Podcast appearances and mentions of gabriela ortiz

How has the classical music industry approached representation and how has the new music community forged new paths to embrace diverse musics? On tonight's episode of Obbligato on APEX Express, Isabel Li is joined by violinist Shalini Vijayan, who discusses her vibrant career and reflects upon the ways contemporary classical music can build community.  Violinist Shalini Vijayan, deemed “a vibrant violinist” by Mark Swed of the Los Angeles Times is an established performer and collaborator on both coasts. Always an advocate for modern music, Shalini was a founding member and Principal Second Violin of Kristjan Jarvi's Absolute Ensemble, having recorded several albums with them including 2001 Grammy nominee, Absolution. Shalini was also a founding member of the Lyris Quartet, one of Los Angeles' most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series, for Jacaranda Music and helped to found the Hear Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles.  Shalini performed for over a decade with Southwest Chamber Music and can be heard on their Grammy nominated Complete Chamber Works of Carlos Chávez, Vol. 3. She has been a featured soloist with the Los Angeles Master Chorale in Chinary Ung's Spiral XII and Tan Dun's Water Passion, including performances at the Ravinia Festival. As a chamber musician, Shalini has collaborated with such luminaries as Billy Childs, Chinary Ung, Gabriela Ortiz, and Wadada Leo Smith on whose Ten Freedom Summers she was a soloist. Shalini joined acclaimed LA ensemble, Brightwork New Music in 2019 and also serves as the curator for Brightwork's Tuesdays@Monkspace series, a home for contemporary music and performance in Los Angeles. As a teacher, she has been on the faculty of the Nirmita Composers Workshop in both Siem Reap and Bangkok and coaches composition students through the Impulse New Music Festival.  Shalini received her B.M. and M.M. degrees from Manhattan School of Music as a student of Lucie Robert and Ariana Bronne. As a member of the New World Symphony in Miami Beach, Florida, Shalini served as concertmaster for Michael Tilson Thomas, John Adams, Reinbert de Leeuw and Oliver Knussen. She was also concertmaster for the world premiere performances and recording of Steven Mackey's Tuck and Roll for RCA records in 2000. Shalini was a member of the Pacific Symphony Orchestra for ten seasons and also served as Principal Second Violin of Opera Pacific. She lives in Los Angeles with her son, husband and two dogs and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  Check out more of her work at:  https://brightworknewmusic.com/tuesdays-at-monk-space/  https://www.lyrisquartet.com/    Transcript  Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the APEX Express.    00:01:03 Isabel Li  You're listening to Obbligato, which is a segment about the Asian American Pacific Islander community, specifically in classical music.  00:01:11 Isabel Li  I'm your host, Isabel Li, and today joining me is Shalini Vijayan, who is a violinist, established performer, and always an advocate for modern music.  00:01:21 Isabel Li  Shalini is also a founding member of the Lyris Quartet, one of Los Angeles most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series for Jacaranda Music, and helped to found the Here and Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles. She joined acclaimed LA ensemble Brightwork New Music in 2019, and also serves as the curator for Brightwork's Tuesdays at Monk Space series. She currently lives in Los Angeles with her son, husband and two dogs, and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  00:02:04 Isabel Li  Well, Shalini, thank you so much for joining me in this conversation today.  00:02:09 Shalini Vijayan  I'm so happy to be with you.  00:02:11 Isabel Li  Awesome. I'd like to just get to know you and your story. How do you identify and what communities do you consider yourself a part of?  00:02:18 Shalini Vijayan  I use the pronouns she, her, and I. Um, I identify as South Asian. I grew up in an Indian family. My parents immigrated to the US in the sixties to teach at medical school. And I grew up with a great deal of Indian culture. And I've spent a lot of time going back and forth to India from the time that I was very young. You know, it's interesting because I feel like in LA, where I live and work specifically, there is so much overlap between all of our different musical communities. You know, I went to school in New York, and I feel like there I was much more, I'm very connected to the new music community in New York and felt really kind of entrenched in that at the time I was there. And after coming to LA, I realized that, um, there are a lot of musicians doing so many different things. That's one of the things I love about Los Angeles, actually. And, you know, I'm definitely very, very rooted in the new music community in LA. And that was where I made my first sort of connections when I first moved to Los Angeles. But I also, you know, worked in an orchestra when I first came to LA. I played in the Pacific Symphony for almost ten seasons, and so I became a part of that community as well. And you know, as the years went on, I also became much more involved in the studio music community of LA studio musicians playing on movie scores, playing on television shows, records, what have you, Awards shows, all sorts of things. And these are all very distinct communities in LA in music. But I see a ton of overlap between all of them. There are so many incredibly versatile musicians in Los Angeles that people are able to really very easily move from one of these groups to the other and, you know, with a great deal of success. And I feel like it gives us so much variety in our lives as musicians in LA, you don't feel like you're ever just in one lane. You can really occupy all these different kinds of spaces.  00:04:23 Isabel Li  Right, yeah. So you're classically trained, from what I know, and you describe yourself as an advocate for modern music. So why modern music?  00:04:33 Shalini Vijayan  That's a great question. I have have had to answer this question quite a bit over the years, especially to non-musicians. And it's always an interesting story for me. You know, as a violinist in particular, you know, we have such a storied history of repertoire and pedagogy, and there is such an incredible, um, library of music that we have access to from the very standard classical repertoire. And there is a great deal to be learned about the instrument and about music from playing all that repertoire. I think at some point when I was in high school, I started to become interested in more modern music. And actually I grew up in Davis in Northern California.   My parents both taught at the university there, at the medical school and in Sacramento. Nearby there was a festival of modern American music that I think still goes on to this day at Cal State University, Sacramento. And it was really a great festival. And at that time, you know, they would bring professional artists, they'd have composers, they'd have commissions, all sorts of things. But at the time that I was like in high school, they also had a junior division to the festival, and I was asked to play a couple pieces in the Festival of, um, Modern Works, and I can't remember at this time what the pieces were, but it left such a huge impression on me. And I think what I really took away from that experience as a kid is that in my studies as a violinist, I was always being asked to sort of live up to this history and this legacy of violin music and violin playing in Western classical music. And it's a very high bar. And it's, um, you know, of course, there's so much great stuff there. But there was something so freeing about playing this music that had either never been played or not been recorded. So there was nothing to reference in terms of listening to a recording, um, and listening to how you, you know, quote, should be playing it that it made me feel, uh, you know, all this, this freedom to really interpret the music, how I felt, rather than feeling like I had to live up to a standard that had been set for me, you know, decades or centuries before. And I think that really something really clicked for me with that, that I wanted to have that kind of freedom when I, when I was playing. And so from there on out, um, you know, when I went to college and I really sought out opportunities in new music as much as I could.  00:07:00 Isabel Li  So you were first exposed to new music when you were in high school. Did that influence your decision to become a musician at all? Or were you already set on becoming a musician and that was just part of what shaped your works over the years.  00:07:15 Shalini Vijayan  I think by that time, I had already decided that I wanted to be a musician. I mean, as you know, so many of us as musicians and I think particularly string players, we decide so young because we start our instruments at such a young age and we start studying so early. Um, that I think by that time I, I had decided I wanted to do music, but this sort of opened another door for me that made me realize that it wasn't just one path in music necessarily. I think it's very easy as a, as a kid and as a violinist to think you admire these great soloists that you see and, you know, people like Perlman and, you know, Isaac Stern, who were the stars of the time when I was growing up. But, you know, you get to be in high school and you realize that hasn't happened yet. It's probably not going to happen. And so, you know, what's then then what's your path forward? How do you find a life in music if you're not going to be one of these stars? And I think, you know, new music really opened up that opportunity for me. And yeah, made me look at things a little differently for sure.  00:08:18 Isabel Li  And currently you're in the contemporary classical music ensemble, Brightwork newmusic, and you curate the ensemble's concert series, Tuesdays @ Monk Space. So how do you go about curating concerts with music by contemporary or living composers? What do you look for?  00:08:33 Shalini Vijayan  Well, right now I'm really focused on trying to represent our new music community in LA at Monk Space, which is such, you know, we have such a diverse community of musicians, not just in the makeup of who the people are making the music or writing the music, but also in just the styles of music. And so I think I try to really represent a very diverse set of aesthetics in our season. Um, you know, everything from, you know, last season we had, uh, Niloufar Shiri, who is a traditional Persian kamancheh player, but she also she can play very in a very traditional way, but she also plays with a jazz pianist. And, you know, it does all this very improvisatory stuff. And, you know, then we would have other programs where everything is very much written out and very through, composed and you know, it's been a very wide variety. And, you know, when I try to build the season, I try to make sure that it's really balanced in terms of, you know, the different types of things you'll be hearing because not every audience member is going to want to engage with every type of music. Um, or, you know, if we if we really stuck to one style and it was just in that language for the whole season, then I feel like we would, you know, alienate potential audience members. But with this, I feel like if we can bring people in for one concert and they're really into it, then hopefully they'll come to something else that is new and different for them and be exposed to something that they may really get into after that. So yeah, I think diversity and variety is really where I try to start from.  00:10:09 Isabel Li  How does that engage the community? Have you observed audience reception to this type of new music when there are composers from all different types of backgrounds?  