The Maestro in his words  


Meeting Maestro Abreu in Los Angeles.

He has earned many accolades, like sower of hope, dream maker and key player in Venezuela's historical evolution throughout the last 50 years, but a simple word would just befit maestro José Antonio Abreu, the founder and driving force behind El Sistema, and that word is 'visionary'. This unshakably convinced, warm-hearted, strong-willed musician has been able to undertake a task that reaches beyond music to encompass the rescue and education of Venezuelan youngsters.
 
Born the eldest of six children to a family of musical lineage, at the break of dawn on May 7 1939, in Valera, a city in the northwestern Venezuelan state of Trujillo, Abreu confesses that it was his eagerness to serve his country, and his concerns and uneasiness about social inequality that encouraged him to develop, in 1975, an ingenious Venezuela-oriented plan aimed at synthesizing and channeling the economic, managerial, pedagogical and musical experience and knowledge he has acquired throughout his life. Here are some of his ideas that have brought inspiration to musicians and educators around the world. 


On El Sistema's guiding principles:

“The System is directed by a set of ethical principles, a process in which the student is actively participating; creating, playing, listening, co-operating. As a consequence the music, and all that it brings with it in relation to personal development, the interaction within the family and the community spirit, is spontaneous and forms a natural part of life.”

http://www.rightlivelihood.org/abreu_speech.html

On access and inclusion:

"To democratize the education system to the extent of guaranteeing youngsters and children full access to literature and art, to the highest philosophical thinking, and to the ecumenical life joyfully shared, cannot be conceived but as priority cause, unavoidable, and emerging towards a profound and valid transformation of civil society and the State."

http://tipom.wordpress.com/2008/04/01/jose-antonio-abreus-acceptance-speech-of-the-venezuelan-branch-of-bnai-briths-human-rights-award/

The role of choirs and orchestras:

"In their condition as communities in a never-ending exercise of coordination and harmonization, the Youth and Children Orchestras and Choirs represent the model of an advanced, authentic School of Social Life."

http://www.fesnojiv.gob.ve/en/el-sistema/16-eventos/358-premio-principe-de-asturias-de-las-artes.html

Enacting Social Justice:

"Material poverty will be categorically vanquished by the sublime spiritual richness that grows through and in the music. Social justice and cultural justice constitute two aspects of a sole and indissoluble dimension."

http://www.erasmusprijs.org/index.cfm?lang=en&page=2010:+JOSE+ANTONIO+ABREU

The Maestro's TED Prize wish:

“Here is my TED Prize wish — I wish that you help to create and document a special training program for 50 gifted young musicians passionate about their art and social justice and dedicated to bringing El Sistema to the United States and other countries.”

http://blog.ted.com/2009/02/18/_weve_transcrib/

Remarks at the Royal Festival Hall:

"It is my belief that culture for the poor, cannot be a poor culture."

Musical Excellence is Key 



NEC Preparatory School, Youth Philarmonic Orchestra plays Mahler 9th Symphony.

I recently visited at the New England Conservatory’s Preparatory School, one the largest programs of its kind in the nation, and one of the most successful in teaching a wide range of students: from 7-year-old beginners to high school seniors considering professional careers in music.

The breath and scope of the work being done at the school is admirable. The level of musical excellence, virtuosity, and engagement, as portrayed by Benjamin Zander’s Youth Philharmonic Orchestra, is a shining example of what is possible when artistic and pedagogical goals are in alignment with a philosophy of teaching that fosters individual growth while focusing on the benefits of mutual collaboration. 

A true youth orchestra, the technical proficiency of these musicians is astonishing. They are constantly searching for beauty in their playing. There is a culture of orchestral playing here that is very desirable, one that focuses primarily, on playing with energy and passion; and rigorous precision.

In hearing this orchestra, I was reminded of the musical results being produced through El Sistema, the national network of youth orchestras of Venezuela. And more specifically, of the work of the Teresa Carreno Youth Orchestra, one of their flagship youth orchestras.

I am not in the habit of making comparisons, but it in the spirit of examining best practices, it would be interesting to explore how these programs are able to achieve similar musical results.

