather Hope, News 9 - KWTV</strong><br><br><a href="http://www.news9.com" title="News9.com - Oklahoma City, OK - News, Weather, Video and Sports | ">News9.com - Oklahoma City, OK - News, Weather, Video and Sports |</a><br><br>OKLAHOMA CITY -<p style="padding: 0px; color: rgb(0, 0, 0); font-family: georgia, serif; font-size: 14px; line-height: 19px; display: inline; margin: 1.2em 0px !important;">For three months, El Sistema has been a positive outlet for Oklahoma City school children in need of an afterschool activity. The music program put instruments in 100 students' hands, and Friday night was their very first concert.</p>
<p style="padding: 0px; color: rgb(0, 0, 0); font-family: georgia, serif; font-size: 14px; line-height: 19px; margin: 1.2em 0px !important;">The students performing on Friday night never played instruments before this program.</p>
<p style="padding: 0px; color: rgb(0, 0, 0); font-family: georgia, serif; font-size: 14px; line-height: 19px; margin: 1.2em 0px !important;">Watching TV and playing games is all 9-year-old Malachi Lewis said he would do after school. That is until he joined the El Sistema Oklahoma children's orchestra.</p>
<p style="padding: 0px; color: rgb(0, 0, 0); font-family: georgia, serif; font-size: 14px; line-height: 19px; margin: 1.2em 0px !important;">"I like it a lot because you can play your instrument, I play the tuba, and it makes big sounds," Malachi said.</p>
<p style="padding: 0px; color: rgb(0, 0, 0); font-family: georgia, serif; font-size: 14px; line-height: 19px; margin: 1.2em 0px !important;">Malachi's grandmother Alta Gleason loves the program.</p>
<p style="padding: 0px; color: rgb(0, 0, 0); font-family: georgia, serif; font-size: 14px; line-height: 19px; margin: 1.2em 0px !important;">"It's built up his self-esteem, he feels better about himself, he has to shake hands, stand and bow," said Gleason, who also serves at the Vice President of the Gatewood Elementary School PTA, where Malachi attends. "It is a hard neighborhood and school because it is more inner city, so we don't get a lot of things offered to us."</p>
<p style="padding: 0px; color: rgb(0, 0, 0); font-family: georgia, serif; font-size: 14px; line-height: 19px; margin: 1.2em 0px !important;">El Sistema started in September, giving about 100 third to sixth graders from six schools, a free instrument and a world-class education in classical music.</p>
<p style="padding: 0px; color: rgb(0, 0, 0); font-family: georgia, serif; font-size: 14px; line-height: 19px; margin: 1.2em 0px !important;">"We weren't asking for model students, we were looking for those who we wanted to see turn around," said Jose Luis Hernandez-Estrada, Executive director and principal conductor of the El Sistema orchestra. "It is a social change program through music, and we use the orchestra as our vehicle."</p>
<p style="padding: 0px; color: rgb(0, 0, 0); font-family: georgia, serif; font-size: 14px; line-height: 19px; margin: 1.2em 0px !important;">The young minds learn how to read music and work as a team.</p>
<p style="padding: 0px; color: rgb(0, 0, 0); font-family: georgia, serif; font-size: 14px; line-height: 19px; margin: 1.2em 0px !important;">"I tell them every day, if you can learn a piece of music with all those intricacies and complexities, hey, you can accomplish anything in life," said Hernandez-Estrada.</p>
<p style="padding: 0px; color: rgb(0, 0, 0); font-family: georgia, serif; font-size: 14px; line-height: 19px; margin: 1.2em 0px !important;">Malachi's grandmother agrees.</p>
<p style="padding: 0px; color: rgb(0, 0, 0); font-family: georgia, serif; font-size: 14px; line-height: 19px; margin: 1.2em 0px !important;">"Malachi just doesn't want to miss, he has not missed one night and he just doesn't want to miss," she said.</p>
<p style="padding: 0px; color: rgb(0, 0, 0); font-family: georgia, serif; font-size: 14px; line-height: 19px; margin: 1.2em 0px !important;">"He has three hours of music every night that is positive, and this is a possibility that it could take him on to college."</p>
<p style="padding: 0px; color: rgb(0, 0, 0); font-family: georgia, serif; font-size: 14px; line-height: 19px; margin: 1.2em 0px !important;">The El Sistema orchestra plans to join with the Northwest Classen High School band and orchestra for a joint concert on March 7.</p><a href="http://www.news9.com" title="News9.com - Oklahoma City, OK - News, Weather, Video and Sports | "> </a>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/2059179
2013-11-15T23:08:50-06:00
2013-11-19T04:56:34-06:00
"Ethics and Aesthetics in Education" at the Oklahoma Bar Association
At the invitation of the Justice of the Supreme Court of Oklahoma Noma D. Gurich and Oklahoma Bar Association President Jim Stuart, young classical conductor, author, and mentor Jose Luis Hernandez-Estrada presented a keynote speech that explored ethics and aesthetics in music and a vision for the building of education systems that can support a new blossoming youth. Eleven string students of the newly instituted <em>El Sistema Oklahoma </em>performed orchestral pieces and engaged the audience at the event. Hear the entire speech here: <br>
29:41
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/1842852
2013-11-01T21:00:00-05:00
2021-08-05T13:38:28-05:00
An Orchestra means Joy
<div class="captioned justify_center"><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/10fa95ca1c78342a87c94f9ce9287970899c73e4/large/elsistemaoklahoma-1.jpg?1381649627" class="size_orig justify_center border_" /><p class="caption">El Sistema Oklahoma makes its debut, October 11th, 2013. Inspired by El Sistema in Venezuela, the Oklahoma initiative is an after-school music education program of St. Luke's UMC in partnership with Oklahoma City University's Bass School of Music and the Foundation for OKC Public Schools.</p></div>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/1722278
2013-09-27T01:24:49-05:00
2013-09-27T13:59:39-05:00
Mission as Intersection
<br>I recently came across the work of American theologian Frederick Buechener. He spoke of a concept that impressed me greatly. He defined vocations as realizations of <em>mission as intersection</em> or “the place where your deep gladness and the world’s deep hunger meet.” This maxim is true for the teachers of El Sistema and all educators who recognize music as a congenial space that is both inspirational and transformational. For Maestro Abreu, these men and women of service are “messengers of the highest social mission of art.” That is a tremendous responsibility. It implies building a noble and aspirational path for those in need of the comfort that only artistic endeavors can bring and that society desperately needs—“spirituality, solidarity, compassion, and above all, happiness,” Abreu contends. I’ve written elsewhere about the ineffability music, and yet its powers always seems to manifest themselves more clearly and succinctly when practiced as part of a social endeavor or experience. In the classroom or rehearsal space, every teacher with an authentic vocation (those who care deeply about nurturing a higher cause) will come to be surrounded by the fraternal, a spirit that inevitably becomes magnified by the connections that she has made with her students through the communal experience of art. These invisible connections, and in our case, concerted by and through music, allow teachers to derive a deep gladness and invite students to turn their hearts directly to a place where hope awaits. Infinite as music.<br><br><em style="font-size: 12px;">September 2013. </em><br>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/1641796
2013-09-17T14:51:47-05:00
2013-09-29T15:03:50-05:00
Falling in love with music
<br><strong>Excerpt from The Oklahoman - Sunday Life Edition</strong><br>By Carla Hinton, 09/15<br><br><em>"Education should not be just about nurturing the intellect, it should also be about nourishing the soul..."</em><br><br>Jose Luis Hernandez-Estrada followed his father into a rehearsal hall filled with members of a professional orchestra in Tampico, Mexico. The musicians crowded around his father, yelling “Maestro!” in their excitement to meet the piano soloist for their next performance.<br><br>His dad merely smiled and quietly led the child to a piano.<br><br>At 10 years old, Hernandez-Estrada was the acclaimed pianist the musicians awaited — much to their surprise.<br><br>“The conductor knew who the soloist was, but the musicians thought they were waiting for my father,” Hernandez-Estrada said, smiling, during a recent interview at Oklahoma City University.<br><br>That memorable moment from 1994 rose to the surface recently as Hernandez-Estrada anticipated his first season as executive director of El Sistema Oklahoma. The program, in its inaugural year, provides free orchestral music training to a group of students in third through sixth grades from six Oklahoma City public schools: Sequoyah, Linwood, Gatewood, Kaiser, Putnam Heights and Cleveland.<br><br>Hernandez-Estrada, 29, is now an internationally acclaimed pianist and classical conductor. He said sharing the gift of music with the Oklahoma youths reminds him of his childhood when he discovered music for the first time. <br><br><a contents="http://newsok.com/falling-in-love-with-music-lifelong-passion-inspires-classical-conductor-to-help-oklahoma-students/article/3882464" data-link-label="" data-link-type="" href="http://newsok.com/falling-in-love-with-music-lifelong-passion-inspires-classical-conductor-to-help-oklahoma-students/article/3882464" target="_blank">http://newsok.com/falling-in-love-with-music-lifelong-passion-inspires-classical-conductor-to-help-oklahoma-students/article/3882464</a><br><br>Also see the first article in the series: 'Kaleidoscope of sound': Students begin acclaimed after-school music program.<br><br><a contents="http://newsok.com/kaleidoscope-of-sound-students-begin-acclaimed-after-school-music-program/article/3879517" data-link-label="" data-link-type="" href="http://newsok.com/kaleidoscope-of-sound-students-begin-acclaimed-after-school-music-program/article/3879517" target="_blank">http://newsok.com/kaleidoscope-of-sound-students-begin-acclaimed-after-school-music-program/article/3879517</a><br>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/1610856
2013-09-13T00:39:46-05:00
2023-12-10T11:00:42-06:00
Our Best Hope
<br>There is something quite ineffable about music. It is an invisible language, mysterious and powerful at the same time. You cannot <em>see</em> music but you can feel it. It embraces anyone who would be called to listen to and participate in it. Its effects transcend any scholarly explanations. The properties of this physical phenomenon can probably be best described in spiritual or even ethical terms. As an artist and educator, I often ask myself the question, “Why is music important?” And more specifically, “What can music do to help us thrive as people?” The practice of music invites us to embolden our creative spirits and often begets spaces of beauty. These are tremendous opportunities for anyone, yet the presence of these in the life of a poor child can be the best antidote and hope that he may have to succeed through the challenges of life. When a child in need is given a musical instrument, he discovers a new and hopeful voice framed in harmony that elevates a sometime fragile human condition.<br><br>In El Sistema, we recognize music as a fundamental right and as a social action in service to others. An “art at the service of those who cry for vindication and the raising up of the dignity,” as Jose Antonio Abreu would explain. To better understand the essence of our work let us also ponder the words of Mother Teresa of Calcutta as she often expressed, “The most miserable and tragic thing about poverty is not the lack of bread or roof, but the feeling of being no one.” And the words of Maestro Abreu, as he refers to education as the means to aspire towards something much greater than ourselves. “Education being the synthesis of wisdom and knowledge, it is the means to strive for a more perfect, more enlightened, and just society.” Both statements are as eloquent and as important to embody the work of El Sistema.<br><br>In doing this work, we believe that all children should be valued and that investing in a participatory and collective music education is the means to achieve a positive and lasting social change in their lives. We strive to provide the best opportunities—which include the best teachers, instruments, and infrastructure to show our students and families that we are committed to their success. Even at the very nascent stages of the Oklahoma City program we are already seeing many smiles and shining eyes. “Thank you for giving Adrian a second chance,” one parent said, “No one believes in him, but you do.” This is precisely what we aspire to. To <em>believe</em>. To have faith on the infinite potential of our youth and in the aspirations of families who seek for a better life. And we are using music as the vehicle. It is our best hope to help make a difference.<br> <br><em>September 2013 </em>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/1379667
2013-08-11T08:25:08-05:00
2017-01-12T20:06:41-06:00
Brilla una Luz: El Sistema en Salzburgo
<div class="captioned justify_center"><img src="//content.sitezoogle.com/u/53545/bfe56aad4b511f62f84221085cd81a1cca0bdeb0/large/sniv2013.jpg?1376227192" class="size_orig justify_center border_" /><p class="caption">La Orquesta Sinfónica Infantil de Venezuela</p></div><br><em>Ensayo con motivo de la residencia de El Sistema de Orquestas y Coros de Venezuela en el Festival de Salzburgo 2013 e inspirado en el discurso de apertura del Maestro José Antonio Abreu.<br> </em><br>Recuerdo muy bien un viaje de Pascua entrañable durante mi niñez por el sur de México. Yo tenia doce años (fue el mismo año que viaje a Alemania por primera vez a tocar la música de Bach). Una noche observábamos entretejida en el vasto cielo de un paraje rural una gran estela de luz brillante que nos cautivaba a todos. Era el cometa <em>Hale-Bopp</em>, el evento astronómico mas importante en casi dos siglos. (Yo en ese tiempo estaba muy interesado en la astronomía. Tenia un telescopio amateur con el que podías ver los cráteres de la luna e inclusive la silueta de los anillos de Saturno.) Eso de la astronomía como la música es un verdadero misterio—aquello que se ve o escucha claramente pero que a veces es difícil de definir o incluso comprender. A propósito de la música y la astronomía es preciso comentar la antigua teoría pitagórica de la <em>armonía de las esferas</em>. La misma que explica como el universo esta gobernado según proporciones armoniosas a medida que el movimiento de los cuerpos celestes se rigen según proporciones estéticas. Y donde la distancia entre ellos corresponden a los intervalos musicales. De ahí parte la relación entre el tono de la nota musical y la longitud de la cuerda que lo produce (un fenómeno de la física). Todo esto nos invita a pensar en el contexto universal de la música y la armonía que la nutre y la sostiene—es decir las proporciones entre las partes y el Todo.<br><br>Pareciera que ese gran cometa hubiera estado aquí ayer. Se sentía suspendido en el aire (en realidad viajaba a una velocidad de 44,000 kilómetros por hora). Era el mismo cometa que había sido observado por los Egipcios en los tiempos del reino del faraón <em>Pepi I</em>, algunos dos mil años antes de Cristo. Era algo sublime: la estampa dibujada en el firmamento; y el significado que cobraba al estarla contemplando en familia. El calor humano que enmarcaba la experiencia ya relatada solo la magnificaba.<br><br>Años después hoy me encuentro en Salzburgo presenciando otro suceso tan luminoso y de proporciones históricas en cuanto a la música se refiere. 1400 jóvenes Venezolanos y embajadores del “nuevo mundo” se han aglutinado para ofrecer la mas grande muestra musical que nuestro continente jamás haya concretado en Europa. Y el marco para esta gran evento es nada mas y nada menos que el mítico Festival de Salzburgo. El mas grande de nuestros tiempos y que reúne a las orquestas mas celebres de la música actual incluida la <em>Filarmónica de Viena</em> o la <em>Sinfónica de la Radio de Baviera </em>por mencionar algunas (instituciones culturales con una tradición a lo menos centenaria). ¿Pero como es que esos jóvenes han llegado aquí; cual es el significado de su presencia? ¿Cual es el mensaje que habita en el alma de su música? ¿De donde viene esa orquesta que ha hecho una <em>Octava</em> de Mahler impecable (que la misma nieta del compositor Austriaco celebro públicamente al decir que “ninguna otra orquesta toca Mahler como la Simón Bolívar”); ese coro que ha compartido la música sacra de Monteverdi en el <em>Mozarteum</em>; o esa orquesta infantil de ensueño que ha armado la <em>Primera Sinfonía</em> de Mahler con Sir Simón Rattle, el director titular de la Filarmónica de Berlín?<br> <br>Hoy podemos decir que Latinoamérica ya se ha ganado un lugar prominente dentro del contexto histórico del arte universal y la educación musical a nivel mundial. “Contar con <em>El Sistema</em> en Salzburgo significa el rejuvenecimiento del festival y mas aun el rejuvenecimiento de la educación musical en toda Europa,” dijo Alexander Pereira, el anfitrión de tan magno evento. “Este es el acontecimiento pedagógico más importante, no solo de los últimos años, sino de toda mi vida,” comento Rattle.” Esa hazaña—que se manifiesta a través de la proeza artística de una nueva juventud musical continental—es la que habremos de abordar aquí.<br> <br>El proyecto social conocido internacionalmente como <em>El Sistema</em> tiene sus orígenes en una visión de proyecto de nación; de esperanza incalculable y de amor fraterno. Lo que Abreu inicio en 1976 con 11 alumnos hoy se ha extendido a mas de 400,000 (y otros tantos miles alrededor del mundo). <em>Tocan, cantan, y luchan</em> por un futuro mejor en recónditos pueblos, barrios, y ciudades a lo largo y ancho de Venezuela. Todos ellos inmersos en una misión de trasformación social profunda a través de la música que se manifiesta en la “masificación por la búsqueda de la excelencia.” En el deseo de superación; y tesón que emana del sentimiento por hacer las cosas bien. Por lo que implica estudiar una obra sinfónica y perfeccionarla en el tiempo y el espacio. Por el afecto mutuo y fraterno que se encausa al hacer música en una orquesta o en un coro (he ahí la experiencia de la interdependencia de las voces e instrumentos).<br> <br>Para el lector que pudiera no estar familiarizado con este gran proyecto de desarrollo social a través de la música todo esto pudiera sonar desmedido. ¿La música como puente de transformación? Como artista puedo afirmar, indudablemente, que el <em>vivir</em> la experiencia de la interpretación o recreación de las grandes obras musicales (como las sinfonías de Gustav Mahler, o las obras modernista/autóctonas de Alberto Ginastera) nos envuelve en una dimensión afectiva, creadora, e espiritual que dignifica la condición humana. Porque al estar dentro del campo de la belleza se abren los caminos del bien. Aquel niño pobre que sufre se sentirá arropado por la cotidianidad de la armonía musical. Aquel joven que busca un futuro mejor aprenderá de ella la disciplina para cumplir los retos de la vida. En ese sentido la música, parafraseando al decano mexicano José Vasconcelos al hablar de la educación, es y debe de ser como un <em>suntuoso palacio de esperanza</em>. Precisamente esa es la misión del proyecto Abreuista. En su pensum filosófico conviven libremente las ideas de Vasconcelos y <em>Dalcroze</em> al igual que las de Bolívar y Platón. Todas estas voces abogando simultáneamente por ese mismo proyecto transcendental. “La pobreza material será transmutada por la belleza del arte,” dijo Abreu durante el discurso que brindo por motivo de la inauguración del festival, en presencia del canciller de Austria y de otras distinguidas autoridades que abarrotaron el<em> FeistenSchule</em>—el teatro donde Herbert Von Karajan, el hijo predilecto de Salzburgo (después de Mozart) triunfaba con sendas puestas operísticas.<br><br>¿Pero quienes son estos jóvenes que vienen a brindar las presentaciones de su vida? Son los mejores y mas aventajados artistas de Venezuela. Y son una gran familia que viene de todo el país: desde el estado de Táchira hasta Nueva Esparta. Desde la montaña, pasando por el llano y el Caribe—todos con su bandera tricolor reflejada en el semblante de cada uno de ellos. Una exposición fotográfica a cargo de LEICA mostraba a los protagonistas del proyecto. A jóvenes haciendo música orquestal en el barrio del <em>23 de Enero</em>; a un grupo de coristas con cara de asombro al escuchar las nuevas enseñanzas de sus maestros. Una niña abrazando su violín como su posesión mas preciada. También presentes desde luego los pupilos de Dudamel vestidos de etiqueta en una noche de concierto. Todos ellos jóvenes alegres, llenos de sueños y a veces de incertidumbres; pero mas allá de todo convencidos de que la música es parte de su ser y su cotidianidad.<br><br>Ya en los conciertos de gala fue muy emotivo ver al coro nacional entrar al escenario solemne del <em>Mozarteum </em>cimbrado de candelabros de cristal que reflejaban los adornos de hoja de oro en forma de guirnaldas y arpas del proscenio. Algunas jóvenes entraron tomadas de la mano, otros jóvenes caminando muy lentamente; una soprano ya con lagrimas en los ojos. ¿Que habrá sentido al estar apostada en la cúspide del éxito? ¿Sera la fuerza de su destino? Todos los músicos que han venido a Salzburgo saben de la magnitud histórica de la justa. Es una oportunidad de mostrar a un país que aspira a ser mejor. “Estamos aquí para representar a toda Venezuela,” me decía mi colega Joshua Dos Santos y también director asistente de la <em>Orquesta Simón Bolívar</em> durante esta gira. Gregory Carreño, un músico muy querido que forma parte de la orquesta desde hace casi 15 años (cuando todavía la Bolívar era una orquesta infantil), me reiteraba que este era un gran momento para todos pero que ellos tenían que ver mas allá. “Vienen otros proyectos, pronto haremos el <em>Requiem </em>de Berlioz en Paris y visitaremos las principales ciudades del Medio Oriente,” “Nosotros no podemos decir que ya hemos llegado al tope, hay todavía mucho mas.” Inmediatamente después de nuestro encuentro siguieron los ensayos de la <em>Misa en Do</em> menor de Mozart a puerta cerrada en <em>Urstein</em>, la residencia universitaria en donde se reunía la orquesta mayor como si se tratase de la concentración para una final olímpica.<br><br>En uno de los ensayos de la <em>Orquesta Juvenil de Caracas</em> tuve la fortuna de encontrarme con Greimer Parra, un brillante joven violinista originario de un pueblo al interior de Venezuela. El fue nuestro concertino durante mi visita al estado Guárico, el corazón del llano Venezolano (basta escuchar la música de Antonio Estévez para darse una idea del contexto de esa tierra mágica). Ahí tocamos la <em>Obertura de Romeo y Julieta</em> de Tchaikovski y una de las oberturas operísticas de Mozart. Fue aquel ensayo que ya he relatado en otros textos en donde de repente se nos va la luz eléctrica pero todos los músicos de esa orquesta siguieron tocando. ¡Se sabían la partitura de memoria! Repitió la hazaña mi compañero Dietrich Paredes al pedirles a todos sus músicos Caraqueños tocar la <em>Obertura Festiva</em> de Shostakovich completamente de memoria (el también sin partitura desde luego).“Eso de leer las partituras en un concierto se ve mal…bueno es normal…pero nosotros no somos una orquesta normal.” Uno de los<em> leitmotifs</em> del pensamiento Abreuista ha sido precisamente ese; el ir mas allá y como diría el maestro, “rumbo al umbral de lo infinito.” El joven Greimer audicionó para ser parte de la orquesta en Febrero y ahora meses después esta en Salzburgo. Ha trabajado mucho, se lo ha ganado. Al final de su concierto le di un fuerte abrazo y le pregunte, ¿te das cuenta del triunfo que has cosechado? El se sonrió humildemente y nos dijimos hasta pronto.<br><br>Me preguntaba un colega e integrante de la importantísima Mahler<em> Jugendorcherster</em> al finalizar la presentación del <em>Cuarteto Simón Bolívar,</em> ¿cual es el secreto de todo este concepto maravilloso? “Nunca dejar de aprender,” le respondí. Ahora yo me pregunto, ¿Es el continente Americano el nuevo protagonista cultural del siglo 21? Sin duda alguna, la estela que ha trazado el ejemplo de El Sistema debe ser punto de partida para confiar de nuevo en nuestros instintos creadores e interpretativos. A partir de la <em>Raza Cósmica</em> de Vasconcelos Latinoamérica construyo una apogeo que culmino con la literatura de Mario Vargas Llosa, Octavio Paz, y el realismo mágico Gabriel García Márquez. Hoy los jóvenes Venezolanos ya han perfeccionado la grandes partituras Europeas redefiniendo su contenido a través una perspectiva mestiza y a manera de lo que también postulaba el pintor y muralista revolucionario David Alfaro Siqueiros al afirmar que "el arte ya no debe ser la expresión de placer individual como hoy se concibe, sino que debe producir belleza que sugiera la lucha; un arte de combate y educativo para todos." La lucha por ende se realiza desde la trinchera del arte. Y esta por naturaleza nos exige cristalizar su democratización profunda. “El arte ha dejado de ser un monopolio de élites en América Latina para transformarse en un derecho social, en un derecho de todo el pueblo,” define Abreu. Indudablemente, el <em>democratizar </em>en la máxima extensión de la palabra ha sido una lucha constante para los países Latinoamericanos, sin embargo, el proyecto Venezolano nos ha mostrado que <em>si es posible</em> encausar un proyecto comunitario y de estado para el bien común. Y como de arte se trata, este cobra de una dimensión de proporciones incalculables (hablando de la búsqueda por la excelencia y el goce estético y afectivo de la belleza).<br><br>En la actualidad existen proyectos sociales con amplias ideas pero pocos logran llevar su filosofía a la praxis de una manera tan lucida como lo ha conquistado el sistema de coros y orquestas. Ahí precisamente radica el genio de su potente liderazgo. Muchos se preguntaran que se necesitaría para llegar a armar proyectos artístico/social tan convincentes. Es la <em>misión </em>la que guía la dialéctica de la acción. En El Sistema <em>tocar, cantar, y luchar</em> juntos significa asumir compromisos morales y estéticos que llevan a todos los participantes del proyecto a encontrarse en una revalorización de sus facultades humanas rompiendo así con la tensión del conformismo o inclusive la marginación. El Maestro Abreu siempre ha hecho alusión a un concepto que la Madre Teresa de Calcuta llevaba consigo en sus misiones altruistas, “Lo mas trágico de la pobreza no es la falta de pan o de techo, si no el sentirse nadie.” En el siglo veintiuno la pobreza mas devastadora es aquella de índole moral. ¿Cuantos jóvenes no optan por los caminos de la droga o las bandas delincuenciales solo porque no ha habido nadie que los aliente a los caminos del bien, de la verdad, o la belleza? Estos tres últimos considerados dentro del proyecto Abreuista como pilares fundamentales de la “tripleta del buen hombre.” Los antiguos filósofos griegos, al igual que Hegel, Kant, o Gardner han discutido también estos principios <em>trascendentales. </em>Solo la música los reúne a todos tan claramente.<br><br>La música de Mozart por ejemplo o de el clasicismo en general nos anima a descubrir las proporciones de la belleza. Le llaman música absoluta, su discurso no ostenta ningún programa o carácter en particular. Su concepción absoluta radica en su <em>arquitectura</em> armónica, rítmica, y melódica. Es música tan exacta como los antiguos edificios griegos y tan bella como una perla recién cultivada (desde luego Beethoven vino a romper con el absolutismo con su Sonata <em>Tempestad</em> o la Sexta Sinfonía, la <em>Pastoral</em>). Tocar Mozart significa que uno tiene que escuchar detenidamente y tomar decisiones que afecten la estética del sonido. Recuerdo que uno de mis maestros siempre me decía al trabajar alguna de sus sonatas para piano que lo primero que había abordar antes de la técnica era poder imaginar la calidad del sonido de cada frase o acorde—su color, su peso, su textura. “Habrá que inquirir y justamente después requerir ese sonido que solo tu puedes crear,” me explicaba. Ese poder de autodeterminación significa mucho para un joven en edad de formación. Todo esto es parte de los objetivos de la música, tal como lo expresaba Platón en sus diálogos: “la música ha de tener por objeto el amor a la belleza.” Poder tomar decisiones propias que ahonden en la búsqueda de lo bello influye mucho en forjar un carácter íntegro y sensible.<br><br>Hablando de transformación social a través de la <em>practica </em>de la música no puedo dejar que comentar lo que en mi opinión ha sido el logro pedagógico mas importante de todos—lo que el periódico El País llamo la “tormenta de Salzburgo.” La novel orquesta nacional infantil de Venezuela con integrantes desde los 8 a 13 años de edad (algunos hasta de seis) tocando la música de Mahler de una manera insólita. Fue Simon Rattle el que se encargo de unir los esfuerzos de todos ellos y el de sus maestros (que escuchaban los ensayos con una concentración férrea que mitigaba cualquier ansiedad). Gustav Mahler decía que sus sinfonías abarcaban el universo entero. “Sinfonía significa construir un mundo…construir nuevas formas de expresión del ser.” Al ver y escuchar a los jóvenes apostados sobre el escenario ataviados de camisas blancas y vestidos azul celeste de satín que brillaban con la misma intensidad de su música no pude dejar de pensar en ese mismo concepto. Y me vino a la mente una de las metáforas que Rattle les compartía durante sus ensayos. Hablando de un pasaje (para mis colegas músicos, el <em>51</em> del ultimo movimiento) donde había que crecer gradualmente (en la dinámica y la fuerza) y ademas mantener la tensión del tempo, el les decía, “imaginen que todos van empujando fuertemente hacia la cúspide.” La indicación surgió un efecto casi inmediato y por razones obvias. Estos jóvenes saben que el forjar una nueva <em>expresión del ser</em> significa poder aspirar hacia objetivos fantásticos. Esto es mucho mas que música, es una experiencia de vida—el poder imaginarte en la cima de la montaña y contemplar todo un paisaje de posibilidad a tu alrededor desde la perspectiva mas amplia y hermosa. <br><br>En Salzburgo también nos hemos encontrado inmersos en una nueva sinergia de entendimiento cultural intercontinental. Sera el comienzo de una nueva cultura de dialogo e intercambio artístico muy alejada de las conquistas o las diferencias políticas. En este mundo que se ha convertido propiamente globalizado es preciso unificar un nuevo arte universal en dialogo equitativo y fraterno. La praxis Abreuista nos ha mostrado que todo esto es posible. Es por eso que fue también muy emotivo escuchar el <em>cuatro</em> (el instrumento típico folklórico de Venezuela) sonar en el Mozarteum o a los coros compartir conciertos con colegas Austriacos y de otros países de Europa. O al propio Gustavo Dudamel brindar nuevas y geniales ejecuciones de Mahler entretejidas en el contexto de su fascinación por las cartas de amor de Pablo Neruda o su propia historia de niño Barquisimetano. ¿Cuales serán las metáforas que marcaran la experiencia de Salzburgo? El abrazo espontaneo y fraterno de Rattle a el pequeño contrabajista de la orquesta infantil al culminar su gran solo, las lagrimas de un joven profesor de cello al ver a su alumno triunfar en la máxima justa del arte, los aplausos de Placido Domingo hacia los jóvenes invidentes del “Cuarteto Lara Somos” que conmovieron con la trova de Francisco Céspedes, las arcadas precisas de la Bolívar que se crecían como espadas—la enorme alegría de todos los que vinieron a triunfar.<br><br>Hoy el mundo del arte esta conmovido por el momento histórico; por todo lo que representa la presentación de las orquestas Venezolanas en este gran festival que también ha hecho suyo el lema, <em>“la música transforma.”</em> El tiempo definirá el legado que nos deja esta experiencia pero seguro estoy que cobrara efectos inspiradores que motiven a otras instituciones y organizaciones culturales en Europa a re imaginar sus proyectos artísticos presentes y futuros a la par de una <em>cultura del</em> <em>servicio</em>. En el siglo veintiuno no podemos concebir la magnitud del arte sin un verdadero compromiso de inclusión social. Este debe de estar al alcance de todos. Solo así alcanzara una autentica universalidad y animará una nueva escuela creativa y portentosa que represente lo mejor de cada individuo libre; y en lo que América Latina se refiere, nos brinde nuevos ciudadanos que hagan brillar los cielos de nuestro continente y animen nuestra condición humana. <br> <br><em>Salzburgo</em>, Agosto de 2013<br>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/1239357
2013-07-22T03:34:09-05:00
2017-01-12T20:06:40-06:00
Salzburgo 2013
<img src="//d10j3mvrs1suex.cloudfront.net/u/53545/6da2eb58d8d34506e56ce4599c6895189d0d1053/original/festival2.jpg?1374785209" class="size_orig justify_top border_thin" alt="" height="320" width="480" /><br><span style="font-size: smaller;">Salzburgo, la ciudad natal de Mozart. </span><br><br>
Por invitación del Maestro José Antonio Abreu, el joven director de orquesta de origen mexicano Jose Luis Hernandez-Estrada se une a la delegación que acompaña la gira <i>Salzburgo 2013</i> de El Sistema. Acerca de tan importante evento José Luis destaco, “Estoy profundamente agradecido por la invitación tan generosa que se me brindado. Seré testigo del enorme talento artístico que mas de 1,400 jóvenes músicos Venezolanos compartiran en la ciudad natal de Mozart y de su mensaje de esperanza y optimismo hacia el futuro.” La participación de El Sistema inicia el día 24 de Julio con la presentación de la Sinfonía No. 8 de Mahler (de los mil) por la OSSBV bajo la dirección de Gustavo Dudamel y culmina el 11 de Agosto con la presentación de la Orquesta Sinfónica Infantil de Venezuela dirigida por Sir Simón Rattle.<br><br>
At the invitation of José Antonio Abreu, young conductor Jose Luis Hernandez-Estrada joins the El Sistema delegation in residence at the 2013 Salzburg Festival. Regarding this important event Jose Luis commented, “I am profoundly grateful for such a generous invitation. In Mozart’s birthplace, we will be witness to the artistic prowess of more than 1,400 young Venezuelan musicians who will communicate their message of hope and optimism towards the future.” El Sistema opens its series with a Simon Bolivar Orchestra performance of Mahler’s <i>Symphony of a Thousand</i> led by Gustavo Dudamel and culminates the Festival with the debut of Venezuela’s National Children’s Orchestra playing Mahler’s the <i>Titan</i> under the baton of British conductor Sir Simon Rattle. <br>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/720289
2013-05-10T17:24:46-05:00
2017-01-12T20:06:40-06:00
May with the Hartford Symphony
<img src="//d10j3mvrs1suex.cloudfront.net/u/53545/dfe97c3c24922729286883e25d88b28819e3b745/medium/Hernandez-Estrada-054.4.jpg?1374114985" class="size_orig justify_top border_thin" alt="" height="300" width="240" /><br><br>
After leading four performances with the St. Luke’s Philharmonia in Oklahoma, Jose-Luis heads to Connecticut to guest conduct the esteemed Hartford Symphony Orchestra. The concert is to be held on May16th at the<i> Bushnell Center for the Performing Arts</i> and is part of the organization’s flagship education programs. He will conduct a repertoire that includes movements from Beethoven and Mozart Symphonies; Mendelssohn’s evocative Nocturne from Midsummer Night’s Dream, and Copland’s Hoe-Down from Rodeo. “I am delighted to be able to work with some of the finest musician’s in New England, Jose-Luis said, “the orchestra has a rich history of musical excellence and a strong commitment to making <i>the experience of music</i> accessible to all.” As part of the event, Jose-Luis will also present a dynamic pre-concert workshop to a few hundred students and their teachers. Tickets available at: http://www.hartfordsymphony.org/
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/592114
2013-04-23T09:45:00-05:00
2017-01-12T20:06:40-06:00
Social Action Through Music at OCU (MUED 2071)
<img src="//d10j3mvrs1suex.cloudfront.net/u/53545/18dc48cd7b43746c5d46c56be04d721214e5aa6c/large/el-sistema-2-credit-peter-dammann.jpeg?1374114934" class="size_orig justify_top border_" alt="" height="318" width="480" /><br><span style="font-size: smaller;">Photo: Peter Dammann </span><br><br><b>Announcing a new course for OCU students and learning opportunity for El Sistema-inspired music educators. </b><br><br>
El Sistema: Social Action Through Music (MUED 2071) <br>
Social Media Flyer: https://smore.com/6yk0 <br><br><b>About the Course:</b> <br><br>
Social action through music refers to the ideal that 21st century musicians play a part as leaders in the development of a thriving civil society. This course prepares musicians to envision artistic careers that create public value, transform communities, and dignify the human condition. The course focuses on the philosophy and practice of El Sistema, Venezuela’s revolutionary music education program. The course meets every Monday at 11 a.m. <br><br>
Qualified students may also seek guided internships (optional) with El Sistema Oklahoma, a program of the Wanda L. Bass School of Music and St. Luke's United Methodist Church. The "open-source" course will be made available via video webcast to music educators across the United States and internationally.<br><br><b>Learning Objectives:</b><br><br>
-Students will learn to discern the practical and affective capacities of music through critical thinking and practical immersion into its social, philosophical, ethical, and spiritual constructs as exemplified by El Sistema and other relevant 21st century models and frameworks.<br>
-Develop preliminary aptitudes for teaching and learning in community arts education settings; and advocating for music as an instrument for social transformation.<br>
-Envision new and innovative self-concepts for professional engagement as musicians, citizens, artists, and scholars.<br><br>
Instructor: Jose Luis Hernandez-Estrada, M.Mus. <br>
Sistema Fellow '12 (New England Conservatory) <br><br><i>Fall 2013 Syllabus and Readings</i> upon request.<br><br>
*If you are not an OCU students but would like to learn more about how to partake in the course via informal distance-learning (non-credit), email the instructor at jlhernandez@okcu.edu.<br type="_moz">
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/514064
2013-04-11T20:20:00-05:00
2017-01-12T20:06:40-06:00
Llamados a Cumplir
<br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/387b92027e4a35bc290eb7f71222e98bb80dc94d/large/IMG_1455-001.JPG?1374114967" class="size_orig justify_top border_" alt="" height="360" width="480" /><br><span style="font-size: smaller;">Gustavo Dudamel, Jose-Luis Hernandez, y Jose Antonio Abreu en São Paulo. </span><br><br>
El Maestro Carlos Chavez quien fuera uno de los primeros colaboradores de El Sistema decía: “La revolución en música es, en suma, la lucha del arte útil contra el arte inútil; la lucha del arte para todos." La orquesta Simón Bolívar de Venezuela es símbolo de esa misma revolución. Es también, un símbolo de lo que puede ser posible cuando se trabaja en equipo. Es una gran familia. Una orquesta Latinoamericana para el mundo. Durante dos semanas fuí testigo de la escencia misma que la caracteriza. Los adjetivos nunca seran suficientes—ahí colma la solidaridad, la audacia, y una ética de trabajo que sobrepasa el mas alto profesionalismo. Esa orquesta del presente tiene historia. De casi cuarenta años atrás. <br><br>
Es una historia de enaltación humanística. <br><br>
Plasmada en una nueva forma de pensar del quehacer artístico y por ende nueva formas y <i>razones </i>de hacer música. Ese paradigma, el hecho de hacer y compartir música dentro de un mismo esquema de elocución es lo que distingue a los jóvenes maestros de El Sistema. El que toca Stravinsky con maestría en el Teatro Colón también comparte su arte dando clases en su ciudad natal de Táchira. Aquella violista de Puerto Cabello que toca Revueltas haciendo relucir la estirpe misma de la Latinoamericanidad—esgrime con su arco un compromiso latente a favor de su raza cósmica. <br><br>
En nuestros tiempos, ¿para que servirá el arte? Para unir a las personas, para enaltecer el espíritu, para aprender a ser mejores. Esa es la revolución que el Maestro Abreu ha forjado y la que todos nosotros en esa gran orquesta (en la que caben miles) estamos llamados a cumplir. <br><br>
Abril del 2013, Bogotá.<br>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/496855
2013-04-09T17:09:37-05:00
2020-02-26T08:14:06-06:00
Voluntad en el Palacio
<img src="//d10j3mvrs1suex.cloudfront.net/u/53545/7331031090c136ecffee5a18097eed17a7e51229/large/IMG_1470.JPG?1374114966" class="size_orig justify_inline border_" alt="" height="362" width="480" /><br><span style="font-size: smaller;">Embajadores y jefes de gobierno en conferencia de prensa. <br></span><br>
