A Classical Christmas

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Let’s face it, most Christmas music is lame. And it’s that same lame Christmas music that gets blared over loudspeakers in shopping malls all across this great country of ours. Ask most people about classical Christmas music and they’ll probably say something about that horrifying version of Pachelbel’s Canon in D by an electronic group that calls itself an orchestra.

Ugh.

But fear not, for I bring you good tidings of great joy which shall be to all classical fans. For unto us is born this day in the City of Angels a playlist, which contains more than five hours of actual classical Christmas music that doesn’t suck.

It’s embedded below. I’ll point out a few of my highlights:

  • There are a few of my favorite bits of The Nutcracker because it’s The Nutcracker and The Nutcracker is undeniably awesome.
  • Bethlehem Down is a Christmas carol by Peter Warlock and Bruce Blunt who got totally plastered on Christmas Eve 1927, wrote this carol, sent it in to The Telegraph’s annual Christmas carol contest, and won.
  • Since there are so many great choral recordings of classical Christmas music…and since they’re so easy to find, the choral stuff I’ve included on this particular playlist is off-the-beaten-path choral stuff. For example, Charles Ives’ “A Christmas Carol” and the two Sibelius carols “Jouluna” and “En etsi valtaa, Ioistoa” are all just absolutely stunning. (And you won’t encounter them on the stereo system at your local Target store.)
  • I’m sure you know Leroy Anderson’s “Sleigh Ride” quite well, so instead of that, I’ve included his “A Christmas Festival,” which is a delightful medley of popular Christmas tunes…and the “Sleigh Ride” I *have* included is one by Frederick Delius. Don’t worry, there are plenty of sleigh bells throughout.
  • My favorite thing on this playlist is probably the least-known work as well…and I say that not as a hipster who “liked it before it was cool,” it’s just that “Une cantate de Noel” by Artur Honegger is not the most popular Christmas tune. But I think it’s worthy of 20 of your minutes. What Honegger does is harness the power of the darkness before the birth of Christ in the first few minutes of the piece and then turns that into blazing light and glory upon the angels’ announcement of the nativity. The work ends in a truly awe-inspiring mash-up of familiar Christmas carols, each sung in its original language. To me, this is wonderfully moving…and a reminder that we are all connected together as one species, regardless of race, gender-identity, class, or religion.
  • Throughout, I’ve interspersed selections from one of my favorite Baroque Christmas albums, “Bright Day Star” by the Baltimore Consort. Some familiar things, some not-so-familiar things. Including the final selection on the playlist: “Hey for Christmas!” sung to the Dargason tune, about a drunken party gone wrong (what other Christmas carol contains the line “the sweat down their buttocks ran”?)
  • The last piece I’ll point out is, I think, the smartest one. “Die natali,” (pronounced DEE-ay nah-TAH-lee), by Samuel Barber. This is an incredibly intricate tapestry of seven well-known Christmas carols that never ceases to surprise and delight me when I hear it again for the first time each Christmas season.

Enjoy!

5 Questions for Michael Giacchino

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This weekend, the American Youth Symphony will present a screening of Star Trek Into Darkness with the film score played live to picture. David Newman will conduct Michael Giacchino’s exhilarating score and Giacchino will be on hand for a pre-concert/screening Q&A with film music journalist (and frequent KUSC contributor) Jon Burlingame.

Details here.

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In advance of this weekend’s performance, I had a chance to catch up with the very busy Oscar-winning composer, Michael Giacchino, for a few questions.

BL: Live movie concerts are all the rage at major orchestras from Europe to the United States and beyond. They are extremely popular with audiences and a boon financially for the orchestras which present them. What do you make of the popularity these types of events?

MG: A large number of people are only exposed to orchestral music through film scores. It only makes sense that this material would find it’s way into the hands of orchestras and that film music should be a regular part of an orchestra’s repertoire. What better way to expose a broader audience to the power of live musicians then playing their favorite film music. I am thrilled that people are getting an opportunity to hear what it is like to be in a room with 80-90 musicians. They may come to hear the Chicago Symphony play Star Trek today, and decide to come back for Bach next week. I also think that as people’s home theaters become more sophisticated, the chance to see a film with a live orchestra in a place like the Royal Albert Hall offers something that simply cannot be replicated in their living room.