There is something very positive to be said for the notion of establishing networks of advancing orchestras. In Boston, the preparatory school offers admission (by audition) to close to a dozen orchestras at different levels within the scope of their entire program. These range from beginner orchestras that focus on basic technical aspects of playing to advanced orchestras capable of playing complete Mahler symphonies.

Here, musical excellence and advancement is constructed through careful pedagogical planning and in instilling a sense of motivation among all members of this community. Students can grow musically over the course of many years.

This model is something to keep in mind as the El Sistema movement in the United States grows. Crafting a repertoire track that is consistent across programs and establishing opportunities for young musicians to aspire to higher levels of musical attainment will be an important step to facilitating a movement that is both successful and organic.

Although, I am deeply aware that El Sistema in Venezuela is first and foremost a social program,  aspiring to produce orchestral playing that is up to par with some of America’s best private music preparatory programs, must also be on our list of priorities.

Social change should be construed through musical excellence. The democratization of music education requires this. As Jose Antonio Abreu contends, we must always strive to music-making without limitations.

In many ways, we can also learn from our nation’s long history of musical pedagogy and our conservatories’ time tested models of success. Throughout the country, there are clear systems of teaching and learning in place that we could all benefit from.

Our challenges are not musical, nor pedagogical, but rather foundational. What if we could convince every professional orchestra in the United States to contribute in the creation of a community youth orchestra from the bottom up? There would be as many youth orchestras here as there are in Venezuela. Communities would thrive and social capital would be increased; classical music would be perpetuated and carried through the next generations. Over the years, the number and diversity of our concert audiences would increase dramatically.

Providing equal opportunities for young people to aspire to musical excellence, regardless of socio-economic or geographical limitations, is something El Sistema has already shown us. We must react quickly, there is much to be done.

Acknowledgments:

Many thanks to Benjaming Zander, Leslie Wu Foley, and Rebecca Bogers, for hosting me at the NEC Preparatory School. It is a privilege to witness the beauty of your work.

Coming up for the Fellows:

-Participating at Boston's annual Rodman Ride for Kids to benefit at-risk youth.
-In Residence at the Conservatory Lab Charter School, Boston
-Workshop collaboration at Longy School of Music, “Enacting a Teaching Practice Through El Sistema Philosophy"
September 30-October 1, RSVP by September 23, Register Here
-Group Presentation at Harvard University, Center for Public Service, Engaging the Arts in Leadership Process and Practice

Entrevista: 10 Preguntas a Jose Luis (Spanish)  



Jose Hernandez-Estrada (Reynosa, Tamaulipas, 1983). Virtuoso de la musica, pianista y director de orquesta. Ha dirigido orquestas en Los Angeles, Nueva York y la Ciudad de Mexico. En la actualidad, es Abreu Fellow en el New England Conservatory de Boston.

1. - Como fue tu infancia?
Siempre estuve rodeado de una familia que me brindo de todo su apoyo, amigos con quien jugar futbol, y una comunidad que siempre me mostro un gran carino. 
 
2. A quien le vas en el futbol?
Cuando vivi en Barcelona, era impresionante y muy inspirador poder seguir de cerca el talento de super atletas como Ronaldinho y Rafa Marquez. El Camp Nou, al igual que Mahler, es un sueño.
 
 3.- Cual CD te llevarías a una isla desierta
Me llevo mi Ipod. Ahi estarian las sinfonias completas de Mahler, Beethoven, y Chavez; la Variaciones Goldberg de Bach, y el Requiem de Mozart. Tambien  “Mr. Tambourine Man” de Bob Dylan, mi cancion favorita. 
 
 4.- Como seria tu vida si no fueras músico?
De alguna forma me sentiria incompleto, pero seguramente hubiera optado por una carerra en el sector publico.  En Mexico, se vive una situacion critica, que solo puede ser enderazada con el poder y valor de las aspiraciones constructivas de su gente. De alguna forma, los artistas son parte importante en este proceso. 
 