Hoy, a eso de las 11 de la mañana en el despacho principal del moderno Palácio do Buriti se concretaba un decreto histórico. El Gobernador de Brasilia Agnelo Queiroz y su esposa, afectuosamente tomados de la mano, le expresaban al fundador de El Sistema (flanqueado por embajadores, oficiales de gobierno, y otros invitados especiales) su deseo de hacer de la educación musical una política de estado y de gobierno. Su meta—hacer de la música un derecho universal para mas de 500, 000 escolares de su estado. Ellos comenzaran ese anhelo en Septiembre de esta año atendiendo a 132, 000 estudiantes con un plan ya estructurado y financiado. Con humildad y un semblante lleno de esperanza, el gobernador expresaba como una educación musical inspirada en El Sistema podría ayudar a erradicar la violencia, la pobreza, y la deserción escolar. En un dialogo franco el mismo Maestro Abreu le auguraba éxito y le compartía como un proyecto bien articulado no solamente era “una garantía de vida comunitaria para los niños y jóvenes mas pobres, si no también, una garantía del estado para formar una ciudadanía plena.” <br><br>
Se hablo de ese proyecto como <i>revolucionario</i>. Otros maestros de la música Brasileños comentaban que era un momento histórico no solo para Brasilia si no para el país entero. La firma de ese decreto no paso desapercibida. La misma Presidenta del Brasil, la excelentísima Dilma Rousseff, luego de condecorar al Maestro Abreu con la <i><a href="http://ow.ly/i/1RiOx" target="_new">Orden Nacional del Crucero del Sur</a>, </i>se dio la tarea de asistir al concierto de la Orquesta Simón Bolívar en el Teatro Nacional esa misma noche; y la orquesta vistiendo medallas con los colores de Venezuela le dedico el himno nacional de Brazil (haciendo que el ambiente se sintiera como una gran final de un mundial de futbol). <br><br>
Ya se habla de la formación de una gran orquesta binacional que sea ejemplo de la suma de voluntades y de la consagración del trabajo en equipo. "La música es un instrumento irreemplazable para unir a las personas,” dice el Maestro Abreu. Y en ese marco, a dos países que podrán atravez de la música, imaginar nuevas formas de lograr acuerdos. Completar la tarea que se han trazado no será fácil; pero existe una voluntad política verdadera. <br><br>
Eso es un buen comienzo. Y gran ejemplo.<br>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/479522
2013-04-06T22:25:00-05:00
2020-07-11T05:26:31-05:00
De todo eso se trata la música
<br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/3100856bad7bd8ed924308c270e303dcdbf86c5b/large/IMG_1451-001.JPG?1374114973" class="size_orig justify_top border_" alt="" height="360" width="480" /><br><br>
La orquesta Simón Bolívar llego a São Paulo vía Buenos Aires en un vuelo privado de Lufthansa cargado de instrumentos y de grandes sueños. “Que tengan una bonita estancia y mucho éxito en los conciertos,” dijo la sobrecargo al despedirnos. Con un día de descanso (cosa que muy pocas veces se suscita en las giras), los músicos llegaron renovados a la gran urbe Brasileña. Otro país, otro publico—pero también conocedor y exigente. El primer ensayo previo a los dos conciertos que se celebran aquí transcurrió con la intensidad que caracteriza a la orquesta y a su director. Tras los primeros compases de la Consagración de la Primavera, la acústica de la sala (una antigua estación de tren) gusto a todos; especialmente al fagotista principal que le inspiraba un timbre muy especial en su solo introductorio. Todo sonaba perfectamente claro, los pianos nítidos; los fortes expansivos. El Maestro Dudamel supo aprovechar muy bien las cualidades de la sala y a su vez les pidió a sus músicos mucho mas disciplina rítmica y calidad de sonido. Este como todos, era un concierto importante. Debía de sonar como si fuera “el primero o el ultimo” que la orquesta fuera a dar. <br><br>
En las recientes publicaciones alusivas a la gira, se ha descrito a la Bolívar como una orquesta audaz. Me llama mucho la atención el adjetivo. Audaz, según el diccionario de la Real Academia Española, se reduce a atrevido. Y si, es una orquesta muy atrevida que hace repertorios sumamente difíciles. Y valiente también, diría yo. Pareciera no le tuvieran miedo a ningún tipo de limite—seguramente por que ese concepto no figura en su estirpe. Su lograda perfección nunca es el fin si no bien el resultado derivado de esos dos elementos—valor y audacia. Esa misma audacia de lo indecible (por que la música se siente) es lo que provoca. Signo de todo eso es el publico incontenible. Se le escucha en el furor de sus aplausos, en el brillo de sus ojos. Es algo muy especial. <br><br>
Mas aun es la cualidad empática con la que atravez de los años se ha forjado el carácter de <i>su sonido </i>tan propio y particular. Durante el intermedio del concierto en São Paulo, el Maestro Abreu me comentaba que es “la solidaridad, y el amor<i> incondicional</i> que se profesan entre si los integrantes de la orquesta lo que define sus cualidades estéticas.” Para ser mas concisos, “la orquesta se ve reflejada colectivamente en un solo ser,” decía el maestro. Era hermoso ver tras bambalinas como antes del concierto Ismel Campos (el violista principal) tocaba a dúo música de Bach con uno de sus compañeros. O como Claudio Hernandez comentaba en su cuenta de Twitter el orgullo sin igual que sentía por sus compañeros tras finalizar el concierto. <br><br>
De todo eso se trata la música. Eso es tan importante como un gran triunfo en una noche de concierto.<br>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/473579
2013-04-04T18:55:00-05:00
2017-01-12T20:06:40-06:00
Crónica de un Ensayo
<img src="//d10j3mvrs1suex.cloudfront.net/u/53545/26b90f307cb3ac48119043814748e1df8a712331/original/IMG_1443-copy.JPG?1374114965" class="size_orig justify_top border_" alt="" height="360" width="480" /><br><span style="font-size: smaller;">El Maestro Abreu, antes de iniciar el ensayo en el Teatro Colón. </span><br><br>
Eran las dos y media de la tarde; casi doscientos músicos íbamos rumbo al mítico Teatro Colón. El trayecto del hotel al teatro fueron escasos 10 minutos. Todos en silencio. La algarabía que caracteriza a los miembros de la Orquesta Simón Bolívar de Venezuela o la Bolívar (como cariñosamente se le llama) quedo congelada en el salón del almuerzo. Por ahí, un músico solfeaba los patrones rítmicos de la <i>Danse Sacrale </i>de Stravinsky (tan complejos y tan riesgosos). Otro escuchaba el <i>Quinteto para Piano </i>de Shostakovich a todo volumen a través de sus audifonos. Cada quien con su propio <i>ritual</i> para prepararse. Ya no había tiempo de pensar en otra cosa mas que en el concierto—en el reto. <br><br>
Enorme. <br><br>
El Teatro, recientemente renovado, es un símbolo nacional y motivo de orgullo para los Argentinos. Ha sido escenario de grandes conciertos—las variaciones Goldberg con Barenboim, la Orquesta Nacional de Francia con Charles Dutoit; sendas y ya legendarias representaciones operísticas con Maria Callas y Enrico Caruso. La Bolívar ya había estado aquí. Bajo la dirección del Maestro Abreu y recientemente con Gustavo Dudamel quien ofreciera una Séptima de Mahler excepcional, y según me relato el concertino Alejandro Carreño, de memoria (inclusive la orquesta). Pero en esta ocasión el concierto quedo sobrevendido y se tuvo que abrir la sala durante el ensayo general. Ahí estuvieron los niños, los jóvenes músicos de Buenos Aires; sus maestros y otros conocedores de la música culta. Los asientos de platea para el concierto rondaban en los quinientos pesos. Pero todos ellos pudieron apreciar a la orquesta sin costo alguno. <br><br>
A las tres y media en punto, el Maestro Abreu subió al podium y en un momento muy emotivo compartió la reseña previa del diario La Nación: <br><br><i>"Juntos estarán, y podrían ser nombrados en cualquier orden, la mejor orquesta latinoamericana (y entre las del mundo también), el director joven más talentoso y espectacular del planeta, el compositor más trascendente y cardinal de su tiempo (y, tal vez, de todo el siglo pasado) y uno de los compositores más talentosos y originales de nuestro continente. Sinceramente, pocas veces se da una conjunción tan extraordinaria. Podemos recordar infinidad de visitas al país de prestigiásemos y fantásticos organismos sinfónicos con directores sobresalientes. Pero pocas veces, o quizá nunca, una orquesta arriba a estas tierras con un programa tan sustancial, trascendental, contundente y riesgoso como el que hoy traerán Dudamel y sus muchachos."</i><br><br>
Y comenzó el ensayo. <br><br>
Cuatro horas de tremendo esfuerzo. “Si no se cansan, entonces esto no valdrá la pena, no funcionara,” les dijo Dudamel haciendo alusión a la coda de la Consagración de la Primavera de Stravinsky (el numero 177 de la partitura). La orquesta debía de dar todo, incluso en el ensayo. En la décima fila del teatro, Joshua Dos Santos (otro gran talento de El Sistema) y yo estuvimos muy atentos a cada gesto del Maestro Dudamel, a cada sonido que emanaba de la orquesta. Los balances debían de quedar perfectos. Había que reubicar a las percusiones en la Noche de Jaranas, el segundo movimiento de la <i>Noche de los Mayas </i>de Revueltas. Los encores estuvieron muy bien cuidados tambien. La "Muerte de amor" de<i> Tristan e Isolda</i> de Wagner recibio particular atención, sobre todo por la densidad de las texturas orquestales, los tiempos, los silencios. Los momentos cumbres debian sonar, como "olas de fuego."<br><br>
Y al final, en el mayor momento de inspiración, Dudamel le dijo a sus músicos: “La Orquesta Simón Bolívar debe reconocerse visionaria; como la primera línea de batalla de un gran sueño, alimentado por la conciencia del trabajo en equipo.” <br><br>
Por eso la orquesta cimbró el Teatro Colón. Por eso es ejemplo para todos. <br>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/444660
2013-03-31T15:02:53-05:00
2017-02-01T21:36:51-06:00
Coming up: A Latin American Tour
<img src="//d10j3mvrs1suex.cloudfront.net/u/53545/a0f6f9c00f1ee465576ba1a12b69649007528b74/large/ConciertoRo4.JPG?1374114927" class="size_orig justify_top border_" alt="" height="320" width="480" /><br><span style="font-size: smaller;">The Simon Bolivar Orchestra of Venezuela. </span><br><br>
At the invitation of El Sistema’s founder Dr. Jose Antonio Abreu, young Mexican conductor Jose Luis Hernandez-Estrada joins the Simon Bolivar Orchestra of Venezuela for their upcoming Latin American tour. Under the artistic leadership of Gustavo Dudamel, the tour takes the <a href="https://www.youtube.com/watch?v=9VH90dvybvc" target="_new">acclaimed orchestra</a> to the principal concert halls of Buenos Aires, São Paulo, Brasilia, and Bogota. “I am honored to play a part in helping advance the ideals of El Sistema. This will be an inspiring tour and a wonderful opportunity to learn from Maestro Dudamel and his orchestra—a shining emblem of excellence, joy, and of the future of music,” Jose Luis said. For their April 1-12 tour, the orchestra performs a repertoire that includes Stravinsky’s <i>Rite of Spring</i>, Revuelta’s <i>La Noche de los Mayas</i>, and Beethoven’s epic <i>Fifth Symphony</i>. <br type="_moz">
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/371780
2013-03-14T14:00:00-05:00
2017-01-12T20:06:40-06:00
Oklahoma City University hosts El Sistema symposium: "Music Transforms"
<img src="//d10j3mvrs1suex.cloudfront.net/u/53545/39b97ed76d695568f41242e38a7671a305cdd742/large/elsistemabrochureEmail1.png?1374114945" class="size_orig justify_top border_" alt="" height="757" width="460" /><br><br>The Wanda L. Bass School of Music at Oklahoma City University will present a symposium on the revolutionary El Sistema entitled, “Music Transforms,” on April 13. The symposium is open to the public and encourages the participation of educators, musicians, and community leaders. Registration is free and includes lunch.<br><br>“Music Transforms” will explore El Sistema’s innovative approaches to music education, community engagement, and social transformation. Focusing on the history, philosophy, and practice of the Venezuelan program; the symposium seeks to inspire musicians, educators, and community leaders to embrace music as a potent force for building a more prosperous future in the United States and beyond.<br><br>The featured speakers are Jamie Bernstein, internationally renowned narrator, writer, and broadcaster; Christine Witkowski, Director of the Los Angeles Philharmonic’s YOLA at HOLA program (Gustavo Dudamel’s signature program); Stanford Thompson, CEO of Play on, Philly! and chair of the US National Alliance of El Sistema-inspired programs; and Jose Luis Hernandez-Estrada, classical conductor, author, and Executive Director/Head of Learning of El Sistema Oklahoma. <br><br>The half-day symposium at OCU is co-sponsored by<i> El Sistema Oklahoma</i>, a program of St. Luke’s United Methodist Church in partnership with OCU.<br><br><a href="/files/87730/elsistemabrochure.pdf" target="_new">Download brochure </a>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/262946
2012-12-06T22:15:00-06:00
2017-01-12T20:06:39-06:00
Young Conductor Explores El Sistema in New Book
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<br><a href="https://www.createspace.com/4021655" target="_new"><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/cd87a0e16cc36cd4775c8cd6556bf37c3238fb3d/medium/Aesthetics-of-Generosity.Cover.jpg?1374114933" class="size_orig justify_inline border_" alt="" height="480" width="300" /></a><br><br>
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<div>In 1975, José Antonio Abreu, a Venezuelan economist and musician, founded El Sistema, a revolutionary music education and social action project that has changed the lives of thousands of his country’s youth. In 2009, Maestro Abreu was awarded the TED Prize and was granted a wish: to identify “gifted young musicians, passionate about their art and social justice,” who would take his vision to the world. Upon his recommendation, the New England Conservatory of Music in Boston founded the Sistema Fellows program. <br>
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<div>In his book, “Aesthetics of Generosity: El Sistema, Music Education, and Social Change,” author and 2012 Sistema Fellow Jose Luis Hernandez-Estrada, shares his journey into the heart of El Sistema as he uncovers how music can change lives. For this book, Jose Luis draws from his experiences as an artist-in-residence in over a dozen núcleos or learning centers throughout Venezuela. <br>
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<div>In thirty-two “beautifully written vignettes,” Jose Luis captures aspects of El Sistema’s history, philosophy, and practice. Filled with heartwarming stories, personal reflections, and observations, the book seeks to provide a perspective to the building of a “new era in the teaching of music, in which social, communal, spiritual, and vindicatory aims become a beacon and a goal for a vast social mission.”<br>
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<div>Jose Luis is a classical conductor, educator, and speaker who believes in music and the arts as powerful agents for social transformation. He earned music degrees from Texas Christian University and the University of Texas Pan-American. He performs and teaches around the world. For more info on the author visit his website at www.joseherstrada.com <br><br>
5" x 8" (12.7 x 20.32 cm) <br>
Black & White on White paper<br>
188 pages<br>
ISBN-13: 978-1480227187 <br>
ISBN-10: 1480227188 <br>
BISAC: Music / Instruction & Study / General</div>
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To order copies of the book visit: <br><a href="https://www.createspace.com/4021655" target="_new">https://www.createspace.com/4021655</a>
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joseherstrada.com
tag:www.joseherstrada.com,2005:Post/231046
2012-10-12T01:35:00-05:00
2017-01-12T20:06:39-06:00
Learning from Muti
<span style="text-indent: 0.5in; "><br></span><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/b428aa3dea1a419d29540cc1851f414f8f3c62ec/large/Muti.BellasArtes.JPG?1374114961" class="size_orig justify_inline border_" alt="" height="343" style="text-indent: 48px; " width="480" /><span style="text-indent: 0.5in; "><br>
Maestro Muti with colleagues from the <i>Orquesta Sinfonica Nacional </i>at Bellas Artes. <br><br><br>
Maestro Muti doesn’t think the conducting profession should exist. A lot of times conductors “get in the way” of the music. Evoking the words of Von Karajan, he said: “Only when conductors let the orchestra conduct </span><i style="text-indent: 0.5in; ">their </i><span style="text-indent: 0.5in; ">conductor, then he has really mastered the art of leading.” I was sitting in the front row at Mexico City’s </span>sumptuous <span style="text-indent: 0.5in; ">Palacio de Bellas Artes, being a </span><i style="text-indent: 0.5in; ">student</i><span style="text-indent: 0.5in; "> of Muti, basking in every ounce of wisdom from the legendary Maestro. <br><br>
As he led us in a lecture and reading of Mozart’s Symphony No. 41—filled with anecdotes and beautiful gestures—he would often stop the orchestra and turn to us: Dear <i>ragazzi </i>“Your arms are an extension of your minds,” everything should be done musically. “Anyone can beat in four, but have you really come to know Mozart, in a metaphysical way?” he asked. “Every sound should be uniform,” “shape everything,” and “no accents in Mozart!”<br><br>
Maestro Muti loves <i>opera</i>, on and off the podium. He spoke an elegant and brightly articulated Italian, interspersed with some English and Spanish. He is a masterful storyteller, and has no quarrels about poking fun at himself. Point to his <i>conductor</i> hair or caricaturize his own conducting. But when the music begins, it is all business. His connection to the Mozart score was deeply rooted in that sort of dramatic operatic flair.<br><br>
As he demonstrated dynamics, it was only fitting that he would point to Verdi and his trailblazing expressionism in music. “You know, he would write in triple or quadruple piano, extending dynamics to their fullest extent.”<i> </i>And his<i> </i>Mozart had that kind of approach: dramatic contrasts, forward-moving lines, and a sense of story.<br><br>
“We are in E-flat know, what is Mozart doing here?” referring to the irony of having legato woodwinds leading us into a sugary theme. “E-flat is triumphant, are there any works that you can think that follow the trend?” The <i>Rhenish</i>, the <i>Eroica</i>, we said. “Yes, the Eroica!” That same bit of sugary music leads us into a raucous development. And now the maestro cannot contain the excitement, conducting with an obvious <i>fiery</i> approach. You could see him smile throughout. “Mozart is also showing us the future,” he said. As he led the recapitulation, the sound was much brighter. He didn’t seem to have been doing anything different. “It’s the psychology of it,” he would remark. Thinking and then doing, or inquiring and then requiring the kind of sound you’ve envisioned is the practical solution. As we finished our class, he thanked everyone and came out with many new friends. <br><br>
That morning, Maestro Muti gave us a powerful lesson in conducting. But his most remarkable contribution went above and beyond the music. Very few times, had I seen such a multitude of student and professional conductors come together as <i>fellows in music.</i> I saw some very highly regarded national conductors with scores in hand eager to learn and students with a hunger to absorb as much as possible from the Maestro, “hope some of that magic will rub off,” some said. The sense of camaraderie that emerged afterwards was palpable. I made new friends and reconnected with colleagues I had not seen in a few years. This was all part of the experience. Perhaps, this is exactly what music can and will do. Bring people together in the most extraordinary ways. Grazie mille Maestro. <br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/0e4da33d5692cd20e0684af2442cd604c081b282/large/Hernandez-Estrada.BellasArtes.JPG?1374114960" class="size_orig justify_inline border_" alt="" height="343" width="480" /><br><i>Standing in front of Palacio de Bellas Artes this week. <br><br></i> </span>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/220454
2012-09-27T17:05:00-05:00
2017-01-12T20:06:39-06:00
El Sistema, Music Education, and Executive Functioning
<b><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/3abcd50adf94d678f3f150578f688b8a00eb7366/original/sistema.jpg?1375802944" class="size_orig justify_inline border_" alt="" height="125" width="430" /><br><br></b>
<div>El Sistema<b> </b>combines the power of music education with a pedagogy that is socially minded and conscious of the needs of particular students and communities. As per the Venezuelan experience and longitudinal assesments from the Inter-American Development Bank, poverty alleviation, violence reduction, economic mobility, and the development of social capital are part of its long term programmatic outcomes and impact. The orchestra and other ensemble practices, reframes an at-risk child’s present reality in beauty and guides them through the process of developing sustainable communities, both civic and musical. </div>
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Current research in early childhood education has concluded that most tasks that youngsters (and adults) face require the orchestration of several types of executive function skills. As explained on the recently published working paper <i>Brain’s “Air Traffic Control” System: How Early Experiences Shape the Development of Executive Function</i>, the Harvard Center for Developing Child proposes that inhibitory control, working memory, and mental flexibility be deemed as essential Executive Functioning skills; “crucial building blocks for the early development of both cognitive and social capacities.” The research notes that children with poor executive functioning skills are at greater risk for confrontational and aggressive behavior and lower academic achievement. It also points to the fact that children’s executive function skills provide the link between early school achievement and their social, emotional, and moral development. </div>
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<div>Although attempting to tie the development of executive functioning skills to documented outcomes of music education is a promising idea, it must be further explored and probed through specific research design frameworks before it can be incorporated into public policy recommendations. Many scholars, practitioners, and other thinkers are already exploring this possibility. In the interim, I will provide here a few preliminary observations from my artistic lens as to how these two can come to co-exist. </div>
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In El Sistema and other educational settings, ensemble-based rehearsals require inhibitory control to build discipline and empathy, working memory to hold and manipulate musical instructions over a period of time, and mental flexibility to “adjust to changing demands, priorities, and perspectives” in a rehearsal setting. The orchestra as a model for the replication of these tenets may also allow students a safe space for self-expression, socialization, cognitive development, and the attainment of concrete goals.<br>
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<div>Music education as an intervention for violence diminution may employ different sets of musical ensembles and specific pedagogies to achieve positive outcomes in the development of youth. For example, in addition to participating in an orchestra, practicing drumming and developing compositional and/or improvisation skills—in the context of collective interaction—can also help build new healthy relationships and opportunities for both individual and collective success, increasing aspects of executive functioning related to inhibitory control and preparing students for a life free of violence and other external factors that may deter their growth as citizens. <br><br>
In her book, <i>Healing the Inner City Child: Creative Arts and Therapies with At-Risk Youth</i>, Vanessa Camilleri an urban school teacher, described using specific group drumming techniques for school-age youth that provided through listening to one another, a means for them to express themselves, release anger and learn from each other’s musical contributions. In describing a group drumming process that took place at an urban charter school, she argued that the technique was productive in helping the student's capacities to work together, share their feelings, and explore other problems inherent to the lives of traumatized and/or stressed youth. These and other related experiences are analogous to the processes leading to inhibitory control development, a "crucial building block" of human development. <br>
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<div>Working memory, a skill directly correlated with advancing creative capacities can be developed through music education. Research points to the fact that music training improves the recall of verbal information and develops the region of the brain responsible for verbal memory. Findings by the Arts and Education Partnership, the arts research and learning coalition based in Washington D.C., noted that music students who were tested for verbal memory showed a superior recall for words as compared to non-music students (Ho et al., 1998; 2003). All in all, musicians were found to have superior working memory compared to non-musicians and were better able to sustain mental control during memory and recall tasks, most likely due to their long term musical training, their observations concluded. <br><br>
Keeping track of varying elements in scaffold activities and having “the ability to follow logical steps” on self-directed of instructive commands successfully is a strong indicator of a finely tuned working memory. In El Sistema, a teaching artist may instruct a six-year-old child to find his instrument, take out his music, sit straight, and warm-up before a rehearsal of a specific piece of music. The student will have to remember to execute these in a determined order. That will help build the foundations of a “mental surface” on which the student can place important information that may arise during rehearsal or in his science classroom. </div>
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<div>Mental flexibility, a skill necessary to succeed as an orchestral musician, can be further developed through a rigorous music training program. In an orchestral rehearsal, a musician must consider many complex activities at once. He must be focused on his own interdependent musical contributions, and at the same time, regard the instructions of a conductor and her indications related to tempi, dynamics, and/or instrumental technique; quickly addressing them and synthesizing them through a collective and affective orchestral sound. The participants must remember one new indication after another, applying them systematically and devising cues that will keep them on track while a rehearsal is in progress. For the sake of a finely tuned and collective music-making experience, it is of utmost importance that any relevant instructions be remembered, internalized, and performed at the highest level. <br><br>
Having a superior mental or cognitive flexibility, allows children to “catch mistakes and fix them, to revise ways of doing things in light of new information, to consider something from a fresh perspective and to think outside the box.” Research supports the claim that a focused music program improves a student’s originality and flexibility, which are “key components of creativity and innovation.” Graduates from music programs report that creativity, teamwork, communication, and critical thinking are skills and competencies necessary in their work, regardless of whether they are working in music or in other fields (Craft, 2001; SNAAP, 2011). </div>
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<b>Recent Studies</b><br><br>
As an intervention tool, a socially-minded aesthetic education can help develop executive function skills while cultivating values of teamwork, self-discipline and leadership. Some early research already points us in this direction. In the El Sistema-inspired, Baltimore based, <i>Orchkids</i> program, children participate in music for three hours during every school day. In order to better understand <i>OrchKids</i> social‐emotional and behavioral development, teachers filled out rating scales for every child in their classroom. The rating scales included items from the Behavior Assessment System for Children, Second Edition (BASC‐2) and the Behavior Rating Inventory of Executive Functioning (BRIEF), as well as other established tools that measure various dimensions of child behavior in relation to national samples. <br><br>
Their most recent BASC‐2 surveys showed that on average, OrchKids have high levels of adaptability, social skills, and leadership relative to their peers. <i>OrchKids</i> seemed to excel most in the area of social skills, scoring an average percentile rank above 56% of their same‐age peers in a given semester. Additionally, the BASC‐2 data showed that, on average, <i>OrchKids </i>demonstrate good attention skills in the classroom, healthy levels of adaptability, excellent social skills and strong leadership.</div>
<div> </div>
<div>In a study conducted by the Boston based, El Sistema-inspired Conservatory Lab Charter School (CLCS), a research team consisting of a CLCS teacher and a researcher from the Harvard’s Graduate School of Education studied self-regulation, motivation, collegiality, and responsibility as the skills and behavioral markers for cognitive, emotional and social development beyond academic achievement. From data collected through observations, surveys, and interviews, the researchers noted that “the El Sistema program scaffolds students in their development, improving behavior at home and in the classroom. Student interviews provide[d] evidence of self-regulation and responsible behaviors, as well as developmentally advanced understanding [sic] of working together, and a passionate engagement in the El Sistema program.” </div>
<div>
<br><b>The Orchestra: a practical intervention </b><br><br>
As a multi-dimensional intervention for at-risk youth, orchestral practice, because it develops both cognitive and emotional capacities has the potential to mitigate attitudinal aggressiveness and improve levels of mental acuity together. These two, enhances a student's early capacity for success, beyond a musical realm, and into an understanding of citizenship of profound transcendence, as Dr. Abreu, the founder of El Sistema, has argued. <br><br>
On a public policy and advocacy level, documenting that music education, and specifically, that El Sistema inspired programs can act as catalysts for the development of executive function skills, will allow advocates the tools to continue to propose the arts as a valuable component of educational curricula. <br><br>
The Harvard research mentioned here suggests that early education policies that emphasize literacy instruction do not always meet the demands of student development in the 21st century. Focusing our attentions on the development of executive functioning in students through an aesthetic education framed through an arts minded curriculum can be beneficial for the evolution of education in our times. </div>
<div> </div>
<div> </div>
<div><b>Notes:</b></div>
<div> </div>
<div><i>Arts Education Partnership, Music Matters: How Music Education </i></div>
<div><i>Helps Students Learn, Achieve, and Succeed, Washington, D.C., (2011)</i></div>
<div><i><br></i></div>
<div><i>Campe, K. and B. Kaufman., “How does a Latin American Music Initiative impact an American Charter School Community? Observations from El Sistema Boston.” Harvard Graduate School of Education and El Sistema Curriculum Development, Boston (2011).</i></div>
<div><i><br></i></div>
<div><i>Camilleri, Vanessa (ed.) Healing the Inner City Child: Creative Arts and therapies with at risk Youth. London & Philadelphia: Jessica Kingsley Publishers, (2007).</i></div>
<div><i><br>
Center on the Developing Child at Harvard University (2011). Building the Brain’s “Air Traffic Control” System: How Early Experiences Shape the Development of Executive Function: Working Paper No. 11. Retrieved from <a href="http://developingchild.harvard.edu/index.php/download_file/-/view/836/" target="_new">www.developingchild.harvard.edu</a></i></div>
<div><i><br></i></div>
<div><i>Robinson, Sinclair, et al. OrchKids Evaluation Report Executive Summary and Primary Data Collection (2010)</i></div>
<div> </div>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/213754
2012-09-13T10:00:00-05:00
2021-11-02T13:05:57-05:00
"Orchestrating" Solutions
<img src="//d10j3mvrs1suex.cloudfront.net/u/53545/dd154cf53e2724e8fe821c1b505cee4ab28af6b2/large/calatrava.atlanta.2.jpg?1375802950" class="size_orig justify_inline border_" alt="" height="252" width="480" /><br><span style="font-size: xx-small; ">Santiago Calatrava's 2005 design for a previously proposed Atlanta Symphony Center. <br></span> <br><br>
It has been recently reported in national publications and elsewhere that a few of the country’s most venerable orchestras may not be able to begin their seasons as planned this year. Such is the case of the Atlanta Symphony Orchestra, whose efforts to renegotiate a four-year contract with their musicians has currently reached a stalemate, putting the organization in jeopardy and in a state of functional uncertainty. <br><br>
It is a very uncomfortable situation for the musicians, their patrons, and the orchestra field-at-large. Bloggers and critics have been watching. The Atlanta example of a lack of adaptive management is symptomatic of the present reality of many American orchestras. <br><div>
<br>
In an economy where the arts are funded by almost solely on private support, dwindling donations affect artistic organizations tremendously. Has the professional orchestra, as we know it, seized to be relevant to those stalwart donors and partners and to the community-at-large? <br>
</div>
<div>The ASO has an accumulated and projected debt of $20 million dollars. During the last season, the orchestra brought in $40 million in revenue, it spent $45 million.<br><br>
When and why did management neglect to take a look at the growing deficit? I also wonder, to what extent are music directors responsible for the financial health of their orchestras? Should musicians also be analytical and critical of their organization’s own managerial practices? </div>
<div> </div>
<div>The next generation of musicians is learning how to run their own ensembles; opera companies, festivals, and consulting businesses, to name a few examples. Not too long ago, I spent a good four week of my life away from my score study and in a finance classroom, analyzing IRS 990 forms, running analyses of financial position, figuring out organizational solvency and liquidity rations, etc. </div>
<div> </div>
<div>Coming into a finance classroom was not easy, and I don’t it is generally considered “part of my field.” But given the nature of the current financial fragility and changing needs of our cultural institutions, it is imperative that musicians be more involved in "managing" aspects of the music. In the future, all orchestras will be run by musicians, a new kind of artist/cultural entrepreneur hybrid will be making decisions in the board room with a new facility and <i>artistry.</i> </div>
<div> </div>
<div>But for now, it is time for the ASO to put the pieces back together. And I hope that doesn’t mean bringing in a major donor to save the game. That easy route would bring them back to the same place of regression. The ASO management has to show that it can streamline their budget, be transparent, and fair. Musicians, now more than ever, must continue to be active in their own communities as cultural agents (teachers, mentors, advocates). This, in hope of allowing music to become <i>present</i> not only in community but through community. <br><br>
Both musicians and managers can learn to co-exist, by listening to and learning from each other; and by running their organizations as self-critical and responsible non-profits. In any cultural organization, one must be always be poised to ask the critical questions, what is the current mission of our work and is it still relevant? </div>
<div> <br><div>Can we continue to make a case for orchestras?</div>
<div> </div>
<div>When I think of orchestras, I ponder upon the idea that that as musical institutions they are meant to be microcosms of what society might aspire to be. They should continue to exist because they provide us with tangible examples of harmonious interdependence. I cannot think of any other social group whose sole purpose is to agree on something. </div>
<div> </div>
<div>On stage, and after a long rehearsal process, musicians come to assemble their own disparate ideas into one that is cohesive and reflective of the needs and intentions of all. And while the music plays, they adapt to changing tempi, dynamics, and to each other's sound. Agreeing, listening, adapting, and then agreeing again; is part of what makes an interpretation, a sublime experience to behold. </div>
<div> </div>
<div>Such examples of singular unity and beauty are extremely rare and should be valued. They should also be paid attention to more often, for in their uncommonness lie opportunities to learn how, beyond music, people can learn to work with and for each other in pursuit of excellence. As a society, we can all benefit from these artistic perspectives. </div>
<div> </div>
<div>As for our friends and colleagues in Atlanta, I am hopeful that they will know how to <i>orchestrate</i> a solution. It is important that agreements be reached, for the sake of upholding the value of such noble opportunities.<br><span style="color: rgb(255, 102, 0); "><br>
>>> Update >>></span><br><br>
On September 26, The Atlanta Symphony Orchestra Players Association (ASOPA), said in a <a href="http://www.artsjournal.com/slippeddisc/2012/09/breaking-atlanta-lockout-is-over-as-players-cave-in.html" target="_new">press release:</a> <br><br>
"The Atlanta Symphony Orchestra Players Association (ASOPA) announced that the musicians voted to accept a new Collective Bargaining Agreement (CBA) for the term of September 23, 2012 – September 6, 2014.<br><br>
"In an unprecedented and extremely painful move designed to keep the music going, ASOPA agreed to every dollar in concessions that the Woodruff Arts Center (WAC) and ASO management have demanded since the lockout began on August 25. In the interest of continuing to bring music to the community and opening the season on time, ASOPA has accepted $5.2 million in concessions over a brief two-year agreement."<br><br>
"The musicians of the Atlanta Symphony Orchestra have agreed to these deep concessions for one reason alone, and that is to do what they do best: continue to play great music for their public at an extraordinarily high level. They hope you will join them in support and recognition of this sacrifice by attending upcoming concerts, donating generously, and recognizing that the people on stage are the assets that must be preserved."<br type="_moz">
</div>
</div>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/212778
2012-09-10T14:50:00-05:00
2017-02-01T17:49:38-06:00
Need for Speed
Texas will now be home to the fastest highways in the land. Limits to be set at 85 miles per hour on a 41-mile stretch of toll road between Austin and San Antonio according to the USA Today. <br><br>
Some musicians love speed too, it's fun to indulge and break the rules, every once in a while. Just listen to this Shostakovich <i>Allegro</i> (the Italian for a quick, lively tempo) coming to you from Caracas be played at daring speed. <br><br>
Does this performance by these talented high schoolers, merit a speeding ticket or just a warning, what do you think? <br><br><iframe width="420" height="315" src="https://www.youtube.com/embed/HOTmGpRFQ8s" frameborder="0" allowfullscreen=""></iframe> <br type="_moz">
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/212784
2012-09-05T15:05:00-05:00
2017-01-12T20:06:39-06:00
Debuting a Toy (Piano)
My latest acquisition, a Toy Piano. Shiny red, Schoenhut made. John Cage composed a work for this instrument. I am playing it here at the Dakota Sky International Piano Festival and as part of the composer's centennial celebrations. <br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/85ac03dd2a4af97dfb9628ad3b8fdea799cf7b09/large/Dakota-Sky-2012-34.jpg?1375802950" class="size_orig justify_inline border_" alt="" height="285" width="480" /><br type="_moz">
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/206798
2012-08-29T18:00:00-05:00
2012-08-29T18:00:00-05:00
Mixing Sounds
While digging through some old cardboard boxes, I found a CD with a recording of mine. A musical composition made a few years ago. It was put together at the <i>Upchurch Studio for Electro-Acoustic </i>Music at TCU as part of a seminar on new music. I am not going to try to describe the piece. Frankly, I don’t even remember what it was about. What I do remember is being there in the studio, putting the final touches and mixing a host of bizarre sounds at 3 a.m. with a synthesizer, a massive computer set up, and a looming deadline in front of me. <br><br>