00:10:20 Shalini Vijayan  Yeah, definitely. I mean, I think that each composer and each artist brings their own community into the space, which and so that's another. I feel like another strong reason why I try to make things very different from concert to concert. And, you know, we have some younger players who come in and bring in, you know, everyone from college students to, you know, their friends and family. And then, you know, really established composers. Like this season we have Bill Roper, who is kind of a legend in the music community in LA. Mult instrumentalist and composer who has been around for decades. And, you know, I think people will come out just because they want to see him and he's such a draw. And, um, you know, I, I also would love to be able to incorporate more world music into the series. Like I said, we did do Niloufar concert, which I felt like I really hoped would like engage with the Persian community in LA as well. And a couple seasons ago we had Rajna Swaminathan, who is, I just think, an incredible artist. Um, she plays mridangam, which is a South Indian percussion instrument, but she also writes for Western instruments, uh, and herself. And we had her and a pianist and then Ganavya, who's a vocalist who's amazing. And, you know, Ganavya had her own following. So we had and Rajna has her own following. So we had a whole full audience that night of people who I had never seen in the space before. And that was for me. That's a success because we're bringing in new friends and new engagement. And, um, I was really excited about that. When I'm able to make those kinds of connections with new people, then that feels like a success to me.  00:12:05 Isabel Li  Certainly.  00:12:06 Isabel Li  Let's hear one of Shalini's performances. This is an excerpt from the 10th of William Kraft's “Encounters”, a duologue for violin and marimba, performed here by Shalini Vijayan with Southwest Chamber Music.  00:12:20 [MUSIC – Encounters X: Duologue for Violin & Marimba]  00:17:18 Isabel Li  An excerpt from William Kraft's Encounters, the 10th of which is called Duologue for Violin and Marimba, that was performed by Shalini Vijayan, the violinist, with Southwest Chamber Music.  00:17:31 Isabel Li  And Shalini is here with me in conversation today. We've been discussing contemporary music and her involvement in the new music scene, specifically in Los Angeles.  00:17:40 Isabel Li  Music is all about community, drawing people together. So going back to how you describe yourself as an advocate for modern music, what are other ways that you have advocated for modern music besides curating the concert series?  00:17:53 Shalini Vijayan  Well, over the years, um, you know, I feel like in all the ensembles I've been in, there's been a real focus on commissioning composers and on performing works that have not been, uh, either performed or recorded before. And I feel like the only way to really get the music out there is to, obviously, is to play it and hopefully to be able to record it. We've worked especially with the lyrics quartet. We've worked with so many young composers in LA either just strictly, you know, contemporary classical composers or even film composers who, um, have works that they'd like to have recorded. And, you know, it's been great to see a lot of those people go on to really amazing things and to be a part of their journey, uh, and to help support them. And, uh, the other thing that the quartet has been heavily involved in and now Bright Work Ensemble has been involved in as well, is the Here Now music festival, which has been going on in LA for well over a decade now. We were involved in the first, um, seasons of that festival. We've been one of the resident ensembles since the very beginning, and that festival is dedicated to the music of LA and Southern California composers. And, um, we have a call for scores every year that we, the four of us in the quartet, are part of the panel that reviews all the scores, along with a lot of our other colleagues, um, who are involved with the festival, and Hugh Levick, who is the artistic director of the festival and has we've worked side by side with him on this for a very long time. And that's also been a fantastic avenue for, um, meeting new composers, hearing new works, having them performed. And the thing I always say about that festival every time it comes around, usually in the spring we have at least three concerts. It's this incredible coming together of the new music community in Southern California, where all these great composers and all these amazing players come together and play these series of concerts, because there's such a vast number of pieces that end up getting programmed. They can't rely on just like one group or one or two groups to play them. So it really pulls in a lot of players from all over town. And I don't know, it always just feels like a really fun time, a fun weekend for all of us to see each other and connect. And, um, and again, just build our community to be even stronger.  00:20:20 Isabel Li  That's really cool. How do you ignite interest in new music? Because this is a genre that I think is slightly underrepresented or just underrepresented in general in both the classical music community and the music industry as a whole.  00:20:35 Shalini Vijayan  That's a great question, and I think it's a really important question for our whole industry and community. How do you engage people in new music and get them into a concert? Um, you know, I think one of the biggest hurdles for classical music in general, I will say, um, when I talk to people about why they don't want to come to a concert or why they don't want to, you know, let's say, go see the LA Phil or, you know, wherever, whatever city they're in, the major cultural music institution. I think there is a misconception generally that, oh, it's, you know, I have to be dressed a certain way or I it's going to be really stuffy. And, um, I, you know, I don't know what to wear or I don't know how I'm supposed to dress or how I'm supposed to act when I'm in the concert. Am I going to clap at the wrong time? You know, is it going to be really long? And, you know, and I and I get it, you know, I mean, I understand why that would be uncomfortable for a lot of people.   And it's not, um, it's something that necessarily everyone has grown up with or that it's been a part of their life. So I think it's really up to us, as you know, when we're on the side of programming concerts or putting together festivals or whatever, um, that we make things more accessible in terms of, um, concert length and interaction with audience. And, um, you know, I think it's I know I've been told so many times and I really think it's important that I think audiences love it when performers talk to them, when they talk about the music and, and set things up for a listener. I think that puts a kind of context on things that makes it so much easier for perhaps a new audience member, someone who's never come to a concert before to feel at ease and feel like, okay, I know what I'm getting into.   One of our, actually our former executive director at Brightwork, Sarah Wass, who was fantastic, and I was very happy to work with when I was just starting out programming, Monk Space had the idea of putting on the program the running time of the pieces, and I think even that is just something that, like, can prepare people for what they're getting into when they're about to listen to something new. And in terms of the music itself, I think that if someone, especially a younger person, doesn't feel like they have any connection to Beethoven or Brahms or Mozart, they might actually feel more connected to someone who is their age or a little older.   Someone who has had similar life experiences to them, or grown up in the same era as them, rather than someone who grew up, you know, in the seventeen hundreds. You know, there can be more of a real connection there, and that that person is writing this music and reflection of their life and their experiences. And, um, you know, again, I think that kind of context is important for a listener. And yeah. And then just lastly, I would say also, I feel like our space at Monk space is very inviting. It's very low key. It's, um, you know, it's casual, it's comfortable. Role. Um, we have, you know, snacks and a bar and, you know, everyone is very relaxed at intermission and has a good time. And I mean, for me, every time we host one of those concerts, I feel like I'm hosting a little party, you know? That's what it feels like for me. And that's what I want it to feel like for the audience as well.  00:23:52 Isabel Li  That brings up a really good point in that new music can make classical music or a new classical music, contemporary music, more accessible to different audiences. And certainly I've definitely heard the complaint from people over the years about classical music being a little too uptight. Would you say that these are two different genres?  00:24:11 Shalini Vijayan  I think that there is overlap, and I think, you know, for an ensemble like ours, like Brightwork, we have chosen to make our focus new music. So that's our thing. That's what we do. Um, and, uh, all of our concerts and our programming reflect that. Very rarely do we do anything that's not considered a contemporary piece. Um, but, you know, if you do look at some of our major institutions, like I think the LA Phil and I think the San Francisco Symphony, um, earlier, you know, like in the nineties under MTT, really started to pave the way for incorporating contemporary music into a standard classical format. And, you know, I think that's been very important. And I think it's really changed the way that orchestras have programmed across the country. And there has been such a nurturing of contemporary music in larger spaces. Now that I think that kind of overlap has started to happen much more frequently. I think that in more conservative settings, sometimes there's pushback against that. And even even, you know, in some of the places that I play, you know, sometimes with with the lyrics quartet, um, we are asked to just purely program standard classical repertoire, and we will occasionally throw in a little short piece, you know, just to try and put something in there, you know, something that's very accessible. Um, and, uh, you know that we know the audience will like so that we can help them, you know, kind of get over that fear of connecting to a newer piece. And I, I think in some ways, that's where the path forward lies, is that we have to integrate those things, you know, in order to keep kind of the old traditions of classical music alive. I think we have to keep the newer tradition alive as well, and find a way to put them in the same space.  