5.- Hay diferencia entre tocar el piano y dirigir una orquesta?
Tremenda diferencia, la orquesta es una entidad que responde a un proceso de concertacion, una sociedad en donde todos los musicos forman parte transcendental de la interpretacion, que a su vez es unica en el tiempo y el espacio sonoro. Coincido con el Maestro Jose Antonio Abreu al decir que la orquesta es un instrumento ideal para lograr una sociedad mas humana y etica. 
 
 6.-Si te leyeran el futuro que te gustaría oír?
Que el Maestro Simon Rattle me ha invitado como director huesped a la Filarmonica de Berlin. 
 
 7.- Cuesta mas hacer carrera musical cuando eres de un lugar sin las oportunidades que puedas encontrar en una ciudad cultural?
El entorno para desarrollar una carrera artistica es crucial. Es importante tener una vision clara de lo que puede ser posible, eso te convierte en una persona mas humilde, abierta al aprendizaje, y por ende mas completa. 
 
8.-Que te han dejado tus presentaciones y estudios en el extranjero?
Han sido experiencias muy enriquecedoras, aqui en Boston, tengo la oportunidad de formar parte de una gran comunidad musical sumamente comprometida con la excelencia. Estamos haciendo musica de alto nivel y colaborando en proyectos de impacto internacional para democratizar el poder transformador de la musica de una manera mas efectiva y accesible.
 
9.- Cual es el mayor triunfo en tu vida?
El trabajo nunca termina. Eso ya lo veremos despues. 
 
10.- Que te motiva para seguir en la búsqueda de tu sueño?
La  vida, la promesa de la musica, el potencial de nuestra imaginacion. Pensar que todo es posible.

Documentary: Domingo on El Sistema (Spanish)  



La tierra de las 1.000 orquestas es un documental sobre la historia y los logros del Sistema Nacional de orquestas infantiles y juveniles de Venezuela. Un método que ha formado estrellas de la música de fama internacional al tiempo que ha sacado de la calle y alejado de la violencia y la pobreza a miles de niños venezolanos condenados a la marginación. 'El Sistema', como se conoce en Sudamérica, nació hace más de 30 años de la mano de José Antonio Abreu, un visionario creador que comenzó impartiendo él mismo las clases. Ahora está al cargo de casi 1.500 profesores que atienden a casi medio millón de alumnos. 

http://www.rtve.es/television/20101126/sistema-nacional-orquestas-venezuela/375077.shtml

Pursuing happiness, one note at a time  




By Abreu Fellow, Jose-Luis Hernandez-Estrada
New England Conservatory, Boston, MA

Music is instrumental for the pursuit of happiness. It brings people together to discover the virtues of discipline and generosity; and to realize new realms of possibility.

José Antonio Abreu, the founder of El Sistema, the celebrated national network of youth orchestral programs founded in Venezuela in the late 1970’s believes in the arts as an agent for social change. His work, considered one of the “world’s cultural treasures,” is a proven model for the role of classical music in our times.

For over 36-years, Maestro Abreu has dedicated his life to bringing music to those who need it the most. He is credited with creating new paradigms in music education that have quietly produced profound social transformations throughout his native country, impacting an entire nation and continent with a message of hope and conciliation through music. He has put the fine arts at hands-reach and in the hearts of thousands of children, families, and educators who have chosen to believe in music and its enduring values. The maestro explains, "music has to be recognized as an agent of social development in the highest sense, because it transmits the highest values—solidarity, harmony, mutual compassion.”

Abreu contends that through the collective exercise of music, young people can readily overcome the obstacles of material poverty, and thus enter into a sphere of moral growth that guides their deepest aspirations in the spirit of excellence and progress. When a child learns to play and sing together in an orchestra or choir, she also learns about collective discipline, about embracing joy; and committing to a productive life filled with beauty and harmony.

Abreu’s El Sistema is not by any means a “system” in the sense of strictly focusing on specific pedagogical methodologies or theories. It is a window into the art and nature of possibility; a network where young people, families, and communities come together to experience the values of music in nurturing and non-competitive environments; and where teaching artists envision their profession as an instrument for meaningful social transformations. Its primordial goal is not to produce young instrumental virtuosos, but citizens of virtue instead.