Looking back, the exercise was almost like a <i>conducting</i> experience. Yes, orchestrating sounds, framing them as a part of something larger, more complete. Gesturing in a new sound, panning another, keeping track of the overall structure. There was a sense of feeling too, finding the right pace, the right groove. It was all an act of creation. And all of that, being there present in the experience of it all (beyond the product itself) is what brings me back to making music, everyday, all the time. Fast forward a few years, I am listening to it again, with fresh ears, as if it was the first time. And I want to share with you. Have a listen, and if you like it, pass it on. Six minutes long, no more, no less. <br><br type="_moz">
6:00
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/206266
2012-08-27T19:10:00-05:00
2017-02-01T17:41:23-06:00
No tales told twice
<img src="//d10j3mvrs1suex.cloudfront.net/u/53545/465c8151ff6037046f709ab006b5a0f3552bbace/original/cliburn.photo.jpg?1375802950" class="size_orig justify_inline border_" alt="" height="275" width="480" /><br><br>
I love this quote from Van Cliburn, it speaks to the idea of creativity as a quintessential truth of art. <br><br><i>“The beauty of classical music is that each time you hear it or you have to play, it is different. Each time you see something or hear something that you did not the time before. That is the eternal quality of classical music: there are no tales told twice; each time is like the first time.” </i><br><br>
Enjoy the Maestro's 1958 <a href="https://www.youtube.com/watch?v=lV9bmcE7d5Y" target="_new">performance</a> of Rachmaninov's epic <i>Third Piano </i><i>Concerto </i>from Moscow. It is phenomenal. <br><br>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/71709
2012-08-27T16:55:00-05:00
2022-05-17T13:35:51-05:00
Lavoro, lavoro
<i><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/051cdc71dc81cf149db5f25d3f541329837cdf8d/large/muti.chicago.jpg?1375802950" class="size_orig justify_inline border_" alt="" height="320" width="480" /><br><br>
"Lavoro, lavoro, lavoro,"</i> was <a href="https://www.youtube.com/watch?v=dIkOw65Ggec&feature=related" target="_new">Giuseppe Verdi's</a> secret to success. The idea of an unrelenting work ethic is what guides Riccardo Muti. "My credo," he says. This, from a wonderful interview on<i> BBC Radio 3 </i>hosted by Norman Lebrecht. Muti, the celebrated Italian conductor and now conductor of the Chicago Symphony, shares stories on his early professional life: how he got started, receiving the call from Herbert Von Karajan, and his thoughts on being a musician. <br><br>
These Lebrecht interviews are not be missed, they are part of a series of intimate 45-minute portraits on classical musicians. The interviewer mitigates any superstar aplombs and allows for serious yet lighthearted discussions. Enjoy the recent Muti interview here: <a href="http://downloads.bbc.co.uk/podcasts/radio3/lebrecht/lebrecht_20120827-2315a.mp3" target="_new">http://downloads.bbc.co.uk/podcasts/radio3/lebrecht/lebrecht_20120827-2315a.mp3<br><br type="_moz"></a>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/53874
2012-08-22T16:30:00-05:00
2022-05-11T10:10:38-05:00
La Mer
<div style="text-align: left">I've just arrived in Cabo San Lucas, it is quite a picturesque place. As for composers who <i>painted </i>with their music, Claude Debussy stands as an important voice. And we are celebrating his <a target="_new" href="http://www.nytimes.com/2012/08/19/arts/music/debussys-150th-birthday-gets-little-notice.html?_r=1&pagewanted=all">150th Anniversary</a> today. In the early 1900's Debussy composed an orchestral work depicting the sea, a musical score full of color, dreamy textures, and memorable melodies. Have a listen to Claudio Abbado's performance of <i>La Mer</i> with the Lucerne Festival Orchestra <a target="_new" href="http://youtu.be/Rsxmnt2wy4E">here.</a> </div>
<br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/629c3d72a5e140cffe338429868e2b3cfa789d90/original/Ocean.jpg?1375802950" class="size_orig justify_inline border_" alt="" height="360" width="480" /><br><i><span style="font-size: smaller">The Sea</span></i><span style="font-size: smaller">. Cabos San Lucas, Mexico.</span>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/200581
2012-08-16T06:50:00-05:00
2017-02-01T17:34:08-06:00
Our Favorites
<img src="//d10j3mvrs1suex.cloudfront.net/u/53545/071d8635a2cb65d8311d0e930962bb2e8e1a2198/large/warhol.tate-6001.JPG?1375802950" class="size_orig justify_inline border_" alt="" height="275" width="480" /><br><span style="font-size: smaller; ">Andy Warhol pictures at a <a href="http://www.tate.org.uk/visit/tate-modern" target="_new">Tate Modern </a>exhibition, 2011</span><br><br>
I was recently asked to name and describe my<i> favorite </i>classical works. It was a difficult question to try to answer. There are works that I certainly enjoy studying or hearing over and over again, but I don't think they are necessarily better than others.
<div> </div>
<div>In classical music there are hundreds of pieces available to performers. There are the usual warhorses in the repertoire, the Beethoven <i>Symphonies</i> or the Chopin <i>Nocturnes</i>. There also many lesser known gems. Take for example, the Handel <i>Keyboard Suites</i> (notable pieces in their own right which are often superseded by those of Bach, another Baroque composer). </div>
<div> </div>
<div>When I think of my favorite works, I also have to think about their memorability. What impact have these made on me as a student and performer of music, or as a human being? Ever so often these<i> </i><i>favorites </i>are so because they<i> </i>are tied to endearing experiences. </div>
<div> </div>
<div>I was about seven years-old when I first heard Mussorgsky's <i>Pictures at an Exhibition</i>. I had come into a CD store (compact discs had just come out) and unassumingly picked up my very first classical recording. I didn't know anything about the piece or the composer, but I was drawn to the picture on the cover: a mysterious, yet inviting gate. I was hooked, and then I listened. <br><br>
It was easy to imagine pictures to the music. <i>Pictures at an Exhibition</i> was the only piece of music I listened to for months (I played the CD on a shiny Magnavox <i>boombox</i> I had gotten for my birthday that year). I was continually drawn to the music's primal beauty; the shimmering sounds, the ominous sounds, the consonant and dissonant sounds. It wasn't until much later that I learned that Mussorgsky had composed the piece inspired by a series of watercolors and drawings from the memorial exhibition of a dear friend, that the movements or musical events depict an imaginary gallery tour, or that it was the French composer Maurice Ravel who had orchestrated his original piano version. <br><br>
I have to believe that a work of art is as powerful as its ability to give us reasons to come back to it, and if it pushes us to pause to think about and reflect on what it could mean in the context of our own lives. I often come back to the Mussorgsky. I play it on the piano, conduct it, and listen to many of my colleagues’ interpretations. Coming back to it also means connecting with unencumbered emotions if you will, fishing a memory or two from those first listening experiences. </div>
<div> </div>
<div>In music many of us have our <i>favorites</i>, and mine might be different from yours, because each of our experiences will be unique when living with them. And that is what makes art a crucial instrument to recognize that everyone, regardless of position or creed, is entitled to an opinion. Classical music, as complex as it may sound to be, is that simple, it is that democratic. It is an experience to be had, and it is within everyone's reach. <br><br><i>For your enjoyment: </i><a href="https://www.youtube.com/watch?v=mzIVO0DQHc4" target="_new">"The Great Gate of Kiev"</a> from Pictures at an Exhibition (orch. Ravel) / Valery Gergiev, conductor · Berliner Philharmoniker / Recorded at the Berlin Philharmonie, 22 December 2010<i><br><br></i>
</div>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/198968
2012-08-11T05:05:00-05:00
2017-01-12T20:06:38-06:00
Playing Mozart
<br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/3869ff2fee52c1b6d795453138c7b2736b063d33/large/Hernandez-Estrada.Mozart.CD.jpg?1375802950" class="size_orig justify_inline border_" alt="" height="401" width="400" /><br><br>
Mozart is one of my favorite composers. Many of times, the beauty in his music lies in its simplicity, yet every note must be fashioned like a pearl, each sound should be carefully crafted. The concerto in A Major K. 414, is one of his early works for piano and orchestra. The <i>little</i> A Major as it is often referred to is an excellent example of music that is melodious and clear in it is classical structure (three movements, I-IV-I with <i>sonata </i>and <i>rondo </i>forms). The concerto, originally scored for for solo piano, two oboes, two bassoons, two horns, and strings can also be performed "a quattro" with only string quartet and piano. This version, also by the composer, is a wonderful example of a musical dialogue, an intimate conversation between a pianist and a string quartet. I hope you will enjoy <a href="http://joseherstrada.bandcamp.com/album/hern-ndez-estrada-plays-mozart" target="_new">my performance </a>of the work with the <i>South Dakota String Quartet</i>, featuring the principal string players of the <a href="http://www.sdsymphony.org/" target="_new">South Dakota Symphony. </a> <br><br><div>Track Listing: <br><br>
1.Mozart: Concerto for Piano in A major K. 414, Allegro 09:37</div>
<div>2. Mozart: Concerto for Piano in A major K. 414, Andante 09:34</div>
<div>3. Mozart: Concerto for Piano in A major K. 414, Rondo 05:46</div>
<div>
<br><a href="http://joseherstrada.bandcamp.com/album/hern-ndez-estrada-plays-mozart" target="_new">http://joseherstrada.bandcamp.com/album/hern-ndez-estrada-plays-mozart</a><br>
</div>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/196627
2012-08-04T21:40:00-05:00
2017-02-01T17:29:58-06:00
A Room (1943)
<img src="//d10j3mvrs1suex.cloudfront.net/u/53545/bbd9793f25e6f2c22ef4697b67a86e04854fd0c9/original/piano-fireplace.jpg?1375802949" class="size_orig justify_inline border_" alt="" height="216" width="480" /><br><br>
Composed by John Cage in 1943, originally conceived as the third part of <i>She Is Asleep. </i> May be performed with or without preparations, which involve 11 notes. Most are to be prepared using bolts and even a penny. The music is written down on a single staff and follows the structure <i>4, 7, 2, 5, 4, 7, 2, 3, 5 </i>(the numbers denote the number of bars dedicated to a particular section). This <i>impromptu </i>recording was made with portable equipment on a Steinway piano in Sioux Falls (at the end of a midnight practice session). See also, Boris Berman's prepared piano rendition <a href="https://www.youtube.com/watch?v=P_zaOWAVOkA" target="_new">here </a>and contrast the sound aesthetics of both versions. Edition Peters 6790 © 1968 by Henmar Press. <br><br>
Enjoy!
1:57
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/193261
2012-07-25T12:25:00-05:00
2017-01-12T20:06:37-06:00
Lessons are Center Stage
<img src="//d10j3mvrs1suex.cloudfront.net/u/53545/d919057bb298eb4f2ae8d82d96b31b09d7e55a26/original/hernandez-estrada.education4.jpg?1375802949" class="size_orig justify_inline border_" alt="" height="302" width="480" /><br><span style="font-size: smaller;">Photo: Elisha Page, Argus Leader, 2012 <br></span> <br><br><div><i>The series, which lasts two weeks, includes four children’s concerts for kids kindergarten through fifth. Andrew Reinartz, executive director of Dakota Sky International Piano Festival, said the kids are invited to sit on stage around the piano. “Jose Luis" (the director) comes in for the festival and does a program where it’s a combination of performance, lecturing and education,” Reinartz said. “He gets the kids up and moving, they touch the piano and play a little bit. There was one year where he had them actually compose a piece together.” Jose Luis Hernandez-Estrada, director of children’s education for Dakota Sky, also is a conductor and pianist. Hernandez-Estrada has been active with Dakota Sky since its inception. “It’s important for an artist to communicate his art. Not just to general audiences but children and youngsters,” he said. “They are our future audiences, our future patrons of the arts, and it’s important they get the chance to discover the beauty of music in a practical and accessible way.”</i></div>
<br>
Read the Fully Article by Payton Randle: <a href="http://www.argusleader.com/article/20120725/NEWS/307250044/Music-lessons-center-stage-kids-concert-series%20" target="_new">http://www.argusleader.com/article/20120725/NEWS/307250044/Music-lessons-center-stage-kids-concert-series </a><br><br>
See the Photo Gallery: <a href="http://www.argusleader.com/apps/pbcs.dll/article?AID=%2F201207241538%2FUPDATES%2F120724023" target="_new">http://www.argusleader.com/apps/pbcs.dll/article?AID=%2F201207241538%2FUPDATES%2F120724023</a><br><br>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/191333
2012-07-19T09:55:00-05:00
2017-02-01T17:23:07-06:00
Summer Happenings
<i>Summer Happenings</i>: Getting ready for a residency at the DakotaSky International Piano Festival (dakotasky.org). In my sixth year as Director of Children's Education, our interactive concert series and original programs will focus on the music of Claude Debussy, Robert Schumann, and <a target="_new" href="https://www.youtube.com/watch?v=SSulycqZH-U">John Cage</a> (I'll be playing, for the very first time, a series of pieces for <i><a target="_new" href="https://www.youtube.com/watch?v=myXAUEuECqQ">Prepared</a></i> and <i>Toy</i> Pianos). I am excited about serving on the faculty of the Young Artists Program and working with mezzosoprano <a target="_new" href="http://www.naxos.com/person/Emily_Lodine_14307/14307.htm">Emily Lodine</a> on the premiere of a new song cycle by David Xenaxis. Stay tuned for updates and photos via <i>Twitter </i>and <i>Instagram @joseherstrada<br></i> <br>
The programs: <br><br><p class="MsoNormal"><b>Moonlight Songs </b></p>
<p class="MsoNormal">Hear the shimmering colors of the moonlight as drawn by Beethoven, Debussy, and Satie. Let’s discover how notes and sounds come together to stir up a world of imagination.<br><b><br>
Scenes of Childhood </b></p><p></p>
<p class="MsoNormal">Schumann’s feelings on his childhood come alive in a dozen short pieces evocating fond memories filled with games and dreams. Come hear a <i>Curious Story </i>or reminisce on good times <i>At the Fireside.<br></i><b><br>
Telling the Story</b></p><p></p>
<p class="MsoNormal">How can music tell a story? Let us unveil the secrets that composers may use to organize musical thoughts. Mozart and Haydn discovered these early on, will you?</p>
<p class="MsoNormal"><b>Happy Birthday Mr. Cage! </b></p><p></p>
<p class="MsoNormal">Join us in celebrating the music of an American philosopher and composer. We’ll hear some of the wittiest musical compositions ever devised. Be ready for countless surprises, and a bit of silence! <br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/9458cae840f14bc82bcdde879efb93dfb75474db/original/JohnCage.jpg?1375802949" class="size_orig justify_inline border_" alt="" height="321" width="480" /><br><span style="font-size: smaller; ">John Cage (1912-1992) in 1981. </span></p>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/51474
2012-07-08T15:35:00-05:00
2017-01-12T20:06:33-06:00
Music-making moments
A few photos from the <a href="./joseluisphotos.cfm" target="_new">new photo gallery: </a><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/bbc35b4cd3722f410af8454d6cbd80e9ed40f217/original/ChamberMusic.JPG?1375802950" class="size_orig justify_inline border_" alt="" height="321" width="480" /><br><span style="font-size: smaller; ">Shostakovich Piano Quintet. </span><br>
<img src="//d10j3mvrs1suex.cloudfront.net/u/53545/8d37d3718c7bb268ac38282ea11547786520710d/original/SchumannRehearsal.jpg?1375802950" class="size_orig justify_inline border_" alt="" height="320" width="480" /><br><span style="font-size: smaller; ">Rehearsing in Germany.</span><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/d44668c7c881d2f5640cb23ff61b7d951b7d44eb/original/SinfonicaCarlosChavez.JPG?1375802950" class="size_orig justify_inline border_" alt="" height="321" width="480" /><br><span style="font-size: smaller; ">Working on Beethoven with the Orquesta Sinfonica Juvenil Carlos Chavez.</span><br type="_moz">
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/178643
2012-06-07T19:30:00-05:00
2017-01-12T20:06:37-06:00
Inventing the Future
<img src="//d10j3mvrs1suex.cloudfront.net/u/53545/bd8f6e405c25bdf5405c17af5458a2cc764366a1/original/IMG_0769.JPG?1375802949" class="size_orig justify_inline border_" alt="" height="360" width="480" /><br><br>
What gets the new generation of younger musicians, composers, and conductors excited about orchestras today and tomorrow? It’s reimagining repertoire; and rethinking how orchestras present the music we all love. It's the new approaches to community—all in the service of guaranteeing a strong future for orchestras. At the Inventing the Future session at the League of American Orchestras’ National Conference, June 5-8 in Dallas, some of "today’s most provocative young talent and thinkers" got together to talk about the present and future of orchestras. (James Holt, Scott Harrison, Jose Luis Hernandez-Estrada, Caitlin Sullivan, and <a href="http://www.newamsterdamrecords.com/?portfolio=william-brittelle" target="_new">William Brittelle</a> after their presentation).<br><br>
Read the <i>Symphony Now</i> article here: <a href="http://www.symphonynow.org/2012/04/inventing-the-future/" target="_new">http://www.symphonynow.org/2012/04/inventing-the-future/</a>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/170193
2012-05-18T18:50:00-05:00
2021-09-11T05:32:05-05:00
Sistema Fellows Graduation at New England Conservatory
<span style="font-size: small"> <img src="//d10j3mvrs1suex.cloudfront.net/u/53545/86b666b1d4c1b514fc1f80973ff5b3720d34e876/original/NewEnglandConservatory.Graduation.JPG?1375802949" class="size_orig justify_inline border_" alt="" height="480" width="343" /><br><br>
Remarks on </span><i style="font-size: small">Artistry and El Sistema in Venezuela</i><span style="font-size: small"> at the Sistema Fellows Graduation at NEC <br><i> </i><i><br></i>Good Afternoon. I am soon to be a graduate of the Sistema Fellows Program at the New England Conservatory. <br><br>
And that is a beautiful thing. <br><br>
This year has been a transformative journey. To have had the opportunity to visit for five weeks in Venezuela, living inside the sounds, the music, and the joy of El Sistema; an experience that has not only been transformational for us as visiting artists, but even more so: for an entire nation that continually sees itself growing and developing through music. <br><br>
Throughout the year in the fellowship, we had many opportunities to come together to analyze, study and reflect upon about what the Sistema phenomenon is and what it may entail. After months of study, and finally visiting in Venezuela, I came to the realization that some of the best things in life cannot be described and that there may be no explicable language to express the dimensions of their goodness. These <i>good</i> things, like music, faith, and love can never be truly put into words. <br><br>
When we visited in Venezuela, we found a community of teachers and learners that was truly beautiful. Individuals that showed us through practice of their art, new paradigms for the role of classical music in our times. They also showed us the extent of what is really possible in music, and in life. <br><br>
As we worked with orchestras and choirs, teaching hundreds of children and young adults, I found in their sound a new aesthetic. <br><br>
An aesthetic of possibility. <br><br>
A possibility that comes through and is grounded upon the idea of access. An arts experience that is participatory and given freely through a spirit of generosity.<br><br>
These aesthetics of sound and possibility are transforming the way we think about classical music in our times; transforming artistic organizations and conservatories around the world, leading us to new pathways to best understand the power of the arts experience. <br><br>
Art, as Maestro Jose Antonio Abreu contends, implies a sense of perfection. Therefore, of excellence. A path to excellence. <i>Camino a la excelencia. <br></i><br>
Couple this notion with the idea of bringing more people in this path, and we shall have a winning formula. And a much larger family dedicated to bringing music to places where it is needed the most. <br><br>
For us, it has been a tremendous honor to be a part of this dream. To be a part of the dream of music. Of things, that cannot be explained, but can only be experienced.<br><br>
And it is my hope that this experience will lead us forward and into the future to bring about positive and healthy change in our society today. </span><br><br>
Thank you. <br><br type="_moz">
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/162622
2012-04-29T11:20:00-05:00
2017-01-12T20:06:37-06:00
Postcards from Philadelphia
<div>In Philadelphia, I collaborated with the Play-on, Philly! Orchestra, an El Sistema-inspired initiative started by my colleague Stanford Thompson, to produce a performance as a part of the Philadelphia Orchestra’s education programming initatives. The Orchestra invited the youngster from West Philadelphia, to perform on the stage of the Kimmel Center as a prelude to Sir Simon Rattle’s performance with the professional group. Rattle, who was instrumental in bringing the project to fruition, noted that by bringing the Philadelphia Orchestra and Play-on, Philly! together, both organization would fulfill “a commitment to the Philadelphia community and highlight the importance of music education in the lives of young people.”</div>
<div> </div>
<div>Maestro Ratte and I prepared an arrangement of themes from a Brahms Symphony. The children performed to a sold-out crowd, eliciting a strong emotional response from the audience. For the Philadelphia Orchestra, it was a way of saying, <i>here we are, we want to invite the community-at-large to be a part of our family. We want to be involved in the dreams of a community that sees itself growing with music. </i>The Orchestra is now thinking about how they can best channel some of their existing resources for the benefit of the youngsters. In helping to sustain and grow their work, they have already sent some of their musicians and guest artists to work with the children at the St. Frances De Sales School. In being one with music and community, the Philadelphia Orchestra, is beginning to build a new identity, expanding their artistic role, and placing it in the context of a larger more participatory and inclusive endeavor. </div>
<span style="font-size: small; "><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; line-height: 14px; text-align: left; "><br>
Philadelphia residency (April 21-29), working with the Play on, Philly! Orchestra in preparation for their debut with Sir Simon Rattle, </span></span><a href="http://philorchtoday.org/news/april-2012/play-on-philly-po"><span style="font-size: small; ">http://philorchtoday.org/news/april-2012/play-on-philly-po</span></a><a href="http://philorchtoday.org/news/april-2012/play-on-philly-po" target="_blank" rel="nofollow nofollow" style="cursor: pointer; color: rgb(59, 89, 152); text-decoration: none; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 14px; text-align: left; "><span style="font-size: small; "><br></span> </a><br>
<img src="//d10j3mvrs1suex.cloudfront.net/u/53545/a8f44a37c0e18df0c0ebd4fb2e631baefb6a65d7/original/SimonRattle.Hernandez-Estrada.JPG?1375802949" class="size_orig justify_inline border_" alt="" height="360" width="480" /><br><span style="font-size: smaller; ">With Sir Simon Rattle at the Curtis Institute of Music, April 29, 2012<br></span><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/ec82dc36f0f9faa26c2eefe7fd808a7c25f8cdd2/original/SimonRattle.PlayonPhilly.JPG?1375802949" class="size_orig justify_inline border_" alt="" height="360" width="480" /><br><span style="font-size: smaller; ">Sir Simon Rattle leads the Play on, Philly Orchestra at the Kimmel Center, April 28, 2012 </span><br><br><br type="_moz">
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/163272
2012-04-26T15:35:00-05:00
2017-01-12T20:06:37-06:00
El Sistema, Instrument of Peace
<br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/cb4e6b1480663d7963ee42f2a483c696b53b2bc7/original/1-1-Fellows-with-Abreu_1.jpg?1375802949" class="size_orig justify_inline border_" alt="" height="321" width="480" /><br><br>
My Essay for Maestro Abreu's TED Prize Wish Blog <br><a href="http://www.tedprize.org/el-sistema-instrument-of-peace/" target="_new">Republished from TED.Com</a> - April, 2012 <br><br><div> </div>
<div>El Sistema, the brainchild of Dr. José Antonio Abreu, is considered to be one of the “world’s cultural treasures,” and a successful and insightful model for the role of classical music in our times. For five weeks, the Sistema Fellows at New England Conservatory had an opportunity to be inside the sounds of that glorious music. From Boston, we traveled over five thousand miles, visiting dozens of music learning centers across the country, working with hundreds of students, giving ourselves completely to music. It was a transformative journey for us all. To me, it was the experience of a lifetime. <br>
</div>
<div>El Sistema in Venezuela has fashioned persuasive paradigms for the rationale and purpose of art. Music is never seen as a luxury, but rather as a natural extension of a young person’s life. In Mahomito, a humble elementary school in the heart of Guárico, we heard a group of choristers singing a repertoire of boleros, merengues, and musica llanera (songs from the Venezuelan plains). <br>
</div>
<div>I saw young children holding hands, feeling every nuance in the songs, and cherishing the splendor of their doing something well together. Many of them immersed in the musical experience, eyes closed, as if somehow they had found their own sanctuary of peace. They were proud to perform for us. </div>
<div>Very few times have I experienced such powerful music-making. In their performance, I heard a new kind of intention and aesthetic of sound. Their music in two-part harmony juxtaposed by the energetic strumming of a cuatro (a folk instrument of the guitar family), shined with palpable relevance, illuminating the crowded rehearsal room, bringing many of us to tears. What made their performance so moving? <br>
</div>
<div>I couldn’t help but to think about the children’s own life stories. Why do they sing? Why does it matter so much? It is clear to me that the children of El Sistema sing and play because it brings them to a world of tangible opportunity, giving them a new sense of unencumbered freedom that allows them to express themselves. </div>
<div>
<br>
Music serves as an instrument for social transformation in that it adds concrete value to their lives, providing for new perspectives, amid the challenges that they may encounter where they reside—where more often than not, the living conditions are precarious on many levels. In pursuing music, students generate a level of motivation that leads to re-imagining a new intention for life, creating both poignant music-making experiences and improved social environments. This framework gives us a new aesthetic of possibility where students’ capacity for growth is extended as far as the universe of music. <br>
</div>
<div>As a social development strategist, Dr. Abreu has centered El Sistema to the benefit of those youth who are most vulnerable to falling into the anxiety of poverty; for those that have been excluded from experiencing the goodness of life. The maestro wants to reach one million of those children throughout his native Venezuela in the years ahead. “Daily life should be expressed in music,“ he says. <br>
</div>
<div>And because he is on a mission, Dr. Abreu never stops searching and learning. During our meeting, at the conclusion of our five-week residency throughout the country, we saw a joyful leader, bustling with energetic impetus and eager to hear the stories of our journey. He began by telling us that he was very interested to hear a perspective on how El Sistema could be improved. "What have you seen on the ground that we can further perfect?" he asked. <br>
</div>
<div>We spoke about the experiences that had the most profound impact on our own learning and development. We pointed out to the strength of the choral programs. I referred to the miraculous energy that emanates from the orchestras. We spoke about embracing our professions in a new light, as musicians eager to culture new ways of thinking about the potential of our art form in the 21st century—as a social and participatory art. A more generous music-making, to be shared, in and through communities. <br>
</div>
<div>As a leader, the maestro is often thinking about ways to multiply the impact and reach of his program. He is deeply invested in finding and applying new technologies that will facilitate the training of more and better teachers. The world's most accomplished artists and educators come to Caracas, but “why not use the most innovative of mechanisms to share virtual lessons with thousands of teachers across the country?” he asked. <br>
</div>
<div>After 37 years, Dr. Abreu feels like it is just the beginning. There are more horizons to explore, higher goals to reach, more music to share. The overarching vision: to expand the philosophy of El Sistema into countries outside of Venezuela, to unite the Americas through music; to place music at the heart of communities around the world. A visionary, he wants his philosophy of free access be expanded to other disciplines as well, to sports and to the sciences. <br>
</div>
<div>I felt the positive effects of El Sistema’s mission everywhere we went: in my orchestra rehearsals, in our meetings with parents, and in workshops with teachers. An enduring message of hope is ever-present in the ethos of El Sistema. It is a powerful music because it stems from deep personal and collective aspirations to succeed, from the pride that emanates from developing communities, like Mahomito, who see themselves being transformed through music. That same spirit also speaks to the strength of music to meet profound spiritual needs. <br>
</div>
<div>In these challenging times, as violence and materialism seeks to entice the aspirations of youth, let us turn to music. Let us support and allow music education to shine its radiant light upon our communities so that we may prosper—so that young people may find peace in their everyday lives. This is also our calling and the maestro's wish for the future of music. </div>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/164430
2012-03-30T18:40:00-05:00
2017-02-01T16:42:47-06:00
El Sistema Diary: Rienzi Overture
Rehearsing the Rienzi Overture with the Orquesta Juvenil Regional de Falcon. 47 youngsters from the state, were selected as part of the National’s Children’s Orchestra of Venezuela that debuted last year under Maestro Simon Rattle. One of my favorite youth orchestras of El Sistema in Venezuela. <br><br><br><iframe width="480" height="280" src="https://www.youtube.com/embed/LkjOTxvdWC0" frameborder="0" allowfullscreen=""></iframe> <br><br type="_moz">
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/151116
2012-03-24T19:45:00-05:00
2017-01-12T20:06:37-06:00
El Sistema Diary: Servant Leadership
<i>Barrio </i>Las Panelas, is one of Coro’s most perilous areas of town. We are told there is an implicit curfew, no one is to roam the streets alone after six. Jose Maiolino, El Sistema’s courageous founder and leader for the state of Falcon, has invited us to visit a nucleo there. It is based out of a humble home, an unassuming space, re-imagined for music. <br><br>
As soon as the <i>Fellows</i> walked in, a group of thirty young musicians began playing a German Dance. It was a beautiful welcome. They played from memory, focusing and sculpting every note. At year one, their sound is characteristically El Sistema. The string players are following on a tradition of playing stemming all the way to Maestro Abreu’s own original concept of sound, I am told. A smaller, beginner equivalent of the Simon Bolivar Orchestra of Venezuela; they too have developed a keen sense of ownership and pride, in and through their playing. Isandra Campos, the nucleo’s founder is no stranger to El Sistema. Her daughter, Ana, is a member of the Teresa Carreno Youth Orchestra of Venezuela, the program’s flagship high-school level orchestra. <br><br>
Their conductor, Gerardo Reyes, a trumpet player, is one of those <i>directores brillantisimos</i> planted across the country that Maestro Abreu often speaks about. A young music director: part musician, part social worker. And member of a larger group of musicians that grew up in the movement, and now charged with added responsibilities of sustaining and expanding El Sistema in Venezuela. It is not an easy job, yet amid dire working conditions, he leads from the heart. "We will soon be playing the Telemann Concerto with our own in-house violist." "In less than three years, we shall do Beethoven's Fifth," he says. <br><br>
Because they lack music stands, his children play, literally, by heart. That is by no means a deterrent for learning. On the contrary, it is another reason not to give up on the dream of playing well together. To them music is always about joy and that same feeling is never dependent upon having enough material resources, but rather, built upon the idea that through music an entire community may see themselves blossom and become enraptured in a state of continual perseverance. Being, not being, as Maestro Abreu describes. <br><br>
Gerardo knows that many of his children come from the poorest strata of society, many of them have never met their own parents. Because he is deeply committed to a mission of social rescue through music, there are no limits to what he can produce with the youngsters. “A nucleo is an engine for societal change,” says Teresa Hernandez, another brilliant maestra: a former politician, and trainer of conductors as artists and social changers for the national movement. “A children’s orchestra conductor does only conduct music, but rather actively constructs and models new paths for success.” “He listens intently; finds the balance between intonation and rhythm, corrects posture. In doing so, the conductor also helps introduce social values to catalyze new life trajectories; he makes students feel proud about themselves.” A conductor is part of the engine of El Sistema. He leads the pedagogical planning and acts as a fervient advocate for artistic excellence and social change. She must be, at all times, inside and outside the music: playing ambassador, organizing parent meetings, raising funds, and motivating students to succeed. <br><br>
At Valle de la Pascua, Christian Leal, a seventeen-year-old percussionist in my rehearsals of Tchaikovsky played with an distinctive intensity and commitment to the score. In many ways, he also led the orchestra, with me. It was no surprise that later that week, I would hear him lead a sublime performance of <i>merengues</i> and <i>joropos</i> realized with utmost brilliance. His musicians: eight gifted instrumentalists with diverse and critical special needs. Christian is using his musical talent to conduct lives. El Sistema has propelled him to see himself responsible for the growth of his peers and the development of his own community-at-large. <br><br>
At the main nucleo in Coro, just before my rehearsal of Beethoven and Wagner with the regional youth orchestra there, I found, tucked in a quiet corner of a courtyard, a group of very young instrumentalists playing recorders being led by a charismatic young girl. I approached her and asked, are you their teacher? "Yes, I am helping them learn their music,” she replied. I managed to pass-along to her some ideas for leading ensembles, and she quickly absorbed many of the concepts. She then began by counting off with confident aplomb, three-and-play! At ten-years-old she is a natural leader, it was a joy to see her teach and give so much to her own peers. In Barquisimeto, Chacin, the talented teenage concertmaster of the <i>Orquesta Sinfonica Juvenil Franco Medina</i>, spends her free afternoons working at Santa Rosa, a brand new nucleo just outside of the city. She drills her young students in scales, arpeggios, and exercises leading to mastering the orchestra’s weekly repertoire of arrangements of pieces from the masters. She is an extraordinary musician and a role model. Because she grew up in El Sistema, she naturally knows how to embody and enact the mission to the core. And she enjoys teaching, it is an honor for advanced students to do so. <br><br>
These stories give us a hopeful glimpse into the future of El Sistema. Seeing young musical leaders in action, expressing a profound love for music and the communities they serve, give us an opportunity to experience the mission well beyond the rhetoric and at its fullest potential. It is clear that El Sistema lives within a space of actionable compassion and transferable servant leadership. Giving young people an opportunity to lead is part of the secret to success. It also motivates them to grow and thrive both as musicians and citizens. <br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/bc75421bd3d0f6100abf73e19c57ae4918df405d/original/IMG_0575.JPG?1375802949" class="size_orig justify_inline border_" alt="" />
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/149966
2012-03-20T19:15:00-05:00
2017-01-12T20:06:37-06:00
El Sistema Diary: A National Endeavor
Ask any taxi driver in Calabozo to take you to <i>the orchestra</i> and he will usher you straight to the right place (no address needed). Almost everyone, in large and small towns alike, knows where music is taking place. “Thank you for teaching our youngsters,” I’ve heard. I quickly tell my driver that most of the time, they are teaching me, and that it is an honor to be here. In Venezuela, orchestras and choirs often manifest themselves as an extension of civic life. An emblem of national culture indeed. <br><br>
Yesterday, on national television, a few hundred children were featured singing Mahler’s <i>Symphony of a Thousand</i>. With ribbons and their national colors wrapped around their necks, they sang with elation before the eyes of an entire nation. I doubt that Gustav Mahler would have ever imagined that his music would be sung by children in Venezuela; or that performances taking place here today would set new artistic standards--for generations to come. <br><br>
Led by their own Gustavo, the youngsters sang in precise counterpoint against the voices of two iconic professional orchestras (the LA Phil and the Simon Bolivar, the pride of Venezuela). During the broadcast, at a local restaurant, we saw a group people gravitate towards the television set, fascinated by the sight of the event. I would imagine it meant something quite special to have seen a representation of their national youth singing with such agreeable intention. I met some of these young choristers here in Guarico. Led by Manuel Lopez, they prepared their parts, working in Caracas intensively for more than two weeks. “It was the experience of a lifetime,“ they told me. <br><br>
During my rehearsal with the children’s orchestra at the Antonio Estevez nucleo (named after the composer of <i>Cantata Criolla</i>) we set out to conquer their first reading of <i>Venezuela</i>, a piece that is very often played by similar groups throughout the country. Scored for an intermediate level symphony orchestra, it is in many ways, the equivalent of a national anthem. It has that kind of singular resonance to it. The melody is strikingly emotive. <br><br>
Delving into our work, I thanked the children for allowing me to lead them in such a uniquely national piece. As we began solving some of the technical issues inherent in the score, we paid attention to balancing the voices. Let us hear the woodwinds soar above the strings, the trumpets need a more rounded sound, I requested. Equally important here was to ask what kind of emotions may we derive from the music that we chose to play, and for what end? <br><br>
“It is a piece from my homeland, Venezuela,” a young double-bassist shouted with a decisive flair. “The piece should reflect a feeling of joy, and pride, and also love,” the students remarked. The children agreed that it should reflect aspects of their own lives. “Do you have any similar pieces from your own country,” they asked in return. The works of <i>Jose Pablo Moncayo</i> and <i>Aaron Copland</i> reflect the musical tradition of the countries I grew up in, I said. <br><br>
My colleague, Julie, sitting in the viola section and also team teaching with me (a signature El Sistema practice) played us an excerpt of <i>America the Beautiful</i>. The children listened attentively, focusing on every note. A sign of their ability to play ambassadors and of their deeper understanding for the finer nuances of musical collaboration.<br><br>
Musicians from El Sistema are deeply connected to a spirit of community and nationalism. As they grow up together, their fellow musicians become, in many ways, part of their own family. And they are part of a national family as well. Clearly, its many participants feel music as something that is larger than themselves. <br><br>