00:26:00 Isabel Li  I certainly agree with that.  00:26:01 Isabel Li  Let's hear more of Shalini's work in new music. This is a performance of the first movement of Atlas Pumas by Gabriela Ortiz. Violinist Shalini Vijayan is joined by percussionist Lynn Vartan.  00:26:18 [MUSIC – Atlas Pumas, mvt 1 by Gabriela Ortiz]  00:29:21 Isabel Li  The first movement of Gabriela Ortiz's Atlas Pumas played here by violinist Shalini Vijian, and Lynn Vartan plays the marimba.  00:29:30 Isabel Li  And Shalini is actually joining us here for a conversation about new music, performances, identity, and representation.  00:29:38 Isabel Li  Many Asian American Pacific Islander artists in music have varying relationships between their art and their identity. I was wondering, to what extent do you feel that perhaps your South Asian identity intersects or influences the work that you do with music?  00:29:54 Shalini Vijayan  Growing up, um, you know, I grew up in a in a university town in Northern California and, you know, a lot of highly educated and, you know, kids of professors and, you know, but still not the most terribly diverse place. And then going into classical music. And this was, you know, in the early nineties when I went to college, um, it still was not a particularly it was very much not a diverse place at all. And, um, there certainly were a lot of Asian students at, um, Manhattan School of Music where I did my my studies.   But I would say it was a solid decade before I was ever in any sort of classical music situation where there was another South Asian musician. I very, very rarely met any South Asian musicians, and it wasn't until I went to the New World Symphony in the early late nineties, early two thousand, and I was a musician there. I was a fellow in that program there for three years that I walked into the first rehearsal, and there were three other South Asian, I think, of Indian descent musicians in the orchestra, and I was absolutely blown away because I literally had not, um, other than here and there at some festivals, I had not met any other South Asian classical musicians.   So it was really like that was the hallmark moment for me. It was a really big deal. And coming with my family, coming from India, you know, there is such a strong tradition of Indian classical music, of Carnatic music and Hindustani music. And, um, it's such a long, long tradition. And, you know, the people who have studied it and lived with it are, you know, they study it their whole lives to be proficient in it. And it's such an incredible, incredible art form and something that I admire so much. And I did as a kid. Take a few lessons here and there. I took some Carnatic singing lessons, um, and a little bit of tabla lessons when I was very young. Um, but I think somewhere in middle school or high school, I kind of realized that it was, for me at least, I wasn't, um, able to put enough time into both because both of them, you know, playing the violin in a Western classical style and then studying Indian classical music require a tremendous amount of effort and a tremendous amount of study. And I at that point chose to go with Western classical music, because that's what I'd been doing since I was five years old. But there has always kind of been this longing for me to be more connected to Indian classical music. Um, I'll go back again to Rajna. When I presented Rajna Swaminathan on Monk Space a couple of years ago, it was a really meaningful thing for me, because that's kind of what I'd always wanted to see was a joining together of that tradition, the Indian tradition with the Western tradition. And, um, I'm so happy that I'm starting to see that more and more with a lot of the artists that are coming up now. But at the time when I was young, it just it felt almost insurmountable that to to find a way to bring the two together. And, um, I remember very clearly as a kid listening to this, um, there was an album that Philip Glass did with Ravi Shankar, and I thought that was so cool at the time. And I used to listen to it over and over again because I just again, I was so amazed that these things could come together and in a, in a kind of successful way. Um, but yeah, there is, you know, there there's a part of me that would still love to go back and explore that more that, that side of it. Um, and but I will say also, I'm very happy now to see a lot more South Asian faces when I, you know, go to concerts on stage and in the audience. And, you know, a lot of composers that I've worked with now, um, of South Asian descent, it's been, you know, I've worked with Reena Esmail and Anuj Bhutani and Rajna and, um, there's so many more, and I'm so glad to see how they're all incorporating their connection to their culture to, to this, you know, Western kind of format of classical music. And they're all doing it in different ways. And it's it's really amazing.  00:34:22 Isabel Li  That's fantastic.  00:34:24 Isabel Li  I was wondering if you could maybe describe what this merging or combination of different styles entails. Do you think this makes it more accessible to audiences of two different cultures?  00:34:36 Shalini Vijayan  For me, one example, before I started running the series at Tuesdays at Monk Space, Aron Kallay, who is our Bright Work artistic director, had asked me to come and do a solo show on Monk Space, which I did in November of 2019.  00:34:52 Shalini Vijayan  And at the time, I wanted to commission a piece that did exactly that, that, that, um, involved some sort of Indian classical instrument or kind of the language of Indian classical music. And so I actually did reach out to Reena Esmail, and she wrote me a very cool piece called blaze that was for tabla and violin. Um, and I really had so much fun doing that. And Reena, Reena really has a very fluid way of writing for the violin, which she actually was a violinist, too. So she's she's really good at doing that. But being able to write for any melodic instrument or for the voice, which she does quite a bit as well, and incorporating sort of the tonality of Indian classical music, which obviously has its own scales and, um, has its own harmonic, harmonic world that is different from the Western world, um, but finds a way to translate that into the written note notation that we require as, uh, Western classical musicians. And, you know, I think that's the biggest gap to bridge, is that in Indian classical music, nothing is notated. Everything is handed down in an oral tradition, um, over the generations. And for us, everything is notated. And in Indian classical music, you know, there's much more improvisation. And now, of course, with modern classical music, there now is a lot more improvisation involved. But in our old standard tradition, obviously there isn't. And in the way that we're trained, mostly we're not trained to be improvisers. And um, so it's it was great. She has a great way of writing so that it kind of sounds like things are being tossed off and sounding sounds like they're being improvised, but they are actually fully notated, um, which I really appreciated.  00:36:50 Isabel Li  Yeah.  00:36:51 Isabel Li  So your career has spanned orchestras, recording ensembles, chamber music. Having had so much experience in these types of performance, what does representation in classical music mean to you?  00:37:04 Shalini Vijayan  Well, representation is is very important because we're talking about a tradition that was built on white men from centuries ago, European white men. And and it's again, it's an incredible tradition and there's so much great repertoire. But I'm going to circle back to what you were saying or what you asked me about connecting to audiences and, you know, connecting to audiences with new music. It's I think people like to see themselves reflected in the art that they choose. They choose to consume. And, you know, whether that's movies or television or music, I think that's how you connect with your audience is by being a bit of a mirror.  I think the only way that we can really continue to connect with a diverse audience is by having that type of diverse representation on our stages and on our recordings. And again, also not just the people, but the types of music, too. You know, musical tastes run wide, genres run wide as well. And it's I think It's good for all of us to be exposed to a lot of different kinds of music, to figure out what we connect with the most. And, um, yeah, the only way we can do that is by really, you know, opening our arms to a, a much wider variety of styles of music. And so I, you know, I mentioned improvisation, improvisation earlier. And I think that is something that's now starting to happen so much more in modern classical music. And, you know, I think there's something about the energy that a player has when they're improvising that is maybe not something that an audience member could quantify verbally, but there's a looseness and a freedom there that I think, you know, for a lot of audience members, they probably really can connect to. And, you know, that's a lot of why people go and listen to jazz is because there's so much freedom and there's so much improvisation.   I've been very lucky to be able to work with, um, Wadada Leo Smith, who's a trumpet player and composer. I've worked with him for probably almost ten years now. And um, through Wadada, actually, I have learned to become much more comfortable with improvising on stage and not within a jazz language of any kind or any kind of harmonic structure necessarily, but within the language of his music, which is very unique and very open and very free and, um, but also has a really strong core in its connection to history. And, um, you know, he's written a lot of amazing works about the civil rights movement and about a lot of, you know, important moments in history for our country. And, um, that's been a real learning experience for me to connect with him in that, in that way and learn from him and learn to be more comfortable with improvisation. Because I think growing up, improvisation for me always meant jazz, and that was not a language I was comfortable in. And um, or even, you know, jazz or rock music or folk music or whatever, you know, it was just not something that came naturally to me as a kid to, I mean, I listened to all of it. I listened to everything when I was a kid, but I never played in any of those styles. And I think the older you get, the scarier it gets to start branching out in those ways. But, um, I think, uh, that's been a an incredible, like, new branch of my life in the last decade has been working with Wadada.  [MUSIC – “Dred Scott, 1857,” from Ten Freedom Summers, by Wadada Leo Smith]  00:42:23 Isabel Li  An excerpt of Wadada Leo Smith's music to give you a sense of the jazz influences in these types of contemporary new music pieces that also touch on pieces of history. This was an excerpt from his album, Ten Freedom Summers, which also consists of compositions based on pieces of American history. For example, what we just heard was from a piece called Dred Scott, 1857.  00:42:49 Isabel Li  Now that I realize that we've been having a conversation about new music, I realize that, hmm, when does new music really start? So if you take a look at maybe music history, when does new music really become new music?  00:43:07 Shalini Vijayan  I guess it depends on who you ask, probably. Um, it's it's pretty recent. You know, it has to be really legitimately pretty new. And, um, again, you know, if you ask an audience member, um, and I think of some of my friends or family who are maybe who are not musicians who come to concerts, and I'm always so interested in talking to them and hearing their opinions about things. Um, you know, they will listen to Bartok and say, oh, that sounds like new music to me. But, you know, Bartok, Bartok passed away a long time ago, and it's, you know, and for me, that's more like canon now. You know, that's like now for me, part of the the standard repertoire. But there was a time when Bartok was new music. And I think for, you know, maybe the listeners who are more comfortable with the very diatonic, you know, world of Beethoven, Brahms, Mozart, then something like Bartok really does sound so modern for me. Boy, maybe around the time that minimalism started, you know, John Adams and Steve Reich, Terry Riley, Philip Glass, all of that for me feels like maybe that's the older like the The edge of new music now even though that was that would be the eighties, probably seventies 80s, you know, but that we're talking about like, you know, fifty years ago. So yeah, I mean, it's not that new, but those are all still living composers. So maybe, maybe that's part of what it is for me is that it's the composers of our era, the composers who are alive, who we can communicate with and ask questions of. And, um, you know, at the very least, if you can't talk to John Adams, you can talk to somebody who has worked directly with him and get their impressions of how something should be played, um, as opposed to composers who have been gone for hundreds of years. And you can't have that level of communication with them. I think that, for me is what new music, new music is about. It's about working with living composers and, um, having that type of interaction.  00:45:15 Isabel Li  Yeah. So would the word or the phrase contemporary classical music, be a little oxymoronic in a sense?  00:45:26 Shalini Vijayan  No, I don't think so. I think it's still part of the same tradition. Um, yeah. I really do think it is, because I think there is a lineage there. Um, for a lot of composers, not all of them, um, that I mean, I think particularly if you're writing for, let's say, an orchestra or a string quartet or sort of one of these very standard classical ensembles. Um, even if you're writing in a very new language and you're writing in a very different way, I think there is still a through line to the canon of classical music. I guess for me, new music and classical music are not mutually exclusive. I think they can be the same. So I don't I don't think they're totally different. I think that there is a lot of a lot of overlap.  00:46:16 Isabel Li  For sure, considering how new music fits into the classical music or the classical music industry as a whole. Have you noticed any sorts of shifts in the classical music industry in the past several decades in regards to diversity, equity, inclusion? And have you just noticed any changes?  00:46:35 Shalini Vijayan  I have noticed some changes. I mean, I think that most organizations in this country are making an effort to be more inclusive in their programming now. And, um, you know, another another South Asian composer who I just think is fantastic is Nina Shekhar. And, um, she has had pieces played by the New York Phil for the last couple seasons. I mean, you know, so on on major, major stages, I feel like now I'm seeing more representation and that is definitely Encouraging and, um, you know, uh, same for Anuj and Rajna and Reena. They've all, you know, had their works done by major ensembles. And, um, I think I think there is definitely movement in that direction, for sure. I think it could always be more.   I think also for women and women composers, women performers, I think that has also always been a struggle to find enough representation of women composers and you know, especially if like as I mentioned before, when you're in a situation where an organization asks you to program a concert, like, let's say, for our quartet and wants much more standard repertoire than it does limit you, you know, how because there isn't much from the older canon. You know, there is. You know, there's Fanny Mendelssohn and Clara Schumann and, um, you know, I think in the last five to ten years they've both been played a lot more, which is great. But, you know, I think, uh, there's so many amazing female composers right now that I think are starting to get much more recognition. And I think that just needs to be more, more and more, um, but, uh, you know, that is why, again, like on those programs, sometimes we try to just sneak one modern piece in because it's important for those voices to be heard as well. But yes, I do see some forward movement in that direction with, um, classical programming. And, you know, you just have to hope that the intent is always genuine in those situations. And I think, um, you know, I think that's the most important thing. And giving a platform to those voices is really important.  00:48:59 Isabel Li  How would you go about arts advocacy during this current time when, well, the arts are being defunded and devalued by our current administration and how everything is going on right now?  00:49:10 Shalini Vijayan  Yeah, it's really, really difficult right now. And, um, you know, I think a lot of arts organizations are losing a lot of government funding. Obviously, I know of a couple projects that lost their NEA funding because of DEI, and which is so disheartening. And, um, I think, you know, there's going to be a lot of leaning on private donors to try and, uh, make up that difference or, you know, private foundations to make up the difference in funding, hopefully. And, um, uh, you know, it's yeah, it's scary. It's  a scary time. And I think, you know, even for private funding and, um, private donors, it's, you know, everyone is feeling stressed and feeling concerned about our future right now, just as a country. and there's so much uncertainty. And, um, but I think people who really rely on the arts for all the things that it can provide, you know, an escape and pleasure and, you know, stimulation of a different kind. And especially in a time like this, when you want to be able to get away from maybe what's going on around you, you know, I'm hoping we can find a way to really come together and, um, kind of, you know, rally around each other and find a way to support each other. But, um, I think it is going to be hard for the next few years if we can't find ways to replace that funding that so many people have lost. And I certainly don't think that anyone wants to back away from the progress that's been made with inclusion and representation, you know, just to get funding. So I know we have to be very creative with our path ahead and find a way to, to keep doing what we're doing in this current environment.  00:51:07 Isabel Li  Yeah, on a brighter note, I read about your work with Lyris Quartet earlier this year when you presented a concert with Melodia Mariposa called Altadena Strong with the Lyris Quartet, raising funds for those who have been affected by the LA fires. Can you talk a bit about the power of music? And we're going to end on a stronger note here about the power of music in bringing communities together and accelerating community healing.  00:51:31 Shalini Vijayan  Well, I have to say that concert was really a special one for us. You know, um, so many musicians were affected by the fires in LA. And, you know, I, I've lived in LA for over twenty years now, almost twenty five years and, um, certainly seen my share of wildfires and disasters, but this one hit so much more close to home than any of the other ones have. And, you know, I know at least twenty five people who lost their homes in between the Palisades and Altadena and Altadena in particular.   When I moved to LA, it was a place where a lot of musicians were moving to because you could it was cheaper and you could get a lot of space, and it's beautiful. And, you know, they really built a beautiful community there among all the musicians out there. And it's just heartbreaking, um, to see how many of them have lost everything. And I have to say, Irina Voloshina, who is the woman who runs Melodia Mariposa, and just an amazing violinist and an amazing, wonderful, warm, generous person. You know, she started that series in her driveway during COVID as a way to just keep music going during the pandemic, and it really turned into something so great. And she's, you know, got a whole organization with her now and puts on multiple concerts a year. And when she asked us if we would play that concert for the community in Altadena is, you know, there's no question that we were going to do it. I mean, we absolutely jumped at the chance to support her and support the organization and that community. And people really came out for that concert and were so excited to be there and were so warm and, um, you know, and and she talked to the crowd and really connected with everybody on a very personal level, because she also lost her home in Altadena and, um, you know, it was it was a really meaningful show for all of us. And again, those are the moments where you realize that you can use this art to really connect with people that you may have never met before and show your your love for them, you know, through music, as corny as that may sound, but it's true.  00:53:54 Isabel Li  Yeah, definitely. Well, thank you so much, Shalini, for sharing your visions, your knowledge with new music and community building with us today. Thank you so much for being on Obbligato.  00:54:07 Shalini Vijayan  Thank you so much for having me, Isabel. It was really a pleasure.  00:54:10 Isabel Li  What a wonderful conversation that was with LA-based violinist Shalini Vijayan. If you go to kpfa.org, you can check out more of her work. I put the links to two of her ensembles, Brightwork New Music and Lyris Quartet up on kpfa.org. And thank you for listening to our conversation here on Obbligato on Apex Express.  00:54:32 Isabel Li  We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world. Your voices are important.  00:54:42 Isabel Li  APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, and Cheryl Truong. Tonight's show was produced by Isabel Li. Thanks to the team at KPFA for their support. Have a great night.  [OUTRO MUSIC]  The post APEX Express – 11.13.25 – Obbligato with Violinist Shalini Vijayan appeared first on KPFA.