As a social development strategist, Abreu has centered his cultural policies for the benefit of those youth who are most vulnerable to falling into the traps of life in the barrios. The maestro often says that “if you put an instrument in the hands of a child, he will never pick-up a gun.” In inviting youth to experience music a method for the prevention of wrongdoing is instilled early in a child’s life. Abreu wants to reach one million of those children throughout his native Venezuela in the next ten years.

A few years ago, when I heard Gustavo Dudamel and the Simon Bolivar Youth Orchestra (the flagship El Sistema orchestra) perform in Monterrey, Mexico, I was immediately captivated by my fellow musician’s devotion for music. As we experienced the dazzling rhythmic syncopations in Silvestre Revueltas’ Sensemaya, we were also invited to ponder a new realm of possibility. The orchestra’s astonishing display of collective virtuosity reminded us that working together in the pursuit of common goals is a beautiful idea. Tocar y Luchar is a familiar motto among Venezuelan musicians—aspiring for excellence together, nothing is impossible.

Indeed, orchestras can serve as a transcendental instrument for social consonance and transformation. Maestro Abreu describes orchestral practice as a metaphor for an inclusive and democratic society. "An orchestra is a community that comes together with the fundamental objective of agreeing with itself, therefore, those who play a part in the orchestra, begin to live the experience of agreement," he says.

In an orchestra, participants blossom through teamwork and cooperation, understanding music as an entity that binds them together and propels them to new spheres of possibility and achievement. That very sense of awareness of a community of practice inspires young people to believe in themselves, model the intrinsic values of music, and enact social change everywhere around them.

Maestro Abreu has inspired a world-wide movement that is reclaiming music education as a universal right. In the United States, more than 50 El Sistema-inspired educational initiatives are already in place and constantly evolving. Music educators across the country have become re-energized and compelled to help bring back music education to our public schools. Orchestras are constantly thinking about how they can best meet the needs of the communities they serve. At the New England Conservatory, students and faculty are pursuing musical excellence while serving as advocates for community and social justice. Together, we are reshaping the role of music in society and in the twenty-first century.

An enduring message of hope is ever-present in music and in the ethos of El Sistema. You can hear it in south Los Angeles as young orchestral musicians share their joy for music; and in Brighton, as children help each other with their instrumental parts. During my tenure as music director of an orchestral núcleo in one of Mexico’s most violent cities, Abreu’s vision of social transformation through music resonated strongly within our community. As we rallied behind our youth orchestra, music allowed us to recognize that amid dire circumstances, it was still possible to dream big and achieve success.

Music is universal and is for everyone. In these challenging times, as violence and materialism seeks to entice the aspirations of our youth, let us turn to music. Let us support and allow music education to shine its radiant light upon our communities so that we may prosper—so that young people may find enduring beauty and happiness in their everyday lives.

 

New CD, Concert Collection  




I want to share my new digital album. It is now available for online streaming and download at: http://joseherstrada.bandcamp.com/album/concert-collection

Here's a description of the project and track listing: 

Hernández-Estrada’s new digital album entitled Concert Collection is a handpicked compilation of music from his recent performances in Chicago, Barcelona, and Sioux Falls. Concert Collection is an evocative album – taking the listener into a musical journey filled with youthful energy, passion, and drama. Selections cover a range of music from the baroque period up to the twentieth century and include masterpieces by Shostakovich, Schubert, and Mozart. For the Five Preludes by Carlos Santoro, José-Luis taps into his rich talent with imaginative and poetic renderings of the work’s poignant textures and colors. The album concludes with music of Manuel M. Ponce, a composer from Mexico and a centerpiece of the artist’s concert repertoire.

1. Shostakovich: Piano Quintet in G Minor, Opus 57 - Scherzo: Allegretto 03:34
2. Bach: Concerto in A Major BWV - Larghetto 05:34
3. Santoro: Five Preludes for Piano 07:08
4. Haydn: Sonata in A Flat Major, Hob.16/46 06:02
5. Mozart: Concerto for Piano in A major K. 414 - Andante 09:35
6. Schubert: Impromptu in A-flat Major, Op. 90 no. 4 07:31
7. Schubert: Impromptu in A-flat Major, Op. 142 no. 2 06:11
8. Beethoven: Sonata Op. 13, "Pathetique" - Andante Cantabile 05:05
9. Granados: "Oriental" from 12 Danzas españolas 04:56
10. Jorda: Danzas Nocturnas 04:18
11. Chopin: Mazurka in a minor, Op. 17 No. 4 04:58
12. Chopin: Polonaise in C-sharp minor, Op. 26 no. 1 06:43
13. Ponce: Concierto Romántico - Andante Amoroso 09:32
14. Ponce: Intermezzo 02:31


Brahms in Texas! 