Pieces like Venezuela are heard everywhere: in orchestral and choral settings. They are also meant to be played for a lifetime. Because these pieces bring forth experiences of unity and source of national pride, they are often played, and remain a staple of the academic curriculum and graded repertoire. <br><br>
Folk music is also being introduced. In Guarico, the <i>alma llanera</i> (soul of the plains) movement, begun about nine years ago, has sprung up in cities around the state, producing a few hundred folk musicians playing cuatros, maracas, bandolas, and harps. Their hope is to bring these instruments to an academic or conservatory level status, where they may be fully accepted and appreciated as part of a “legitimate art form.” Recently, Gustavo Dudamel was heard conducting a folk ensemble (seated as a traditional orchestra) for the celebration of his country’s bicentennial. A national hero himself, he is also the subject of a colorful tile mural, just outside of his home nucleo in Barquisimeto, where out of his hand, stems a swirling national flag--a metaphor for nationalism at the heart of El Sistema. <br><br>
These iconic representations, may also give us an insight into the way music-making may be envisioned. The Simon Bolivar Orchestra, El Sistema’s flagship ensemble (now a fully professional orchestra), is aptly named after the country’s revered founding father. His words are often evoked in schools, “an uneducated citizen, is an incomplete being,” inscriptions a top blackboards read. <br><br>
The <i>Simon Bolivar</i>, is the most finished product of El Sistema. It is also the program’s most prominent ambassador, playing around the world a universal repertoire of Stravinsky, Beethoven, and Marquez with an intention that is clearly national in that the orchestra reflects not only their own collective success as musicians but that of an entire musical movement. Many children aspire to be in this orchestra. “Landing a spot there may be the equivalent of making the roster for the Olympic team,” students have told me. <br><br>
El Sistema is decisively a national endeavor. The most viable option for music learning in the country, it remains a venerated staple for humanist education and a guiding light for thousands of its participants. It is both a social and an artistic program at the same time, embracing everyone who may be willing to contribute to making music together. It is not exclusive to underserved children, on the contrary, it brings an entire population of students reflecting all strata of Venezuelan society. <br><br>
Music is changing lives. But most importantly, it is helping create a culture of collaboration, where the youngest voices of a nation are valued, cultured, and recognized as a source of pride, ushering in, new ideals for the shaping of a developing nation. At the end of our final rehearsal today, <i>Venezuela</i> sounded, beautifully. The children chanted, “si se pudo” (yes we could). We made it happen together. <br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/1d0132364d4f71a051a61041ce80174592b10e3c/original/GustavoDudamel.Barquisime.JPG?1375802949" class="size_orig justify_inline border_" alt="" height="360" width="480" /><br><br><br>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/149223
2012-03-18T11:20:00-05:00
2017-01-12T20:06:37-06:00
El Sistema Diary: Finding Purpose
At <i>Valle de la Pascua</i>, a small rural town in the heart of Venezuela, Tchaikovsky’s Romeo and Juliet never sounded so endearing to me. It is a score that is undeniably compelling: lyrical and dramatic--the story of two star-crossed lovers, one that we know almost too well. In our rehearsal, I asked the students to imagine themselves in the story of the music and to throw themselves freely into the drama of the Shakespearian narrative. <br><br>
Without hesitation, the musicians quickly became absorbed by the music. I was also taken with them, in an exchange that allowed the orchestra members to communicate among themselves freely and passionately, in and through the music. During our rehearsal, the electricity went out. The orchestra didn’t miss a beat. For a moment, we continued in darkness, finding our way back to the dimly lit room. Here again, it was not about finding perfection, but rather, finding purpose. <br><br>
El Sistema in Venezuela has fashioned persuasive paradigms for the rationale and purpose of art. Music is never seen as a luxury, but rather as a natural extension of a young person’s life. In Mahomito, a humble elementary school just a few miles away from our home base, we heard a group of choristers singing a repertoire of <i>boleros</i>, <i>merengues</i>, and <i>musica llanera </i>(songs from the Venezuelan plains). <br><br>
I saw young children holding hands, feeling every nuance in the songs, and cherishing the splendor of their doing something well together. Many of them immersed in the musical experience, eyes closed, as if somehow they had found their own sanctuary of peace. They were proud to perform for us. <br><br>
Very few times have I experienced such powerful music-making. In their performance, I heard a new kind of intention and aesthetic of sound. Their music in two-part harmony juxtaposed by the energetic strumming of a <i>cuatro</i>, shined with palpable relevance, illuminating the crowded rehearsal room, bringing many of us to tears. What made their performance so moving? <br><br>
I couldn’t help but to think about the children’s own life stories. Why do they sing? Why does it matter so much? It is clear to me that the children of El Sistema sing and play because it brings them to a world of tangible opportunity, giving them a new sense of unencumbered freedom that allows them to express themselves. <br><br>
Music serves as an instrument for social transformation in that it adds concrete value to their lives, providing for new perspectives, amid the challenges that they may encounter where they reside (where more often than not, the living conditions are precarious on many levels). In a space where opportunities are scarce, music is the conduit for striving for a better life. And this is why every note might be purposefully and intentionally defined with a unique texture, colored with a sense of urgency and care at the same time. <br><br>
In an orchestra or a choir, participants blossom through the sharing of profound artistic experiences and the rendering of beauty through collaboration (a theme that has been consistent throughout my immersion into El Sistema in Venezuela). In pursuing music, students generate a level of motivation that leads to re-imagining a new intention for life, creating both improved social environments and poignant music-making experiences. This framework gives us a new aesthetic of possibility where students’ capacity for growth is extended as far as the universe of music. It is only up to each individual to decide how far they may choose to go. <br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/c8b2a2b95871eeed370376670116b62b81a0ebe7/original/Mahomito.ElSistema.JPG?1375802949" class="size_orig justify_inline border_" alt="" height="363" width="480" /><br><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/dde4a3bdacdffe8b7f4dcd58f590fba98f9ee3a2/original/IMG_0375.JPG?1375802949" class="size_orig justify_inline border_" alt="" height="360" width="480" /><br><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/5147fee51be9d874e685954a5d774a114c5896e8/original/IMG_0507.JPG?1375802949" class="size_orig justify_inline border_" alt="" height="360" width="480" /><br><br>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/200543
2012-03-16T05:30:00-05:00
2012-03-16T05:30:00-05:00
Language of the Invisible
Language of the Invisible by Jose Luis Hernandez-Estrada<br>
Republished from in the <a href="http://necmusic.wordpress.com/2012/03/16/guest-blogger-jose-luis-hernandez-estrada/" target="_new">Blog</a> of the New England Conservatory's President <br><i><br></i>
<div style="text-align: left; "><i>“What is it that the orchestra has planted in the souls of its members? A sense of harmony, a sense of order implicit in the rhythm, a sense of the aesthetic, the beautiful and the universal, and the language of the invisible, of the invisible transmitted unseen through music.” –Jose Antonio Abreu </i></div>
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<div>I remember, vividly, the day that I decided to study music.</div>
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<div>I wanted to be an artist. As a child, I didn’t know what that meant, but I knew how it sounded. I would listen to Leonard Bernstein’s recordings of the Beethoven symphonies for hours on end. At six years old, the Eroica was my favorite musical work of all time. The sheer power of the sound was captivating; the music, grand and elegant.</div>
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<div>Somewhere, I heard that if you studied piano, you could play the sounds of an orchestra. So I decided to take lessons. I remember having to sign a contract at the local community arts school—literally. This simple and yet daunting document stipulated that I would commit to attending lessons, practicing at home, and dedicating the effort into producing “results of artistic value.”</div>
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<div>Fair enough, I agreed.</div>
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<div>I quickly realized that music was not easy. And that it would take a while to reproduce the sounds that were so endearing to me. Nonetheless, a meaningful journey in music began, right then.</div>
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<div>My first piano teacher wasn’t a world renowned artist or pedagogue, but he instilled in me a sense of purpose—the idea that any student, even at the initial stages of learning, should feel that his life in music and the arts, is important. I had my concerto debut, at age ten.</div>
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<div>Growing up, I treasured listening to Yo-Yo Ma’s interpretation of Haydn’s Cello Concerti. Ma’s playing sounded as if he were sharing his own life-story. His music-making conveyed a sense of order, of utmost immediacy and relevance. The music, composed over two hundred years ago, made sense, even in our times. With such universal works, we can develop new connections and experiences— a set of personal views, unique perspectives that allow us to realize their timeless beauty.</div>
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<div>A few months ago, I was preparing to conduct a performance of La Mer. In learning the score, I decided to try something new. I spent some time just looking at the sea. In contemplating its stillness, I began to see Debussy’s opening bars in a new light. Everything came into focus—its colors and textures became more relevant, its message spoke more clearly to me. Impressionism became a more familiar language.</div>
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<div>Recently, I heard Alan Gilbert lead the New York Philharmonic in a series of closed rehearsals at Lincoln Center. As they worked through Gustav Mahler’s Fifth Symphony, you could feel the musicians becoming enraptured by the composer’s world of sound, playing with an Olympian strength that was so striking and yet so accessible. What made their interpretation so unique?</div>
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<div>Over the years, the Philharmonic has gotten to know Mahler very well. In playing the composer’s works, the orchestra is expanding on and enhancing a performance tradition and legacy that have evolved since the time when Mahler himself was its principal conductor.</div>
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<div>To remain relevant, music must be understood, perfected, and embraced as part of a larger cross-cultural and personal narrative context. In this manner, a work’s meaning evolves. As Mahler himself explains, ”it should be one’s sole endeavor to see everything afresh and create it anew.” When we adopt this premise, we can feel music as a living entity; flexible and malleable to the spirit of our times.</div>
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<div>Indeed, the times are changing. We are entering into an era of artistic re-imagination. My generation is seeing the role of the arts evolve and thrive anew. Performers are continually raising the bar of musical mastery. Musicians are aspiring to look beyond the notes, and re-imagine the universality of music as a catalyst for social transformation, in and through communities.</div>
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<div>Jose Antonio Abreu, the founder of El Sistema in Venezuela, the celebrated national network of youth and professional orchestras, believes that music can have a transcendent effect on the development of society. His work in education and the arts, considered one of the “world’s cultural treasures,” (in the words of Austrian Culture Minister Claudia Schmied) is a model for the role of classical music in our times. Abreu’s El Sistema is a powerful artistic philosophy, a window into the art of possibility, a space where musicians can envision their profession as an instrument of transformative purpose.</div>
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<div>Recognizing the orchestra as its primary learning domain, El Sistema’s fundamental goal is not to produce young instrumental virtuosos, but rather, citizens of virtue. Of course, this does not mean there isn’t room for the highest artistic achievement. On the contrary, the Venezuelans believe that in embracing excellence, the whole person thrives. Indeed, research has shown that participating in music develops creative capacities for lifelong success.</div>
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<div>“An orchestra is a community that comes together with the fundamental objective of agreeing with itself, therefore, those who play a part in the orchestra, begin to live the experience of agreement,” Abreu explains.</div>
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<div>What does the experience of agreement mean?</div>
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<div>When I heard Gustavo Dudamel and the Símon Bolívar Youth Orchestra of Venezuela (the flagship El Sistema orchestra)perform, I was immediately captivated by their sound. Their astonishing display of virtuosity reminded me that working together in the pursuit of common goals is a beautiful idea. As they tackled the dazzling mixed-meters and syncopations in Silvestre Revueltas’ Sensemaya you could feel their commitment to the score: their entire souls were present in the music.</div>
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<div>Inspired by this experience and following Abreu’s guiding philosophy, I took on the task of building an orchestral program from the ground up. An orchestra of 100 children was born in Reynosa, Mexico, the city of my childhood, where I first heard the Eroica, just across the border with the United States. In a short time, we saw the youngsters’ level of playing increase dramatically; we saw a culture of collective achievement blossom through music. I learned that music could serve manifold purposes and that it could influence the lives of people in powerful ways.</div>
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<div>In an orchestra, participants blossom through teamwork, understanding music as an endeavor that propels them to new spheres of achievement. Great professional and youth orchestras recognize that their work is never finished, but just begun, all of the time. They ask questions, they hone their message, and live up to the highest standards of excellence.</div>
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<div>El Sistema orchestras are communities of practice. When musicians come together to learn from each other, they explode the narrow perception of art as an entity of exclusivity. They re-imagine music, fitting it to their own broader social construct, that of a new reality stemming from both an aesthetic purpose and social need. This duality of artistic motivation creates the kind of musical accomplishments that have captivated audiences all over the world.</div>
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<div>That an orchestra and its members should recognize themselves as interdependent— is an interesting notion. The term, embraced by Abreu, stems from the field of economics. The orchestra becomes, “a whole of which the parts are connected and react on each other,” borrowing from the words of the 19th century mathematician Antoine Augustin Cournot, who wrote about economic interdependence. Beauty is realized in communion with others.</div>
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<div>This is what the El Sistema movement in the United States and around the world can strive for—to energize artists and teachers to create new frameworks of teaching and learning that connect people and ideas. In doing so, educators can also borrow from other fields and collaborate with thinkers across disciplines. Harvard’s Project Zero’s Studio Thinking Framework, is an exceptional tool that can help us understand artistic endeavors in the context of human growth.</div>
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<div>I was recently invited to lead a conducting seminar for young maestros at the Baltimore Symphony Orchestra’s Orchkids, an El Sistema-inspired program. The children and I talked about what it means to be a part of an orchestra. We listened to Beethoven’s Pastorale Symphony and discussed the composer’s idea of wanting to convey a “feeling of the expression of nature.” A world of beauty opened up, children were eager to feel for the sounds of nature in the score, to enter into a dialogue with the composer, and consequently, among themselves.</div>
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<div>I’ve often heard that El Sistema’s artistic outcomes stem from a pedagogy of “passion preceding precision.” We must be careful not to romanticize this notion and to remember that musical achievement, which includes a strong command of instrumental technique, is fundamental to achieving any other extra musical benefits. Abreu believes that first and foremost, “art implies a sense of perfection.”</div>
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<div>At Symphony Hall, shortly after his rehearsal of the Dvorak Cello Concerto with the Boston Symphony, Yo-Yo Ma met with young musicians from the Boston Arts Academy. He asked them, “What do we still need to work on?” Clearly, a world class artist is always on a path to excellence.</div>
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<div>It is always a thrill to hear a youth orchestra play Beethoven. The Youth Philharmonic Orchestra at the New England Conservatory, for example, is one of the country’s most accomplished youth orchestras. They are working on the Fifth Symphony, a work of epic proportions, one that we all know, almost too well. The musicians bring a sophisticated interpretation to the score, a unique personality and meticulous precision. It feels as if Beethoven had written the piece for them.</div>
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<div>In the symphony, the composer presents us with a narrative of perseverance. The score itself represents a pedagogy of passion; of striving for gold. In daring to realize a score to its fullest potential, a musician must always feel as if the piece were composed for him. All emotions must be reconciled with past and present ideas—converging and creating new meaning for contemporary audiences. Sir Simon Rattle also believes that “music is always about something.” Part of the reason we feel any profound emotions from musicians is that clearly, the music, at its core means the world to them, hence “the message becomes loud and clear.”</div>
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<div>In playing Beethoven, young people living in Boston, west Philadelphia, or in the barrios of Caracas can come to embrace and embody these same ideals. This is the language of the invisible at work, the kind of music-making that Abreu has envisioned through his orchestras.</div>
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<div>Encompassing a duality of dimensions–artistic excellence and social participation, music can be seen as a vehicle to achieve civility, an enhanced notion of citizenry, and a “new school of social life.” The experience of agreement is also about knowing how to listen in pursuit of common goals. The orchestra teaches us lessons that extend well beyond music: we can learn how to work together.</div>
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<div>Recently, the Sistema Fellows presented a lecture on the efficacy and potential of the arts as an instrument for social transformation for a study group at Harvard’s Kennedy School of Government. We were asked to enact El Sistema’s guiding principles.<br>
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<div>We decided to engage our audience (graduate students in the fields of economics, education, and political science) musically. We followed Orff’s formula—our students were to “experience first and intellectualize later.”</div>
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<div>Recognizing the unique skills of that community, we formed an orchestra—of voices. In less than forty-five minutes, we rehearsed and presented a finished musical performance. We assigned them parts from a collection of folk songs, perfected them, and embraced them as our own creations. We assimilated various pedagogical perspectives. Dalcroze (eurhythmics) was part of the equation. The group was mesmerized with the results of that experience, energized, and ready to further explore music education and the arts as a part of a public service agenda.</div>
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<div>In being one with music and community, artistry thrives and evolves. These are exciting times. We’ve now seen the El Sistema movement blossom into more than fifty communities around the country. The Sistema Fellows are an important voice in guiding this progress. Along with countless educators, administrators, and other visionary leaders, we are seeking to re-imagine the role of classical music in the 21st century.</div>
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<div>To be a musician in our times, one must feel that through our profession, we can truly light-up the world. In realizing a unique and personal interpretation of the Tchaikovsky Violin Concerto; developing a new pedagogy for teaching music in the context of the needs of at-risk youth; or conducting a performance of Dvorak’s New World Symphony, we can communicate our own perspectives of beauty and purpose. This in itself is a transcendental contribution to the world.</div>
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<div>Every now and then, I listen to my old recording of the Eroica, to find inspiration, to connect with my beginnings—a reminder that the journey is never finished, but just begun. In Beethoven’s time, the opening E-flat major chords signaled a profound change in the direction of music. The work conveyed a wealth of new ideas—an identification with the challenges of humanity and with the heroism of bravery. In our times, musicians must be ready to embrace the true meaning of our craft: to produce artistic value, again and again.</div>
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<div>After all these years, I’ve now come to realize that the greatest musicians are those who enter into our lives to share their talents in ways that inspire us to dream and thrive anew. Music can bring strength and purpose to our lives. The language of the invisible, that which is transmitted unseen through music, is possible—when we strive to reveal its beauty—together.</div>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/147187
2012-03-11T19:50:00-05:00
2017-02-01T16:11:21-06:00
El Sistema Diary: A Relentless Work Ethic
El Sistema orchestras in Venezuela excel in many aspects, yet one of their most remarkable collective triumphs is their relentless work ethic. This week, I worked with the Orquesta Sinfonica Juvenil Franco Medina on Tchaikovsky’s Fifth Symphony. It was a four hour rehearsal. After we had become acclimated with each other I asked, when it would be appropriate to have a short break. They all said, “we don’t need a break, let’s keep going.” <br><br>
This group is usually composed of musicians ages ranging thirteen to fifteen. They have come out of El Sistema Lara’s systematic approach to graduated orchestral instruction (this is the fourth orchestra in the program’s through line). Their ability to embrace musical goals with utmost diligence and curiosity is part of what makes their sound come alive so readily. It is how they advance so quickly, from arrangements of Marche Slave to Mahler Symphonies, in just a few years. <br><br>
At this stage, they already understand the culture of playing in an orchestra, the aesthetics of sound; and they are also very focused on learning repertoire, quickly, at a much faster rate than their predecessors. This is why it isn’t surprising to see children’s orchestras playing complete Mahler symphonies in Caracas. The system has produced a long lineage of best practices and tools for talent development. <br><br>
Learning is happening at a dramatic pace, because the children have insightful role models to look up to. The artistic prowess of El Sistema is carefully documented, young people can see and hear on <i>YouTube</i> what the Teresa Carreno Youth Orchestra (the most advanced high school age ensemble) is playing and how they are playing it. In Barquisimeto, while playing Marquez’s Danzon No. 2, many young violinists even emulate the motions of Lila Vivas (the orchestra’s concertmaster) as they go through the piece. <br><br>
Here, I met an extremely gifted musician, who is learning to conduct the repertoire of his own children’s orchestra by watching other conductors work on the same repertoire with similar orchestras around the country. “I take the scores and conduct while the video plays, that’s how I can learn the music, says Jose Victor, a twelve-year-old horn player. Even during our rehearsal, it was easier to describe a specific bowing and articulation of sound, by pointing out directly to a certain <i>viral </i>performance by the Orquesta Infantil de Caracas. <br><br>
Every musician in El Sistema is connected, they are all growing together. They all aspire together. <br><br>
And that culture of aspiration manifests in many different ways. Motivation is key. It is part of the <i>ethos</i> of El Sistema. Frank Enrique, a clarinet player at my rehearsal, travels from Tamaca to Barquisimeto every day to attend his orchestra sessions. On a good day, it may take about two hours, each way. He is learning Shostakovich’s tenth symphony, it is a part of a major audition, leading to his dream of playing in of Caracas’ finest youth orchestras. Not everyone is centered on these artistic goals, many are here because they just “want to make new friends.” <br><br>
A careful balance of both intrinsic and extrinsic motivation is part of the ingredients of their unyielding work ethic. In El Sistema, there are very clear artistic objectives in place. It is part of a goal setting theory where a level of success is achieved on a daily basis. <br><br>
As we worked on the Tchaikovsky, we centered on building a musical narrative built on a variety of moods. Tempo changes had to be worked out between sections, but most importantly, the emotional aspects of the episodes had to be realized through a sense of collective understanding of a feeling for the music. We didn’t focus as much on having a technically perfect performance. That will come, with time. The main idea is to create a space of creative immersion and tap on the student’s potential for collaboration. <br><br>
In El Sistema, there are no limits to the music-making, because peer-to-peer relationships developed in and through the orchestra take on multiple meanings and hence, artistic form. The music becomes larger than life. Individual skills are refined purposefully, for the benefit of the collective whole. The orchestra is the great motivator. <br><br>
Because El Sistema has been built upon an upward spiral of motivation, student’s work with tenacious commitment. There are many different layers of goal setting embedded in the El sistema culture. Everyone: students, teachers, and the community at large, has a particular role and part to play. In the end, every performance is a manifestation of something that is much larger than the music itself. There are no other special ingredient here. It is hard work, that drives such extraordinary artistic achievements. <br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/534bcad071b9fe93ce54f50f1906bd50542df924/original/ElSistema.Barquisimeto.FrancoMedina3.JPG?1375802949" class="size_orig justify_inline border_" alt="" height="360" width="480" /><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/43fd2a4adeaa83d7e0e224701bb202cf87d7df28/original/ElSistema.Barquisimeto.FrancoMedina2.JPG?1375802949" class="size_orig justify_inline border_" alt="" height="362" width="480" /><br><br><br><iframe height="280" src="https://www.youtube.com/embed/EmeB0fN3BLY" frameborder="0" width="480" allowfullscreen=""></iframe><br><br><span style="color: #ff6600"><span style="font-size: small">A short clip from our rehearsals this week. </span></span>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/146668
2012-03-09T18:00:00-06:00
2017-01-12T20:06:36-06:00
El Sistema Diary: The Spirit of Music
Santa Rosa, a picturesque colonial town, just outside of Barquisimeto, is the home to <i>La Divina Pastora</i>, Venezuela‘s most revered Saint Patroness. Just over two years ago, a nucleo was started there, at the heart of community. Literally, classes take place outside, around the main square, in homes, at the jefatura (mayor‘s office), parochial classrooms--all within a close perimeter. Music is heard in and around every corner. José Luis Giménez, the nucleo’s decisive founder says, “wherever there is a shade, there is music.”<br><br>
They are slowly building their nucleo. There are five hundred students enrolled: two orchestras playing arrangements of Dvorak’s Ninth Symphony, choirs, and a recently formed cello ensemble. “We are imploring to the Virgin that we may have an adequate space for teaching.“ “I know it will come,“ says Giménez. <br><br>
Plans to build an official rehearsal space are underway. Carmen, a parent, is an architect and has donated her services to render a model and blueprint. It will be a modest space that will overlook the Turbia Valley and the verdant hills around Barquisimeto--music amid a pastoral setting. <br><br>
Things start slowly, they take time. <br><br>
The students also want to make a case for themselves. They are working towards producing a concert at <i>La Sede</i>, home of the Simon Bolivar Youth Orchestra. They want to be heard. Their energy is contagious, their sound enormous. Music matters to them. They aspire to reach new realms of achievement, every single day. The orchestra is a serious commitment for both the students and their families. <br><br>
To see the beginnings of a process where an entire town is being transformed by and through music is indeed, very special. Here, El Sistema is framing the arts as a conduit for social development of the highest order. Their orchestra is an asset, a tool for building social capital; elevating their quality of life through a constant exposure to beauty. <br><br>
The main square, a hub for music, has also become a place of peace, guided by the gracious spirit of <i>La Divina Pastora</i>, who watches over the orchestra and those who take part in it. <br><br>
Wherever there is music, there is also hope. <br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/076954bb788dfad3694b749b2f3d24d9409edbb9/original/SantaRosa.ElSistema1.JPG?1375802949" class="size_orig justify_inline border_" alt="" height="360" width="480" /><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/54afa4438265638c490633c46ebc9053788a55b5/original/SantaRosa.ElSistema2.JPG?1375802949" class="size_orig justify_inline border_" alt="" height="360" width="480" /><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/165949855f4d898f928e86b1d26e5392d8518b8f/original/SantaRosa.Elsistema5.JPG?1375802949" class="size_orig justify_inline border_" alt="" height="360" width="480" /><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/8c14aba3d2782bd11a494df38fae9ff4bb84f266/original/SantaRosa.ElSistema4.JPG?1375802949" class="size_orig justify_inline border_" alt="" height="360" width="480" /><br><br>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/145853
2012-03-06T16:50:00-06:00
2017-01-12T20:06:36-06:00
El Sistema Diary: Building a Sound Culture
In Barquisimeto, I asked a student what made the Venezuelan orchestras play with such inspiration. “They have charisma,” he said. Everyone brings their own self into the music, and every musician looks for new things that they can bring. “Any orchestra can play the Danzon No. 2, but we make it special, because we don’t just focus on the notes, we focus on<i> feeling </i>the music.” <br><br>
Part of the aesthetics of sound in El Sistema stem from <i>being the music</i>. It is a process that is driven by both a kinesthetic and affective approach to performance. The narratives in the music, literally move the orchestras. The embedded experience-constants guide their music-making. <br><br>
It is a culture of establishing relationships through sound. The fact that musicians can grow up together and make music throughout their youth allows them to discover themselves as active participants and collaborators of beauty. They can share their feelings freely and without reservation. Perfection is never the goal, striving towards something that is larger than oneself is part of the aesthetics. The music is often exaggerated, dynamic ranges are wider than usual, rhythmic passages taken on more percussive qualities, lyrical sections speak with heartfelt expression. <br><br>
In El Sistema, we hear a different kind of sound, unified throughout all levels of musical skill, because their artistry encompasses an entire dimension of life experiences, reflected in and through music. As a social program, music takes on different meanings. And this helps musicians transcend both as individuals and as a community, extending the possibilites of music far beyond the notes, and into new realms of human expression. <br><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/77964c2add3ee46b8b0f7c83afab085c0d944b4b/original/Barquimeto.ElSistema.HernandezEstrada.JPG?1375802949" class="size_orig justify_inline border_" alt="" height="360" width="480" /><br><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/e53587ef7869a4de9dfea6801030961b0a0f2c04/original/Barquisimeto.DoralizaMedina.JPG?1375802949" class="size_orig justify_inline border_" alt="" height="362" width="480" /><br><br>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/145562
2012-03-05T16:40:00-06:00
2017-01-12T20:06:36-06:00
El Sistema Diary: A New School of Social Life
At Barquisimeto, I sat down for a long conversation with Maestro Luis Jimenez, one of El Sistema’s founders and most fervient advocates. “We are living a dream,” he said. And rightly so. The nucleo was one of the first in the country. The musical home of Gustavo Dudamel, it now serves three thousand beneficiaries making-up nine youth orchestras, numerous choirs, and also special needs education programming. <br><br>
I asked Maestro Jimenez, a father-like figure in the nucleo, what had made him decide to dedicate a life to teaching music for social change. “Maestro Abreu had a broad vision, from the very beginning.” “In 1975, when we started the first truly national orchestra of Venezuelans, he was already thinking about a movement. I was in the cello section, and during our rehearsals, he incessantly cultivated a way of forward thinking, planting seeds, and sharing the future.” The model that the orchestra had built in Caracas was meant to be replicated, many musicians began plans to build similar programs, all over the country. This wasn’t just an orchestra, it was a group of individuals who would lead change, in profound ways. <br><br>
From the very beginning, the orchestra has been the framework from which El Sistema has evolved. It guides the pedagogy and all social aspects of music-making. Here, students don’t ask where you are from, but rather what orchestra you play in. You may find children playing side-by-side in between rehearsals as duos or trios, to perfect a certain passage, learning from each other. Or teenage musicians at the <i>areperia</i> during lunch hour, trying to make sense of a certain difficult rhythm pattern, scores in hand, in preparation for their rehearsals that evening. The orchestra is the conduit for learning and measuring achievement. <br><br>
Here, in Barquisimeto, all orchestras lead to another, in a pyramid scheme, culminating in the <i>Orquesta Sinfonica Juvenil de Lara</i>, a semi-professional orchestra that is playing Prokofiev’s Fifth Symphony this same week. There is ample room for everyone here, students transfer to advancing ensembles when they are ready, no matter the age (a few 12 year-old children are playing Prokofiev). Many of them spend as many as ten years participating in the program. The majority of graduates do not become professional musicians, yet continue their education as professional in a wide-variety of careers. <br><br>
Maestro Jimenez asked me to work with the <i>Orquesta Doralisa de Medina</i>, the pride and joy of the nucleo. This ensemble, is their student’s first opportunity to come together as a symphony orchestra, complete with woodwinds, brass, and percussion sections. We worked on arrangements by Purcell and Charpentier. Our orchestra’s timpanist, a brand new musician to the nucleo, was supported by a<i> tallerista</i> (an itinerant teaching-artist), playing side-by-side, a common occurrence in El Sistema. <br><br>
During the rehearsal we emphasized listening to each other, to realize our instrumental voices as interdependent. How are the flutes articulating the melody? Can we match the sound with the cello section’s counterpoint? Making artistic decisions--both conductor and musicians--together, is a way to begin thinking of the orchestra as a model for dialogue and as Maestro Abreu describes it, as "a new school of social life.” <br><br>
As I’ve experienced, a nucleo is about building infrastructures, not just of orchestras, but of new citizens, equipped with tools to lead change and build a more promising future of their own and in benefit of their nation’s wellbeing. Music matters, profoundly. <br><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/61cfbeec9619c9bf9e5c1b3a8f5d81034859a55e/original/Barquisimeto.ElSistema.Dudamel.JPG?1375802949" class="size_orig justify_inline border_" alt="" height="360" width="480" /><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/50840b55dd09e75e641b5094faf1e7290c4fa0c9/original/Luis.Jimenez.Barquisimeto.ElSistema.JPG?1375802949" class="size_orig justify_inline border_" alt="" height="359" width="480" />
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/145110
2012-03-03T19:20:00-06:00
2017-01-12T20:06:36-06:00
El Sistema Diary: The Aesthetics of Generosity
At <i>La Sede</i>, young musicians were invited to listen in to Deutsche Grammophon's recording session of the Simon Bolivar Symphony Orchestra under Gustavo Dudamel. Sitting in the front rows, the children were attentive to the orchestra’s every sound and nuance. Seeing them all there, at such an important and historic ocassion--listening, describing, and embracing the music-making--was a beautiful experience. <br><br>
We were all captivated by the performance. Over the years, the orchestra has grown to acquire a unique personality and palpable charisma. Beethoven was pushed to the limits. The <i>Eroica</i> lived and breathed in a space of increasingly wider dynamic ranges and more expansive phrases, always emphasizing the ground-breaking essence of the old-age narrative. It will be a recording that will generate a lot of interest among classical music enthusiasts. <br><br>
One could readily feel Beethoven’s sense of angst and despair, of heroism and possibility. Today, Gustavo Dudamel and his orchestra took on the role of <i>heroes</i>, relating stories of passion and possibility to us all, and most importantly, to the young audiences in the concert hall. <br><br>
One of the most fascinating aspects of our art form is how people can come to relate with one another through the experience of listening to or performing music. Part of the aesthetics of El Sistema stem from realizing meaningful connections to narratives of feeling. What are the kind of experiences that we can create together? And how can we share them with those around us? It is truly a space of generosity, marked by ideals of profound solidarity and joy. This is part of what guides the mission of El Sistema--giving young people opportunities to relate to and learn from one another, build relationships, and imagine life-changing trajectories.<br>