Su obra Revolución Diamantina obtuvo tres Premios Grammy, incluyendo Mejor Composición Clásica Contemporánea. Una de las compositoras más destacadas y reconocidas internacionalmente por la originalidad, calidad e impacto de su obra artística. Algunas de sus obras más conocidas son algunas de sus obras más reconocidas son Téenek, Antrópolis, Yanga, Altar de Cuerda, Altar de Muertos, Luciérnaga, Clara, Fractalis y TzamPremio Nacional de Artes y Literatura 2016 y miembro del Colegio Nacional desde 2022.

During the 2024-25 season, Alisa Weilerstein premiered three new cello concertos – Richard Blackford's The Recovery of Paradise (which she has recorded for Pentatone with the Czech Philharmonic conducted by Tomáš Netopil), Gabriela Ortiz's Dzonot (recorded for Platoon with the Los Angeles Philharmonic and Gustavo Dudamel) and Thomas Larcher's Returning into Darkness (premiered with the New York Philharmonic). James Jolly caught up with Alisa to talk about the two new recordings and also hear about her Fragments project that she's bringing to London as part of a South Bank Centre residency later this year. The Gramophone Podcast will now be included in The British Library Sound Archive, catalogued and preserved for future generations as part of the nation's audio and cultural heritage.

Kompozitorė Gabriela Ortiz (g. 1964) yra bene žymiausia dabarties Meksikos autorė, šįmet tiesiog apipilta Grammy apdovanojimais. Studijavusi tėvynėje, vėliau mokslus tęsė Londone ir Darmštate. Ortiz muzika labai gyvastinga, traukianti garsiausius dirigentus, joje daug užuominų į populiariuosius stilius – nuo meksikietiško folkloro ir roko iki afrikietiškų ir afrokaribietiškų skolinių. Ortiz neabejinga politikai ir istorijai, ją domina ryškūs herojai ir kovos: nuo pilietinių karų iki šiandienos feminizmo.Laidos autoriai Mindaugas Urbaitis ir Šarūnas Nakas

La política migratoria tiene consecuencias reales en la vida de las personas. En este episodio queremos presentarte el lado humano de esas historias en ambos lados de la frontera. ¿Qué han construido las personas migrantes en sus países de destino y qué dejarían atrás ante una deportación?Con entrevistas a: Cat, Felicitas, Jimena Reyes y Wilner Metelus.Puedes leer Unidad Mural: da click aquí.Si quieres ver el mini documental "En Corto. Gabriela Ortiz, música más allá de las fronteras", presentado por Guillermo Osorno consultalo en nuestro canal de YouTube. Hosted on Acast. See acast.com/privacy for more information.

Ganó el premio a la mejor composición clásica contemporánea en los Grammy

Mexican composer Gabriela Ortiz talks about her Carnegie Hall residency; activist Rosalinda Martínez and Assemblywoman Catalina Cruz tackle mass deportations; Colombian artist Iván Argote unveils the reason forDinosaur his giant dove sculpture in Midtown.

The World welcomes 2025 with this music holiday special. We look at a middle-school teacher in France who uses rap to teach math. Also, Italian pasta company Barilla released a soundtrack it says was scientifically designed to enhance the taste and texture of its pasta. And, music from Innoss'B tries to combat malnutrition in the Democratic Republic of Congo. Plus, Mexican composer Gabriela Ortiz's season-long residency at New York's Carnegie Hall that has offered many exciting new pieces.Listen to today's Music Heard on Air.

The La Jolla Symphony and Chorus presents New Beginnings, conducted by Sameer Patel. This program features Gabriela Ortiz's Kauyumari, Igor Stravinsky's Symphony of Psalms, Kaija Saariaho's Ciel d'hiver, and Jean Sibelius's Symphony No. 3. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 39113]

The La Jolla Symphony and Chorus presents New Beginnings, conducted by Sameer Patel. This program features Gabriela Ortiz's Kauyumari, Igor Stravinsky's Symphony of Psalms, Kaija Saariaho's Ciel d'hiver, and Jean Sibelius's Symphony No. 3. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 39113]

La Dra. Gabriela Ortiz, nos explica cómo podemos identificar cuando existe una dependencia a la tecnología en cuanto al tiempo invertido, señales físicas, emocionales y sociales al igual que recomendaciones para lograr un balance a través de hábitos saludables. Acompaña a Carlos Ordóñez y Rosalinda Ballesteros a conocer un poco más. Un Podcast de Tec Sounds.

Stanley Dodds is a violinist and conductor whose career spans three decades. He has been a violinist with the Berlin Philharmonic since 1994, and principal conductor of the Berlin Symphony Orchestra since 2014. He's conducted around the world, from our own Melbourne, Tasmanian and Canberra Symphony Orchestras, to the Hamburg, Vancouver and Beijing Symphony Orchestras, amongst many others. He also has a passion for music education, which makes him the ideal choice for his latest appointment as the new chief conductor of the Sydney Youth Orchestra. Stan talks eloquently about his inspirational musical journey as both a violinist and conductor. He introduces a number of works which will feature in SYO programs throughout 2024, providing great insights into the nature and importance of the music, and the excitement he wants to inspire in our next generation of musicians. Cathy Milliken's Catalogue of the Sky performed by the Sydney Symphony Orchestra conducted by Simone Young kindly provided by the Sydney Symphony Orchestra. Gabriela Ortiz's Téenek, Invenciones de Territorio performed by the Berlin Philharmonic conducted by Gustavo Dudamel kindly provided by Deutschlandradio.

Gabriela Ortiz, compositora y miembro de El Colegio Nacional

As educators, we love sharing musicians, artists, and composers with our students.  Listening to their music inspires us to create, move, and engage in music making and composing ourselves.  Today I'm talking with Emi Ferguson about the book Iconic Composers that she wrote with Nicolas Csicsko.  The illustrations by David Lee Csicsko are incredible!  Emi and I discuss the project, how this book can be used inside and outside of the classroom, and thoughts on being creative and composing as well as the importance of guiding students in composition opportunities. Follow Emi on Instagram: @emiferguson Emi's Website: www.emiferguson.com  Meet Emi Ferguson Emi is very proud to be named a 2023 Avery Fisher Career Grant awardee, and can be heard live in concerts and festivals around the world as a soloist and with groups including AMOC*, the New York New Music Ensemble, the Handel and Haydn Society, and the Manhattan Chamber Players. She has spoken and performed at several TEDX events and has been featured on media outlets including The Discovery Channel, Vox's "Explained" series on Netflix, Amazon's The Marvelous Mrs. Maisel, and Juilliard Digital's TouchPress apps talking about how music relates to our world today. A passionate chamber musician of works new and old, Emi has been a featured performer at the Marlboro, Lucerne, Ojai, Lake Champlain, Bach Virtuosi, and June in Buffalo festivals and has premiered works by many of today's leading composers, working most recently with composers Michael Hersch, Roscoe Mitchell, Emily Koh, Gabriela Ortiz, and Georgina Derbez.   Follow Jessica on Instagram @howtoteachmusicwithjessica Jessica's Website:  www.jessicagrant.org

In this episode, Kelly sits down with Dr. Dave Gerhart to have a conversation about how musicians can become more marketable as they navigate through different career opportunities. Dave is Segment Marketing Manager, Education for the Yamaha Corporation of America and Lecturer of Percussion at the Bob Cole Conservatory of Music at CSU, Long Beach, is a nationally recognized performer, composer, and educator. Dr. Gerhart, originally from Fairfield, California, holds a D.M.A. from the University of Southern California in Percussion Performance with a secondary emphasis in Music Education, Ethnomusicology, and Music Industry & Technology. He received a M.M. in Percussion Performance and Instrumental Conducting and a B.M. in Music Education from California State University, Long Beach. Dr. Gerhart has been featured on CDs with the Robin Cox Ensemble, Steven Hartke, and Gabriela Ortiz. As a freelance musician, Dave has performed under Gustavo Dudamel, Zubin Mehta, Carl St. Clair, Enrique Diemecke, Mehli Mehta, and has performed with Yo-Yo Ma, Bobby McFerrin, Michael Kamen, Liam Teague, Yefim Bronfman, Ray Holman, Robert Greenidge and the Blue Man Group. His principle teachers include Dr. Michael Carney, Erik Forrester, Brad Dutz, and Raynor Carroll, principal percussionist of the Los Angeles Philharmonic. His steel drum ensemble, the Island Hoppin' Steel Drum Band, performs throughout Southern California. Dave serves on the Board of Advisors and the World Percussion Committee for the Percussive Arts Society. An advocate of using technology in the classroom, Dr. Gerhart was featured in Technology and Its Use by Percussion Educators in the 21st Century (Published in Percussive Notes – January 2012) by Tracy Wiggins and part of the case study Using Technology to Enhance Performance Pedagogy in the Postsecondary Brass Studio by Adam Snider. In 2010, Dave co-founded https://DrumChattr.com and currently curates percussion related content for https://PercussionEducation.com. Dave's compositions and arrangements for triangle, timpani, percussion ensemble and steel drum orchestra are published by Bachovich Music Publications, Boxfish Music Publishing and Living Sounds Publications. For more on Dave, check out: https://davegerhart.com/ The Entrepreneurial Muse - Jeffrey Nytch: https://www.amazon.com/Entrepreneurial-Muse-Inspiring-Career-Classical/dp/0190630973Watch more Outside The Bachs podcast episodes on YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠Listen on Apple Podcasts⁠⁠⁠⁠⁠⁠ Get More Students For Your Private Music Studio: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠OutsideTheBachs.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠Follow Kelly on Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Follow Kelly on TikTok⁠⁠⁠⁠⁠⁠ Facebook Group: ⁠⁠⁠⁠⁠⁠Private Music Instructors, Piano Lesson Teachers, and Music Studio Owners