 En residencia con la Orquesta Sinfonica de Round Rock en Texas, trabajando obras de Brahms y Debussy bajo la guia del Maestro Peter Bay. || Enjoying a wonderful week of music-making with conducting colleagues and the Round Rock Symphony in Texas. Here are few pictures taken during one of our Brahms rehearsals. 




Interview: Un músico comprometido con la sociedad (Spanish) 



http://www.revistaclase.com/noticia/?id=NCLA50750&ed=136

Por Adolfo Kott - 

A sus 27 años de edad, Hernández-Estrada no es ningún improvisado en el mundo de las artes, y como pianista y director de orquesta es en este momento uno de los mexicanos más prometedores de su generación. Sus estudios los realizó con Leon Botstein como Conducting Fellow del Conductor’s Institute de Bard College en Nueva York y en el Conservatorio Superior de Música del Liceo, en Barcelona, España.

Su talento ha llamado la atención de importantes maestros y orquestas incluyendo la Filarmónica de Los Angeles.

De tal modo, fue llamado Abreu fellow, (compañero de Abreu) participando durante seis meses en Boston, Massachusetts y dos en Venezuela para ahondar en la filosofia y método del creador del Sistema Nacional de Orquestas Infantiles y Juveniles de Venezuela del célebre maestro José Antonio Abreu.

De acuerdo a las palabras de José Luis Hernández-Estrada, José Antonio Abreu es un economista y músico venezolano que a lo largo de 36 años ha fundado y desarrollado el Sistema Nacional de Orquestas Infantiles y juveniles de Venezuela, además de ser un líder social sin precedente en la historia contemporánea, la música y el arte, porque ha sabido enfocar la música clásica, de concierto, como instrumento de desarrollo social para niños, jóvenes y comunidades enteras en aquel país.

Agregó que ha sido tan grande el éxito de este programa social que a la fecha han participado cientos de miles de jóvenes y niños en todo la nación. Entre otras cosas, la visión de Abreu por hacer de la música un instrumento de desarrollo social ha llegado a todo el mundo, por galardones del calibre de un “Príncipe de Asturias”, otros entregados por la UNESCO, así como premios sociales y musicales a nivel mundial.

“Para mí José Antonio Abreu es un gran modelo inspirador, porque concibe a la juventud musical como símbolo de transformación cultural íntegro, sinónimo de vanguardia, de excelencia y ejemplo de superación”, dijo Hernández-Estrada.

Comentó además que en el año 2009 le entregaron el premio TED, es decir, el galardón artístico, científico y educativo más importante de los Estados Unidos de Norteamérica.

Este premio le condcedió un deseo al maestro Abreu: identificar a través de una convocatoria mundial a 50 jóvenes talentosos, líderes sociales, músicos que se unieran en su misión para hacer de la música un instrumento de desarrollo social en todo el mundo durante cinco años.

Asimismo, a José Luis le tocará recibir la distinción en el 2012, para el período 2011-2012, convirtiéndolo en uno de los diez compañeros de Abreu que formarán parte de su programa con la intención de ahondar en la filosofía, método y esencia del programa que realiza.

Hernández-Estrada estará seis meses en residencia en el New England Conservatory of Music de Boston, Massachusetts, a partir del 29 de agosto de 2011 hasta febrero de 2012 para luego partir a Caracas, Venezuela y trabajar bajo la mano y guía del maestro José Antonio Abreu, trabajando y dirigiendo orquestas en Venezuela y visitando los centros de educacion musical más importantes de ese país, donde conocerá directores, maestros, músicos, comunidades, administradores y a aquellos que llevan a cabo la tarea del maestro Abreu.