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I also thanked Maestro Abreu for that same gift to us. For allowing us to enter into the narratives of El Sistema, and in doing so, inviting us to realize that in a space of generosity, anything may be possible. <br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/8e7201077fed77c41cad3ccbbde766df8e861bb8/original/Abreu.Dudamel.Fellows.NEC1.jpg?1375802949" class="size_orig justify_inline border_" alt="" height="360" width="480" />
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/144878
2012-03-02T18:20:00-06:00
2017-02-01T16:07:13-06:00
El Sistema Diary: Finding Mystic
During the last couple of days, I’ve heard from numerous people involved in El Sistema one word that resonates ever so strongly with the work we’ve experienced: that is, mystic. A word we don’t often hear, at least when describing the processes and outcomes of music education. After seeing a concert of very young musicians at Montalban, family members referred to the work as having a special mystic, “our children can learn to work together and believe in themselves,“ one mother said. <br><br>
A recent New York Times article touched on the idea of an overarching mystic permeating El Sistema, citing an almost religious quality to <a target="_new" href="http://www.nytimes.com/2012/03/04/arts/music/jose-antonio-abreu-leads-el-sistema-in-venezuela.html?pagewanted=all">the work of Maestro Abreu.</a> This is very true, nucleos feel in many ways as sacred spaces, sanctuaries for the learning and teaching of music. <br><br>
How does this manifest itself? As you enter a nucleo, there is music all around you. Upstairs, one orchestra can be working on Handel’s Water Music, while another plays an arrangement of Beethoven’s Ode to Joy. Downstairs is a wind band playing through Tchaikovsky’s symphonies. In the room next door, <i>cuatro</i> lessons (a Venezuelan folk instrument) are being taught to anyone who might be interested. Other students are taking lessons in solfege, very young musicians are working on <i>Dalcroze </i>exercises. All happening simultaneously. One can hear music emanate from every classroom and carry into another, creating a kaleidoscope of sounds, all infused with an aspiring zeal. Every student in the nucleo is aware of each other’s musical activities, creating even deeper connections among themselves. <br><br>
This is part of that mystic: the experience of being part of an endearing yet almost indescribable experience. That’s why students and teachers keep coming back, they instinctively know that music can offer the kind of intrinsic motivation and hope that few other activities can provide. <br><br>
In El Sistema, music is seen in the context of what it can provide to the development of youngsters. And because music is one of the most demanding of all the art forms, it is the perfect vehicle to achieve this mission. Students are pushed to the limits. Middle-school age children can reach levels of musical accomplishment far beyond what is expected of that age group in any setting. Building a tenacious spirit is a way out of the stresses of both material and non-material poverty. Meeting extraordinary musical goals on a daily, weekly, and monthly basis is their measurement of success. <br><br>
Indeed, inviting young people to believe in themselves might be perhaps one of El Sistema’s greatest contributions. The joy that this brings cannot be measured. It can only be felt--with the heart. <br><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/0f378fd84ed2d49b3f11f9c0134cd97b77295bba/original/Hernandez-Estrada.ElSistema.JPG?1375802949" class="size_orig justify_inline border_" alt="" height="360" width="480" /><br><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/ba950e30e0c1685a1eefeea9544ce256ab4ae82c/original/Montalban.ElSistema7.JPG?1375802949" class="size_orig justify_inline border_" alt="" height="360" width="480" /><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/406bec67fad76aabcc1cbf65c916f8db9f3efe5b/original/IMG_0149.JPG?1375802949" class="size_orig justify_inline border_" alt="" height="360" width="480" /><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/46d878fa5444db8c878c2092ed09bc82e67726f9/original/IMG_0158.JPG?1375802949" class="size_orig justify_inline border_" alt="" height="360" width="480" /><br><br><br><iframe height="280" src="https://www.youtube.com/embed/QhjHTQDArgo" frameborder="0" width="480" allowfullscreen=""></iframe>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/144567
2012-03-01T19:05:00-06:00
2021-07-30T14:42:43-05:00
El Sistema Diary: Nucleo Sarria (Day 2)
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The stories are real, it is truly a miracle. The passion and energy that emanates from young Venezuelan orchestras is mesmerizing. After our journey here in Venezuela, I know that my life in music will never be the same. At Nucleo Sarria, a community based initiative founded by Rafael Elster, we played through Arturo Marquez’s fiery Conga del Fuego. The youngsters also taught me some of their own national music, <i>Alma Llanera </i>and <i>Chamambo</i>. I felt being part of their own stories, their pride, their inextinguishable joy. <br><br>
The students have a constant desire to acquire new knowledge. To realize a brighter present and future, to grow beyond music. Maestro Abreu’s vision for music as a catalyst for social transformation is at work at Sarria. His young musicians and their teachers are leading a new renaissance in music education. It is a privilege to witness this work first hand and to be <i>inside the sound</i> of that blessed space. <br><br>
It is clear that the children see themselves as something larger than themselves. El Sistema has given them exceptional role models-- teachers that work tirelessly to redefine their student‘s sense of self-worth and potential; to provide them opportunities to experience beauty on a daily basis. It is that kind of implicit responsibility and purpose that drives their connection to the larger mission of El Sistema. “It is very hard work, but one has to make it personal or else our mission would never work,” Elster said. <br><br>
There is something very special about working with orchestras in Venezuela. The children <i>lead rather than follow </i>the music. Everyone is part of the team, there aren’t any boundaries or hierarchical spheres in this framework. The musician’s at the head of sections aren’t necessarily the best players. A model where competition is non-existent constitutes an ideal space for El Sistema. Of course, that doesn’t mean that children can’t aspire to claim a coveted spot as part of the <i>national orchestras</i>, but rather, through a process where collective virtuosity stems as an outcome of individual skills, musicians grow and thrive, reaching even higher levels of musical achievement. They come to experience music through a vision that is guided by a spirit of solidarity. And this same spirit, provides them with a new family within the nucleo: a safe-haven to learn, socialize, and feel valued. <br><br>
Their music is rendered through a transfixing kinesthetic quality (one can see that this process starts early on, as evidenced by their strong early childhood programs centered on movement and expression). It is a larger community of practice, a network within the orchestra, of mutual support; and of a new joyful reality. This is all reflected in the aesthetics of the music-making. <br><br>
Indeed, one of the beauties of this work is how teachers envision the potential and life trajectories of their students. Najaneth Perez has been working at Sarria for over 7 years, she knows that her students are capable of accomplishments far beyond their own imaginations, in music and in life (there are no distinctions here, these two constitute one indissoluble dimension). And that’s why she works incessantly, listening to and perfecting them in the outside patio, amid the weather and the elements. Because she believes that she can make a difference. Every one of her students matters, every note means something, and it adds up. After all, it is personal. <br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/03ae618e2e549daab903068f22fe20376c935df7/original/NucleoSarria.ElSistema1.JPG?1375802949" class="size_orig justify_inline border_" alt="" height="360" width="480" /><br><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/9703eaf3597f6ce39165ecf5886d84adf476d9aa/original/Nucleo.Sarria.ElSistema2.JPG?1375802949" class="size_orig justify_inline border_" alt="" height="360" width="480" /><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/dfe47ae24fde9a76c3ce9a0c995a6d5005074d8a/original/Nucleo.Sarria.ElSistema4.JPG?1375802949" class="size_orig justify_inline border_" alt="" height="360" width="480" /><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/c0c0c1039c2bda4cc5a7a6d69c7c169a3f854423/original/NucleoSarria.ElSistemaVenezuela5.JPG?1375802949" class="size_orig justify_inline border_" alt="" height="360" width="480" /><br><br><br><iframe width="480" height="280" src="https://www.youtube.com/embed/G3eZUbQt1Lo" frameborder="0" allowfullscreen=""></iframe>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/144103
2012-02-29T17:55:00-06:00
2019-09-23T01:36:28-05:00
El Sistema Diary: Nucleo Montalban (Day 1)
Today at Montalban, one of El Sistema's flagship nucleos, a 10 year-old musician told me, "<i>el Maestro</i>, wants us to learn and play <i>la cuarta</i> by the end of the month." Puzzled with curiosity, I asked, which fourth? "Tchaikovsky's fourth," he said. Last week, Maestro Abreu invited the Montalban children's orchestra to perform for the members of the LA Philharmonic during their recent trip to Caracas. They joined a 305-piece orchestra in playing the symphony's last movement, by heart. And now, they have an enormous task ahead of them, a complete symphony, one of the most challenging pieces in the orchestral repertoire. <br><br>
Today, my colleague <a target="_new" href="http://www.davidfranceviolin.com">David</a> and I had the opportunity to work through the first movement with the young musicians. A working rehearsal, their playing wasn't note perfect, but yet profoundly compelling. We heard music-making that was full of creativity and charisma. As I stood before them, it was as if the young musician's were telling me their own life stories, their aspirations, and their dreams--through their art. <br><br>
There are no limits to the extent of possibility in El Sistema. The young musicians at Montalban know this. As you walk through the corridors of the building, (an austere yet welcoming space) posted on walls, one can observe a multitude of press clippings and concert photographs. A reminder of what has been accomplished thus far and where the group might be headed. <i>"Children's Orchestra Travels to Europe, ""Young Musicians Captivate Simon Rattle," "The Children's Orchestra: Role Models for the Future." </i><br><br>
Throughout our day, we saw among all age groups, a level of artistic commitment and work ethic that would parallel the kind of engagement stemming from our own country's conservatories. In Montalban, there is a healthy seriousness about the work at hand, a desire to achieve excellence among all levels of musical abilities, and above all, an extraordinary feeling of joy and devotion for music and for the community that helps create it.<br><br>
El Sistema has a strong culture of visiting artists. And today we experienced a beatiful exchange. We saw nucleo teachers encouraging their students to take advantage of our presence on site. Some of us worked with youth orchestras, others with choirs, and early childhood education. In a flexible ecosystem of teaching and learning, we shared our best with each other. And we recognized one another as family. <br><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/688ebc397d3912b3cdfc24d1daedff48d7eee193/original/NucleoMontalban1.JPG?1375802949" class="size_orig justify_inline border_" alt="" height="360" width="480" /><br><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/574c3dcc9ba528ca1c43b323fb0249bed780b9bc/original/NucleoMontalban2.JPG?1375802949" class="size_orig justify_inline border_" alt="" height="360" width="480" /><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/59ced759ff2bbebe4a3889c6a4156bc09c72222a/original/NucleoMontalban3.JPG?1375802949" class="size_orig justify_inline border_" alt="" height="360" width="480" /><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/ba9e245072321ea983c3bf95b2b12cabb8ecc7e8/original/NucleoMontalban5.JPG?1375802949" class="size_orig justify_inline border_" alt="" height="360" width="480" /><br><br><br><br><iframe height="280" src="https://www.youtube.com/embed/r56x1g19sEY" frameborder="0" width="480" allowfullscreen=""></iframe>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/141380
2012-02-18T21:30:00-06:00
2017-01-12T20:06:35-06:00
In the beginning…Tocar y Luchar.
<span style="color: #000000"><span style="font-size: small"><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/8d686eea2a0c9ba3076c52350ccf26dae6415aa4/medium/TocaryLuchar.2Febrero.1976.jpg?1375802949" class="size_orig justify_inline border_" alt="" height="432" width="300" /><br><span style="font-size: smaller">Tocar y Luchar, as first seen on a national publication (1976). </span><br><b><br>
It begins with a mission. </b><br><br>
Maestro Abreu began El Sistema with a simple yet powerful mission. One that was full of symbolism as it embodied the social sentiment of the times, a desire to aspire to better things, and the opening of new ways of thinking about the arts, its purpose in society, and young people’s role as guarantors of that process. Since 1976, <i>Tocar y Luchar</i> (to play and to fight) has been the great calling of El Sistema. <br>
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In a social and artistic context, this translates more like, <i>To Play and to Strive</i>. And this is a beautiful idea for a collective mission. A higher purpose of inquiry, of artistic discovery; and social participation; is what binds the work or rather <i>their network </i>(of more than 280 interdependent programs)<i> </i>together. Any successful organization, whether artistic, civic, or governmental begins with a clear mission. Because clarity defines purpose and all of the work moving forward. <br><br></span></span><span style="color: #ff6600"><span style="font-size: small"><font color="#000000">The following notes from <i>El Nacional</i>, are a testament to El Sistema's beginnings. As the headlines implie, it is clear that Sistema in Venezuela began with a strong artistic imperative. Conceived as a national entity (a youth orchestra), with no funding, yet a desire to produce products of excellence (as evidenced by the engagement of some of the great conductors of the time). Even from the very beginning, young players were put to the test, by participating in a world festival of youth orchestras and working intensively with Carlos Chavez, the celebrated Mexican composer and educator. <br><br>
Part of El Sistema's growth and capacity is driven by drafting and realizing extraordinary musical goals. For example, a Mahler cycle, <i>from memory</i>. This--the kind of work that defies expectations--is the conduit for achieving the <i>social goals</i> that Maestro Abreu often describes: the <i>experience of agreement</i>, the <i>affluence of spirit</i>. Indeed, the process of a <i>continual strive</i> has been ever-present in the work of El Sistema. And it will continue to guide their efforts for social transformation in and through communities, into the future. </font><br><br></span></span><b><span style="color: #000000"><span style="font-size: small">Headlines from El Nacional, the Venezuela Daily. <br>
February 2, 1976 <i>(Translated from the original Spanish). </i><br></span></span></b><span style="color: #000000"></span><span style="font-size: small"><br>
A great calling for a great orchestra. <br>
Tocar y Luchar <span style="color: #ff6600"><br></span></span>
<div style="text-align: left"><span style="font-size: small"><br>
The National Youth Symphony Orchestra “Juan Jose Landeta” has 150 members. At the end of the year there will be 300.<br>
<br>
For them, in spite of their success and hard work, their country has not yet provided them any funding.<br><br>
They are young and live as such: they wear blue jeans, sport wavy hair, and they like Rock. But above all, they have one love: music.<br><br>
This year two great conductors will come to teach and work with them: Eduardo Mata and Peter Maag. <br><br>
An upcoming and enormous challenge: the World Festival of Youth Orchestras in Britain. <br><br>
Maestro Carlos Chavez dedicates with utmost care and dedication, long days of arduous work to polish them technically.</span></div>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/138994
2012-02-10T01:35:00-06:00
2017-01-12T20:06:35-06:00
Los Angeles Notebook, Part II
<b><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/2729c211ab0c2ffed5d6cf771f1c6e90055247ff/original/SimonBolivarOrchestra.jpg?1375802948" class="size_orig justify_inline border_" alt="" height="360" width="480" /><br><br></b><span style="color: #ff6600">Reflections from our week at Take a Stand, a Symposium hosted by the Los Angeles Philharmonic, Bard College, and the Longy School of Music. <br></span><b><br>
A national movement: the numbers and our values <br></b><br>
As of January 2012 and according to the NEC Fellow’s national needs assessment survey presented at <i>Take a Stand</i>, there were 54 El Sistema inspired program in operation in the United States. Some of these programs are independent; some are connected to professional and youth orchestra educational frameworks; to public and charter schools; and community centers and churches. The majority of them are located in the Northeast, California, Midwest, and South regions. 71% of all programs are hosted at schools, 26% in community centers. Most students in programs receive 6-10 hours of weekly musical instruction. On average, there are 119 students per site, with an approximate cost of $1700 per child (annually). Ensembles include symphony orchestra, choirs, bucket bands, and <i>mariachi.</i> There are currently 6317 students actively participating in Sistema programs in the United States. In total, programs have raised approximately 11 million dollars in funding. <br><br>
El Sistema in Venezuela, as noted by Eduardo Mendez, FundaMusical Bolivar’s executive director, currently oversees more than 280 sites and serves approximately over 300,000 students nationwide. The program, that began in 1975 with 11 students rehearsing in a parking garage, has now blossomed into a world class orchestral program and global phenomenon--with the help of countless individuals, teachers, and students inspired by Maestro Abreu’s powerful mission. To my knowledge, there aren’t any records available of El Sistema’s early growth and expansion. That being said, I’ve heard from alumni of El Sistema, that within three years, there were approximately 400 students enrolled in Abreu’s youth orchestras in Caracas. <i>Start small, think big</i> is Abreu's premise. <br><br>
Ultimately, it is quality that matters over quantity. Programs that focus on providing the highest quality of instruction, ensemble experience, and teacher development quickly achieve meaningful success. When I led Sistema programs in Mexico, because we focused our energies into maximizing the extent of our resources, we saw the level of engagement, musical competence, and social development of our participants reach to remarkable heights, even just after a couple of months. <br><br>
As Maestro Abreu noted at <i>Take a Stand</i>, even his very first Sistema orchestra, a handful of youngsters from Caracas, made an early mark in the international scene. Founded in 1975, within fours years, it quickly rose to international prominence by touring in Mexico and capturing the attention of Carlos Chavez, the revered Latin American composer; and also by participating in the World Youth Orchestra Festival in Aberdeen (as a result, 25 Venezuelans were selected to participate in a concert at the Royal Albert Hall, under Walter Susskind). It was Abreu’s relentless work ethic, a strong artistic mission, and vision for youth development of the highest order that produced meaningful results, even from the very beginning. <br><br>
When we asked American program leaders to share an anecdote that embodied the core values of their programs, the idea of a sustainable development of youth through music resonated strongly among all of the programs. 22 programs specifically cited this notion as a primary impact of their programming. Community development, musical excellence, and access were also part of collective values. As these four pillars implie, it is clear that the Sistema movement in the United States recognizes that music, in its infinite variety, can serve as an instrument for social transformation. As a designated learner in the field, through this process I learned that program building is a process of inquiry rather than a set of instructions. And that success is dependent on our own abilities to embrace the notion of striving towards a state of excellence, an essential part of our work. <br><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/b661947572d670e72bf92b436440df171c554f57/original/Abreu.DisneyHall.jpg?1375802948" class="size_orig justify_inline border_" alt="" height="360" width="480" /><br><span style="font-size: smaller">Jose Antonio Abreu, Deborah Borda, and Rodrigo Guerrero on the stage of Disney Hall. <br><b><br></b></span><b>Connecting a movement <br></b><br>
The Symposium provided many opportunities to continue the conversations beyond the three-day convening. Polly Khan, the Vice President for Leadership Development at the League of American Orchestras offered her insight on the League’s role in supporting the Sistema movement in the United States. As many existing programs are connected to orchestra leadership (Hartford, Allentown, Baltimore, San Diego and San Antonio Youth, to name a few) the League is now hosting an El Sistema discussion group on League360, their new online community of orchestra administrators and musicians. The interface is very easy to navigate, visually engaging, and should be a wonderful tool for members to keep connected and share resources. There are more than 150 members listed on the site already (and there is no need to be a member of the league to join the discussion group). <br><br>
During a symposium session hosted by Beth Babcock (CEO, Crittenton Women‘s Union) and Stanford Thompson (Founder, Play-on, Philly!) a group of US Sistema program directors gathered to gauge interest into the creation of an association for music programs catered to at-risk youth. The group presented the findings of a brief independent survey that indicated that a potential association would consider, at the forefront, building a national pipeline of data and outcomes evaluation for similar and related programs. This in response to meeting the guidelines of existing trends of philanthropic funding which stress providing strong evidence of program success through both quantitative and qualitative program outcomes measurements. During our opening symposium presentation, <i>Where are we now?, </i>my colleague Ben Fuller, pointed out the need for evaluation for sustainability as he told the story of D.A.R.E., a youth and drug prevention program that failed to meet evaluation standards and soon lost its federal funding. Perhaps, an association could serve as an advocacy group and potential platform for soliciting funding for local Sistema programs at the national level. <br><br>
During the closing keynote, Deborah Borda, the president of the LA Philharmonic, alongside Karen Zorn and Leon Botstein, proposed the idea of embracing an open and flexible collaboration among existing programs in the United States. Their Take a Stand partnership, specifically entails a Masters in Teaching program from Bard College and the Longy School of Music. As well as hosting workshops and national conferences to support the growing national and international movement (the next conference is already in the works). That being said, it is my understanding that Take a Stand does not contemplate the creation of a national El Sistema service organization (or at least, not in the immediate future). This three-way partnership is a first for American orchestras. The LA Philharmonic sees itself at the forefront of innovation bridging both artistic and social imperatives. And should be commended for inspiring other orchestras in this path. <br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/92feebd9eae9504040aff37a84484ff06efc8fbf/original/SantaMonica.jpg?1375802949" class="size_orig justify_inline border_" alt="" height="360" width="480" /><br><span style="font-size: smaller">NEC Fellows at Santa Monica Beach, during our last day in California. </span>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/137983
2012-02-06T15:15:00-06:00
2017-01-12T20:06:35-06:00
Los Angeles Notebook, Part I
<span style="font-size: small"><span style="color: #ff6600"><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/61f6e338b32fcc5d67d654b17ec23941bcba0a42/original/DisneyConcerHall.jpg?1375802948" class="size_orig justify_inline border_" alt="" height="360" width="480" /><br><br>
Reflections from our week at Take a Stand, a Symposium hosted by the Los Angeles Philharmonic, Bard College, and the Longy School of Music. <br><br></span><b>A Nucleo in Los Angeles <br></b><br>
Immediately after our arrival in LA, we visited at YOLA, an El Sistema program in the heart of east Los Angeles. We were greeted by their nucleo director, Christine Witkowski, a first year fellow, colleague, and tremendous leader. Josue, a young trumpet player, was quick to introduce himself and tell us about his experiences as a student leader there. Emily Kubitsky, a teaching artist on site is always attentive to detail, caring, and ready to serve the needs of her students. I can see that there is a very special connection between teachers and students here. <br><br>
Members of the Simon Bolivar Youth Orchestra of Venezuela and an international camera crew were present on site (as they are gathering footage for a thirty minute documentary to be included in the upcoming cinematic production of Mahler 8th, from Caracas). Visitors from the Gothenburg Symphony were attentive to their every move, learning from them, taking notes and ideas for the development of their own program in Sweden. <br><br>
The members of the SBOV, all string players, worked through some elements of technique with the youngsters, providing them with inspiration and new tools for their musical development. They were kind and generous, and also very demanding (a testament to their inbred and relentless work ethic). I particularly enjoyed hearing from Claudio Hernandez, a Venezuelan bass player, as he spoke to YOLA parents about growing up in music, the nature of his profession, and what he felt being in an orchestra meant. "It is like my family, my everything, my country," he said. The feeling of bridging both musical and national aesthetics is of particular interest here. What can we do in this country to reclaim art and music as a national endeavor? An iniative for a national youth orchestra has been recently announced by Carnegie Hall, perhaps, this could be the beginning of new ways to think about <i>youth in classical music</i> as a source of national pride. <br><br>
My friend and colleague Joshua Dos Santos, <i>Dudamel Fellow </i>and resident conductor of the SBYOV also worked with the YOLA musicians. His approach to the rehearsal was unique in his use of metaphor and story, bringing the music, (a Brahms Hungarian Dance) closer to the imagination of the young musicians. He was conducting, but also demonstrating by actively participating, singing, and even playing alongside the percussion section. This kind of involvement, beyond traditional baton technique, is a trademark of Sistema conductors. I look forward to exploring this more in depth when I travel to Venezuela later this month. <br><br>
At a concert in Lafayette Park, families were proud of their students and shared in their joy of playing music. "Seeing all those people gathered around the students is so beautiful, it is a perfect picture" Gretchen Nielsen, the LA Phil's Director of Education, said. Later, the HOLA Development Director, Elizabeth Curtis, explained to me that part of the vision of HOLA (the social services center that hosts YOLA) is to expand beyond its own buildings and into public spaces to create new opportunities for families to experience the power of community in the context of positive experiences. The center provides many other offerings for at-risk youth, but music has already made a profound impact, in a very short time. As Maestro Abreu, the El Sistema visionary has said, "music has the ability to unite an entire community." And this is clearly happening here.<br><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/9cbd1ce8b92ed47442ce10c86f989d2ba5163b9e/original/HOLA.YOLA.jpg?1375802948" class="size_orig justify_inline border_" alt="" height="360" width="480" /><br><span style="font-size: smaller">My fellow Fellows Jennifer Kessler and Christine Witkowski share a moment with the students of YOLA. <br><br></span><b>Ser, no ser. <br><br></b>Josbel Puche, the director of Nucleo La Rinconada in Venezuela offered an enlightening lecture alongside first year Fellows Lorrie Heagy and Rebecca Levi, where they discussed various El Sistema pedagogical tools and ideas. Josbel, known for her work as the creator of the paper orchestra (a concept that grew out instrument scarcity in her own country rather than pedagogical intent) discussed how this idea has now evolved into a sound and much desired orchestral education tool. <br><br>
The concept, now known around US nucleos and adopted by YOLA at HOLA faculty, consists on building<i> papier mache</i> string instruments from scratch. An entire community of teachers, students, and families will convene to build and decorate them (an elaborate process), giving each instrument a unique personality. Once in hand, musical exercises are built upon concepts leading to actual orchestra rehearsals. How to hold the bow, respect the instrument, follow the conductor, and interact with their peers are all lessons that can be learned throughout the process (one that in average lasts about 4-6 weeks). <br><br>
When American educators in the room, asked Josbel if she had brought her own method book so that others may follow accordingly, she responded, “we don’t write anything down, we create every single day.” Of course, for many educators and artists in the room, this was a baffling statement. Our traditional approaches to pedagogy dictate elaborate lesson plans, faithful adherence to established method books, and process. Maestro Abreu’s idea of being not being, is at work here. <br><br>
As with technology, pedagogy becomes obsolete as soon as it has been unpacked. The Sistema teaching artist is focused on the individual student and the context in which she resides. Every community is different, every orchestra develops their own personality and sound. In striving for excellence, adjustments are made along the way. As artists our work is never static, it is always evolving. This is something we can learn from our colleagues in Venezuela. <br><br><b><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/2eb76320b5f45cc084181540ef8e150123972a18/original/Dudamel.Mahler.jpg?1375802948" class="size_orig justify_inline border_" alt="" height="360" width="480" /><br></b><span style="font-size: smaller">Gustavo Dudamel leads over 1000 musicians for Mahler's Symphony No. 8<br><b><br></b></span><b>The Olympics of Music <br></b><br>
In the spirit of continuously creating and evolving, Gustavo Dudamel and his orchestras--the Los Angeles Philharmonic and the Simon Bolivar Orchestra of Venezuela--have come to embrace challenges as necessary for growth. Playing the entire Mahler symphonies in the span of four weeks, <i>twice</i>, is simply, madness. But if we conceive music as universal, it should also encompass the notion of defying the limits. This is also true in sports, as we often hear the stories of athletes as people, and later witness their triumphs as heroes. <br><br>
As in the symphonic output of Beethoven (my favorite composer), experience-constants are also present in Mahler. Because music encodes real-life experiences (sounds of discord, passion, joy, and transformation) it is also a conduit for encouraging aspiring to the highest of human potential. When Maestro Abreu conceived his youth orchestra program 36 ago in Venezuela, he defined his young musicians as heroes. He told them, “with this instrument, you are going to change the world.” And that is the reason why we are here today. As I was sitting in Gustavo’s rehearsal of the “Symphony of a Thousand” it became clear to me, yet again, that music is more than just notes. And that <i>Tocar y Luchar </i>means, simply, to believe that anything is possible.<br><br><b><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/4b67067342ca245811a9117bbaf7dfa9ad0c0609/original/Eric.Booth.jpg?1375802948" class="size_orig justify_inline border_" alt="" height="360" width="480" /><br></b><span style="font-size: smaller">Eric Booth sets the stage at the first West Coast Seminario. <br></span><b><br>
Pasadena Seminario <br></b><br>
What do you think a seminario is? Eric Booth, a leading teaching artist convened all participants (in orchestra formation) and in the spirit of El Sistema as a <i>space of inquiry</i>, facilitated a lively conversation of ideas. Participants shared a myriad of actionable frameworks for proceeding through the day ahead. A seminario is a “workshop, an opportunity for collaboration, a larger artistic endeavor,” were some of the participant’s thoughts. Discovering prime goals for alignment came next. Stephanie Hsu, mentioned the idea of using our day as an opportunity to foster deeper connections between teachers and students. Bolivia Bottome, the international liason for FundaMusical Bolivar spoke about the importance of artistic purpose: maximizing learning and establishing clear performance goals. More often than not, our Venezuelan colleagues will stress musical excellence as <i>the foremost </i>El Sistema ideal. <br><br>
Others spoke to this practice’s resemblance to our existing all-region and all-state orchestra convenings where a group of high level participants come together to play music at a higher level, beyond what they could master in their own local schools. Indeed, a seminario is exactly that, and much more. It is a an event that combines intensity of purpose with the added value of feeling a sense of community. A performance challenge raises the game, all participants are responsible for the success of the event. <br><br>
In the first seminario in the west coast, over 200 participants came from Santa Barbara, San Diego, Chula Vista, and Pasadena. Visitors from the League of American Orchestras, Fellows from the New England Conservatory, and Dick Roberts of <i>Take a Stand</i> were witness to the success of the event. I particularly enjoyed collaborating with Adam Johnston (the director of Santa Barbara’s El Sistema program) and also with Tricia Tunstall as part of her book presentation, <i>Changing Lives. <br></i><br>
A seminario begins with clear expectations and also a willingness to embrace surprises. It is a space different from the all-state orchestra programs, there are no auditions here, all can participate. This of course, raises pedagogical challenges. In particular, the need for repertoire that caters to mixed-level orchestras. And it was interesting to see how this was solved. <br><br>
During one of the pieces, Samvel Chilingarian led the 90-piece string orchestra in an arrangement of a children’s song that contained choral parts in liue of instrumental ones. You saw the youngest musicians trading the string instruments for their voices, sitting in the orchestra and singing in counterpoint as part of the ensemble. This is was very effective. Children that weren’t ready to play their instrumental parts felt as important as their violin playing-peers. (in a professional setting, just a few days ago, I also heard at Walt Disney Hall, a piece by Miguel del Aguila, <i>Salon de Buenos Aires</i>, where the composer makes use of his instrumentalist’s voices, creating new textures and powerful moments of aural newness). <br><br>
I hope to see more choral work be integrated within the orchestra setting. It is also important that young musicians be allowed to recognize the value and potential of their own singing voices. In practicing in <i>solfege</i>, their music reading skills can improve dramatically, issues in instrumental tuning can be resolved quicker; and they can also begin to practice audiation, (hearing the music in your mind) a much needed tool to think of music as expression and narrative. <br><br>
The involvement of families in the seminario was key to its success. The day’s most impressive moment came when parents, who had been learning a melody on recorders (which they learned in 30 minutes) joined their own children’s orchestra as they played a simple but meaningful musical arrangement. As they finished the piece, the level of excitement grew to such enormous heights that the young musicians responded with an embrace that spoke louder than the music itself. They were proud of their parents and energetically stomped their feet, the same way the members of the Berlin Philharmonic applaud the finest of soloists at the <i>Philharmonie</i>. <br><br>
At Adam Johnston's request, I had the opportunity to speak to a group of about 60 parents. I told the story of my own entry point into the arts experience. About growing up in music and about my own passion as a conductor, educator, and advocate of the work of El Sistema. The parents shared their own stories of social transformation through music. We delved into exploring and identifying key opportunities for growth embedded in the process of music education. How can parents be more involved in helping realize their children’s potential? How can teachers, students and families best collaborate for success? These were some of the questions I asked. In turn, many ideas emerged. Parents asking their children to teach them what they had learned in class, building extramusical relationships by singing together, and celebrating their accomplishments every step of the way, were some of the ideas they shared. This was the highlight of my experience in Pasadena. And I was very happy to be able to collaborate in this regard. <br><br>
Seminarios are central to the process of developing regional and national <i>US Sistema</i> program networks. When we focus on the work at hand and on the musical potential of our youth, everything comes into focus. I saw nucleo directors sharing and enjoying their time together, thinking about how to leverage their resources, and how to find ways to best share their own expertise for collective growth. The Sistema movement in the United States is now ready to move from being <i>El Sistema inspired </i>to actually being systemic. If we can think of ways for programs to come together in <i>artistic terms</i> (with clear expectations and pedagogical goals in mind), we will soon have the processes in place that will allow for the creation of regional and national orchestras that five to ten years from now will also be able to play Beethoven, Revueltas, and why not, Mahler too. Striving for musical achievement is an integral part of the work of El Sistema. Out of the process of collective musical inquiry and refinement, stems social transformation. <br><br>
With our highly developed expertise in the fields of talent development and musical pedagogy, we can also reach those higher musical goals and at a much faster rate. The connections and opportunities for pedagogical and artistic exchange that seminarios bring will allow for this process to come to frutition. All it takes, is to be open to innovate (and make mistakes too). We must always ask ourselves, as if we were playing an instrument, how can we make it better next time? The pursuit of excellence is part of our work as musicians and educators. Art, as Maestro Abreu describes, "implies a sense of perfection, therefore of excellence, a path to excellence." Couple this idea with the notion of bringing people together on the same path, then we shall have a winning formula. And a much larger family dedicated to bringing music to places where it matters most. >> <a target="_new" href="http://www.joseherstrada.com/abreufellow.cfm?feature=2291369&postid=1768581"><span style="color: #ff6600">Los Angeles Notebook, Part II. </span></a><span style="color: #ff6600"><br></span> <br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/00ff89132102e0b005218411687f6c44c45da1fa/original/Hernandez-Estrada.LAPhil.jpg?1375802948" class="size_orig justify_inline border_" alt="" height="359" width="480" /><br></span><span style="font-size: smaller">At the LA Philharmonic, shortly after our Fellow's reunion with our Venezuelan mentors. <br><br></span><span style="color: #ff6600"><i>My deepest gratitude goes to our Venezuelan mentors Maestro Abreu, Rodrigo Guerrero, Gustavo Dudamel, and Eduardo Mendez. To our friends at the LA Phil Deborah Borda, Leni Boorstin, Dan Berkowitz, and Gretchen Nielsen for hosting us in LA. To my colleagues and teachers at New England Conservatory. And to all of our friends of El Sistema in the US and around the world, many thanks for making this a most memorable week! </i></span>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/136375
2012-01-27T20:15:00-06:00
2017-02-01T15:52:30-06:00
BOS-LAX
<br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/839eb83ba4d630f271ab63f76a610404177e3055/original/bos-lax.jpg?1375802948" class="size_orig justify_top border_" alt="" height="321" width="480" /><br><br><br><i>“Ladies and gentlemen, the Captain has turned on the Fasten Seat Belt sign. If you haven’t already done so, please stow your carry-on luggage underneath the seat in front of you or in an overhead bin. Please take your seat and fasten your seat belt." "At this time, we would also like to welcome, a group of music educators from Boston dedicated to bringing El Sistema to the United States and around the world." <br></i><br><b><br>
The fellows are in Los Angeles<br></b><br>
On January 30th, we will be delivering a keynote presentation at the LA Philharmonic’s Take a Stand symposium on the state of the Sistema movement in the United States. The first picture of its kind, a reflection of the experiences, successes, and needs of the field. We interviewed programs across the country, experienced aspects of their work on the ground, and are now getting ready to report back to the national audience. Our program director Erik Holmgren, leaders from Longy and the LA Phil have all been involved in curating the process. For the presentation, it will be my task to illustrate aspects of our core values, a set of ideals that bring us together as a movement. It will be an honor to participate in this event. <br><br>
I am also very excited about hearing the Simon Bolivar Orchestra of Venezuela play in the Mahler Festival (take a look at their performance of Mahler’s Resurrection Symphony <a target="_new" href="https://www.youtube.com/watch?v=M0Px44IuVKM">live from the 2011 BBC Proms</a>). And to meet with teaching artists, leaders in the arts, and a wide diversity of international educators. At the symposium, there will be participants from Santa Barbara to Philadelphia, from Colombia to Scotland--all inspired by the transformative power of music. As a designated learner of the Sistema movement, this will be a marvelous space to continue to grow as a musician. <br><br><br>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/133488
2012-01-13T03:05:00-06:00
2017-02-01T15:47:29-06:00
Beyond the Notes
<img src="//d10j3mvrs1suex.cloudfront.net/u/53545/2e09689cb91e0dafbc387208c21f938e76a492a5/original/Hernandez-Estrada.Piano.JPG?1375802948" class="size_orig justify_inline border_" alt="" height="319" width="480" /> <br><span style="font-family: Arial"><br>
I’ve been playing a lot of Chopin lately, revisiting some of the <i>Ballades</i> and <i>Nocturnes</i> I learned during my university years. It is always interesting to come back to old pieces. You begin to notice more nuances in the music—new aural landscapes begin to take shape as you play. <i>That melody wasn’t there before</i>, you think. Then you realize that it had been there all the time, hidden in the <i>counterpoint</i> (when two or more melodies converge to form yet another idea). And maybe, this is just the beginning of finding new meaning in the music. In a different light, and time. </span><br><span style="font-family: Arial"><br>
In Chopin’s Nocturne Op. 48 No.2, a progression of harmonies in the left hand gives the melody in the opening bars a poignant sense of melancholy. There is ample room to explore different kinds of sound colors here. To tell the story, the notes should flow as in an enthraling speech. How the phrases are shaped is crucial to achieving any effect on the listeners. How should the music feel? Playing with a sense of <i>rubato</i>, as if you were bending time, gives the music its unmistakable quality. <br><br></span><span style="font-family: Arial">It is easy to get <i>lost in the music</i> of Chopin. The Ballade Op. 23 is a work with a carefully crafted musical architecture and is full of dramatic contrasts. It is a favorite of many pianists. The music revolves around a narrative in the key of g minor—a tragic tale soaring with moments of absolute beauty. Can music be tragic and beautiful at the same time? This duality of expression is what makes the composer’s music so unique and particularly effective. His regular shifting of sound worlds and <i>affekt </i>(the German for emotion as in “spiritual movement of the mind”) is very appealing to me. <p></p></span><br><br><span style="font-family: Arial">I’ve been practicing the piece for hours on end. When you play the Ballade, time just seems to stop. You become engaged in the sound, in the impetus of the narrative. Interpretation is about telling your own story, sharing your own sense of artistic awareness, and unique perspectives of what the music should convey and why.</span>
<p class="MsoNormal"><span style="font-family: Arial">In music, one must let the<i> spirit </i>of the work be revealed through you. To allow oneself to be in connection with music at that level is a humbling experience. What does this particular <i>Ballade </i>mean, beyond the notes? For me, the answer to the question continues to evolve until this day. <br><br>
This, I think, is the beauty of the arts experience. To embrace the strength of past experiences and reminiscences of time—to tell the story anew, once gain. <p></p></span></p>
<p class="MsoNormal"><span style="font-family: Arial"><p><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/ffc0d29a63475199fbb967fa0ab37486f253a4ac/original/Hernandez-Estrada.Chopin.JPG?1375802948" class="size_orig justify_inline border_" alt="" height="322" width="480" /><br><span style="font-size: smaller">At home, playing the music of Chopin. (Photo: Classica). </span><br><br type="_moz"></p></span></p>
<iframe style="position: relative; width: 400px; display: block; height: 100px" height="100" src="https://bandcamp.com/EmbeddedPlayer/v=2/track=3671345683/size=venti/bgcol=FFFFFF/linkcol=4285BB/transparent=true/" frameborder="0" width="400" allowtransparency="allowtransparency">&ampamp;amp;amp;lt;a href="http://joseherstrada.bandcamp.com/track/chopin-mazurka-in-a-minor-op-17-no-4"&ampamp;amp;amp;gt;Chopin: Mazurka in a minor, Op. 17 No. 4 by José-Luis Hernández-Estrada&ampamp;amp;amp;lt;/a&ampamp;amp;amp;gt;</iframe>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/131572
2012-01-03T03:15:00-06:00
2017-01-12T20:06:35-06:00
Join the El Sistema Conversation
<br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/5f52dcd95808695d8946a23a2f8f17bbee9d70d9/original/DSC_0422-1.JPG?1375802947" class="size_orig justify_inline border_" alt="" height="319" width="480" /><br><span style="font-size: smaller">An orchestra: an instrumental ensemble that contains sections of string, brass, woodwind, and percussion instruments. </span><br><br>
The Abreu Fellows have contributed an article to The Ensemble, a newsletter for the U.S. <i>El Sistema </i>movement. The monthly newsletter is published by Eric Booth and edited by Tricia Tunstall. Tricia’s new book, Changing Lives: Gustavo Dudamel, El Sistema, and the Transformative Power of Music, is <a target="_new" href="http://www.amazon.com/Changing-Lives-Gustavo-Dudamel-Transformative/dp/0393078965">now available worldwide. <br></a><br>
Read the article and <a target="_new" href="/files/54005/TheEnsemble_Jan.2012.pdf">download the full January edition here</a>. As per Eric Booth's request, please send it on to others who might be interested—to friends and colleagues, to teachers, to families, to students. In addition to sending it to people electronically, why not print some copies and distribute them?—to let people know each program is connected to a lively national movement. <a href="mailto:theensemblenl@gmail.com">Request a free subscription. </a><br><br>
[Excerpt]<br><b><br></b><i><b>First National Survey, by Abreu Fellows<br>
By Stephanie Lin Hsu and Jose Luis Hernandez-Estrada<br></b>“Now we can say it for sure: the El Sistema movement in the U.S. is blossoming in a profusion of ways, to realize its common goal of re-imagining music as a catalyst for social transformation. This fall, the third class of Abreu Fellows at the New England Conservatory embarked on the first nationwide data-gathering project with El Sistema-inspired programs across the country. In collaboration with the L.A. Philharmonic, Longy School of Music, and Bard College, the Fellows interviewed over forty program leaders about the specifics of their programs.” <br></i>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/130179
2011-12-25T13:35:00-06:00
2017-02-01T15:41:25-06:00
Season's Greetings and Happy New Year!
<br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/b65084e281c095f462b10e896554acedc44efee4/large/DSC_0315-2.JPG?1375802948" class="size_orig justify_top border_" alt="" height="322" width="480" /><br><span style="font-size: smaller">At Christmas, all roads lead home: a holiday concert with an El Sistema-inspired orchestra in Mexico.<br><br></span>
<div>During this Holiday Season, I send you my best wishes for peace, joy, and prosperity in the New Year! <br><br>
2011 has been an extraordinary year—a transformative time of learning and musical development; of new opportunities and beautiful memories.<br><br>
It has been a privilege to be a part of the New England Conservatory family in Boston. As an Abreu Fellow, I've begun a meaningful journey with colleagues and mentors that have inspired me to grow and to thrive anew. <a target="_new" href="http://necmusic.edu/abreu-fellowship">The fellowship</a>, created in honor of Jose Antonio Abreu’s wish to identify and train new artistic leaders: “gifted young musicians, passionate about their art and social justice,” seeks to address and enact upon the potential of music education as a catalyst for social transformation. <br><br>
While re-imagining the <a target="_new" href="http://www.joseherstrada.com/abreufellow?showmonth=8&showyear=2011&showall=1">role of classical music in society</a>, we’ve shared inspired moments of music-making and academic inquiry. In the last few months, I had the opporturnity to collaborate with music students and teachers across the country and engaged in <a target="_new" href="http://www.joseherstrada.com/abreufellow?feature=2291369&postid=1472753">meaningful conversations</a> with leaders at major cultural and artistic institutions. All these new and evolving perspectives have contributed to realize a better understanding of the emerging El Sistema movement in the United States and its potential for future development and growth. <br><br>
Music has been at the forefront of it all. This year, I also had the opportunity to work with many different orchestras, including Mexico City's <a target="_new" href="https://www.facebook.com/media/set/?set=a.367453197290.154608.257928747290&type=1#!/photo.php?fbid=10150173219932291&set=a.367453197290.154608.257928747290&type=3&theater">Orquesta Filarmonica de la UNAM</a> and with young musicians at <a target="_new" href="http://www.communitymusicworks.org/about.htm">Community MusicWorks</a>, the nationally recognized community-based organization that uses music education and performance as a vehicle to build community throughout urban neighborhoods in Providence. I prepared new orchestral repertoire (including programmatic works such as Debussy's <i>La Mer </i>and Revueltas' <i>Redes</i>), directed a successful children's education series in <a target="_new" href="http://www.dakotasky.org/childrens-concerts/">Sioux Falls</a>, and learned from <a target="_new" href="http://www.joseherstrada.com/abreufellow?feature=2291369&postid=1608292">extraordinary musicians</a> in a wide variety of settings. My passion for and understanding of music as an ever-evolving entity of meaning and pupose has grown stronger with each new experience. My musical family has also grown too, it is always a joy to meet people through music.<br><br>
During early 2012, the Abreu Fellows will be presenting the findings from a survey of U.S. núcleos at the <a target="_new" href="http://www.laphil.com/education/yola-symposium/index-2012.cfm">LA Philharmonic's</a> <i>Take a Stand Symposium</i>. We will also be traveling extensively throughout Venezuela to explore <a target="_new" href="http://www.joseherstrada.com/abreufellow?feature=2291369&postid=900058">the wonders of El Sistema</a> and work alongside the visionary leaders and educators that have made this work possible. Upon returning from South America, I’ll help guide the development of a new El Sistema-inspired program and visit again in Philadelphia to work intensively with the <a target="_new" href="https://picasaweb.google.com/joseherstrada/AbreuFellowsAtPlayOnPhilly#">Play-on Philly Orchestra</a>, a group of young musicians with tremendous potential and artistic promise. It is exciting to play a part in contributing to the advancement of music education. <br><br>
Above all, the most beautiful thing about this year has been the opportunity to meet and collaborate with so many talented and generous people—friends and mentors who have so kindly offered their advice, support, and dedication to my journey in music and in life. For this, I am deeply grateful. <br><br>
With warmest thoughts and best wishes to all.<br><br><br><iframe src="https://www.youtube.com/embed/e-4D-v95UZo" frameborder="0" width="480" height="274" allowfullscreen=""></iframe><br><span style="font-size: smaller">Gustavo Dudamel and the SBYOV in a performance of Arturo Marquez: Conga del Fuego </span>
</div>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/127923
2011-12-12T01:30:00-06:00
2021-10-05T12:42:09-05:00
Playing Mahler: Embracing Relevance and Truth
<br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/641944c2088169a0c1df6781bd097bfaa4a1db1e/original/Mahler.jpg?1375802948" class="size_orig justify_top border_" alt="" height="240" width="480" /><br><i>Mvt. 4. "Adagietto", p. 1 (211 of 321)<br>
Mahler, Gustav, 1860-1911. Symphonies, no. 5, C♯ minor . Symphony no. 5 in C♯ minor : autograph manuscript, 1903 Oct.<br><a href="http://www.themorgan.org/music/manuscript/115214">http://www.themorgan.org/music/manuscript/115214</a> <br><br></i><br>
As part of my studies as an Abreu Fellow at the New England Conservatory, I have had the opportunity to attend many exciting performances by numerous orchestras in a variety of settings. As a musician and student of the arts, I believe there is no greater classroom than the concert hall. As an artist's space and catalyst for realizing aesthetic purpose, it is also a place of freedom--a place for sharing the joy one derives from the experience of playing music. <br><br>
In crafting a meaningful performance, music must be understood, perfected; and embraced as part of a larger cross-cultural and musical narrative tier. In this manner, a work's sense of identity changes and evolves; shedding contemporary perspectives and new meaning. As Gustav Mahler explains, "it should be one's sole endeavor to see everything afresh and create it anew." When we adopt this premise, we can feel music as a living entity; flexible and malleable to the conscience of our times. <br><br>
As musicians begin to solve the technical demands of a particular score, they also invest in a process embodying the finer nuances behind the humanity of the music that they play. In engaging with music at a more personal level, a score truly becomes alive. It is no longer thought of as a succession of notes on a written page, but rather turned into an open dialogue among performers and audience; between art and interpretation; and through purpose and relevance. In this manner, music becomes re-imagined for the present. <br><br>
A few weeks ago, I attended Alan Gilbert’s rehearsals with the New York Philharmonic. In a series of closed sessions at Avery Fisher Hall, the orchestra worked through an extensive repertoire that included Brahms’ Third Symphony, Mozart’s Concerto for Flute and Harp, and Mahler’s Fifth Symphony. It was a great privilege to hear the orchestra in this setting, a rare and very exciting opportunity indeed. <br><br>
The orchestra’s commitment to the highest standards of music-making is truly inspiring. During the rehearsals, Mr. Gilbert was quick to point out the shapes of phrases and ethos of the works with meaningful gestures and imaginative zeal. In playing Brahms, a chamber-music-like approach served best to achieve a transparency of sound. In Mozart, the orchestra focused their attention to articulation and to resolving cadences with utmost care. <br><br>
When it came to playing Mahler, the orchestra’s sound grew taller and stronger, their sense of ownership and connection to the music was palpable. A sensation of ethereal darkness permeated the entire opening movement, the second movement portrayed a meaning of urgency; the Adagietto described a longing for hope, the final movement, focused on declaring victory.<br>
<br>
Over the years, the New York Philharmonic has gotten to know Mahler very well. In playing the composer’s works, the orchestra is expanding on the evolution of a performance tradition and legacy. Gustav Mahler was once the principal conductor of their orchestra. Leonard Bernstein was instrumental in bringing the composer’s work to the forefront of the classical symphonic canon. Of course, there is something to be said for these historical relationships and to the notion of relevance in the orchestra's music-making. <br><br>
In music, finding relevance and purpose is equally important as realizing the technical demands of the score itself. The process by which artists connect to music can prove to be a complex labyrinth of decision making. These relationships are clearer to navigate when one can trace the evolution of interpretation to its origins. <br><br>
In being connected, even if just symbolically, to a lineage of tradition, the orchestra finds deeper connections to the composer, and therefore, audiences come to experience music-making that happens (from the orchestra’s standpoint) as a result of an evolution of interpretative possibilities rather than technical facility. As Howard Gardner, the cognitive psychologist and educator would attest, that in realizing authenticity, “we can never assume that we have arrived at the ultimate destination.” There is tremendous freedom in this proposition, and the New York Philharmonic thrives in this regard. <br><br><br><iframe width="480" height="270" frameborder="0" allowfullscreen="" src="https://www.youtube.com/embed/HZerH9SRpig"></iframe><br>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/121972
2011-11-16T08:00:00-06:00
2017-01-12T20:06:34-06:00
El Sistema as a tool for re-imagining education ecosystems and mission in American orchestras.
<img src="//d10j3mvrs1suex.cloudfront.net/u/53545/c2ebb0a7d629c62d5f3d4ddde8b9dd9396157e31/original/DSC_0340.JPG?1375802947" class="size_orig justify_top border_" alt="" height="321" width="480" /><br>
Two young conductors working together, at the Baltimore Symphony Orchestra's ORCHKids program, October 2011. <br><br>
By Jose-Luis Hernandez-Estrada<br><br><br>
In the fall of 2007, the Simon Bolivar Youth of Orchestra of Venezuela embarked on their first major North American performance tour. They played sold-out concerts under conductors Gustavo Dudamel and Sir Simon Rattle before enthusiastic audiences in New York, Los Angeles, and Mexico City. <br><br>
As we experienced the orchestra’s astonishing commitment to the dazzling rhythmic syncopations in Revueltas’ Sensemaya and to the strength of Beethoven’s Fifth Symphony, we were also invited to ponder new realms of possibility. The orchestra’s display of collective virtuosity reminded us that working together in the pursuit of common goals is a beautiful idea. Tocar y Luchar is a familiar motto among El Sistema musicians—“in aspiring for excellence together, everything is possible,” they say. These concerts were a beautiful celebration of music and community. Their music-making brought forward new perspectives to the value of aesthetic excellence, artistic relevance; and living proof to the idea that classical music could serve as a catalyst for meaningful social transformations for a wide-range of beneficiaries. <br><br>
Since its inception, El Sistema in Venezuela has been an interdependent initiative inspired by the need to articulate new and innovative ways to produce structural change in communities, particularly those under the poverty line. To this end, democratic access to collective music-making is used as an intervention tool (in areas as diverse as health, crime prevention, and social development), reframing music and the arts as a medium to increase social capital and mobility—to produce joy and well-being, human connections, and cultural enrichment. <br><br>
In practicing El Sistema, one is particularly invested in creating a space of connection and collaboration. Teaching young people how to teach others in pursuit of commons goals; showing communities how to lead in the composition of the arts; and inspiring others to aspire to the highest levels of artistic excellence; are all common through-lines and unique perspectives of the Venezuelan model.<br><br>
El Sistema’s founder, Jose Antonio Abreu believes that the arts should no longer be a contemplative object, but rather stand as a call for social action in service to humanity. This inclusive idea has taken relevance in the United States, especially today, as artistic organizations seek to find a new voice in advocating for the value of the arts experience. As nationally recognized teaching artist and arts educator Eric Booth explains, in the United States, “the era of art of art’s sake is also now officially closed.” In putting art at the service of society, a flexible space of exchange and re-imagination of purpose can be expressed--one where community plays an integral part of being in communion with art. As I‘ve learned, in El Sistema, the rendition of art for many sakes lives in balance and in consonance with the highest of artistic possibilities. This new thread of thinking is particularly in tune with existing educational agendas in the United States, where the notion of artistic achievement, community development, and social change become one organic whole in pursuit of common goals. <br><br>
American orchestras are listening to the pulse of community more intently, embracing it as a point of inspiration in their efforts to focus and realign their organization’s vision for the future. As we speak, orchestras are invested in a process of deep analysis and introspective thinking about how to succeed in ever changing economic landscapes. Many of them are in a state of identity anxiety, seeking to find new ways to increase relevance in the communities where they reside. In consequence, conversations about re-imagining frameworks for artistic advocacy and community engagement are taking place across the board—from small community orchestras to those in major cities. As a field, we are now beginning to articulate artistic excellence and social participation as part of one indissoluble dimension. <br><br>
The Baltimore Symphony Orchestra is constantly thinking about ways in which the organization can best reflect the community they serve. “To be relevant, means that we must demonstrate public value,” explained Paul Meecham, during the Abreu Fellows’ recent visit to the Meyerhoff Symphony Hall. One of the many answers to this ongoing challenge, is their flagship education and community engagement initiative, ORCHKids, an El Sistema-inspired program, serving 500 school-age children in four public schools throughout East and West Baltimore. The BSO refers to it as “a fundamental social program critical to the health of the city.” And rightly so, it is positively and dramatically impacting children and families in beautiful ways. Many BSO musicians are collaborating with the initiative--a champion for the cause is percussionist Brian Prechtl, who regularly works with the children and engages them with professional zeal and rigor. <br><br>
This year, close to a hundred ORCHKids young musicians participated in a side-by-side concert with the Baltimore Symphony under the direction of the orchestra‘s music director Marin Alsop. The Meyerhoff Symphony Hall became alive with a new vibrant and energetic audience, gleaming with joy, and hope. The inherent symbolism of this event is a testament of a valiant effort to bring equity in the concert hall and as an case in point of removing barriers of artistic inclusion. In Baltimore, Dan Trahey, the program’s artistic director said, “we must get to all of the music directors in American orchestras, to help them understand the value of this transcendental work.” <br><br>
The outcomes realized and envisioned reflect a changing trend in the orchestra’s desire to connect with a wider diversity of audiences. Alsop, profoundly believes in “music as a vehicle to change lives,” and most importantly, that her orchestra should lead the movement to reach as many children as possible throughout the city of Baltimore. It also signals a clear change of direction as to how artistic organizations will think and operate in the future. As Meecham asserted, “we are in the middle of a revolution, every aspect of our thinking will be educational.” <br><br>
In effect, every orchestra wants to grow their audiences; to bring meaning to their artistic endeavors; and strength to their financial investments. By genuinely articulating public value, artistic organizations are also best positioned to compete for dwindling public resources and private donations. The League of American Orchestra’s president, Jesse Rosen agrees, “sustaining and growing community work has never been more important, as funders and governments make tough choices about how to allocate scarce resources, and challenge the public value that orchestras create” (Symphony, 2011). <br><br>
In realizing public value, organizations are finding more creative means to provide their communities opportunities to take ownership of the arts process-- to share the experience of being active participants of beauty; of the profound joy that one derives from playing a part in something larger than oneself. Only when we empower others to play a role in the composition of the arts, our concert halls truly become alive. Rodrigo Guerrero, an El Sistema social strategist contends, “one needs to let the community actively participate in the arts, so that they acknowledge their value. Then, the community cannot disconnect itself from its need for the arts, because such need is not merely an aesthetic need, it is a social need" (Mora-Brito, 36). <br><br>
As we speak, other prominent El Sistema-inspired programs connected to orchestra leaders and musicians at Allentown, San Diego, Cleveland, Hartford (CityMusic) and Los Angeles (YOLA at HOLA) are articulating new and innovative ways to extend reach in educational programming. The beauty of it all is that while these programs share a common inspiration, their approaches are quite unique. They frequently service a wide diversity of populations in schools, community centers, churches, libraries, and other public spaces. They are invested in bringing music to the heart of community. <br><br>
In El Sistema, one is predominantly invested in looking at meeting particular needs for particular communities. This is done through a flexible ecosystem of teaching and learning and in articulating sound theories of change through advocacy and policy interventions. In the United States, we are just beginning to learn how to translate the values of El Sistema into our own frameworks of cultural thinking and action. There is a thriving movement in favor of music for social justice: a growing network of individual and institutions are currently having major conversation to find ways in which we can connect resources, ideas, and best practices. <br><br>
For many orchestras, thinking in these terms is a major paradigm shift. As Rosen, explains, figuring out how to bridge excellence and community service is complicated and time consuming work.” In meeting this challenge, we must ask ourselves, how can orchestral organizations be ready to serve a dual role of providing both artistic excellence and public value through relevant social action programming? Can we borrow from El Sistema to help us guide our path to success? How is this best accomplished? <br><br>
It is all about listening, intently, and with a purpose. <br><br>
In seeking to articulate an American translation of the El Sistema phenomenon, establishing it as a space of possibility, rather than a specific stand-alone theory or pedagogical approach will potentially serve a greater cause and purpose. At the nexus of its philosophy (free-access to collective arts participation), practice (flexible ecosystem of teaching and learning), and advocacy (policy and intervention), lie meaningful entry points to decipher new renditions of the model and find new pathways to achieve meaningful connections between the concert stage and the community at-large. <br><br>
In theory, El Sistema is first and foremost a social program; a space of empowerment through music. In practice, a beautiful free-standing and evolving mechanism that serves the community through democratic access, engagement, and advocacy. Through this flexible framework, American orchestras can advocate to create new educational ecosystems of overlapping and interdependent tools that co-exist to serve greater relevance and purpose through social action programming. In this model, the notion of aspiring for musical excellence is in harmony with allowing for the active participation of new and diverse voices to create even more vibrant artistic landscapes. In re-imagining mission and balancing the role of orchestras in changing landscapes, Deborah Borda, the president of the Los Angeles Philharmonic recently conveyed to the Associated Press, that indeed, through the creation of social action programming, her orchestra has found artistic imperatives to be in harmony with social imperatives as well (2011). <br><br>
These spaces of harmony and inclusion can be created through a myriad of programmatic tools: including the creation of orchestral youth development programs (nucleos) for at-risk-children, involving the participation of amateur musicians in educational agendas, empowering school teachers to develop arts minded educational curriculums, developing young talented composers, or by embracing the healing powers of music in healthcare settings. The key is how to best utilize available tools and to understand their collective impact. More often than not, it is the mapping and alignment of existing resources that matters most in crafting more effective social action programming. <br><br>
Abreu dwells on this notion of collective impact. As resources in Venezuela are scarce, leaders are always in need to find creative ways to balance the challenges of bringing artistic excellence to as many young people as possible. This can be done through careful alignment of resources and mapping of community assets. <br><br>
In exploring El Sistema as a framework of action, the Chicago Symphony Orchestra realized that through the sharing of resources and best practices, the organization could encourage meaningful conversations among existing youth in music programs in the city to create a greater collective musical impact. As a result, a Young Musicians Initiative was born. Its mission: “to extend and deepen the engagement of youth in music in Chicago and to foster critical mass and visibility among Chicago’s youth music providers.” The CSO’s first bi-annual Youth in Music Festival was a major success, bringing together over 15 partner organizations to engage in collaboration and discuss the future of music education and the potential of El Sistema thriving at the grassroots level. <br><br>
In keeping the score, further initiatives such as the CSO’s concept of Citizen Musician empower local musicians, teachers, and cultural leaders to work together in pursuit of common goals. The movement, inspired by the “efforts of past and present musicians” to connect artistic endeavors to social engagement is a way to “acknowledge and celebrate acts of citizen musicianship and increase awareness of the existence, quality and value of this work.“ In re-imagining the role of musicians, new pathways for community engagement will open up in Chicago. In an interview for the Chicago Tribune, Yo-Yo Ma, the movement’s founder, said about Citizen Musician: “This is about recognizing and pointing a spotlight on people who are doing things and trying things, and celebrating it and encouraging it." In providing opportunities for the community to articulate the value and future of the arts, the entire city benefits. <br><br>
In Chula Vista, the San Diego Youth Symphony’s Community Opus Project is creating positive impact in the lives of young people through El Sistema inspired programming. The project serves a few hundred children in six elementary schools that benefit from resources and teachers from the SDYS. In an interview for the San Diego Tribune, Kevin Chaisson, trustee and vice chair of strategic planning for the organization said that the project does not supplant school run music programs, but rather helps “fill in the gaps left by a cash-strapped education system.” In bringing much needed support to educators and students alike, the youth symphony is an active advocate for public value--bringing musical access and quality to underserved schools. In re-imagining mission for the organization, leaders realized that there was a bigger purpose for what the institution could do, and needed to do, for the community. Ultimately, the orchestra feels that this work is “helping build better citizens.” <br><br>
These artistic minded initiatives are transcendental mechanisms that bring schools and artistic organizations together to advocate for public debate and arts education reform. During the Abreu Fellows’ visit at the National Association for Music Education in Arlington, the organization’s Deputy Executive Director, Michael Blakeslee, explained that artistic organizations, could be more effective as educational institutions, if their relationships with local schools and music teachers are in tune with their specific needs. <br><br>
The Boston Symphony Orchestra has effectively rendered the value of arts and education partnerships. Currently, they are deeply invested in reenergizing a movement towards music education in the city. Their flagship educational initiative, The Academy, founded just a year ago, supports the expansion of music education in the city’s schools, with a pilot program at the Thomas A. Edison School in Brighton, a newly merged public schools that serves children from elementary through middle school. The project serves the entire student body of 775 students, bringing BSO musicians as teachers and advocates of the initiative. <br><br>
Guided by a philosophy of a community of practice, rigorous and dynamic music curriculum, and instrumental instruction, the program also extends the reach of the BSO’s extensive education programming. The former Education Director of the BSO (now the Executive Director for Arts at the Boston Public Schools), said in an interview, that the process leading to the development of The Academy grew out of three-year reflection and strategic planning process: <br><br><i>“The Education Department at the BSO started a strategic planning process, and one of the goals of that process was to take our knowledge of all the things we had been doing in the schools, professional development, curriculum development, and partnering; and how we could begin to do that in a deeper process.” “The notion of bringing three schools together and trying to create a community of teachers and students, was an ideal opportunity for us.”</i><br><br>
In mapping resources and engaging in deeper partnerships with public schools, orchestra leaders at the BSO have realized that the essence of their artistic responsibility lies in enhancing the social and educational development of community. In this regard, Abreu explains that the democratization of education and the arts, “cannot be conceived but as priority cause, unavoidable, and emerging towards a profound and valid transformation of civil society.” <br><br>
For these orchestras, arriving to the stage where purpose is clearly articulated has everything to do with engaging in the process of listening to the needs of a community; it is about realigning objectives and mission through careful strategic planning. As Booth further explained during his address at the National Guild for Community Arts convening in Boston, “artistic organization must borrow the strongest ideas to grow and to illuminate the power of the arts for many sakes.” <br><br>
To empower young people and communities is a beautiful idea. <br><br>
The success and relevance of the arts depend on articulating this 21st century need. In empowering young people as ambassadors for the arts, we are building up a new generation of possibility. As advocates of public value, orchestras are uniquely positioned to extract the best tools from existing quality programming to create new frameworks for success. As leaders in the arts, we know that sustaining our art form will entail creativity and innovation; connections and collaboration. How effectively we communicate and enact our mission will help us tap into more powerful and extraordinary ways to succeed in making a difference in the lives of others through music. <br><br>
As a musician, I am hopeful about the years ahead, and about the role orchestral organizations will play in the creation of new models of artistic equity and community engagement. In the midst of uncertainty, we have in front of us an opportunity to bring new relevance and focus. But most importantly, as Leonard Bernstein, once said, “an opportunity to help bring music at the top of the spiritual must list.” <br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/eb5433bd255fb623bb0925c7cd6882b9bb5456d9/large/GustavoDudamel.SimonBolivar.jpg?1375802947" class="size_orig justify_left border_" alt="" height="360" width="480" /><br><a target="_new" href="/files/51611/ElSistema.AmericanOrchestras.Blog.pdf"><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><br><span style="font-size: medium">Download: ElSistema.AmericanOrchestras.Blog.pdf</span></a><span style="font-size: medium"><br></span><br><br type="_moz">
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/121974
2011-11-03T14:35:00-05:00
2017-02-01T15:27:42-06:00
On Leading and Being El Sistema
<br><br><iframe height="274" src="https://www.youtube.com/embed/enDenyuIdyo?rel=0&hd=1" frameborder="0" width="480" allowfullscreen=""></iframe><br><a target="_new" href="https://www.youtube.com/watch?v=enDenyuIdyo">Working with a young conductor</a> at the Baltimore Symphony Orchestra's ORCHKids, listening and leading together, we are modeling a new school of social life. <br><br>
The teacher is actively engaging and empowering students, in a flexible ecosystem of teaching and learning, drawing from the best of abilities and pedagogical tools, to produce results that are unique to the skill and development of that particular community. As a consequence, music, builds a community spirit, that is spontaneous and forms a natural part of life. Students are transformed through musical excellence. <br><br><br><iframe height="274" src="https://www.youtube.com/embed/o1jmBtrz-g8?rel=0&hd=1" frameborder="0" width="480" allowfullscreen=""></iframe><br>
ORCHKids Artistic Director, Dan Trahey, leads his orchestra in a <a target="_new" href="https://www.youtube.com/watch?v=o1jmBtrz-g8">community building exercise</a>. <br><br>
In an orchestra, participants blossom as human beings, understanding music as an entity that binds them together and propels them to new spheres of possibility and achievement. Embracing and enacting a new school of social life, Children learn how to listen, how to work together, and most importantly, how to lead together. This is particularly important to build citizens of virtue from the bottom-up. Young people with new tools to help them succeed through the challenges of life.<br><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/f7f5f245981b569b22bf77355561461846888ce5/large/ORCHKids.jpg?1375802947" class="size_orig justify_top border_" alt="" height="140" width="480" /><br>
Pictures from Baltimore:<br><a href="https://picasaweb.google.com/joseherstrada/ORCHKids?authuser=0&feat=directlink">https://picasaweb.google.com/joseherstrada/ORCHKids?authuser=0&feat=directlink</a>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/124503
2011-11-02T18:20:00-05:00
2017-02-01T15:31:34-06:00
Interview: Jose-Luis on El Sistema and music for social change (Spanish)
<iframe width="480" height="274" frameborder="0" allowfullscreen="" src="https://www.youtube.com/embed/Wi9KGUuVN4o"></iframe> <br><br>
In this interview, Jose-Luis explores El Sistema as a instrument for social justice, structural change in communities, and as a tool for re-imagining the role of artists, educators, and cultural institutions. Introduced by El Sistema advocate and NEC friend Mercedes Rodman, Jose-Luis participated with Karin Koch and Irene Bosch in a lively discussion exploring music and artistry and what it means for the growth and development of communities. Aired on Cambridge Community Television, November 2011.