Welcome to the  Behind the Art Inspiration Podcast. In these special edition episodes of “Creative Lifebook” interviews, I'll meet with co-authors of the book and discuss their creative life hacks. We will also touch on how the book has become a springboard for magic. In this episode, I'm connecting with artist Gabriela Ortiz, the author of chapter 6 - Embark on a Hobby- Seeking-Journey I'm your host Caroline Karp filming from my Clearwater, Florida studio. Let's get to it. The Creative Lifebook is full of Reflections On The Art Of Living A Fully Expressed Life and is written by Jessica Hughes with 65 thought leaders, wellness experts, artists and creatives. The forward is written by Dr. Joe Vitale. @luxemediastudios @drjoevitale #motivation #inspiration #luxury #drjoevitale Ending Thank you so much for watching and listening as I share my love of fun, connection, collaboration and ART. It would be great if you subscribe!  Being a facilitator of conversation, I pose an open-ended question to each artist in true Caroline style. “Send me a one-sentence blurb about you and what you do as an artist.” Then the conversation just flows from there. Where to find Gabriele Website https://www.gabrielaortizart.com/ Insta https://www.instagram.com/gabyorzuart/ Here's a variety of ways to engage with me on social media - If you'd like to watch this episode click here and see it on my YouTube channel. Caroline's Art Gallery Caroline's Facebook Page Caroline's Instagram Page Caroline's LinkedIn Page Caroline's Twitter Page

La Mtra. Vera Alejandra Núñez Merino te cuenta los secretos existentes detrás de las historias de muchas de las emblemáticas melodías de nuestra música tradicional a través de Tierra mestiza. Sintoniza el programa todos los sábados y los domingos a las 07:00 horas y reaviva tu identidad nacional. En esta emisión podrás disfrutar de: Felicidades con la Orquesta Tradicional Calentana Paul Anastasio en el 47 Festival Internacional Cervantino; Diálogo entre el viento y el mar con Cristina Cabrera; la pieza Kauyumari de la compositora Gabriela Ortiz en Tierra mestiza en sinfonía; un popurrí de música oaxaqueña con la Banda Filarmónica Femenil Ka'ux; La malagueña curreña con Beto Macías; además, de otros interesantes contenidos culturales.

La Mtra. Vera Alejandra Núñez te cuenta los secretos existentes detrás de las historias de muchas de las emblemáticas melodías de nuestra música tradicional a través de Tierra mestiza. Sintoniza el programa todos los sábados y los domingos a las 07:00 horas y reaviva tu identidad nacional. En esta emisión podrás disfrutar de: el documental de la cooperativa Mujeres del Valle del Mezquital; el son Mujeres del viento florido con la Banda de viento Mujeres del viento florido; Elena Huerta Múzquiz, muralista, en Vivas obras de nuestra tierra mestiza; décimas en voz de Daniela Meléndez acerca de los derechos de las mujeres; la biografía de María Josefa Crescencia Ortiz Téllez-Girón de Domínguez en Leyendas y tradición oral; La enredadera con Tayer; la pieza Kauyumari de la compositora Gabriela Ortiz; uno de los cantos sagrados de la chamana mazateca, María Sabina: Canto de curación; El origen de las minas de sal de San Mateo, relato de la cultura Koti', con el proyecto Sesenta y ocho voces. Sesenta y ocho corazones; Felicidades con la Orquesta Tradicional Calentana Paul Anastasio en el 47 Festival Internacional Cervantino; la poesía zapoteca de Irma Pineda; la poesía tutunakú de Cruz Alejandra Lucas Juárez; y la poesía zoque de Mikeas Sánchez, en el IX Festival de poesía Las lenguas de América. Carlos Montemayor; La lloroncita con Caña dulce y caña brava; además, de otros interesantes contenidos culturales.

The country's largest chamber music conference was back this year after a three-year hiatus and Relevant Tones was there. One of the highlights of the conference was two days of incredible ensemble showcases at Drom in lower Manhattan. We feature audio recorded live at these showcases from Shouthouse, Interwoven, the Beo String Quartet and the Johnston Brothers plus a piece featuring Lucy Shelton, one of the conference honorees. Featuring music by Gabriela Ortiz, Thomas Osbourne, Liu Tianhua, Chan Yaoxing, Nigel Westlake, Will Healy, Daron Hagen and Paolo Bellinati.

We celebrate the Mexican holiday of Día de los Muertos with music written in homage to those who are no longer with us. Music by Miguel del Aguila, Sandunes and Kyla-Rose Smith, Elliot Carter, Michael Gordon and Gabriela Ortiz.

It's tour time! While you're listening, we'll be flying, driving, and playing our way through Boston, New York, Mexico City, and Guanajuato. So to kick off the trip, let's talk tour repertoire and hand out some awards. Tour rep includes Copland's Third Symphony and Mahler 1 as the "big pieces", plus violin concertos from Arturo Marquez and Gabriela Ortiz. Which composers would we love to have dinner with? What are the scariest moments in these concerts? And what was the most memorable on-stage exchange during tour prep?

It's tour time! While you're listening, we'll be flying, driving, and playing our way through Boston, New York, Mexico City, and Guanajuato. So to kick off the trip, let's talk tour repertoire and hand out some awards. Tour rep includes Copland's Third Symphony and Mahler 1 as the "big pieces", plus violin concertos from Arturo Marquez and Gabriela Ortiz. Which composers would we love to have dinner with? What are the scariest moments in these concerts? And what was the most memorable on-stage exchange during tour prep?

La Mtra. Vera Alejandra Núñez te cuenta los secretos existentes detrás de las historias de muchas de las emblemáticas melodías de nuestra música tradicional a través de Tierra mestiza. Sintoniza el programa todos los sábados y los domingos a las 07:00 horas y reaviva tu identidad nacional. En esta emisión podrás disfrutar: de Wikiruta, lugar sagrado del pueblo Wixárika en una Ventana a mi comunidad; de la décima A mí me pinta la aurora de Arturo Castillo; de uno de los cantos sagrados de María Sabina: Canto de curación; de las piezas Son alegre y Tierra mestiza con el grupo Noyoltzin; de un fragmento de la Feria del chocolate y el cacao en Tabasco; de la vida de Patricio Ramos y Ortega en Vivas obras de nuestra tierra mestiza; de la pieza Kauyumari de la compositora Gabriela Ortiz; del vals Añoranza mexicana con la Banda Sinfónica Vidal Tépox; de la obra El mayordomo invita con la Banda filarmónica femenil Ka'ux; de la poesía en p'urhépecha de Elizabeth Pérez Tzintzún; de la jarana Hecelchakán con la Orquesta Noh-Beh de Campeche; de La Sandunga nueva; de Las mañanitas juchitecas y de La llorona, son huasteco; además, de otros interesantes contenidos culturales.

La Mtra. Vera Alejandra Núñez te cuenta los secretos existentes detrás de las historias de muchas de las emblemáticas melodías de nuestra música tradicional a través de Tierra mestiza. Sintoniza el programa todos los sábados y los domingos a las 06:00 horas y reaviva tu identidad nacional. En esta emisión podrás disfrutar de jarabes de la Fonoteca Nacional del INAH; de la sección: Cuánto sabes de nuestra tierra mestiza; de sones huastecos y de chilenas; de un chotis y de un buen calabaceado; de Tierra mestiza en sinfonía con una pieza musical de la compositora Gabriela Ortiz; de uno de los cantos sagrados de María Sabina; de la cultura del estado de Chihuahua; además, de otros interesantes contenidos culturales.