BL: As a composer of music for films, I would imagine these kinds of concerts would represent the best possible environment for audiences to experience your work. How does a finely-tweaked, impeccably recorded performance played over a movie theater sound system compare to the immediacy (and potential pitfalls) of live performance?

MG: Nothing compares to the energy of a live performance. Movies in the theater have the dialogue and sound effects mixed slightly differently than we have in the concert hall. We take great care to provide a perfect sound mix so it still feels like the film…however, in the concert hall you can’t help but notice that when Nero’s ship is approaching in Star Trek 09…there’s a lot of brass at work there.

BL: This concert is the first time the AYS will be performing an entire film score live to picture. What sorts of challenges will they encounter…and what advice would you give to the young musicians who have never done this before?

MG: They are going to be in the expert hands of David Newman who is a genius with this type of project. They will have a blast…probably their biggest challenge will be keeping their eyes off the screen and focused on the music. I’m kidding of course but I love watching the musicians follow along with the movie during their rests. I just want them all to relax and have fun. Maestro will keep them in sync.

BL: Much was made of your extremely busy summer with a trio of very high-profile releases [Tomorrowland, Jurassic World, Inside Out]. Does it ever slow down for you? Do you ever have down time? Or do you prefer having a jam-packed schedule? How difficult is it to balance multiple projects at once?

MG: Yes, once the films were released I had some time off in the summer. I went to some of the Star Trek performances, but I was able to take the time and work in my backyard. I do keep a very strict schedule even when I am working. I stop working at 6 and spend time with the kids. It is very important to keep that balance. Working on multiple projects at once is really a matter of scheduling. Luckily, this past year all the directors I worked with knew each other and did their best to keep the schedule so that I wouldn’t go crazy.

BL: Finally, slightly off topic, but KUSC is doing a week-long celebration of the music of Beethoven in a couple of weeks and we’re asking everyone we interview about their early encounters with the music of Beethoven. Has Beethoven’s music ever been an inspiration in your work? Is there a specific piece by Beethoven that is particularly close to your heart?

MG: I love Beethoven’s Pathetique Sonata – just magical.  It’s almost like film music before film music existed.  Of course who can forget the 9th Symphony? I often have wondered how many people were introduced to this piece of music by hearing it first in the movie Die Hard?

The KUSC Classical Top 100 Analyzed

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Well, the KUSC Classical Top 100 has been fully revealed and with it, some predictable results…and more than a few surprises as well.

To recap, we asked KUSC listeners to vote on their favorite pieces of classical music and then we counted down the top 100 vote-getters on the air. You can view the entire list here. Before I get to what surprised me the most about the results, here are a few things that did not shock me at all. Continue reading

Mozart at the Bat

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With opening week of the new baseball season upon us, I was thinking about the various songs the players choose for their walk-up music as they head up to bat. It’s totally their choice and the picks range from something with a good thumping bass to get the adrenaline flowing to music of menace and intimidation for opposing pitchers. Chipper Jones always used Crazy Train, by Ozzy Osbourne; Yasiel Puig prefers Turn Down For What, by DJ Snake and Lil Jon; while Nick Punto let his daughter pick his walk-up music. Her choice? Shake it Off, by Taylor Swift, of course.

It’s not just batters who get to choose entrance music: two of the best closing pitchers in MLB history chose “lights out” music as they entered from the bullpen. Trevor Hoffman always entered to AC/DC’s Hells Bells, and Mariano Rivera actually earned his nickname from his theme song: Metallica’s Enter the Sandman. Both are awesome tunes to intimidate visiting batters while their opponent’s most dominant pitcher warms up.

As far as I know, only once has a Major League Baseball player opted for a classical tune as his walk-up music. That’s Prince Fielder, who uses the Rex tremendae section of Mozart’s Requiem as he strides to the plate. But that got me thinking (and talking to my KUSC colleagues) about what would make the best classical walk-up music. Below are nine possibilities–a full lineup’s worth, which I’d be happy to recommend to any MLB team if they’d like to do a classical music promotion night.

1. Carl Orff – “O Fortuna” from Carmina Burana: A classic to lead off, with the added bonus of familiarity.

2. Igor Stravinsky – “Infernal Dance,” from The Firebird: Again with the intimidation factor here. This has the added benefit of probably causing many in the stands to jump in surprise after the first chord.

3. Johannes Brahms – opening of Symphony No. 1: Some nice, solid power here from a composer who also hits for average and makes every at-bat count. Exactly what you want for your #3 hitter.

4. Hector Berlioz – “Tuba mirum,” from Requiem: In baseball, you save your power-hitters for the cleanup spot in the batting order. This is cleanup music. (Suggested by Alan Chapman.)

5. Béla Bartók – opening of Miraculous Mandarin Suite: Whoever bats behind your cleanup hitter better be a decently scary presence at the plate. #5 protects #4, after all. Suggested by Gail Eichenthal, here we have music with what she calls “fear factor.”

6. John Adams: opening of Harmonielehre: Quite simply, one of the most badass pieces in all of classical music. Perfect for a hitter wanting to get the adrenaline pumping.

7. Hector Berlioz – “March to the Scaffold,” from Symphonie fantastique: When I asked Jim Svejda for his walk-up music pick, he suggested this piece, emphasizing it was perfect for Alex Rodriguez. I guess we know how Jim feels about A-Rod. The embattled Yankees DH bats seventh, and now, so does his execution walk-up music.

8. Gustav Holst – “Mars, the Bringer of War,” from The Planets: You didn’t think I’d forget this one, did you? It’s a good one for stat nerds too, because any good baseball player should be the bringer of WAR.

9. Serge Prokofiev – “The Alien God and the Dance of the Pagan Monsters,” from Scythian Suite: I mean, you don’t even need to hear it to know this is intimidating music, right? Do take a listen, though, because this is the piece I would likely choose as my walk-up music. And, yes, I would be batting ninth…frequently replaced by a more talented pinch-hitter.

So, there you have it. My starting lineup of Classical Walk-Up Music. I’d love to hear yours. Leave it in the comments…or blog about it and send me a link. In the meantime, here’s a Spotify playlist of my picks for your listening pleasure.

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Here’s the thing about Gustavo Dudamel…

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I’ve never particularly cared for the third movement of Dvořák’s New World Symphony. I mean, there’s nothing wrong with it, but for me it has only ever been the thing that happens in between the serene beauty of the slow movement and the Jaws-like introduction to the finale. The third movement is fine. I’ve just never loved it.

Until Sunday afternoon in Tokyo’s Suntory Hall. That’s when the LA Phil (not necessarily known as a great Dvořák orchestra), conducted by Gustavo Dudamel (not necessarily know as a great Dvořák conductor), caused me to completely change my mind about the third movement of the New World Symphony. It was the final performance of the orchestra’s two-week, four-city Asia tour (Hong Kong, Shanghai, Seoul, Tokyo) and maybe there was a little extra electricity on stage because the musicians would soon be Goin’ Home. Maybe morale was high because two days before, Gustavo Dudamel had surprised the orchestra with the announcement that he would be their music director through 2021-22–a contract extension of three additional years. Whatever the reason, on Sunday, the third movement sparkled and danced. I finally got it.

I think I also finally found an answer to a question about Gustavo Dudamel that we’ve been asking ever since he rose to prominence after winning the Gustav Mahler Conducting Prize in Bamberg, Germany 11 years ago. The following year, Dudamel made his U.S. debut conducting the LA Phil at the Hollywood Bowl. A year after that came his debut in Walt Disney Concert Hall–a performance during which Esa-Pekka Salonen leaned over and whispered in his wife Jane’s ear, “That’s the next music director of the LA Phil.” Shortly thereafter, Deborah Borda went on a secret (now famous) series of scouting missions, attending Dudamel’s performances around the world.

One year later, on Monday, April 9, 2007, the announcement came: Esa-Pekka Salonen would step down as music director of the LA Phil and his successor would be the “up-and-comer” Gustavo Dudamel. I remember that day vividly: the press were gathered on stage at Walt Disney Concert Hall. Deborah Borda, Salonen, and Dudamel were there. Dudamel’s English was good, but not great, and he answered a lot of questions in Spanish. Rich Capparela–then of K-Mozart–got the laugh of the press conference when he directed a question to Esa-Pekka Salonen and asked if he would “please answer in Finnish.” The late, irascible but beloved critic Alan Rich chided LA Phil management for not giving former executive director Ernest Fleischmann enough credit for his role in the discovery of Gustavo Dudamel. (Fleischmann, along with Salonen, was on the jury of the Mahler competition in Bamberg.)

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As Gail Eichenthal and I roamed the stage afterwards, conducting one-on-one interviews for KUSC, the question everyone struggled to answer was this one: “What is it about his conducting that sets Gustavo Dudamel apart from others? What makes him so great?” Esa-Pekka Salonen fumbled with this question, comparing Dudamel to another young prodigious talent (Mozart) and also calling Dudamel “a conducting animal,” which was intended as a compliment, but still sounds strange eight years later. LA Phil violinist Mitch Newman talked about the instant chemistry the orchestra had with Dudamel and the ease of musical communication they had back-and-forth. Deborah Borda said hiring the then 26-year-old who hadn’t conducted a professional orchestra until winning that Mahler Prize three years prior wasn’t a risk because he had the right combination of charisma, passion, and deep musical knowledge. Most memorably, though, was Ernest Fleischmann’s answer to the “What makes Dudamel so great?” question. I can still hear his South African/British/German accent: “It’s difficult to say,” Fleischmann said, giving probably the most honest answer of the day.

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Indeed, it has been difficult to say what it is about Dudamel’s talent that is so special. Before his LA Phil tenure began, 60 Minutes ran a piece called Gustavo the Great which failed to answer the question why Gustavo is great. Dudamel’s first concert as LA Phil music director–¡Bienvenido Gustavo!, a free performance of Beethoven’s 9th at the Hollywood Bowl–was astonishing. A moment I’ll never forget. His first season was a honeymoon and Season 2 brought a maturation (sometimes painful) of his relationship with the LA Phil. The hiring was at first seen as a shrewd, brilliant move; then came the critical scrutiny. Hype, followed by backlash. (Before one of my interviews with a prominent conductor, his handlers told me explicitly: do *not* ask about Gustavo Dudamel–he does not like him, nor does he speak well of him.) It was like Trevor Noah, minus the racist/sexist Twitter jokes.

But even after critical equilibrium was attained, we still had no good answer for what makes Gustavo so great.

We tried. Some feeble attempts included:

  • His passion draws audiences into the performances
  • Exuberance, energy, excitement
  • He has a knack for orchestral coloring
  • A raw, unrefined approach to the music that brings out the essence of each score
  • He internalizes the music and recreates it so naturally

I’m guilty of employing (or deploying) all of these. In fairness, they are all *part* of the Gustavo Dudamel story, but not the whole story. Now, more than six years into his tenure as LA Philharmonic music director, I believe we are finally able to fully answer the question that initially stumped Deborah Borda, Esa-Pekka Salonen, Ernest Fleischmann, 60 Minutes, and the rest of us.

The answer came Sunday afternoon at Tokyo’s Suntory Hall during the third movement of Dvořák’s New World Symphony. Whenever I hear a performance in which Dudamel conducts standard repertoire, invariably I hear something new in the piece. Something I hadn’t heard before. This happens without fail, every single time. I don’t always like what I hear (e.g.: Tchaikovsky’s 5th), but liking something or not liking something isn’t the point of great art. Great art is supposed to make you think.

During the concert Sunday afternoon I got to thinking about why I was suddenly connecting with the third movement of Dvořák’s New World Symphony. I was hearing new things all over the place (counter-melodies in the 2nd violins/violas, for example, that you’d miss if they weren’t there, but in Dudamel’s hands, you hear how vital they actually are to the music as a whole). But it’s a bigger picture than that. The job of a conductor is to be a conduit from the composer to the orchestra. Together, the orchestra and conductor then communicate their vision of a composer’s work to the audience. Most conductors can do this some of the time. Great conductors have more consistent success.

Not long ago, I was talking with Dudamel about how he studies scores, and he told me about his work as a teenager with El Sistema founder, José Antonio Abreu. In their conducting lessons, Abreu would emphasize the importance of knowing every minute detail of a piece of music. One of Abreu’s favorite drills, Dudamel told me, was to give the young conductor a measure number or other starting point and ask various questions about what’s in the score without looking at the score. For example: in measure 238 of the second movement, Abreu would ask Dudamel, what is the dynamic in the double basses? Do the violas have a sforzando there or an accent? Ritard or rallentando? (There’s a difference, you know.) That’s the level at which Dudamel internalizes all music: Beethoven, Mahler, Adams, everyone.

This kind of musical digestion allows Dudamel to consistently communicate, then convince the orchestra to execute his vision while also remaining fully open and flexible to deviations from that vision in the moment. It’s a rarefied combination of planning, purpose, and spontaneity. A lot of conductors and orchestras get the planning and purpose part right, but fail in the spontaneity department. That is, after all, the most challenging part of music-making. Getting 100+ musicians and conductor to all think the same way and all respond in an instant is nearly impossible. But Dudamel and the LA Phil are showing that not only can it be done, it can be done with great consistency. As a result, with Dudamel at the helm of the LA Phil, we find ourselves connected to the composer in most direct way possible–almost as if we’re hanging out with Dvořák as he’s writing his symphony. It’s music-making of intense immediacy. This is where Dudamel’s greatness lies.

For the first time in my life, I totally enjoyed the third movement of Dvořák’s New World Symphony. I may not have completely fallen in love with it forever. But thanks to Dudamel and the LA Phil, at least now I understand it more fully. Throughout his tenure with the LA Philharmonic, we have heard flashes of what the Dudamel-LA Phil chemistry could be. Now, six years in, I believe we’re entering the peak. With his recent contract extension, Dudamel has ensured his tenure in LA will be longer than Bernstein’s was with the New York Philharmonic. Lucky us.

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Le “Sakura” du Printemps

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Were it not for sakura

in this world,

our hearts and minds

would not be so serene

and peaceful.

-Ariwara no Narihira (825-880 A.D.)

It’s the most wonderful time of the year in Tokyo right now. That fleeting moment that comes each spring when the cherry trees do their best cotton candy impersonation and the entire city comes out to party. Sakura. More than just a flower, it’s a state of mind.

When the sakura bloom, Tokyo–already one of the most beguiling cities in the world–is positively radiant. Not only are the views spectacular, but everyone’s spirits seem to sparkle as well. Along the pathways of Ueno Park, revelers stretch out tarps and gorge themselves in elaborate picnic feasts (hanami). It’s kind of like the Hollywood Bowl on steroids. (For a complete sensory experience, you can taste sakura too, in everything from condiments to fine dining to sakura-matcha Kit-Kat candy bars.) The lack of open container laws for alcoholic beverages make for a sake-fueled orgy of increasing boisterousness as the nights wear on.

And why not enjoy it to the fullest? Sakura is the very definition of ephemeral. After the opening of the first blossoms (kaika), full bloom (mankai) is usually reached within about one week. Another week later, the blooming peak is over and the blossoms fall from the trees. Everything is accelerated if there’s even a moderate amount of wind and rain during this time. Think about it this way: what if we only had sand at our Southern California beaches for one week out of the year?

Monday and Tuesday were the peak of sakura season this year in Tokyo. Lucky for the LA Phil and those of us traveling with the orchestra. Most of us headed out into the city to take in this very special event. We all took lots of photos. None of them do sakura justice.

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Sakura is like a great musical performance. If you’re like me, you’ve got a running list of your Top 5 (or so) concerts that you’ve attended. Mine include a Guarneri String Quartet performance of Schubert’s Death and the Maiden quartet…the first time I heard John Adams’ Harmonielehre (Atlanta Symphony/Robert Spano)…the Tallis Scholars singing Tallis in the lobby of the Bradbury Building…Esa-Pekka Salonen’s interpretation of Stravinsky’s The Rite of Spring. I added one to my list recently: Gustavo Dudamel conducting the LA Phil in Mahler’s Symphony No. 6.

These performances are moments that will stick with us for the rest of our lives. Moments that occupy the tiniest sliver of a percentage of our existence on this planet. Their ephemeral nature enhances their impact. The idea that we, alongside a select group of people, experienced this amazing thing that was so powerful and revelatory and poignant and eloquent–and we’ll never experience in exactly the same way again–it’s our musical sakura.

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It’s special because it’s not permanent. Oh sure, we can try to document the experience. We can take photos under the trees and make live concert recordings, but the recreation of the thing pales in comparison to the actual thing itself.

This is where we can find ourselves in a bit of trouble. It’s 2015, and we live in a social media-obsessed world. I don’t have a problem with that. Social media is an effective communication tool for me, personally and professionally. Plus, I actually rather enjoy using social media to share my experiences and to discover what others are up to. But we also would do well to put the phone down every so often and just experience life, rather than documenting it for future mass consumption. It is possible to completely miss the impact of a moment while trying to capture it.

The moments that are most memorable in our lives are the ones we have been fully present for. The press of the Ueno Park crowds euphorically shuffling along bumping into one another all while engulfed in an archway of cherry blossoms. The spine-tingling, heart-stopping, earth-shattering final chord of Mahler 6 as it blows you back in your seat. It’s more than a flower…more than a collection of notes. It’s sakura. And when the moment is passed? As Dr. Seuss said, “Don’t cry because it’s over. Smile because it happened.”

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Familiar Digs; Family Forever

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The LA Phil wrapped up its Asia tour with two concerts in Suntory Hall in Tokyo. The stunning hall is tucked away in a labyrinth of office buildings, hotels, and the U-S embassy in the Minato district of Tokyo. It was the first hall designed by Yasuhisa Toyota and it was this hall that sealed the deal for the LA Phil to hire Toyota to design the acoustics for Walt Disney Concert Hall. So, for the LA Phil, Suntory is a home away from home.

The audience reception for Dudamel and the LA Phil was nothing short of amazing. After lengthy ovations (15+ minutes) at both performances, Dudamel took one final bow with the orchestra and then led Principal Concertmaster Martin Chalifour and the rest of the LA Phil off stage. But the ovation continued. For several minutes. And then this happened.

Both concerts here in Tokyo ended this way. (The ovations, by the way, were certainly well-deserved. I’ll write more about the performances in a future blog post, but suffice it to say, they made me extra glad Dudamel extended his contract with the LA Phil through 2021-22 and didn’t decide to jump ship to Berlin or New York.)

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Earlier in the day today, members of YOLA and El Sistema Japan took the stage for a joint rehearsal and performance conducted by Gustavo Dudamel. This is something that has become a regular part of LA Phil tours in recent years (Boston last year and London the year before that). It’s part of the “social imperative” of music-making that LA Phil President/CEO Deborah Borda talks about: music as a way to cross cultural divides, bring people together, and create better citizens and human beings as a result.

El Sistema Japan was created in the wake of the Great East Japan Earthquake and Tsunami of 2011. It was one of the first organizations to spring up in the efforts to rebuild. The community has said the music-making of El Sistema Japan helped them to heal emotionally before it was even possible to rebuild their lives physically. As far as “social imperatives” go, that’s about as elemental as you can get.

The students of El Sistema Japan come from all walks of life. Some lost family members in the tragedy. Everyone knows someone who lost an immediate family member. In the beginning, the music-making at El Sistema Japan was simply a way to get parents–who were understandably still fearful of radiation poisoning long after the danger had passed–to let their children leave their houses. The town was stuck in isolation. Their physical community had been destroyed, but through music, they began to rebuild their human community.

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It was with open arms that El Sistema Japan welcomed the musicians of YOLA. There was a slight age difference–El Sistema Japan students ranged in age from 7-14; YOLA students from 13-18. But within a few hours of rehearsing together, and despite the language challenges, friendships were formed.

“I definitely believe music can connect anyone in this world,” Macy, a 13-year-old YOLA trombonist, told me.

Elsewhere, you might be tempted call shenanigans on this kind of naive-sounding optimism. But you can genuinely hear it when you listen to YOLA and El Sistema Japan play together.

In his press conference with the Tokyo media yesterday, Gustavo Dudamel said, “The mission of El Sistema is not to make musicians out of young people, but to give them access to beauty. … When you give young musicians difficult and complex music, through that challenge, you are building a better human being.”

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In just two short days (well, long days, actually, which were jam-packed with rehearsals and other events), two orchestras came together as one. A 17-year-old from South LA became friends with a 13-year-old from 5,337 miles away in Soma, Fukushima. The students from El Sistema Japan learned about life in Los Angeles. The YOLA musicians came to understand more fully the resiliency of the human spirit.

They traveled together from Fukushima to Tokyo. They played the same stage as the LA Phil together. They worked their tails off for Gustavo Dudamel, who at one point in the rehearsal apologized and said, “I’m such a pain sometimes.”

Afterwards, there were hugs and tears and exchanges of gifts and contact information. The physical distance between El Sistema Japan and YOLA may be great and the language may not share even the same alphabet, but make no mistake, these young musicians are family now.

That’s the power of music.

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