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/121891
2011-11-01T21:50:00-05:00
2011-11-01T21:50:00-05:00
Debuting "The Ensemble"
Abreu Fellow's mentor Eric Booth, one of the nation’s most creative teachers and father of the <a target="_new" href="http://www.amazon.com/Music-Teaching-Artists-Bible-Becoming/dp/0195368460/ref=sr_1_1?s=books&ie=UTF8&qid=1320569960&sr=1-1">teaching artist profession</a>, has just sent us the first edition of a brand new newsletter for the El Sistema Movement in the United States. The story behind the project in Eric’s own words: <br><br><i>“I was sitting at home a few weeks ago, thinking about how to get more communication going among the dedicated sites and individuals in this growing network. It hit me. A newsletter--focused on the national movement, rather than any one site.“ <br><br>
“I sensed right away it would be a useful contribution to the national ecosystem, especially if it lived independently rather than under any existing umbrella. I knew my overstuffed schedule didn't allow for me to do it alone, so I asked Tricia Tunstall if she would be the Editor. Many of you know Tricia--she is the author of the forthcoming major <a target="_new" href="http://www.amazon.com/Changing-Lives-Gustavo-Dudamel-Transformative/dp/0393078965/ref=sr_1_2?ie=UTF8&qid=1320569903&sr=8-2">book on El Sistema</a> (coming out in January from WW Norton) and is an independent observer, enthusiast and writer about the movement. Generously she agreed. So we are making it happen.” <br></i><br>
Please do help us distribute the newsletter to raise the visibility of our movement: by forwarding the newsletter, placing it on your website, and by printing out some copies. <br><br>
So here it is, enjoy!<br><br><a target="_new" href="/files/50701/TheEnsemble.November.2011.pdf"><span style="color: #ff6600"><span style="font-size: medium">TheEnsemble.November.2011.pdf</span></span></a>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/122013
2011-10-28T18:20:00-05:00
2011-10-28T18:20:00-05:00
An El Sistema Bibliography
An El Sistema Bibliography, compiled by my friend and colleague David France: <b><br><br>
Bibliographic References<br></b><br>
Borzacchini, C. (2004). Venezuela bursting with orchestras. Caracas: Banco del Caribe.<br><br>
Carroll, R. (2007). "Chávez pours millions more into pioneering music scheme". The Guardian (London): Retrieved 8 September 2007.<br><br>
Graves, J. (2005). Cultural Democracy: The arts, the Community, and the Public Purpose. Urbana: University of Illinois Press.<br><br>
Hetland, L. (2000) Learning to Make Music Enhances Spatial Reasoning . Journal of Aesthetic Education, Vol. 34, No. 3/4 <br><br>
Jackson, M. R. (2008).“Art and cultural participation at the heart of community life.” In J. Cherbo, R. A. Stewart, and M. Wyszomirski (eds.). Understanding the Arts and the Creative Sector in the United States. New Brunswick: Rutgers.<br><br>
Webber, J. (2011) “El Sistema: When Music Cuts Crime and Saves Lives.” The Telegraph (London) Retrieved 13 October 2011.<br><a href="http://www.telegraph.co.uk/culture/music/classicalmusic/6866818/El-Sistema-when-music-cuts-crime-and-saves-lives.html">http://www.telegraph.co.uk/culture/music/classicalmusic/6866818/El-Sistema-when-music-cuts-crime-and-saves-lives.html</a> <br><br><b>Electronic references<br></b><br>
Booth, Eric. El Sistema’s Open Secrets. 2010. Unpublished<br><a href="http://www.arts.virginia.gov/resources/artworks/EricBoothReadingList2.pdf">http://www.arts.virginia.gov/resources/artworks/EricBoothReadingList2.pdf</a> <br><br>
Inter-American Development Bank (2007). Program to support the Center for Social Action through Music (VE-L1017). Washington, D.C.: Inter-American Development Bank.<br><a href="http://idbdocs.iadb.org/wsdocs/getdocument.aspx?docnum=1002635">http://idbdocs.iadb.org/wsdocs/getdocument.aspx?docnum=1002635</a> <br><br>
Evaluation of Big Noise, Sistema Scotland: The Scottish Government<br><a href="http://www.scotland.gov.uk/Resource/Doc/345409/0114922.pdf">http://www.scotland.gov.uk/Resource/Doc/345409/0114922.pdf</a> <br><br>
Fundación del Estado para el Sistema Nacional de Orquestas Juveniles e Infantiles de Venezuela (FESNOJIV) (2011). Website. Retrieved from:<br><a href="http://www.fesnojiv.gov.be">http://www.fesnojiv.gov.be</a> <br><br><b>Dissertation<br></b><br>
Mora-Brito, Daniel (2011) Between social harmony and political dissonance: the institutional and policy-based intricacies of the Venezuelan System of Children and Youth Orchestras. Master’s Dissertation. University of Texas at Austin<br><br><b>Documentaries and audiovisual materials<br></b><br>
Arvelo, A. (2010) (Director). Dudamel. Let the Children Play [Documentary]. Caracas<br><br>
Arvelo, A. (2006) (Director). Tocar y Luchar [Documentary]. Caracas: FESNOJIV, Explorart Films, CNAC and CONAC.<br><br>
TED (2009). José Antonio Abreu on kids transformed by music. Acceptance speech of José Antonio Abreu (TED Prize) [Video]. New York: TED. Retrieved on April 27, 2011 from: <a href="http://www.ted.com/talks/lang/eng/jose_abreu_on_kids_transformed_by_music.html">http://www.ted.com/talks/lang/eng/jose_abreu_on_kids_transformed_by_music.html</a> <br>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/118533
2011-10-13T17:20:00-05:00
2022-03-02T11:22:08-06:00
Photo: Abreu Fellows with Yo-Yo Ma
<img src="//d10j3mvrs1suex.cloudfront.net/u/53545/c6daffa3f47cf8d9f440885cced4b9490cfdeea9/original/Yo-YoMa.AbreuFellows.jpg?1375802947" class="size_orig justify_top border_" alt="" height="285" width="380" /><br>
At Symphony Hall, Yo-Yo Ma and Juanjo Mena meet with the Abreu Fellows, October 12, 2011
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/118085
2011-10-10T15:05:00-05:00
2017-02-01T15:21:25-06:00
Music: The Great Influencer
<iframe width="480" height="274" frameborder="0" allowfullscreen="" src="https://www.youtube.com/embed/qM8HmtyvKdY"></iframe><br><br>
The Abreu Fellows present during the 2011 Influencer Conference "Change" in New York City, October 6, 2011.
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/117972
2011-10-09T14:45:00-05:00
2017-01-12T20:06:34-06:00
Here we come!
<br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/230c4d297e6b9fb82c326d4251c1c86d4daf21e6/original/DSC_0110.JPG?1375802947" class="size_orig justify_top border_" alt="" height="319" width="480" /><br><i>Abreu Fellow Ben Fuller and Communications Director Virginia Hecker finalizing plans for a visit at Big Noise, Scotland's flagship El Sistema-inspired program. <br></i><br><b>The Abreu Fellows are now planning internships</b> (October 24-November 18) throughout United States and around the world to collaborate with El Sistema-inspired programs in cities including Chicago, Cincinati, Juneau, Costa Rica, and Scotland. During our U.S. internships, we will be documenting the achievements of the field through active practice, exchange, and collaboration. <br><br>
I am particularly excited about meeting and working with El Sistema-inspired teachers, directors, public policy strategists, and advocates of music for social change and innovation. I am focusing my internship in four key themes related to the exploration and development of El Sistema models in the United States. These include examining best practices and collaborations; public policy and advocacy; sustainability; and translation in the context of our music education ecosystems. I plan to be in residence in Baltimore, Washington D.C., and in New York City. Organizations I will be visiting include the Baltimore Symphony Orchestra (ORCHKids), Organization of American States, and the League of American Orchestras.
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/117954
2011-10-09T12:40:00-05:00
2021-01-22T00:36:37-06:00
Photo: Fellows of Possibility
<br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/6eae181fc9e0ed0943f646fafdb36975566d2730/original/DSC_0215.JPG?1375802947" class="size_orig justify_top border_" alt="" height="96" width="480" /><br>
Inspired by <a target="_new" href="http://www.ted.com/talks/benjamin_zander_on_music_and_passion.html">Benjamin Zander's</a> mentorship and generosity, the Abreu Fellows spell Possibility at Central Park, New York City, 2011<br><br>
More pictures here: <br><a href="https://picasaweb.google.com/joseherstrada/AbreuFellowsAtCentralParkNY?authuser=0&feat=directlink">https://picasaweb.google.com/joseherstrada/AbreuFellowsAtCentralParkNY?authuser=0&feat=directlink</a>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/117938
2011-10-09T10:05:20-05:00
2017-01-12T20:06:33-06:00
Music in the Heart of Queens
<img src="//d10j3mvrs1suex.cloudfront.net/u/53545/6b854c716e2676d9e8ccdc55081b35dfb588f782/original/DSC_0222.JPG?1375802947" class="size_orig justify_inline border_" alt="" height="480" width="319" /><br>
Imagination meets possibility, October 7, 2011<br><br>
During our recent trip to New York, we met with our good friend Alvaro Rodas, a former Fulbright Scholar and Abreu Fellow ‘10. He graciously hosted us at Nucleo Corona, an inspiring musical community, right in the heart of Queens. The nucleo focuses on project based learning, with opportunities ranging from week-long camps with guest choral director <a target="_new" href="http://www.sannavalvanne.com">Sanna Valvanne</a> to paper orchestra projects, and bucket-band percussion ensembles. Alvaro believes in the orchestra as an ensemble that transcends cultural barriers and allows young people to discover and enact teamwork and discipline. <br><br>
Alvaro and his team of teachers, parents, and volunteers are making a difference in their community through music. Thank you for sharing the beauty of your work with us all. Please visit www.nucleocorona.org to find out more about the project!
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/118092
2011-10-08T16:10:00-05:00
2017-02-01T15:21:26-06:00
Friends in NY
<i><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/8e68eeb69507d35a439f864c335f39256df3a31f/medium/hernandez-estrada.jamiebernstein.jpg?1375802947" class="size_orig justify_top border_" alt="" height="225" width="300" /><br>
With Jamie Bernstein, New York, October 2011<br><br>
“Only a society prepared by education can ever be truly a cultured society …Children must receive musical instruction naturally as food, and with as much pleasure as they derive from a ball game.” </i>-Leonard Bernstein<br><br>
In New York City, our friend <a href="http://jamiebernstein.net/" target="_new">Jamie Bernstein</a> invited the Abreu Fellows to her home for an evening of musical conversations and splendid Venezuelan cuisine. It was a beautiful group of people coming together to celebrate music and friendship. Among her guests, Anne Fitzgibbon of the Harmony Project, composer John Deak, and musicians from Orpheus Chamber Orchestra. She was a generous and gracious host to us all. <br><br>
I told Jamie about my admiration for her father, how I am continually inspired by his legacy and vision. How I put together a Young People's Concert series for children when I was 12, writing scripts and taking pictures of portraits of Mozart and Beethoven from textbooks and turning them into slides. She showed us some of her childhood pictures, she told us about her dreams for the future of classical music. Having the opportunity to meet her was a beautiful experience. <br><br>
A brilliant musician and writer, like her father, she is also a passionate champion for social justice. She is deeply involved in advancing music education through advocacy, collaboration, and meaningful artistic programming. As one of many contributions to the El Sistema movement in the United States, Jamie is currently working on a documentary featuring the children of Play-On Philly, a thriving nucleo in Philadelphia, led by Stanford Thompson, Abreu Fellow ‘10. See a short trailer here: <br><br><iframe width="480" height="274" frameborder="0" allowfullscreen="" src="https://www.youtube.com/embed/dgZ2f7qm9hc"></iframe><br><br>
Jamie will be performing one of her signature <a href="http://nyphil.org/attend/season/index.cfm?page=eventDetail&eventNum=2333&seasonNum=11" target="_new">Young People’s Concerts</a> with the New York Philharmonic on November 12, 2011. The program features her father’s compositions and legacy to American culture and humanity.
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/117940
2011-10-05T10:25:00-05:00
2017-01-12T20:06:33-06:00
Meaningful Partnerships
<img src="//d10j3mvrs1suex.cloudfront.net/u/53545/d31014e1d44ef9bbe183af4c6013bdfcb448ac84/original/DSCF5361.JPG?1375802947" class="size_orig justify_top border_" alt="" height="360" width="480" /><br><i>In Los Angeles, with friends Dan Berkowitz and Susan Siman during the first YOLA Symposium (May, 2009). <br></i><br><br>
Exciting news for music and education. <br><br>
The La Philharmonic and Bard College will be collaborating in <i>Take a Stand,</i> an important educational iniative to advance aspects of the El Sistema movement in the United States. See the press release here: <a href="http://www.bard.edu/news/releases/pr/fstory.php?id=2179">http://www.bard.edu/news/releases/pr/fstory.php?id=2179</a><br><br>
I admire Bard’s commitment to education reform and the LA Phil’s vision for music as an instrument for social change. During the past couple of years, I’ve had the honor to cultivate meaningful friendships with these two organizations: studying as a Conducting Fellow at Bard College and guest conducting with the LA Phil's YOLA Orchestras at Expo Center. This partnership is a natural fit and an important step to connect and train classroom teachers in the El Sistema model. <br><br>
I am excited about the future of the El Sistema movement in the United States and look forward to seeing more regional and national partnerships develop to sustain this important work. Building frameworks that connects resources, ideas, and best practices are all important steps to develop more effective iniatives at all levels. <br><br>
In the spirit of partnership, the third class of Abreu Fellows at New England Conservatory recently collaborated with the Longy School of Music of Bard College and the Conservatory Lab Charter School to host a workshop for El Sistema-inspired teachers in Boston. It was a fantastic event, bringing an important perspective to teaching in the El Sistema model. Master teacher <a target="_new" href="http://necmusic.edu/lorrie-heagy">Lorrie Heagy </a>(Abreu Fellow ’10) and current Alaska Teacher of the Year, led inspiring seminars in music pedagogy and practice. More than 40 leaders and educators were in attendance, including representatives from the People's Music School in Chicago, the Hartford Symphony, and Community Music Works. The event culminated in a rehearsal/performance by the Charter School's Dudamel Orchestra and guests, led by conductor <a target="_new" href="http://necmusic.edu/david-malek">David Malek</a>. Much praise to education directors at Longy, Elsje Kibler-Vermaas and Judy Bose, for organizing this meaningful event. <br>
<br>
What's ahead: <br><br>
The Abreu Fellows will be visiting in Los Angeles (January 2012) to present the findings of a substantial nation-wide needs assessment survey during the 2012 YOLA Symposium. It is the first comprehensive survey of the El Sistema inspired programs in the United States. To register for the event, please visit:<br><a href="http://www.laphil.com/education/yola-symposium/index-2012.cfm">http://www.laphil.com/education/yola-symposium/index-2012.cfm</a><br>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/117358
2011-09-23T12:50:00-05:00
2017-01-12T20:06:33-06:00
Abreu Fellows and their Blogs
<img src="//d10j3mvrs1suex.cloudfront.net/u/53545/d90ffb8773ef110a9d95de0429322849a2d28af7/original/DSC_1074ed-2.JPG?1375802947" class="size_orig justify_top border_" alt="" height="300" width="480" /><br><span style="font-size: smaller">The Third Class of Abreu Fellows at New England Conservatory of Music, Photo by: Andrew Hurlbut <br><span style="font-size: larger"><br></span></span><i><span style="font-size: smaller"><span style="font-size: larger"><br></span></span>The Abreu Fellows Program has two primary goals: to educate 10 people each year to make significant and sustainable contributions to the growth of the El Sistema movement in the United States and, through that work, to contribute knowledge and artifacts that are of use to others interested in growing El Sistema throughout the world. Upon completion of the Sistema Fellowship, graduates of the program are required to work on behalf of The El Sistema movement, preferably in the U.S., for at least one year. Graduates will become members of an ever-expanding network of Sistema Fellows, mentoring other leaders and teachers while developing their own local programs consistent with the original intent of El Sistema.<span style="font-size: smaller"><span style="font-size: larger"><br></span></span></i><span style="font-size: smaller"><span style="font-size: larger"><br>
My fellow Fellow's Blogs: <br><br><a target="_new" href="http://davidfranceviolin.com/news/">David France</a>: "We talked of their love of learning and taking every opportunity to grow when outsiders visit. I am not a seasoned string specialist….yet so coming into a situation where I don’t know the level of the students and wanting to make a lasting impact the “what should I do here?” question was very important. Do I just work on sound, musical ideas, vibrato, posture, bow hold, intonation, phrasing, or rhythm? The answer is a resounding YES!" <br><br><a target="_new" href="http://albertoppenheimer.blogspot.com/">Albert Oppeheimer</a>: "There is a glowing classical music connection through history in New Orleans, but it has dimmed recently. How can we rekindle that light? If Sistema were to grow in New Orleans, the classical music that we would hear from the youth in underserved communities would not be a new sound, but a rebirth!"<br><br><a target="_new" href="http://telegraphcable.blogspot.com/">Jennifer Kessler</a>: "This is what it means when we talk about "building community:" giving the families a sense of pride in their children and in what the young people in their neighborhoods can do through musical accomplishment."<br><br><a target="_new" href="http://respiriting.wordpress.com/">Stephanie Hsu</a>: "And yet, flexibility and spontaneity seem also to be critical components of El Sistema’s success, making common denominators helpful, but never definitive Gospel. Ultimately, no discussion of common denominators can be had without a focused emphasis on outcomes."<br><br><a target="_new" href="http://www.avimehta.com/blog.html">Avi Mehta</a>: "The music making was not only relevant to this community’s culture, but provided the students with three hours of artistic and academic instruction in a safe, compelling, and passionate environment." <br><br><a target="_new" href="http://alysialee.tumblr.com/%20">Alysia Lee</a>: "Large ensemble festival experiences have been an inspirational turning point for many young musicians and also motivate young musicians who often have little opportunity engage with peers musically-MICS provides that opportunity!"<br><br><a target="_new" href="http://atlantamusicproject.org/tag/aisha-bowden/">Aisha Bowden</a>: "I remember the day I first learned of El Sistema. It was during a normal meeting of music teachers in D.C. when Ben Hall (Director of Music for Washington D.C. Public Schools) mentioned an amazing music program in Venezuela that was taking the world by storm." <br><br><a target="_new" href="http://bentonfuller.blogspot.com/2011/09/it-begins.html">Ben Fuller</a>: "Our purpose as Abreu Fellows is to make a significant contribution to the growing El Sistema movement in the United States." <br></span></span>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/117978
2011-09-21T16:45:00-05:00
2017-02-01T15:21:13-06:00
The Maestro in his words
<div>
<img src="//d10j3mvrs1suex.cloudfront.net/u/53545/cd1d4dfbd188b28fe672be3ac6038ee98b854206/large/joseantonioabreu.jpg?1426143063" class="size_orig justify_inline border_" alt="" height="322" width="480" /><br><span style="font-size: smaller; ">Meeting Maestro Abreu in Los Angeles.</span><br><br>
He has earned many accolades, like sower of hope, dream maker and key player in Venezuela's historical evolution throughout the last 50 years, but a simple word would just befit maestro <b>José Antonio Abreu</b>, the founder and driving force behind El Sistema, and that word is 'visionary'. This unshakably convinced, warm-hearted, strong-willed musician has been able to undertake a task that reaches beyond music to encompass the rescue and education of Venezuelan youngsters.</div>
<div> </div>
<div>Born the eldest of six children to a family of musical lineage, at the break of dawn on May 7 1939, in Valera, a city in the northwestern Venezuelan state of Trujillo, Abreu confesses that it was his eagerness to serve his country, and his concerns and uneasiness about social inequality that encouraged him to develop, in 1975, an ingenious Venezuela-oriented plan aimed at synthesizing and channeling the economic, managerial, pedagogical and musical experience and knowledge he has acquired throughout his life. Here are some of his ideas that have brought inspiration to musicians and educators around the world. </div>
<b><br><br>
On El Sistema's guiding principles: <br></b><br>
“The System is directed by a set of ethical principles, a process in which the student is actively participating; creating, playing, listening, co-operating. As a consequence the music, and all that it brings with it in relation to personal development, the interaction within the family and the community spirit, is spontaneous and forms a natural part of life.”<br><br>
http://www.rightlivelihood.org/abreu_speech.html<br><br><b>On access and inclusion: <br></b><br>
"To democratize the education system to the extent of guaranteeing youngsters and children full access to literature and art, to the highest philosophical thinking, and to the ecumenical life joyfully shared, cannot be conceived but as priority cause, unavoidable, and emerging towards a profound and valid transformation of civil society and the State."<br><br>
http://tipom.wordpress.com/2008/04/01/jose-antonio-abreus-acceptance-speech-of-the-venezuelan-branch-of-bnai-briths-human-rights-award/<br><br><b>The role of choirs and orchestras: <br><br></b>"In their condition as communities in a never-ending exercise of coordination and harmonization, the Youth and Children Orchestras and Choirs represent the model of an advanced, authentic School of Social Life."<br><br>
http://www.fesnojiv.gob.ve/en/el-sistema/16-eventos/358-premio-principe-de-asturias-de-las-artes.html<br><br><b>Enacting Social Justice: <br></b><br>
"Material poverty will be categorically vanquished by the sublime spiritual richness that grows through and in the music. Social justice and cultural justice constitute two aspects of a sole and indissoluble dimension." <br><br><a href="http://www.erasmusprijs.org/index.cfm?lang=en&page=2010:+JOSE+ANTONIO+ABREU">http://www.erasmusprijs.org/index.cfm?lang=en&page=2010:+JOSE+ANTONIO+ABREU</a><br><b><br>
The Maestro's TED Prize wish: <br><br></b>“Here is my TED Prize wish — I wish that you help to create and document a special training program for 50 gifted young musicians passionate about their art and social justice and dedicated to bringing El Sistema to the United States and other countries.”<br><br><a href="http://blog.ted.com/2009/02/18/_weve_transcrib/">http://blog.ted.com/2009/02/18/_weve_transcrib/</a><br><br><b>Remarks at the Royal Festival Hall: <br></b><br>
"It is my belief that culture for the poor, cannot be a poor culture."<br><br><iframe width="480" height="274" frameborder="0" allowfullscreen="" src="https://www.youtube.com/embed/H9-xPHGcM2s"></iframe>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/115292
2011-09-20T15:45:00-05:00
2021-10-04T15:07:05-05:00
Musical Excellence is Key
<br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/1bf05f441a59b0cd1b9828ed09097d8583cb433f/original/b1.jpg?1375802947" class="size_orig justify_top border_" alt="" height="400" width="480" /><br><i>NEC Preparatory School, Youth Philarmonic Orchestra plays Mahler 9th Symphony. <br></i><br>
I recently visited at the New England Conservatory’s Preparatory School, one the largest programs of its kind in the nation, and one of the most successful in teaching a wide range of students: from 7-year-old beginners to high school seniors considering professional careers in music. <br><br>
The breath and scope of the work being done at the school is admirable. The level of musical excellence, virtuosity, and engagement, as portrayed by Benjamin Zander’s <a target="_new" href="https://www.youtube.com/watch?v=zHDNv9TA5ac">Youth Philharmonic Orchestra</a>, is a shining example of what is possible when artistic and pedagogical goals are in alignment with a philosophy of teaching that fosters individual growth while focusing on the benefits of mutual collaboration. <br><br>
A true youth orchestra, the technical proficiency of these musicians is astonishing. They are constantly searching for beauty in their playing. There is a culture of orchestral playing here that is very desirable, one that focuses primarily, on playing with energy and passion; and rigorous precision. <br><br>
In hearing this orchestra, I was reminded of the musical results being produced through El Sistema, the national network of youth orchestras of Venezuela. And more specifically, of the work of the <a target="_new" href="https://www.youtube.com/watch?v=CniGxdTSPw0">Teresa Carreno Youth Orchestra</a>, one of their flagship youth orchestras. <br><br>
I am not in the habit of making comparisons, but it in the spirit of examining best practices, it would be interesting to explore how these programs are able to achieve similar musical results. <br><br>
There is something very positive to be said for the notion of establishing networks of advancing orchestras. In Boston, the preparatory school offers admission (by audition) to close to a dozen orchestras at different levels within the scope of their entire program. These range from beginner orchestras that focus on basic technical aspects of playing to advanced orchestras capable of playing complete Mahler symphonies. <br><br>
Here, musical excellence and advancement is constructed through careful pedagogical planning and in instilling a sense of motivation among all members of this community. Students can grow musically over the course of many years. <br><br>
This model is something to keep in mind as the El Sistema movement in the United States grows. Crafting a repertoire track that is consistent across programs and establishing opportunities for young musicians to aspire to higher levels of musical attainment will be an important step to facilitating a movement that is both successful and organic. <br><br>
Although, I am deeply aware that El Sistema in Venezuela is first and foremost a social program, aspiring to produce orchestral playing that is up to par with some of America’s best private music preparatory programs, must also be on our list of priorities. <br><br>
Social change should be construed through musical excellence. The democratization of music education requires this. As <a target="_new" href="https://www.youtube.com/watch?v=Uintr2QX-TU">Jose Antonio Abreu</a> contends, we must always strive to music-making without limitations. <br><br>
In many ways, we can also learn from our nation’s long history of musical pedagogy and our conservatories’ time tested models of success. Throughout the country, there are clear systems of teaching and learning in place that we could all benefit from. <br><br>
Our challenges are not musical, nor pedagogical, but rather foundational. What if we could convince every professional orchestra in the United States to contribute in the creation of a community youth orchestra from the bottom up? There would be as many youth orchestras here as there are in Venezuela. Communities would thrive and social capital would be increased; classical music would be perpetuated and carried through the next generations. Over the years, the number and diversity of our concert audiences would increase dramatically. <br><br>
Providing equal opportunities for young people to aspire to musical excellence, regardless of socio-economic or geographical limitations, is something El Sistema has already shown us. We must react quickly, there is much to be done.<br><br><i>Acknowledgments: <br></i><br>
Many thanks to Benjaming Zander, Leslie Wu Foley, and Rebecca Bogers, for hosting me at the NEC Preparatory School. It is a privilege to witness the beauty of your work. <br><i><br></i><b><i>Coming up for the Fellows: <br></i></b><br>
-Participating at Boston's annual <a target="_new" href="http://www.rodmanrideforkids.org/?logo">Rodman Ride for Kids</a> to benefit at-risk youth. <br>
-In Residence at the <a target="_new" href="http://conservatorylab.org/">Conservatory Lab Charter School</a>, Boston <br>
-Workshop collaboration at Longy School of Music, “Enacting a Teaching Practice Through El Sistema Philosophy"<br>
September 30-October 1, RSVP by September 23, <a target="_new" href="http://www.longy.edu/pdf/workshop/longy_registration_el_sistema_workshop.pdf">Register Here</a><br>
-Group Presentation at Harvard University, Center for Public Service,<a target="_new" href="http://www.centerforpublicleadership.org/index.php?option=com_content&view=article&id=392:study-groups&catid=50:leadership-development&Itemid=210"> Engaging the Arts in Leadership Process and Practice</a><br>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/197325
2011-09-20T09:10:00-05:00
2022-05-11T13:50:17-05:00
Entrevista: 10 Preguntas a Jose Luis (Spanish)
<i><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/d7958c2d70f8502ff8d9ff11c12c1fa49f207160/large/FOTO-JOSE-LUIS-HERNANDEZ-ESTRADA.JPG?1375802949" class="size_orig justify_inline border_" alt="" height="722" width="480" /><br><br>
Jose Hernandez-Estrada (Reynosa, Tamaulipas, 1983). Virtuoso de la musica, pianista y director de orquesta. Ha dirigido orquestas en Los Angeles, Nueva York y la Ciudad de Mexico. En la actualidad, es Abreu Fellow en el New England Conservatory de Boston.<br></i>
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1. - Como fue tu infancia?</div>
<div>Siempre estuve rodeado de una familia que me brindo de todo su apoyo, amigos con quien jugar futbol, y una comunidad que siempre me mostro un gran carino. <br>
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<div>2. A quien le vas en el futbol?</div>
<div>Cuando vivi en Barcelona, era impresionante y muy inspirador poder seguir de cerca el talento de super atletas como Ronaldinho y Rafa Marquez. El Camp Nou, al igual que Mahler, es un sueño.<br>
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<div> 3.- Cual CD te llevarías a una isla desierta</div>
<div>Me llevo mi Ipod. Ahi estarian las sinfonias completas de Mahler, Beethoven, y Chavez; la Variaciones Goldberg de Bach, y el Requiem de Mozart. Tambien “Mr. Tambourine Man” de Bob Dylan, mi cancion favorita. <br>
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<div> 4.- Como seria tu vida si no fueras músico?</div>
<div>De alguna forma me sentiria incompleto, pero seguramente hubiera optado por una carerra en el sector publico. En Mexico, se vive una situacion critica, que solo puede ser enderazada con el poder y valor de las aspiraciones constructivas de su gente. De alguna forma, los artistas son parte importante en este proceso. <br>
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<div>5.- Hay diferencia entre tocar el piano y dirigir una orquesta?</div>
<div>Tremenda diferencia, la orquesta es una entidad que responde a un proceso de concertacion, una sociedad en donde todos los musicos forman parte transcendental de la interpretacion, que a su vez es unica en el tiempo y el espacio sonoro. Coincido con el Maestro Jose Antonio Abreu al decir que la orquesta es un instrumento ideal para lograr una sociedad mas humana y etica. <br>
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<div> 6.-Si te leyeran el futuro que te gustaría oír?</div>
<div>Que el Maestro Simon Rattle me ha invitado como director huesped a la Filarmonica de Berlin. <br>
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<div> 7.- Cuesta mas hacer carrera musical cuando eres de un lugar sin las oportunidades que puedas encontrar en una ciudad cultural?</div>
<div>El entorno para desarrollar una carrera artistica es crucial. Es importante tener una vision clara de lo que puede ser posible, eso te convierte en una persona mas humilde, abierta al aprendizaje, y por ende mas completa. <br>
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<div>8.-Que te han dejado tus presentaciones y estudios en el extranjero?</div>
<div>Han sido experiencias muy enriquecedoras, aqui en Boston, tengo la oportunidad de formar parte de una gran comunidad musical sumamente comprometida con la excelencia. Estamos haciendo musica de alto nivel y colaborando en proyectos de impacto internacional para democratizar el poder transformador de la musica de una manera mas efectiva y accesible.<br>
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<div>9.- Cual es el mayor triunfo en tu vida?</div>
<div>El trabajo nunca termina. Eso ya lo veremos despues. <br>
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<div>10.- Que te motiva para seguir en la búsqueda de tu sueño?</div>
<div>La vida, la promesa de la musica, el potencial de nuestra imaginacion. Pensar que todo es posible.</div>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/117956
2011-09-16T12:55:00-05:00
2017-01-12T20:06:34-06:00
Documentary: Domingo on El Sistema (Spanish)
<a target="_new" href="http://www.rtve.es/television/20101126/sistema-nacional-orquestas-venezuela/375077.shtml"><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/64d4d258d9366615c5d125c98edf0dc03359b94e/original/Sistema-Nacional-de-Orquestas-de-Venezuela-RTVE.es-Windows-Internet-Explorer-1092011-64905-PM.jpg?1375802947" class="size_orig justify_top border_" alt="" height="320" width="480" /></a><br><br>
La tierra de las 1.000 orquestas es un documental sobre la historia y los logros del Sistema Nacional de orquestas infantiles y juveniles de Venezuela. Un método que ha formado estrellas de la música de fama internacional al tiempo que ha sacado de la calle y alejado de la violencia y la pobreza a miles de niños venezolanos condenados a la marginación. 'El Sistema', como se conoce en Sudamérica, nació hace más de 30 años de la mano de José Antonio Abreu, un visionario creador que comenzó impartiendo él mismo las clases. Ahora está al cargo de casi 1.500 profesores que atienden a casi medio millón de alumnos. <br><br><a href="http://www.rtve.es/television/20101126/sistema-nacional-orquestas-venezuela/375077.shtml">http://www.rtve.es/television/20101126/sistema-nacional-orquestas-venezuela/375077.shtml</a><br><br>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/112150
2011-08-31T10:30:00-05:00
2017-01-12T20:06:33-06:00
Pursuing happiness, one note at a time
<p class="MsoNormal"><b><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/06075f08803f89fc8bd6ccf386aef4247e077e45/large/Abreu_04282.jpg?1375802947" class="size_orig justify_top border_" alt="" height="319" width="480" /><br></b><span style="color: rgb(255,102,0)"><br></span>By Abreu Fellow, Jose-Luis Hernandez-Estrada<br>
New England Conservatory, Boston, MA<br><br>
Music is instrumental for the pursuit of happiness. It brings people together to discover the virtues of discipline and generosity; and to realize new realms of possibility. <br><br>
José Antonio Abreu, the founder of El Sistema, the celebrated national network of youth orchestral programs founded in Venezuela in the late 1970’s believes in the arts as an agent for social change. His work, considered one of the “world’s cultural treasures,” is a proven model for the role of classical music in our times.<br><br>
For over 36-years, Maestro Abreu has dedicated his life to bringing music to those who need it the most. He is credited with creating new paradigms in music education that have quietly produced profound social transformations throughout his native country, impacting an entire nation and continent with a message of hope and conciliation through music. He has put the fine arts at hands-reach and in the hearts of thousands of children, families, and educators who have chosen to believe in music and its enduring values. The maestro explains, "music has to be recognized as an agent of social development in the highest sense, because it transmits the highest values—solidarity, harmony, mutual compassion.”<br><br>
Abreu contends that through the collective exercise of music, young people can readily overcome the obstacles of material poverty, and thus enter into a sphere of moral growth that guides their deepest aspirations in the spirit of excellence and progress. When a child learns to play and sing together in an orchestra or choir, she also learns about collective discipline, about embracing joy; and committing to a productive life filled with beauty and harmony.<br><br>
Abreu’s El Sistema is not by any means a “system” in the sense of strictly focusing on specific pedagogical methodologies or theories. It is a window into the art and nature of possibility; a network where young people, families, and communities come together to experience the values of music in nurturing and non-competitive environments; and where teaching artists envision their profession as an instrument for meaningful social transformations. Its primordial goal is not to produce young instrumental virtuosos, but citizens of virtue instead.<br><br>
As a social development strategist, Abreu has centered his cultural policies for the benefit of those youth who are most vulnerable to falling into the traps of life in the barrios. The maestro often says that “if you put an instrument in the hands of a child, he will never pick-up a gun.” In inviting youth to experience music a method for the prevention of wrongdoing is instilled early in a child’s life. Abreu wants to reach one million of those children throughout his native Venezuela in the next ten years.<br><br>
A few years ago, when I heard Gustavo Dudamel and the Simon Bolivar Youth Orchestra (the flagship El Sistema orchestra) perform in Monterrey, Mexico, I was immediately captivated by my fellow musician’s devotion for music. As we experienced the dazzling rhythmic syncopations in Silvestre Revueltas’ Sensemaya, we were also invited to ponder a new realm of possibility. The orchestra’s astonishing display of collective virtuosity reminded us that working together in the pursuit of common goals is a beautiful idea. Tocar y Luchar is a familiar motto among Venezuelan musicians—aspiring for excellence together, nothing is impossible.<br><br>
Indeed, orchestras can serve as a transcendental instrument for social consonance and transformation. Maestro Abreu describes orchestral practice as a metaphor for an inclusive and democratic society. "An orchestra is a community that comes together with the fundamental objective of agreeing with itself, therefore, those who play a part in the orchestra, begin to live the experience of agreement," he says. <br><br>
In an orchestra, participants blossom through teamwork and cooperation, understanding music as an entity that binds them together and propels them to new spheres of possibility and achievement. That very sense of awareness of a community of practice inspires young people to believe in themselves, model the intrinsic values of music, and enact social change everywhere around them. <br><br>
Maestro Abreu has inspired a world-wide movement that is reclaiming music education as a universal right. In the United States, more than 50 El Sistema-inspired educational initiatives are already in place and constantly evolving. Music educators across the country have become re-energized and compelled to help bring back music education to our public schools. Orchestras are constantly thinking about how they can best meet the needs of the communities they serve. At the New England Conservatory, students and faculty are pursuing musical excellence while serving as advocates for community and social justice. Together, we are reshaping the role of music in society and in the twenty-first century.<br><br>
An enduring message of hope is ever-present in music and in the ethos of El Sistema. You can hear it in south Los Angeles as young orchestral musicians share their joy for music; and in Brighton, as children help each other with their instrumental parts. During my tenure as music director of an orchestral núcleo in one of Mexico’s most violent cities, Abreu’s vision of social transformation through music resonated strongly within our community. As we rallied behind our youth orchestra, music allowed us to recognize that amid dire circumstances, it was still possible to dream big and achieve success.<br><br>
Music is universal and is for everyone. In these challenging times, as violence and materialism seeks to entice the aspirations of our youth, let us turn to music. Let us support and allow music education to shine its radiant light upon our communities so that we may prosper—so that young people may find enduring beauty and happiness in their everyday lives. <br><br>
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joseherstrada.com
tag:www.joseherstrada.com,2005:Post/197051
2011-06-29T13:30:00-05:00
2017-02-01T17:30:24-06:00
New CD, Concert Collection
<img src="//d10j3mvrs1suex.cloudfront.net/u/53545/9b0af43cab55fbc23277d244692bbe79cd79d8ba/large/ConcertCollection.HernandezEstrada.jpg?1375802949" class="size_orig justify_inline border_" alt="" height="479" width="480" /><br><br><br>
I want to share my new digital album. It is now available for online streaming and download at: http://joseherstrada.bandcamp.com/album/concert-collection<br><br>
Here's a description of the project and track listing: <br><i><br>
Hernández-Estrada’s new digital album entitled Concert Collection is a handpicked compilation of music from his recent performances in Chicago, Barcelona, and Sioux Falls. Concert Collection is an evocative album – taking the listener into a musical journey filled with youthful energy, passion, and drama. Selections cover a range of music from the baroque period up to the twentieth century and include masterpieces by Shostakovich, Schubert, and Mozart. For the Five Preludes by Carlos Santoro, José-Luis taps into his rich talent with imaginative and poetic renderings of the work’s poignant textures and colors. The album concludes with music of Manuel M. Ponce, a composer from Mexico and a centerpiece of the artist’s concert repertoire.<br></i><br><div>1. Shostakovich: Piano Quintet in G Minor, Opus 57 - Scherzo: Allegretto 03:34</div>
<div>2. Bach: Concerto in A Major BWV - Larghetto 05:34</div>
<div>3. Santoro: Five Preludes for Piano 07:08</div>
<div>4. Haydn: Sonata in A Flat Major, Hob.16/46 06:02</div>
<div>5. Mozart: Concerto for Piano in A major K. 414 - Andante 09:35</div>
<div>6. Schubert: Impromptu in A-flat Major, Op. 90 no. 4 07:31</div>
<div>7. Schubert: Impromptu in A-flat Major, Op. 142 no. 2 06:11</div>
<div>8. Beethoven: Sonata Op. 13, "Pathetique" - Andante Cantabile 05:05</div>
<div>9. Granados: "Oriental" from 12 Danzas españolas 04:56</div>
<div>10. Jorda: Danzas Nocturnas 04:18</div>
<div>11. Chopin: Mazurka in a minor, Op. 17 No. 4 04:58</div>
<div>12. Chopin: Polonaise in C-sharp minor, Op. 26 no. 1 06:43</div>
<div>13. Ponce: Concierto Romántico - Andante Amoroso 09:32</div>
<div>14. Ponce: Intermezzo 02:31</div>
<br><br><iframe width="400" height="100" style="position: relative; display: block; width: 400px; height: 100px;" src="https://bandcamp.com/EmbeddedPlayer/v=2/album=1259733316/size=venti/bgcol=FFFFFF/linkcol=000000/" allowtransparency="true" frameborder="0">&amp;amp;amp;amp;amp;amp;lt;a href="http://joseherstrada.bandcamp.com/album/concert-collection"&amp;amp;amp;amp;amp;amp;gt;Concert Collection by José-Luis Hernández-Estrada&amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;gt;</iframe>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/197058
2011-05-20T13:45:00-05:00
2017-01-12T20:06:38-06:00
Brahms in Texas!
En residencia con la Orquesta Sinfonica de Round Rock en Texas, trabajando obras de Brahms y Debussy bajo la guia del Maestro Peter Bay. || Enjoying a wonderful week of music-making with conducting colleagues and the Round Rock Symphony in Texas. Here are few pictures taken during one of our Brahms rehearsals. <br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/82d9b6af1cfbc621394e48a30e561bc63850f87f/large/RoundRock.Symphony.2jpg.jpg?1375802949" class="size_orig justify_inline border_" alt="" height="285" width="480" /><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/63d8d544cdf34578fe2f170d456550069a48f937/large/RoundRockSymphony3.jpg?1375802949" class="size_orig justify_inline border_" alt="" height="261" width="480" /><br type="_moz">
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/118745
2011-05-13T08:00:00-05:00
2017-01-12T20:06:34-06:00
Interview: Un músico comprometido con la sociedad (Spanish)
<img src="//d10j3mvrs1suex.cloudfront.net/u/53545/5feb5cb32dbb89164556545a9fb110f77d840449/original/hernandez-estrada.entrevista.clase.jpg?1375802947" class="size_orig justify_top border_" alt="" height="301" width="200" /><br><br>http://www.revistaclase.com/noticia/?id=NCLA50750&ed=136<br><br>Por Adolfo Kott - <br><br>A sus 27 años de edad, Hernández-Estrada no es ningún improvisado en el mundo de las artes, y como pianista y director de orquesta es en este momento uno de los mexicanos más prometedores de su generación. Sus estudios los realizó con Leon Botstein como Conducting Fellow del Conductor’s Institute de Bard College en Nueva York y en el Conservatorio Superior de Música del Liceo, en Barcelona, España.<br><br>Su talento ha llamado la atención de importantes maestros y orquestas incluyendo la Filarmónica de Los Angeles.<br><br>De tal modo, fue llamado Abreu fellow, (compañero de Abreu) participando durante seis meses en Boston, Massachusetts y dos en Venezuela para ahondar en la filosofia y método del creador del Sistema Nacional de Orquestas Infantiles y Juveniles de Venezuela del célebre maestro José Antonio Abreu.<br><br>De acuerdo a las palabras de José Luis Hernández-Estrada, José Antonio Abreu es un economista y músico venezolano que a lo largo de 36 años ha fundado y desarrollado el Sistema Nacional de Orquestas Infantiles y juveniles de Venezuela, además de ser un líder social sin precedente en la historia contemporánea, la música y el arte, porque ha sabido enfocar la música clásica, de concierto, como instrumento de desarrollo social para niños, jóvenes y comunidades enteras en aquel país.<br><br>Agregó que ha sido tan grande el éxito de este programa social que a la fecha han participado cientos de miles de jóvenes y niños en todo la nación. Entre otras cosas, la visión de Abreu por hacer de la música un instrumento de desarrollo social ha llegado a todo el mundo, por galardones del calibre de un “Príncipe de Asturias”, otros entregados por la UNESCO, así como premios sociales y musicales a nivel mundial.<br><br>“Para mí José Antonio Abreu es un gran modelo inspirador, porque concibe a la juventud musical como símbolo de transformación cultural íntegro, sinónimo de vanguardia, de excelencia y ejemplo de superación”, dijo Hernández-Estrada.<br><br>Comentó además que en el año 2009 le entregaron el premio TED, es decir, el galardón artístico, científico y educativo más importante de los Estados Unidos de Norteamérica.<br><br>Este premio le condcedió un deseo al maestro Abreu: identificar a través de una convocatoria mundial a 50 jóvenes talentosos, líderes sociales, músicos que se unieran en su misión para hacer de la música un instrumento de desarrollo social en todo el mundo durante cinco años.<br><br>Asimismo, a José Luis le tocará recibir la distinción en el 2012, para el período 2011-2012, convirtiéndolo en uno de los diez compañeros de Abreu que formarán parte de su programa con la intención de ahondar en la filosofía, método y esencia del programa que realiza.<br><br>Hernández-Estrada estará seis meses en residencia en el New England Conservatory of Music de Boston, Massachusetts, a partir del 29 de agosto de 2011 hasta febrero de 2012 para luego partir a Caracas, Venezuela y trabajar bajo la mano y guía del maestro José Antonio Abreu, trabajando y dirigiendo orquestas en Venezuela y visitando los centros de educacion musical más importantes de ese país, donde conocerá directores, maestros, músicos, comunidades, administradores y a aquellos que llevan a cabo la tarea del maestro Abreu.<br><br>“Para mí esto es muy importante porque me dará la oportunidad de conocer a fondo la visión y filosofía del maestro, que es tan importante para entender los caminos y métodos para avanzar en el desarrollo social y cultural de comunidades”, dijo.<br><br>Esto se ha hecho en México en años pasados y lo ha desarrollado en Reynosa al momento de fundar la Orquesta Sinfónica Infantil y Juvenil del Nucam.<br><br>Ahora crearán estrategias y visiones que los llevarán a potencializar más y mejores proyectos en pos de la juventud en esta comunidad y alrededor del mundo. “Es de suma importancia considerar la educación artística como parte fundamental del progreso social de nuestros jóvenes. Si podemos entender la música como instrumento y símbolo de desarrollo social; si podemos otorgar más y mejores oportunidades a niños y jóvenes en materia de educación vamos a poder avanzar y sobreponer los males sociales que atormentan al país”, afirmó Hernández-Estrada. “Soy el único Compañero de Abreu (Abreu fellow) a la fecha, mexicano”, dijo.<br><br>Agregó que en México existen muchos proyectos de transformación social a través de la música que lleva a cabo el Sistema Nacional de Fomento Musical y Fundación Azteca, así como organizaciones civiles, artísticas y culturales del país. “México está inmerso en un proceso de transformación cultural y ya le hemos apostado a la música como símbolo de desarrollo social”, afirmó.<br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/647b25f5f9c9918b77094545aec3df8499a41581/original/hernandez-estrada.orquestanucam.JPG?1375802947" class="size_orig justify_inline border_" alt="" height="320" width="480" /><br>Jose-Luis comparte el escenario con jovenes musicos Reynosenses - Concierto Inaugural del Parque Cultural Reynosa, Agosto 2010
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/197326
2011-05-09T09:15:00-05:00
2021-10-30T00:39:05-05:00
Inicia proceso para elegir a nuevo director asistente de la OFUNAM
<img src="//d10j3mvrs1suex.cloudfront.net/u/53545/dde6fca8f803b6487042d197c22dcb4d745af957/original/OFUNAM-001.jpg?1375802950" class="size_orig justify_inline border_" alt="" height="360" width="480" /><br><span style="font-size: smaller; ">El Maestro Hernandez-Estrada al frente de la OFUNAM.</span><br><br>
México, 4 May. (Notimex).- El proceso de selección de los tres finalistas de los cuales saldrá el nuevo director asistente de la Orquesta Filarmónica de la Universidad Nacional Autónoma de México (OFUNAM), inició hoy y concluirá el próximo domingo, en la Sala Nezahualcóyotl, del Centro Cultural Universitario. Para elegir a los tres finalistas los concursantes deberán conducir música de Wolfgang Amadeus Mozart, Johannes Brahms, Silvestre Revueltas y Pyotr I. Tchaikovski.
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De acuerdo con el plan de trabajo de la Dirección General de Música de la UNAM, la final del concurso para seleccionar al próximo Director Asistente de dicha orquesta, será el domingo 8 de mayo en la Sala Nezahualcóyotl, con acceso gratuito al público. Mientras tanto, las eliminatorias se llevarán a cabo los días 4, 6 y 7 de mayo.</div>
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Durante las eliminatorias se interpretará la “Sinfonía No. 31”, de Mozart; la “Sinfonía No. 4”, de Brahms; “El Mar”, de Debussy; el “Concierto para violín”; de Tchaikovsky; y la “Suite Redes”, de Revueltas. En el concurso participarán únicamente directores de orquesta mexicanos menores de 49 años, quienes serán calificados por el jurado conformado por José Guadalupe Flores, Rodrigo Macías, Bojan Sudjic y la misma OFUNAM. La lista de participantes, de los que saldrán los tres finalistas y el nuevo director asistente, está integrada por Francisco Cedillo Blanco, Eduardo Alejandro González Pérez, <b>José Luis</b> <b>Hernández-Estrada</b>, Alfredo Hernández Reyes, Enrique Federico Tovar de Alba y Gerardo Bernardino Urbán y Fernández.</div>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/97218
2011-04-12T00:35:00-05:00
2021-09-19T13:30:43-05:00
El Sistema Documentary: Tocar y Luchar (2006)
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Tocar y Luchar (2006) is an evocative and inspiring portrait of El Sistema by filmmaker Alberto Arvelo. The film documents the work of José Antonio Abreu and his vision for the role of music in the 21st century. The mission of Abreu’s comprehensive and inclusive music education program in Venezuela is articulated through a stunning narrative featuring meaningful commentary by celebrated musicians including Sir Simon Rattle and Eduardo Mata; brilliant musical performances by orchestral and choral musicians at different levels of proficiency; thoughtful explorations of music as an instrument for social development; and powerful testimonies from young orchestral musicians whose lives have been transformed by the power of music. See the complete and unedited documentary here: <br><br><iframe width="480" height="280" src="https://www.youtube.com/embed/oIGUXapsI-I" frameborder="0" allowfullscreen=""></iframe>
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joseherstrada.com
tag:www.joseherstrada.com,2005:Post/97208
2011-04-11T18:30:00-05:00
2011-04-11T18:30:00-05:00
NEC Announces 2011-12 Abreu Fellows
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<span style="color: #ff6600">The 2011-2012 Abreu Fellows are: Aisha Bowden, Julie Davis, David France, Ben Fuller, José Luis Hernández-Estrada, Stephanie Lin Hsu, Jennifer Kessler, Alysia Lee, Avi Mehta, and Albert Oppenheimer. <br></span><i><br>
From the New Englad Conservatory of Music <br></i><a href="http://necmusic.edu/nec-announces-2011-12-abreu-fellows">http://necmusic.edu/nec-announces-2011-12-abreu-fellows</a>
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April 11, 2011<br><br><b>NEC Welcomes Third Class of Abreu Fellows to Train as Leaders of El Sistema-inspired Programs in US <br></b>Class Includes Several with Prior El Sistema Experience <br><br>
The Abreu Fellows Program at New England Conservatory is delighted to announce its third class of 10 post-graduate musicians “passionate for their art and social change” to train as leaders of El Sistema-inspired music education programs in the United States. The program was created in response to El Sistema founder José Antonio Abreu’s 2009 TED Wish to Change the World and has produced young musical entrepreneurs who are leading nucleos (music education programs) in Juneau, Los Angeles, Durham NC, Atlanta, Philadelphia, New York City, Boston and—soon to come—Cleveland and Cincinnati (see Rebecca Levi from first class of Fellows in photo.) <br><br>
Classes begin August 29 and continue through May 2012 and include residencies in several American cities and in Venezuela. The certificate program is under the direction of Erik Holmgren, Education Director and Stephanie Scherpf, Managing Director of El Sistema USA. The Abreu Fellows Program at New England Conservatory is an official program of NEC's Preparatory and Continuing Education Schools directed by Dean and Executive Director Leslie Wu Foley.<br><br>
Now 35 years old, Venezuela's El Sistema is a phenomenally successful program of social action through music education that transforms the lives of at-risk children. It currently provides free music lessons and orchestral playing experience to more than 300,000 children and young adults throughout Venezuela. Its intent is to provide poor children with what Dr. Abreu terms "affluence of the spirit." Through its intense time commitment, rigor, loving concern for each child, and emphasis on the individual player as an essential member of the ensemble, it has rescued many youngsters from the social ills they might otherwise experience. Many graduates continue to play in professional orchestras and many have gone on to college and successful working lives. El Sistema's flagship orchestra, the Símon Bolívar Youth Orchestra of Venezuela has become internationally renowned. And the young El Sistema-bred conductor, Gustavo Dudamel, has become a superstar and currently serves as Music Director of the Los Angeles Philharmonic. <br><br>
The new class of Fellows brings together five women and five men, several of whom already have experience working in several North American or international El Sistema programs. They include three violinists, a trumpeter, a composer, a hornist, three conductors, and a singer. <br><br>
For this third year, program planners are working to deepen the Fellows’ connections within NEC, the Boston community, and the burgeoning El Sistema movement across the United States. Fellows will combine intensive seminar learning with field work at the local, national and international level. The students will be assigned to several different music and education organizations in the Boston area, including the Conservatory Lab Charter School, where Rebecca Levi and David Malek, alumni from the Class of 2009-10, are running an after-school program. Mini-residencies in previous years have also included assignments with OrchKids in Baltimore, KidzNotes in Durham, NC, and Community MusicWorks in Providence, RI. <br><br>
These community placements will offer on-the-ground experience in teaching, curriculum design, non-profit management, grant writing, strategic planning, and partnerships. Seminars will once again draw on the faculty and staff of NEC as well as nationally-renowned artists and educators to focus on two primary areas of study: education and organizational management. The Fellows will also spend several weeks in Venezuela observing firsthand the El Sistema model. By connecting seminar learning with exposure to the El Sistema movement, the Abreu Fellows will complete their certificate program at NEC with the skills and inspiration to lead the movement forward. <br><br><br><br>
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joseherstrada.com
tag:www.joseherstrada.com,2005:Post/196837
2010-12-20T01:20:00-06:00
2022-01-07T05:40:03-06:00
Master of Music
<img src="//d10j3mvrs1suex.cloudfront.net/u/53545/3eae11743a391f2c4623466ab100c76b7d290999/large/graduation.utpa.JPG?1375802950" class="size_orig justify_inline border_" alt="" height="343" width="480" /><br><span style="font-size: smaller; ">Master's Degree Concert at UTPA. </span><br><br>
I am very happy to announce that the The University of Texas-Pan American (UTPA) has conferred upon me the Master of Music degree in Orchestral Conducting. I extend my deepest appreciation to all of my family, professors, and musical colleagues who supported me throughout my graduate studies. A very special thanks to professors Peter Dabrowski, Cathy Ragland, Cynthia Cripps, and Pedro Martinez for their mentorship and advice. <br><br type="_moz">
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/197063
2010-11-20T12:55:00-06:00
2017-01-12T20:06:38-06:00
Schumann Anniversary
In music there is always something to be perfected, to be made more beautiful. Here, fine tuning a transition for our performance of the Schumann Piano Concerto. Conductor and soloist, at work: <br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/c1d552f95401589486dbccf7baf84715bbacecd2/large/Further.Streichhoelzer.Hernandez-Estrada.jpg?1375802950" class="size_orig justify_inline border_" alt="" height="343" width="480" /><br><span style="font-size: smaller; ">Bernd Müller and Hernandez-Estrada, November 2010.</span><br><br type="_moz">
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tag:www.joseherstrada.com,2005:Post/196833
2010-09-19T02:05:00-05:00
2017-01-12T20:06:38-06:00
Mexico - Bicentenario 2010
<div style="text-align: left; ">El 18 de septiembre, mil niños pertenecientes a los Núcleos Comunitarios de Aprendizaje Musical (Nucam) del Sistema Nacional de Fomento Musical del Conaculta, ofrecieron conciertos sinfónicos simultáneos en 11 ciudades del país. Con el título <i>Así suenan los Núcleos en el Bicentenario</i>, los niños ocuparon plazas y auditorios de Ensenada y Tijuana en Baja California; la capital de Chihuahua; Ciudad Nezahualcóyotl en el Estado de México; León, Guanajuato; Guadalajara, Jalisco; Cuernavaca, Tepoztlán y Huitzilac en Morelos; Reynosa en Tamaulipas; y Mérida, Yucatán; para ofrecer sendas presentaciones simultáneamente. Aqui las fotografias del Maestro Hernandez-Estrada junto a la Orquesta Infantil-Juvenil NUCAM en Reynosa en el recien inaugurado Parque Cultural Reynosa. <br><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/bbe185089a2249cb8bd0f44d9134002e7afa2811/large/ELSISTEMA.MEXICO.JPG?1375802949" class="size_orig justify_inline border_" alt="" height="321" width="480" /><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/1d00f14b11e10b53b15f07b3f411096cb281deae/large/ELSISTEMA.MEXICO2.JPG?1375802949" class="size_orig justify_inline border_" alt="" height="319" width="480" />
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joseherstrada.com
tag:www.joseherstrada.com,2005:Post/197549
2010-05-15T02:50:00-05:00
2020-09-16T02:51:30-05:00
Schubert and The Beatles
<img src="//d10j3mvrs1suex.cloudfront.net/u/53545/4505d8878ed1efa7747594f8184359260703d044/original/SouthTexasYouthSymphony2.jpg?1375802950" class="size_orig justify_inline border_" alt="" height="319" width="480" /><br><span style="font-size: smaller; ">The South Texas Youth Symphony performs Schubert's Unfinished Symphony. </span><br><br>
<img src="//d10j3mvrs1suex.cloudfront.net/u/53545/ca1ff6e26d7fbd180b5b66fb1131b46b1b3bcb90/original/SouthTexasYouthSymphony.jpg?1375802950" class="size_orig justify_inline border_" alt="" height="319" width="480" /><br><span style="font-size: smaller; ">The Youth Symphony joins the <i>Success Through Strings</i> program. </span><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/9350610b80166255e706535ac2743d47c2751fd4/original/SouthTexasYouthSymphony3.jpg?1375802950" class="size_orig justify_inline border_" alt="" height="306" width="480" /><br><span style="font-size: smaller; ">Dress rehearsal for Maestro Hernandez-Estrada and his young musicians. </span><br type="_moz">
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/199172
2010-05-09T14:00:00-05:00
2017-01-12T20:06:39-06:00
Composing Change
I recently attended the symposium <i>"Composing Change" </i>which took place May 6-8, 2010 at the EXPO Center and Walt Disney Concert Hall. The event focused on a global perspective of El Sistema-influenced programs taking root beyond the borders of Venezuela, utilizing the YOLA Expo Center Youth Orchestra Program and Gustavo Dudamel, as case studies. The three-day event featured a visit to the Expo Center, roundtable discussions, invitational rehearsals at Walt Disney Concert Hall, and a conversation between Gustavo Dudamel and LA Phil President & CEO Deborah Borda. See the Los Angeles pictures here: <br><br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/d97f8dcf1a1e70431730e2587d06ae55f00f0837/large/YOLA.symposium3.jpg?1375802950" class="size_orig justify_inline border_" alt="" height="385" width="480" /><br><span style="font-size: smaller; ">El Sistema leaders and advocates from Mexico, Venezuela, and the US. </span>
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/197046
2009-01-22T12:10:00-06:00
2021-07-06T13:23:31-05:00
Under Tiffany's Glow
<img src="//d10j3mvrs1suex.cloudfront.net/u/53545/efdc1d383945d1275bdd235eaa2d94bdda9d9ead/original/MYRA.HESS.CONCERTS.CHICAGO.JPG?1375802949" class="size_orig justify_inline border_" alt="" height="320" width="480" /><br><span style="font-size: smaller; ">Rehearsing for the recital in Chicago. <br></span><br>
I had the honor of performing at the Dame Myra Hess Concert series in Chicago. The concert was held on January 21st at Chicago's beautiful Cultural Center (Preston Bradley Hall). The performance was hosted by Ann Murray, the director of the International Music Foundation and sponsored by Bank of America. The concert was broadcasted on WFMT, Chicago's classical radio station. Here are the program notes I wrote for the recital:
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<b>Cesar Guerra-Peixe </b>and <b>Claudio Santoro </b>are two of Brazil’s most influential 20th century composers. The Preludios Tropicais (1979) are a set of seven pieces referencing popular songs, traditions, instruments, and distinct musical styles. The Cantiga de Folia da Reis is a contemplative and festive prelude honoring the Christian Feast of the Epiphany. The Ponteado de Viola is cast as a virtuoso toccata referencing the timbre and action of the viola, a 10-steel-string acoustic guitar used in Brazilian folk music. Santoro’s First of Book of Preludes (twelve in total) is a work of rare beauty and perfection. The three preludes heard today are masterful miniatures suggesting images of stillness and a myriad of colors through sparse musical textures. </div>
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<b>Manuel M. Ponce </b>is considered to be one of the most influential Latin American composers of the 20th century. Ponce’s diverse and eclectic musical output embraces styles reminiscent of Schumann’s Romanticism to Debussy’s Impressionism. He is regarded as the father of Mexican musical nationalism. During his youth, Ponce became particularly fascinated by the folk music, idyllic landscape, and festive atmosphere of his native land. As an ethnomusicologist, he began an incessant search to develop and assimilate the popular genre into higher forms of musical expression. In this regard, the German musicologist Otto Mayer-Serra comments, “Ponce belongs to the first artistic generation that consciously worked in love with his country: the popular, legendary, and colonial Mexico…” The Balada Mexicana is one of the composer’s most memorable piano works. A fine example of nationalistic writing, it features two popular themes, (El Durazno and Acuerdate de Mi) in an A-B-A structure. A work of romantic lyricism and virtuosic proportions, the Balada was considered by the composer to be his most accomplished work. Ponce’s Intermezzo (1923), evokes the atmosphere of rural Mexico. The composer’s treatment of parallel thirds and impressionistic harmonies depicts an idyllic pastoral setting. The Intermezzo is masterwork with remarkable unity, evident in its rhythmical and melodic elements. Written in sonata form, the work beholds all the magic of its perfection within a few bars. </div>
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<b>Alberto Ginastera's</b> piano compositions span the years from 1937 (Danzas Argentinas, Op. 2) to 1982 (Sonata No. 3). His compositions can be grouped into three periods which the composer himself established. According to Ginastera, the first period, Objective Nationalism, is characterized by literal use of Argentine folk music. The second period, Subjective Nationalism, assimilates twentieth-century compositional techniques and well as rhythms and melodies of his native Argentine music. The third period, Neo-Expressionism, is objective and modern, with no direct idiomatic representations. The Sonata No. 1, Op. 22 belongs to the Ginastera's Subjective Nationalism, in which he was casting his Argentine folk elements in a distinctly modern pianistic style. Fiendishly virtuosic and highly satisfying, it is one of Ginastera's best-known and most frequently performed works for piano. According to the composer’s program notes, the Sonata is cast in four movements, the first one of which is written in the classical sonata form. The opening theme, very primitive, is followed by a second theme full of expressive Iyricism, flexible, pastoral-like. The typical features are steady polytonal elements and highly complex rhythms. The second movement, presto misterioso, is a fleeting, vaporous three-part scherzo. Ginastera uses a twelve-tone senes for the first part and the second one conveys the folk reminiscences of a malambo. The third movement, Adagio, is a three-part lied, while the fourth one, in rondo form with five sections, is reminiscent of the typical toccata writing.<br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/c7bb2266829acac54ecf4f9f74159bb35d3016db/large/TiffanyDome.JPG?1375802950" class="size_orig justify_inline border_" alt="" height="319" width="480" />
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<span style="font-size: smaller; "> The Tiffany Dome.</span><br><br>
Listen to a recording of Ponce's <i>Intermezzo</i> here: </div>
2:36
joseherstrada.com
tag:www.joseherstrada.com,2005:Post/198937
2007-04-21T10:25:00-05:00
2017-01-12T20:06:38-06:00
Between the Oslofjord and the forests
<img src="//d10j3mvrs1suex.cloudfront.net/u/53545/13a5aa9da7b9bbd923e8ae4fb7733c6978531325/large/oslo4.JPG?1375802950" class="size_orig justify_inline border_" alt="" height="321" width="480" /><br>(I took this photograph while riding in one of the boats stationed in the foreground).<br><br>I visited in Oslo this week to perform a piano recital celebrating the music of Mexican and Norwegian composers. My heartfelt thanks to the Mexican Embassy authorities, Mexican friends living in Norway, and Robert Rosales of AMENO, who hosted me and helped produced a very successful event. It was a joy to play and to visit in such an extraordinary city, home of the <i>Nobel Peace Prize</i>. Here is a newspaper article in Norwegian: <br><br><br><i>Norsk og Meksikansk Klaverkonsert</i>
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<i>Med José Luis Hernández-Estrada</i><br> </div>
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<i>Den meksikanske pianisten José Luis Hernádez-Estrada (1983), vinner av konkurransen JK Hodges Contemporary Piano Competition 2006, fortsetter å trollbinde sitt publikum og kritikere med sine sofistikerte og energiske tolkninger av sitt repertoar. Den meksikanske pressen beskriver ham som ”en pianist med et intenst musikalsk temperament”. Den tyske avisen Further Narchrichten betrakter ham som en strålende pianist. Han er en ung musiker, men med en dyp forståelse av sitt materiale; siden hans debut (som 10 åring). Med Universitetet i Tamaulipas symfoniorkester har hans karriere så langt brakt ham til konsertsaler i Tyskland, Spania, USA, Puerto Tico og til mange av de større byene i Mexico. Konserten vil inneholde verk av: Desar Guerr-Peixe, L.V. Beethoven, Manuel M. Ponce, Edward Grieg, Alberto Ginastera og Hernandez-Estrada.</i><br><br>And pictures: <br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/dd6b17834585fe7b786d3eae78a4f6bc7de0079a/large/Oslo1.JPG?1375802950" class="size_orig justify_inline border_" alt="" height="360" width="480" /><br>Rehearsal at the Asker Kulturhus<br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/53545/e67c7442240b442fe2e91bece59733e64645c171/large/oslo2.jpg?1375802950" class="size_orig justify_inline border_" alt="" height="320" width="480" /><br> Playing music by Edward Grieg.</div>
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