Our first episode gives an in-depth look into the 75th Ojai Music Festival (September 16-29, 2021) repertoire and the musical threads that connect it all together, curated by Music Director John Adams. Guests include Ojai Festival Artistic & Executive Director Ara Guzelimian, Program Book Annotator Thomas May, and featured 2021 composer Gabriela Ortiz. SHOW NOTES / CREDITS: Thomas Kotcheff, host Thomas Kotcheff, producer Louis Ng, recording engineer OJAICast theme by Thomas Kotcheff and Louis Weeks Music used in this episode: Philip Glass - Evening Song No. 2 performed by Timo Andres Gabriela Ortiz - Río de las Mariposas performed by Southwest Chamber Music N.B. John Adams was music director of the Ojai Music Festival in 1993 and not 1994 as stated in the podcast

We hoped you enjoyed the previous episode of the Thoughtful Discussions x The Art Of Conversation crossover featuring Gabriela Ortiz. In today's episode Josh and Corey bring on guest Tim Engelhardt. You may remember Josh bringing on Tim in the early days of Thoughtful Discussions when we were first starting. Tim is an artist in an effort to uniquely and authentically communicate his story and all of its influences to the viewer. This was a fun episode that we hope you enjoy! We discuss some of what the last two years have looked like with everything going on and much more! This audio will be available both here and also on Corey's podcast network The Art of Conversation. As always be sure to subscribe and feel free to let us know any feedback good or bad! Thanks for the support! Follow Tim's journey below Website https://www.engelhardtdesigns.net Instagram https://www.instagram.com/engelhardtdesigns/

La Mtra. Vera Alejandra Núñez te cuenta los secretos existentes detrás de las historias de muchas de las emblemáticas melodías de nuestra música tradicional a través de Tierra mestiza. Sintoniza el programa todos los sábados y los domingos a las 06:00 horas y reaviva tu identidad nacional. En esta emisión podrás disfrutar de Huitzilin, son huasteco; de melodías como Abajeño antiguo o El trompito; del juego: pies ligeros de los niñxs rarámuri; de un fragmento de la pieza Kauyumari de la compositora Gabriela Ortiz; de poesía en lenguas originarias; de petroglifos y cañuelas; de la historia de la pequeña Iyari; de la cultura del estado de Campeche; además, de otros interesantes contenidos culturales.

En este Podcast de la Fonoteca Nacional, presentamos una breve muestra de ¡Únicamente la verdad!, ópera de la mexicana Gabriela Ortíz, quien el pasado 4 de abril, fue investida como miembro del Colegio Nacional. Dicho trabajo operístico está inspirado en elementos populares, como la ya extinta revista Alarma! y el corrido “Contrabando y traición” de los Tigres del Norte.

We hoped you enjoyed the previous episode of the Thoughtful Discussions x The Art Of Conversation crossover featuring Dom Necciai. In today's episode Josh and Corey bring on guest Gabriela Ortiz. Gabriela is an artist, motivator, and creative. This was a fun and informative episode that we hope you enjoy! This audio will be available both here and also on Corey's podcast network The Art of Conversation. As always be sure to subscribe and feel free to let us know any feedback good or bad! Thanks for the support! Follow Gabriela journey below Website https://www.gabrielaortizart.com/original-art Instagram https://www.instagram.com/gabyorzuart/

El aclamado cuarteto de cuerdas Q-ARTE se reúnen con Nicolás Muñoz M y Sergio Cote al lado de la chimenea para compartir con nosotros una excelente charla sobre la música de cámara en Colombia. Hablamos sobre sus inicios, sobre la búsqueda de obras nuevas latinoamericanas, sobre su trabajo en el festival Festicuartetos, cómo patrocinar un cuarteto de cuerdas y mucho más. Interpretan 2 obras: Bambuco en Si menor de Adolfo Mejía, un arreglo para cuarteto de cuerdas de Fernando León. Cuarteto para cuerdas No.6 Op.250 - 3er movimiento - Blas Emilio Atehortúa Escucha este y los demás episodios de Imán Music Sessions en Anchor, Spotify, Google Podcasts, Apple Podcasts y en www.imanmusic.net/sessions Q-ARTE Biografía: Nominado a los premios Grammy en 2020, el Cuarteto Q-Arte es aclamado como uno de los cuartetos de cuerda más destacados de Latinoamérica. Fundado en 2010, se ha concentrado en investigar, interpretar y difundir la música para cuarteto producida en el continente. Su repertorio incluye más de un centenar de obras escritas por compositores latinoamericanos, las cuales ha interpretado en diversas salas de concierto y festivales de las Américas y Europa. Ha desarrollado proyectos en colaboración con notables intérpretes como Rodolfo Mederos, Günter Haumer y el Cuarteto Latinoamericano, y con compositores como Gabriela Ortiz, Mario Lavista y Gustavo Leone, entre otros. Así mismo, en el marco de la labor que ha realizado para dar difusión a la música de Colombia, se destaca su estrecha relación con el célebre compositor Blas Emilio Atehortúa, de cuya obra para cuarteto de cuerdas realizó ediciones críticas y grabaciones. Los miembros del Cuarteto Q-Arte, músicos colombianos formados en algunos de los principales conservatorios de Europa y Estados Unidos, son a su vez profesores en la Universidad Nacional de Colombia, la Pontificia Universidad Javeriana, la Universidad de los Andes y la Universidad Sergio Arboleda. Su actividad como docentes e investigadores alimenta su quehacer artístico y permite que su trabajo mantenga un diálogo constante con la comunidad académica de las artes y la música. En este marco, el Cuarteto Q-Arte ha colaborado con instituciones como la Universidad de Chicago, Columbia College Chicago, la Universidad de Kent y el Festival Instrumenta Oaxaca, realizando clases magistrales, seminarios y sesiones de lectura de obras con compositores de distintos países. En 2014 el Cuarteto Q-Arte creó el festival internacional FestiQ-Artetos, un evento bienal con sede en Bogotá en el que profesionales, estudiantes y público general de todo el mundo se dan cita para una agenda de conciertos, talleres y charlas en torno a la música para cuarteto de cuerdas. Igualmente, en el marco del festival se realiza el Concurso Nacional de Composición para Cuartetos de Cuerda, una plataforma que permite dar difusión a la obra de compositores colombianos y generar intercambio entre creadores e intérpretes. El Cuarteto Q-Arte fue nominado en 2017 al Premio a la Innovación en Classical:NEXT en virtud de su trabajo con enfoque transdisciplinar y su interés por la experimentación desde la práctica musical. Futuros proyectos incluyen su asidua aparición en las principales salas de conciertos de Colombia, su colaboración con notables compositores y el desarrollo de programas en diálogo con otras manifestaciones artísticas y culturales.

Guest conductor Paolo Bortolameolli will lead the Charlotte Symphony Orchestra (CSO) in Kabalevsky's Cello Concerto No. 1 , featuring cellist Christine Lamprea plus works by Corigliano and Gabriela Ortiz. Bortolameolli is a strong advocate for bringing new compositions and new audiences to classical music. He describes some of his novel approaches to this challenge. He also talks about the music on the program for the upcoming CSO concerts. Pictured: Paolo Bortolameolli photo by Michiko Tierney. Paolo Bortolameolli , conductor

En el programa de esta semana conoceremos el trabajo de la compañía Noche de Payasas, conformada por Gabriela Ortiz y Consuelo Ramírez. Además, conoceremos el espacio Arte Vida junto a su director Cristian Olivares.

Actriz de doblaje, teatro y televisión. Influencer. Nacida bajo el signo de capricornio, Gaby Ortiz nos abrirá en sus memorias parte de su historia y su trabajo en este medio artístico, sus valores y su filosofía de vida que la han llevado a ser una actriz comprometida con su vocación. Síguenos en @avidanoficial @memoriasdeunpoetapodcast --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/avidan-vergara/message

California was likely named for a character in an early 16th century Spanish novel. Queen Calafia was a mythical Black warrior who ruled an island of Amazon women, and commanded an army of griffins. She is said to have worn armor made of fish bones, and used weapons made of gold. Most Californians don't know this origin story, but a Bay Area theater company hopes to change that. Plus remembering Eureka's lost Chinatown. And Latin Grammy-nominated composer Gabriela Ortiz has a new concerto, for flute and orchestra inspired by El Camino Real... and the California fast food chain Taco Bell.

Gabriela Ortiz En Puerto Rico el podcasting es uno de los renglones de los “nuevos medios” que más rezago sufre. Algunos arguyen que se debe a la condición colonial de la Isla, al poco dominio del inglés o al hecho de que nuestras instituciones educativas no lo han tomado en serio. Lo cierto es que en la Isla hay a penas un puñado de podcasts exitosos y —como arguye nuestra invitada de hoy— los medios tradicionales lo ven meramente como un mecanismo de “redifusión” de contenido. El podcasting surgió en los Estados Unidos, en el año 2004, cuando Adam Curry y Dave Winer crearon tanto el contenido inicial como el alimentador RSS que lo distingue de todos los demás medios de comunicación. Sorprendentemente, en la Isla todavía hay medios tradicionales que no entienden lo que es y lo ven como una mera “antena”. La semana pasada tuve en el programa a Enrique Vargas, creador del Observatorio del Podcast de Puerto Rico, una página de Internet donde se enumeran, catalogan y organizan los podcast de origen puertorriqueño. Vargas me contó sobre los escollos que ha tenido que sobrellevar para recopilar la información y la manera en que Puerto Rico es apenas una “grieta” en la “podcasfera” mundial. Para efectos de records, la Isla no es una país y tampoco figura como un estado de los Estados Unidos. Nuestros datos sencillamente se esfuman dentro del mar de podcasts de los Estados Unidos. Enrique me habló de Gabriela Ortiz, una joven puertorriqueña que está haciendo su doctorado en la Universidad de Navarra, en Pamplona, España. ¿Y por qué esta joven es importante? Pues porque la especialidad doctoral de Gabriela va a ser en “podcasting”. A diferencia de Puerto Rico, donde —según Enrique— le dedican unos minutos dentro de una clase de radio al tema del podcasting, en España —y en los Estados Unidos— hay gente especializándose en podcasting a nivel de doctorado. Y por eso mi interés en conversar con Gabriela. Aquellos de ustedes que lleven algún tiempo escuchando Hablando de Tecnología recordarán que en el episodio 156, del 18 de mayo del 2015, traje al programa a la doctora María Blanco, una joven oriunda de Ávila que en esa época estaba completando su doctorado en la Universidad Pontificia de Salamanca. Pero esta vez se trata de alguien de aquí, como el coquí. /*   Conversé con Gabriela por espacio de dos horas y exploramos el podcasting desde múltiples ángulos. Así que, si entre tu planes está desarrollar un podcast o ya lo comenzaste y te gustaría conocer más sobre este medio emergente, este es un episodio que debes escuchar hasta el final. Enlaces: • Artículo: Retos Del Periodismo En La Era Post Digital (comenzando en la página 171)  OTROS EPISODIOS QUE TE PUEDEN INTERESAR: Consejos Para Hacer Un Buen Podcast La Atención Es El Producto Autoempleo, Cómo Crear Tu Propia Realidad Los Descuidos Digitales Son Costosos Redacción SEO, Al Centro De Todo En La Internet ©2021, Orlando Mergal, MA _________________ El autor es Experto En Comunicación Corporativa (Lic. R-500), Autor de más de media docena de Publicaciones de Autoayuda y Productor de Contenido Digital Inf. 787-306-1590 • 787-750-0000 Divulgación de Relación Material: Algunos de los enlaces en esta entrada son “enlaces de afiliados”. Eso significa que si le das click al enlace, y compras algo, yo voy a recibir una comisión de afiliado. No obstante, tú vas a pagar exactamente lo mismo que pagarías al visitar al comerciante directamente y de manera independiente.  Además, yo sólo recomiendo productos o servicios que utilizo personalmente y que pienso que añadirán valor a mis oyentes. Al patrocinar los productos o servicios que mencionamos en Hablando De Tecnología contribuyes para que el programa continúe. Hago esta divulgación en cumplimiento con con el "16 CFR, Part 255" de la Comisión Federal De Comercio de los Estados Unidos "Guías Concernientes al uso de Endosos y Testimonios en la Publicidad".

University of Arkansas music professor Lia Uribe this week continues to celebrate Hispanic Heritage Month with selections from Cuban and Mexican composers. We hear selections from Silvana Estrada, Gabriela Ortiz and Tania Léon, with performances by Kronos Quartet, and Nancy Belmont and Mika Sasaki.

En esta nueva entrega de Allegro con batuta nuestro anfitrión, Iván López Reynoso nos dará un panorama bastante completo sobre la música mexicana de orquesta. Un recorrido entre compositores, artistas, creadores, entre los que destacan los fundacionales, José Pablo Moncayo, Silvestre Revueltas, Carlos Chávez o Blas Galindo, seguidos de una generación heredera de toda de esta tradición, encarnada principalmente por Arturo Márquez, además de Gabriela Ortiz y Daniel Catán, entre otros. Asimismo, Reynoso se refiere con cariño y admiración a otros artistas, cantantes, creaddores, directoras y directores que han destacado en los últimos años desde sus respectivos rubros, entre ellos Ana Lara, Georgina Derbez, Alejando Basulto, a Juan Pablo Contreras, a Arturo Rodríguez, Javier Camarena, a Arturo Chacón, a María Katzarava, Ramón Vargas y a muchos otros cantantes; Rebeca Olvera, por ejemplo, fantástica soprano mexicana. Tenemos bailarines y Isaac Hernández, Elisa Carrillo; tenemos directores de orquesta, Carlos Miguel Prieto, Alondra de la Parra, Jesús Medina, representando México dentro y fuera de nuestras fronteras.

La Dra. Gabriela Ortiz, nos explica cómo podemos identificar cuando existe una dependencia a la tecnología en cuanto al tiempo invertido, señales físicas, emocionales y sociales al igual que recomendaciones para lograr un balance a través de hábitos saludables. Acompaña a Carlos Ordóñez y Rosalinda Ballesteros a conocer un poco más. Un Podcast de Tec Sounds.

Rubén Ortiz-Torres es un artista nacido en México que vive y trabaja en Los Ángeles desde 1990. Comenzó su carrera como fotógrafo, grabador y pintor en la década de 1980, mucho antes de que recibiera su MFA en el California Institute of Arts en 1992. Ortiz-Torres es considerado uno de los artistas contemporáneos mexicanos más relevantes hoy, creador de una forma específicamente mexicana del posmodernismo durante la década delos ochenta. En los últimos diez años ha producido un cuerpo de trabajo en una amplia gama de medios— series de fotografías, de readymades alterados, una película, varios videos (incluyendo tres en 3D), instalaciones de video a gran escala, importantes series de pintura, esculturas, coches personalizados y máquinas, collages fotográficos, performance y también ha curado exhibiciones. Desde 1982, el trabajo de Ortiz-Torres ha sido presentado en 25 exposiciones individuales, más de 100 exposiciones colectivas en Estados Unidos, Europa, Australia, Nueva Zelanda y Canadá, y más de 50 proyecciones de sus películas y obras de vídeo. Los Angeles Times, The New York Times, Reforma (México), La Jornada (México) y El País (España), así como importantes publicaciones del mundo del arte como Artforum, Art Imágenes, Frieze, New Art Examiner, Poliester, Bomb, Flash Art y Art in America han escrito numerosos artículos sobre su trabajo. Ortiz-Torres ha sido el destinatario de numerosos premios y becas como Andrea Frank Foundation, Foundations for Contemporary Performance Art, U.S. Mexico Fund for Culture, Louis Comfort Tiffany Foundation, the Banff Center for the Arts, y la beca de la Fullbright Foundation por mencionar algunas. Tracklisting DJ Dewey Decibel - Manhattan Dub / Sister Mantos, Gabriela Ortiz, Saúl Hernández - Como TV Gabriela Ortiz - El suicidio de Eleazar / Gabriela Ortiz - Las fronteras del mundo Rubén Ortiz - La Internacional --- Send in a voice message: https://anchor.fm/dominiopublico/message

Hay adolescentes que nunca han tenido un hogar ni oportunidades de desarrollo y está en nosotros poder apoyarlos. Conoce el trabajo de “A way out” en esta plática con Gabriela Ortiz.

@nutri.eatcetera @marianafbcosta @gaabrielaortiz @bernardolimads @lribeironutricao

@nutri.eatcetera @marianafbcosta @gaabrielaortiz @bernardolimads @lribeironutricao

¿Puede el ejercicio mejorar la memoria y el desempeño cerebral? En este episodio la Doctora Gabriela Ortiz, nos comparte más sobre el trabajo de Jhon Ratey, Psiquiatra de la Universidad de Harvard que estará presente en el Foro Wellbeing 360.

Hola soy Arely Alondra, maestra de los coros Voces del Río de Orquestando Armonía. En este episodio continuamos el ciclo de Mujeres mexicanas compositoras. En esta tercera parte conoceremos la trayectoria de Alejandra Odgers y la obra Altar de muertos de Gabriela Ortiz. No olvides compartir con el hashtag #LoescucheenRadioOA Visita nuestras redes sociales Facebook: Orquestando Armonía Instagram: @orquestadeboca Twitter: @orquestadeboca Escúchanos en: Spotify Apple podcast --- Send in a voice message: https://anchor.fm/radioorquestandoarmonia/message