“Para mí esto es muy importante porque me dará la oportunidad de conocer a fondo la visión y filosofía del maestro, que es tan importante para entender los caminos y métodos para avanzar en el desarrollo social y cultural de comunidades”, dijo.

Esto se ha hecho en México en años pasados y lo ha desarrollado en Reynosa al momento de fundar la Orquesta Sinfónica Infantil y Juvenil del Nucam.

Ahora crearán estrategias y visiones que los llevarán a potencializar más y mejores proyectos en pos de la juventud en esta comunidad y alrededor del mundo. “Es de suma importancia considerar la educación artística como parte fundamental del progreso social de nuestros jóvenes. Si podemos entender la música como instrumento y símbolo de desarrollo social; si podemos otorgar más y mejores oportunidades a niños y jóvenes en materia de educación vamos a poder avanzar y sobreponer los males sociales que atormentan al país”, afirmó Hernández-Estrada. “Soy el único Compañero de Abreu (Abreu fellow) a la fecha, mexicano”, dijo.

Agregó que en México existen muchos proyectos de transformación social a través de la música que lleva a cabo el Sistema Nacional de Fomento Musical y Fundación Azteca, así como organizaciones civiles, artísticas y culturales del país. “México está inmerso en un proceso de transformación cultural y ya le hemos apostado a la música como símbolo de desarrollo social”, afirmó.


Jose-Luis comparte el escenario con jovenes musicos Reynosenses - Concierto Inaugural del Parque Cultural Reynosa, Agosto 2010

Inicia proceso para elegir a nuevo director asistente de la OFUNAM 


El Maestro Hernandez-Estrada al frente de la OFUNAM.

México, 4 May. (Notimex).- El proceso de selección de los tres finalistas de los cuales saldrá el nuevo director asistente de la Orquesta Filarmónica de la Universidad Nacional Autónoma de México (OFUNAM), inició hoy y concluirá el próximo domingo, en la Sala Nezahualcóyotl, del Centro Cultural Universitario. Para elegir a los tres finalistas los concursantes deberán conducir música de Wolfgang Amadeus Mozart, Johannes Brahms, Silvestre Revueltas y Pyotr I. Tchaikovski.

De acuerdo con el plan de trabajo de la Dirección General de Música de la UNAM, la final del concurso para seleccionar al próximo Director Asistente de dicha orquesta, será el domingo 8 de mayo en la Sala Nezahualcóyotl, con acceso gratuito al público. Mientras tanto, las eliminatorias se llevarán a cabo los días 4, 6 y 7 de mayo.

Durante las eliminatorias se interpretará la “Sinfonía No. 31”, de Mozart; la “Sinfonía No. 4”, de Brahms; “El Mar”, de Debussy; el “Concierto para violín”; de Tchaikovsky; y la “Suite Redes”, de Revueltas. En el concurso participarán únicamente directores de orquesta mexicanos menores de 49 años, quienes serán calificados por el jurado conformado por José Guadalupe Flores, Rodrigo Macías, Bojan Sudjic y la misma OFUNAM. La lista de participantes, de los que saldrán los tres finalistas y el nuevo director asistente, está integrada por Francisco Cedillo Blanco, Eduardo Alejandro González Pérez, José Luis Hernández-Estrada, Alfredo Hernández Reyes, Enrique Federico Tovar de Alba y Gerardo Bernardino Urbán y Fernández.

El Sistema Documentary: Tocar y Luchar (2006)  


Tocar y Luchar (2006) is an evocative and inspiring portrait of El Sistema by filmmaker Alberto Arvelo. The film documents the work of José Antonio Abreu and his vision for the role of music in the 21st century. The mission of Abreu’s comprehensive and inclusive music education program in Venezuela is articulated through a stunning narrative featuring meaningful commentary by celebrated musicians including Sir Simon Rattle and Eduardo Mata; brilliant musical performances by orchestral and choral musicians at different levels of proficiency; thoughtful explorations of music as an instrument for social development; and powerful testimonies from young orchestral musicians whose lives have been transformed by the power of music. See the complete and unedited documentary here: