1 00:00:00,000 --> 00:00:09,360 You both have nominated for Latin Grammy, both, and Carlos, you won five awards, right? 2 00:00:09,360 --> 00:00:10,360 Six. 3 00:00:10,360 --> 00:00:11,360 Six Grammys. 4 00:00:11,360 --> 00:00:12,360 Yeah. 5 00:00:12,360 --> 00:00:20,040 Two in composition, two in tango, and one with an album that I did, a duet with a fabulous 6 00:00:20,040 --> 00:00:22,800 jazz bass player, Eddie Gomez. 7 00:00:22,800 --> 00:00:25,760 Alison, you are also nominated. 8 00:00:25,760 --> 00:00:26,760 Yeah. 9 00:00:26,760 --> 00:00:30,440 I've been nominated twice for Grammys and three for Latins. 10 00:00:30,440 --> 00:00:33,720 And my name is on one of his wins. 11 00:00:33,720 --> 00:00:35,160 Carlos won for composition. 12 00:00:35,160 --> 00:00:40,600 It was a piece that I recorded, but I'm not the winner because the piece won, not the 13 00:00:40,600 --> 00:00:41,600 recording itself. 14 00:00:41,600 --> 00:00:44,600 In my book, you are. 15 00:00:44,600 --> 00:00:46,120 Aw. 16 00:00:46,120 --> 00:00:49,720 You know people call a duo like you, power couple, right? 17 00:00:49,720 --> 00:00:50,720 Actually, yeah. 18 00:00:50,720 --> 00:00:56,000 We have been referred to that way, which we find really fascinating because we really 19 00:00:56,000 --> 00:00:57,400 just do what we do. 20 00:00:57,400 --> 00:01:02,240 And the good thing is that, I must say, I mean, she's the pianist, she's the concert 21 00:01:02,240 --> 00:01:03,240 pianist. 22 00:01:03,240 --> 00:01:04,480 I am a composer. 23 00:01:04,480 --> 00:01:09,120 So we share things, but we don't get to the point of competing. 24 00:01:09,120 --> 00:01:11,560 We, it's not that we compensate each other. 25 00:01:11,560 --> 00:01:12,560 We compliment. 26 00:01:12,560 --> 00:01:13,560 We compliment. 27 00:01:13,560 --> 00:01:14,560 That's the word you're looking for. 28 00:01:14,560 --> 00:01:15,560 You know. 29 00:01:15,560 --> 00:01:17,840 We've been extraordinarily fortunate that way. 30 00:01:17,840 --> 00:01:23,200 We're very, very respectful of each other's work, very separately, as well as everything 31 00:01:23,200 --> 00:01:26,280 that we've done together. 32 00:01:26,280 --> 00:01:27,960 Hello piano enthusiasts. 33 00:01:27,960 --> 00:01:30,800 Welcome to the PianoPod with me, Yukimi Song. 34 00:01:30,800 --> 00:01:35,000 Today we're diving deeper into the second installment of this season's eighth episode 35 00:01:35,000 --> 00:01:40,680 with extraordinary artists, Carlos Franzetti and Alison Brewster Franzetti, an exceptional 36 00:01:40,680 --> 00:01:45,600 duo with multiple Grammy and Latin Grammy awards, celebrated as the power couple of 37 00:01:45,600 --> 00:01:47,120 classical music. 38 00:01:47,120 --> 00:01:52,080 In case you missed our captivating part one conversation, exploring their fascinating 39 00:01:52,080 --> 00:01:55,760 journey to becoming Grammy and Latin Grammy winning artists. 40 00:01:55,760 --> 00:01:56,760 Don't worry. 41 00:01:56,760 --> 00:02:02,840 You can catch up on all the excitement on your favorite podcast platform right now. 42 00:02:02,840 --> 00:02:08,440 As we wrap up 2023, it's been an incredible year connecting with you and remarkable guests 43 00:02:08,440 --> 00:02:10,840 through this magical podcast medium. 44 00:02:10,840 --> 00:02:15,720 My heartfelt gratitude goes out to each of you for tuning in throughout the year and 45 00:02:15,720 --> 00:02:18,920 since the PianoPod's launch in the summer of 2020. 46 00:02:18,920 --> 00:02:23,160 Your support has fueled my passion for sharing the piano world with you. 47 00:02:23,160 --> 00:02:28,160 Over the past four years, we've strived to make classical music resonate in fresh ways 48 00:02:28,160 --> 00:02:29,820 with today's audience. 49 00:02:29,820 --> 00:02:33,420 To keep these episodes coming, your support is vital. 50 00:02:33,420 --> 00:02:37,400 Every contribution helps cover essential podcast expenses. 51 00:02:37,400 --> 00:02:42,080 So click the PayPal link in the show notes or visit the pianopod.com to donate. 52 00:02:42,080 --> 00:02:47,180 As a token of gratitude, I'll personally mail you the PianoPod's logo sticker. 53 00:02:47,180 --> 00:02:49,980 So stay tuned for the year 2024. 54 00:02:49,980 --> 00:02:54,760 Our exciting lineup of guests is ready to share thoughts, ideas, and expertise. 55 00:02:54,760 --> 00:03:01,320 I'm thrilled to bring you more inspiring conversations, captivating performances, and behind the scenes 56 00:03:01,320 --> 00:03:04,240 insights into the world of classical music. 57 00:03:04,240 --> 00:03:07,420 A warm welcome to all our new listeners. 58 00:03:07,420 --> 00:03:11,820 This podcast is your all access pass to the enchanting world of piano. 59 00:03:11,820 --> 00:03:16,520 In each episode of the PianoPod, we interview a guest speaker pioneering new grounds in 60 00:03:16,520 --> 00:03:17,960 the industry. 61 00:03:17,960 --> 00:03:22,360 Please take a moment to rate and review the show on your favorite podcasting platform. 62 00:03:22,360 --> 00:03:25,600 It truly helps others discover our show. 63 00:03:25,600 --> 00:03:32,240 So dear friends, here is part two of the PianoPod season four, episode eight, featuring Carlos 64 00:03:32,240 --> 00:03:35,820 Franzetti and Alison Brewster Franzetti. 65 00:03:35,820 --> 00:03:37,240 Please enjoy the show. 66 00:03:37,240 --> 00:03:43,400 So you both are the good influence and good impact for one another. 67 00:03:43,400 --> 00:03:44,400 That's that. 68 00:03:44,400 --> 00:03:45,400 Oh, I know. 69 00:03:45,400 --> 00:03:46,400 Absolutely. 70 00:03:46,400 --> 00:03:47,400 That's for sure. 71 00:03:47,400 --> 00:03:51,680 We really do bring out the best in each other constantly. 72 00:03:51,680 --> 00:03:55,440 And it's really great to have that kind of support. 73 00:03:55,440 --> 00:04:00,360 This weekend, I will be playing some of Carlos's music out at Penn State University with Bart 74 00:04:00,360 --> 00:04:05,080 Feller, the principal flute of New Jersey Symphony. 75 00:04:05,080 --> 00:04:09,440 We have a concert at Penn State University on Sunday. 76 00:04:09,440 --> 00:04:14,440 And then Laurel Zucker, the flutist, Carlos wrote sonata for her that we are going to 77 00:04:14,440 --> 00:04:18,880 be recording next summer and a couple of other pieces that you have heard that we're also 78 00:04:18,880 --> 00:04:20,600 recording next summer. 79 00:04:20,600 --> 00:04:25,520 And amongst other people, you know, a whole bunch of your music is getting done various 80 00:04:25,520 --> 00:04:26,880 places right now. 81 00:04:26,880 --> 00:04:33,240 Well, you have so many more fun projects and concerts and hopefully more recordings to 82 00:04:33,240 --> 00:04:34,240 come. 83 00:04:34,240 --> 00:04:35,240 Hopefully. 84 00:04:35,240 --> 00:04:41,600 I mean, the world of recording is kind of convoluted and the streaming, you know, all 85 00:04:41,600 --> 00:04:47,360 this is a result of COVID because when COVID started, people wouldn't leave their homes 86 00:04:47,360 --> 00:04:53,240 and they had to entertain themselves with streaming movies and music and things like 87 00:04:53,240 --> 00:04:57,440 that, which that market, all those platforms grew tremendously. 88 00:04:57,440 --> 00:05:00,360 People don't own CD players anymore. 89 00:05:00,360 --> 00:05:06,000 Like in your car, you don't have a CD player anymore. 90 00:05:06,000 --> 00:05:12,160 So I don't know really what the future will be for recordings unless people decide it 91 00:05:12,160 --> 00:05:17,840 in films, platforms that films that they produce, they're not available in theaters, but they're 92 00:05:17,840 --> 00:05:19,520 available in platforms. 93 00:05:19,520 --> 00:05:24,740 So I don't know whether it's going to be the case with music to people, whatever, somebody 94 00:05:24,740 --> 00:05:32,200 like Madonna or Lady Gaga, new recording available on so and so sound platforms. 95 00:05:32,200 --> 00:05:37,800 So it might be the future because I don't, you know, it's it's the way it is. 96 00:05:37,800 --> 00:05:42,840 You know, I mean, and the thing with streaming, of course, for most of us mere mortals, you 97 00:05:42,840 --> 00:05:44,720 don't make any money from it. 98 00:05:44,720 --> 00:05:46,920 So if you tell it, Swift, you do. 99 00:05:46,920 --> 00:05:51,080 Who of course set yet another record on Spotify yesterday. 100 00:05:51,080 --> 00:05:52,080 All the power to her. 101 00:05:52,080 --> 00:05:53,080 I mean, she's brilliant. 102 00:05:53,080 --> 00:05:54,080 Yeah. 103 00:05:54,080 --> 00:05:58,520 But even then she had to fight for it because she had to remaster her original because she 104 00:05:58,520 --> 00:05:59,920 wasn't making much money. 105 00:05:59,920 --> 00:06:00,920 Right. 106 00:06:00,920 --> 00:06:03,160 So it's a really tricky business here. 107 00:06:03,160 --> 00:06:06,200 Then Carlos, you mentioned a little bit about Covid. 108 00:06:06,200 --> 00:06:10,760 So for the last three years affected us so in so many, so many ways. 109 00:06:10,760 --> 00:06:15,620 Like, you know, the way we communicate is now different tremendously. 110 00:06:15,620 --> 00:06:22,360 As you mentioned, the way we listen, the way we just to enjoy art, enjoy a little film 111 00:06:22,360 --> 00:06:25,540 is not the same as before. 112 00:06:25,540 --> 00:06:26,540 So tell me, 113 00:06:26,540 --> 00:06:35,400 I live here, I mean, I work here and so Covid didn't affect me in that sense. 114 00:06:35,400 --> 00:06:37,920 I was writing music and it was the same thing. 115 00:06:37,920 --> 00:06:41,800 I would go out and do some groceries with a mask. 116 00:06:41,800 --> 00:06:48,120 Then eventually I got Covid and Alison got Covid and except I barely noticed that I had 117 00:06:48,120 --> 00:06:49,120 it on. 118 00:06:49,120 --> 00:06:52,240 I mean, I was so not I sailed through that without me. 119 00:06:52,240 --> 00:06:55,640 I mean, my I did some blood work and my doctor told me. 120 00:06:55,640 --> 00:07:00,520 By the way, you have antibodies, you develop antibodies, you have Covid. 121 00:07:00,520 --> 00:07:09,520 Later on, I had this episode that I thought that I had, you know, a brain, a HCV and it 122 00:07:09,520 --> 00:07:10,520 was 123 00:07:10,520 --> 00:07:11,520 Septurolumatoma. 124 00:07:11,520 --> 00:07:14,440 I had to go and had surgery. 125 00:07:14,440 --> 00:07:19,440 So I had three surgeries because it would, you know, I mean, we're just bleeding on the 126 00:07:19,440 --> 00:07:23,760 dura to the brain and which compresses the brain and kind of. 127 00:07:23,760 --> 00:07:26,600 So and the doctor said, I said, well, you know what happened? 128 00:07:26,600 --> 00:07:28,600 I didn't hit my head or anything like that. 129 00:07:28,600 --> 00:07:30,600 This is a Covid result. 130 00:07:30,600 --> 00:07:37,080 Well, I had brought that up actually to the surgeon at one point when he was about when 131 00:07:37,080 --> 00:07:41,240 he was having procedure number two, which is the craniotomy. 132 00:07:41,240 --> 00:07:45,400 And I said, you know, Carlos had antibodies in his system. 133 00:07:45,400 --> 00:07:50,840 And I said, there is this research talking about the things that can happen to the bacteria. 134 00:07:50,840 --> 00:07:55,160 At the beginning, they thought Covid only affects your lungs and this and that's it. 135 00:07:55,160 --> 00:07:59,320 I mean, now they know that it affects your heart, your kidneys and, you know, your brain. 136 00:07:59,320 --> 00:08:00,440 It can affect all sorts of things. 137 00:08:00,440 --> 00:08:04,080 So it manifests in different ways. 138 00:08:04,080 --> 00:08:06,360 And this was what hit me. 139 00:08:06,360 --> 00:08:10,480 And it was kind of dramatic for to have brain surgeries. 140 00:08:10,480 --> 00:08:14,160 I have a diatomid plate. 141 00:08:14,160 --> 00:08:15,160 It was very dramatic. 142 00:08:15,160 --> 00:08:18,960 And oh my goodness. 143 00:08:18,960 --> 00:08:19,960 And he's fine. 144 00:08:19,960 --> 00:08:22,000 I mean, he's really fine. 145 00:08:22,000 --> 00:08:26,880 I couldn't even tell like you have such a huge. 146 00:08:26,880 --> 00:08:29,960 Yeah, well, I have a lot. 147 00:08:29,960 --> 00:08:34,560 Not just a look, but yeah, you wouldn't tell. 148 00:08:34,560 --> 00:08:35,560 You know, the funny. 149 00:08:35,560 --> 00:08:39,640 Well, the funny thing is later on, I was looking at the so there are all the hematomas and 150 00:08:39,640 --> 00:08:43,960 days and rate of survival and said, well, 20 percent of the people survive. 151 00:08:43,960 --> 00:08:47,880 I said, well, I've been this right. 152 00:08:47,880 --> 00:08:54,360 Yeah, you know, then I said, well, you know, I am one of the lucky ones. 153 00:08:54,360 --> 00:08:58,160 But then you're still you're still writing music. 154 00:08:58,160 --> 00:08:59,160 You're still. 155 00:08:59,160 --> 00:09:00,160 Oh, yes. 156 00:09:00,160 --> 00:09:01,160 Yes. 157 00:09:01,160 --> 00:09:06,120 And I recorded the album right after a year later, six months. 158 00:09:06,120 --> 00:09:12,240 I wanted to do an album, a jazz album, which is the last thing I did for Sunnyside Records 159 00:09:12,240 --> 00:09:16,940 and this call in the Weasel hours of the morning, which is a beautiful song. 160 00:09:16,940 --> 00:09:25,480 And I tried to get songs from the era of the Second World War when like we'll meet again. 161 00:09:25,480 --> 00:09:33,080 Memories of you things that call about distance and longing and loss. 162 00:09:33,080 --> 00:09:38,360 And because I think that we went to a period like that, I mean, we lost a lot of so many 163 00:09:38,360 --> 00:09:41,480 friends and so did everybody. 164 00:09:41,480 --> 00:09:47,280 I mean, so it was a way of, you know, when during the war, the G.I. 165 00:09:47,280 --> 00:09:53,040 without knowing what would happen to them and their families and their loved ones and 166 00:09:53,040 --> 00:10:01,120 all the songs, Time Remembered and How Deep Is the Ocean, all those songs reverberated 167 00:10:01,120 --> 00:10:07,880 70 years after that made so much sense to recording. 168 00:10:07,880 --> 00:10:09,960 So I went and recorded this album. 169 00:10:09,960 --> 00:10:11,960 May of 2021. 170 00:10:11,960 --> 00:10:18,040 Oh, what's the title of the record? 171 00:10:18,040 --> 00:10:20,000 In the Weasel Hours. 172 00:10:20,000 --> 00:10:21,000 In the Weasel Hours. 173 00:10:21,000 --> 00:10:23,680 You know, I can we can make it send it to you. 174 00:10:23,680 --> 00:10:29,880 And that's with David Pink and Billy Drummond on drums. 175 00:10:29,880 --> 00:10:32,400 It's a real dream trio. 176 00:10:32,400 --> 00:10:33,400 Wonderful, wonderful. 177 00:10:33,400 --> 00:10:34,400 Beautiful, beautiful trio. 178 00:10:34,400 --> 00:10:35,400 Oh, my goodness. 179 00:10:35,400 --> 00:10:39,880 That's I think it's on Spotify as well. 180 00:10:39,880 --> 00:10:40,880 It's on Sunnyside. 181 00:10:40,880 --> 00:10:50,920 OK, I always say the owner and producer, Francois Salacan, you're a hero. 182 00:10:50,920 --> 00:10:52,760 You're putting out CDs at this time. 183 00:10:52,760 --> 00:10:56,160 I mean, you know, you're either a hero or a martyr. 184 00:10:56,160 --> 00:10:58,080 But you know, it's amazing. 185 00:10:58,080 --> 00:10:59,080 I congratulate you. 186 00:10:59,080 --> 00:11:01,640 And, you know, he keeps doing it. 187 00:11:01,640 --> 00:11:02,640 It's fantastic. 188 00:11:02,640 --> 00:11:03,640 Yep. 189 00:11:03,640 --> 00:11:04,640 So there. 190 00:11:04,640 --> 00:11:05,640 Yeah. 191 00:11:05,640 --> 00:11:08,280 So in terms of the industry, there are certain labels who are still putting out a lot of 192 00:11:08,280 --> 00:11:14,440 stuff like Parma is doing and some others that are actually putting out some really 193 00:11:14,440 --> 00:11:16,200 wonderful product. 194 00:11:16,200 --> 00:11:17,640 And so we're very fortunate. 195 00:11:17,640 --> 00:11:23,200 Of course, legacy we put out ourselves on our label because we really felt that we could 196 00:11:23,200 --> 00:11:28,640 best represent what that record was and what it is, what it stands for. 197 00:11:28,640 --> 00:11:33,880 But we've been really more fortunate than many people when it comes to recording who 198 00:11:33,880 --> 00:11:35,840 we've gotten to work with. 199 00:11:35,840 --> 00:11:42,160 I have several upcoming projects that are going to have various homes that I'll be collaborating 200 00:11:42,160 --> 00:11:44,200 with a wide range of people right now. 201 00:11:44,200 --> 00:11:50,520 And again, I'm very fortunate to be able to say that that I keep having these opportunities. 202 00:11:50,520 --> 00:11:55,440 I also just finished doing Jurassic Park with New Jersey Symphony. 203 00:11:55,440 --> 00:11:56,440 Oh, my God. 204 00:11:56,440 --> 00:11:57,440 Yeah. 205 00:11:57,440 --> 00:11:58,440 Yeah. 206 00:11:58,440 --> 00:12:02,680 And unfortunately, I was behind the screen so I couldn't see it. 207 00:12:02,680 --> 00:12:04,920 But those things are fun to do. 208 00:12:04,920 --> 00:12:12,080 I have to say when you get to play live to film like that, that your audiences have such 209 00:12:12,080 --> 00:12:13,080 a great time. 210 00:12:13,080 --> 00:12:14,080 And the scores are difficult. 211 00:12:14,080 --> 00:12:15,080 They are hard. 212 00:12:15,080 --> 00:12:16,080 They're hard. 213 00:12:16,080 --> 00:12:17,080 Yeah. 214 00:12:17,080 --> 00:12:21,800 On this particular one, I was doing the synth part. 215 00:12:21,800 --> 00:12:25,920 So not only was I having to change patches constantly, which I was actually doing with 216 00:12:25,920 --> 00:12:32,400 my foot, I had to keep adjusting the volume depending on which patch I was on because 217 00:12:32,400 --> 00:12:35,000 they were very unevenly matched. 218 00:12:35,000 --> 00:12:40,280 So it's like if I had a Chalice patch to play and I had a lot of them, I had to put the 219 00:12:40,280 --> 00:12:41,280 volume all the way up. 220 00:12:41,280 --> 00:12:44,720 But the second I would have to play something else, I'd have to bring it back. 221 00:12:44,720 --> 00:12:49,680 And I was constantly guessing, depending on what venue we were in, was my volume actually 222 00:12:49,680 --> 00:12:50,680 correct? 223 00:12:50,680 --> 00:12:52,320 There was no way for me to know. 224 00:12:52,320 --> 00:12:57,160 And so I just had to go with what I heard and trust the sound guys in the house to handle 225 00:12:57,160 --> 00:12:58,420 all the rest of it. 226 00:12:58,420 --> 00:13:04,680 So I was constantly adjusting here, playing here, adjusting here, adjusting with. 227 00:13:04,680 --> 00:13:07,320 It's kind of how it goes when you do those. 228 00:13:07,320 --> 00:13:11,760 But it seems like you both have such a varied career. 229 00:13:11,760 --> 00:13:15,160 You're not just one thing, right? 230 00:13:15,160 --> 00:13:18,520 Like also you have this experience with the film as well. 231 00:13:18,520 --> 00:13:24,400 And then also, Carlos, you wrote for commercials, but also you are Latin Grammy, Grammy Award 232 00:13:24,400 --> 00:13:27,600 winner and write jazz, this and that. 233 00:13:27,600 --> 00:13:30,640 And so what your film too? 234 00:13:30,640 --> 00:13:31,640 Yeah, that's true. 235 00:13:31,640 --> 00:13:32,640 That's true. 236 00:13:32,640 --> 00:13:37,640 So is that the maybe secret to the longevity of your career? 237 00:13:37,640 --> 00:13:41,720 Sort of like a diversifying your career, you know what I mean? 238 00:13:41,720 --> 00:13:43,400 Not just to focus on one thing. 239 00:13:43,400 --> 00:13:50,080 Well, there is a collecticism in a sense, but it's also that I, you know, being a commercial 240 00:13:50,080 --> 00:13:55,480 professional musician, I had to accept to do as being an arranger is an extension of 241 00:13:55,480 --> 00:13:56,480 being a composer. 242 00:13:56,480 --> 00:14:00,480 You know, you learn to orchestrate and arrange other people's music. 243 00:14:00,480 --> 00:14:06,720 And I was called to do, as I said, from the times of Mexico, doing mariachi music to Latin 244 00:14:06,720 --> 00:14:09,360 to rock to some movies. 245 00:14:09,360 --> 00:14:19,120 And then later in New York, the salsa phenomenon of the seventies and then R&B and jazz and 246 00:14:19,120 --> 00:14:20,400 other types of music. 247 00:14:20,400 --> 00:14:25,320 I think in tango, I don't think that I have skipped any genre of music. 248 00:14:25,320 --> 00:14:30,560 I mean, I've done mostly, you know, they call me and said, we need you to do this arrangement 249 00:14:30,560 --> 00:14:37,280 of Spanish songs, like Jose Nin, but we need to, you know, you to adapt this for a wind 250 00:14:37,280 --> 00:14:39,120 quintet or we need. 251 00:14:39,120 --> 00:14:42,080 So you do all kinds of different things. 252 00:14:42,080 --> 00:14:47,800 I would say that the only thing I don't do is heavy rock, because there's no, you know, 253 00:14:47,800 --> 00:14:53,600 there's no place for me to write in on a techno pop or things like that. 254 00:14:53,600 --> 00:14:56,320 But, you know, other than that, I've done everything. 255 00:14:56,320 --> 00:15:01,600 I think the other thing, and I know you're going to bring this up, is that you have to 256 00:15:01,600 --> 00:15:07,600 be willing to adjust to the times and the world that we originally were brought up in 257 00:15:07,600 --> 00:15:09,960 has nothing to do with the world we're in. 258 00:15:09,960 --> 00:15:15,120 It really has changed that radically in so many ways. 259 00:15:15,120 --> 00:15:19,560 You know, just the fact that we're having this conversation a few years ago, we wouldn't 260 00:15:19,560 --> 00:15:20,560 have done it. 261 00:15:20,560 --> 00:15:21,560 Right. 262 00:15:21,560 --> 00:15:23,520 We have that proliferation. 263 00:15:23,520 --> 00:15:31,320 So like one of the things that I got involved with during COVID was I contacted my best 264 00:15:31,320 --> 00:15:37,760 friend of the past 40 years, who's a techie amongst other things and a producer. 265 00:15:37,760 --> 00:15:43,180 And when I saw that orchestras were starting to shut down, I realized that this was a long 266 00:15:43,180 --> 00:15:44,220 haul situation. 267 00:15:44,220 --> 00:15:45,680 It was not going to be for a couple of weeks. 268 00:15:45,680 --> 00:15:47,680 I knew it immediately. 269 00:15:47,680 --> 00:15:52,880 I contacted my best friend and said, there's got to be a way for orchestras to be able 270 00:15:52,880 --> 00:15:55,880 to continue. 271 00:15:55,880 --> 00:16:01,520 And we had actually, he with his tech guys and me filling him in on orchestral leads 272 00:16:01,520 --> 00:16:08,600 and stuff like that, we had devised a system where orchestras could be in the same building 273 00:16:08,600 --> 00:16:09,600 at the time. 274 00:16:09,600 --> 00:16:10,600 Right. 275 00:16:10,600 --> 00:16:13,520 But in different parts of the building. 276 00:16:13,520 --> 00:16:14,720 Right. 277 00:16:14,720 --> 00:16:18,480 And following all the protocols, because we knew what all the protocols were from the 278 00:16:18,480 --> 00:16:25,800 various unions, setting up the cameras, the microphones, the kind of high speed access 279 00:16:25,800 --> 00:16:31,000 you needed, et cetera, being able to have a conductor yet in another location in the 280 00:16:31,000 --> 00:16:36,920 building and then being able to have orchestras actually play together. 281 00:16:36,920 --> 00:16:40,320 And it turned out with latency and dealing with latency too. 282 00:16:40,320 --> 00:16:43,880 Now it turned out we were way ahead of our time. 283 00:16:43,880 --> 00:16:47,800 Various orchestras took a really good look at it and were really considering it. 284 00:16:47,800 --> 00:16:53,280 And then they started looking at the possible price tag and going, can't do it. 285 00:16:53,280 --> 00:17:00,560 But what that led us to was the orchestra, the Americas in the orchestra Academy, and 286 00:17:00,560 --> 00:17:03,000 we became part of their advisory board. 287 00:17:03,000 --> 00:17:09,120 And what the Academy is doing is really fascinating because they are hybrid at this point, but 288 00:17:09,120 --> 00:17:12,160 during COVID everything was online. 289 00:17:12,160 --> 00:17:20,360 So they were doing all these incredible workshops from the orchestral level of various repertoire, 290 00:17:20,360 --> 00:17:26,280 working with various conductors, renowned conductors from around the world. 291 00:17:26,280 --> 00:17:33,480 And then having modules for the respective instruments with these, again, world renowned 292 00:17:33,480 --> 00:17:36,360 musicians taking them through. 293 00:17:36,360 --> 00:17:41,120 Not only were they working on repertoire things, but they're working on strategies for the 294 00:17:41,120 --> 00:17:50,280 21st century, how to market yourself, how to work with entrepreneurial things, you name 295 00:17:50,280 --> 00:17:51,280 it. 296 00:17:51,280 --> 00:17:52,640 They're touring it. 297 00:17:52,640 --> 00:17:58,640 And they are also developing actual degrees in it. 298 00:17:58,640 --> 00:18:03,400 So we have these fellows that work with them in these various ways, including that they 299 00:18:03,400 --> 00:18:10,240 have this whole piano contingent with Gabriella Montero, which she's incredible. 300 00:18:10,240 --> 00:18:13,600 I mean, what she's doing is incredible. 301 00:18:13,600 --> 00:18:19,080 So you have all these cohorts from around the world who are participating in this. 302 00:18:19,080 --> 00:18:23,940 And so every three months we at the advisory board, we meet, we see what they're doing, 303 00:18:23,940 --> 00:18:26,960 what they're developing and give feedback on it. 304 00:18:26,960 --> 00:18:33,360 My area has been working with them on syllabi and stuff like that and looking at what they're 305 00:18:33,360 --> 00:18:35,360 actually offering. 306 00:18:35,360 --> 00:18:37,480 How are they communicating it? 307 00:18:37,480 --> 00:18:44,640 Is this really what they're looking to do is really quite groundbreaking in so many ways 308 00:18:44,640 --> 00:18:46,440 and very exciting. 309 00:18:46,440 --> 00:18:51,120 And so being part of something like that is really fascinating. 310 00:18:51,120 --> 00:18:57,280 Having come from the very academic musical world that they're looking to compete with 311 00:18:57,280 --> 00:19:04,200 at this point, but because their point of view is constantly looking at the future and 312 00:19:04,200 --> 00:19:14,280 what needs to happen to keep music viable, not just now, but for the future and reaching 313 00:19:14,280 --> 00:19:21,960 also in many cases, some very underserved communities around the world. 314 00:19:21,960 --> 00:19:27,480 So it's really, it's quite fascinating to see what people are doing, why they're doing 315 00:19:27,480 --> 00:19:30,280 it and the need for it. 316 00:19:30,280 --> 00:19:36,040 And so I really do believe that schools like Berkeley have been on top of this stuff for 317 00:19:36,040 --> 00:19:41,480 years in terms of where the business is going and why the business is going a certain way. 318 00:19:41,480 --> 00:19:46,080 And the kinds of degrees that they offer are not just necessarily performing or teaching 319 00:19:46,080 --> 00:19:47,080 degrees. 320 00:19:47,080 --> 00:19:55,000 They have a whole system of careers related to music that you can be part of and trained 321 00:19:55,000 --> 00:19:57,720 for and why do you do it? 322 00:19:57,720 --> 00:20:02,880 That take into account all these various developments that have happened. 323 00:20:02,880 --> 00:20:08,440 And this is where a lot of the more traditional music conservatories or universities don't 324 00:20:08,440 --> 00:20:11,760 necessarily do this and they need to be doing it. 325 00:20:11,760 --> 00:20:12,760 Wow. 326 00:20:12,760 --> 00:20:13,760 So this is a, yeah. 327 00:20:13,760 --> 00:20:17,120 I have a little bit of an opinion about it, you think? 328 00:20:17,120 --> 00:20:18,120 Oh yeah. 329 00:20:18,120 --> 00:20:21,240 But it's incredible that you do have this. 330 00:20:21,240 --> 00:20:23,120 But what did you notice? 331 00:20:23,120 --> 00:20:27,200 Did you notice that from your students, observing from your students or from your audience that 332 00:20:27,200 --> 00:20:30,400 something is missing and then needs to take an action right now? 333 00:20:30,400 --> 00:20:33,240 Oh, it was all of the above. 334 00:20:33,240 --> 00:20:34,920 It's been all of it. 335 00:20:34,920 --> 00:20:41,320 And that, you know, and looking sometimes at who's attending concerts and who are we 336 00:20:41,320 --> 00:20:44,040 reaching or who are we really missing? 337 00:20:44,040 --> 00:20:45,640 What's happened to music education? 338 00:20:45,640 --> 00:20:50,560 Now in New Jersey, we're more fortunate than a lot of places in terms of the wealth of 339 00:20:50,560 --> 00:20:58,200 opportunities that are available here for kids to be able to study, to play with different 340 00:20:58,200 --> 00:21:02,120 kinds of orchestras or singing choirs or whatever it is. 341 00:21:02,120 --> 00:21:06,920 We have a lot of it, you know, New York City is not that kind of fortunate, not like we 342 00:21:06,920 --> 00:21:17,080 are, but even so still adapting for what this musical world is and is going to be does take 343 00:21:17,080 --> 00:21:18,200 a lot of foresight. 344 00:21:18,200 --> 00:21:23,400 On the other hand, if you're a performer, you still have to be able to perform. 345 00:21:23,400 --> 00:21:29,960 So a lot of the stuff that you still have to do is still that didn't change in terms 346 00:21:29,960 --> 00:21:36,880 of the excellence that you have to have in terms of how you go about playing your instrument 347 00:21:36,880 --> 00:21:39,880 or singing or composing or arranging. 348 00:21:39,880 --> 00:21:41,760 That's all still the same. 349 00:21:41,760 --> 00:21:44,160 You've still got to have those skill sets. 350 00:21:44,160 --> 00:21:50,920 But what you do with them is what has changed so completely in so many ways so that the 351 00:21:50,920 --> 00:21:54,280 opportunities like Carlos was in jingles for so many years. 352 00:21:54,280 --> 00:21:56,720 Well, that world doesn't exist now. 353 00:21:56,720 --> 00:21:58,360 Of course. 354 00:21:58,360 --> 00:22:00,280 So what do you do? 355 00:22:00,280 --> 00:22:08,240 And so so that's where he's had all these other opportunities and people who have approached 356 00:22:08,240 --> 00:22:13,160 him over the years to do this, to do this, to do this, to do this. 357 00:22:13,160 --> 00:22:18,400 And some of that has been, frankly, by reputation, you know, that people know our work. 358 00:22:18,400 --> 00:22:25,080 And so we are fortunate in that sense that people come to us constantly to do this thing 359 00:22:25,080 --> 00:22:27,520 or do this thing or do this thing. 360 00:22:27,520 --> 00:22:32,800 But you know, if you're really young and starting out, you your socials have got to be really 361 00:22:32,800 --> 00:22:34,920 good whether you want them or not. 362 00:22:34,920 --> 00:22:35,920 And yes, it's over saturated. 363 00:22:35,920 --> 00:22:40,920 And yes, people are going to put what they want you to see. 364 00:22:40,920 --> 00:22:41,920 That's true. 365 00:22:41,920 --> 00:22:42,920 OK. 366 00:22:42,920 --> 00:22:43,920 I know. 367 00:22:43,920 --> 00:22:48,160 But whether we like it or not, that is reality. 368 00:22:48,160 --> 00:22:52,400 People are going to look at that often before they're ever going to look at your website. 369 00:22:52,400 --> 00:23:00,600 We have your product up on YouTube or, you know, or wherever it is and that you keep 370 00:23:00,600 --> 00:23:03,040 having and to self promote. 371 00:23:03,040 --> 00:23:09,660 You know, in the end, we want to grab audience attention and invite them over to the actual 372 00:23:09,660 --> 00:23:15,920 concert hall and listen to the real classical music or real jazz band, whatever that is, 373 00:23:15,920 --> 00:23:17,200 a great music. 374 00:23:17,200 --> 00:23:18,200 Right. 375 00:23:18,200 --> 00:23:25,040 But to do that these days, especially these days, it takes a few extra steps for for us 376 00:23:25,040 --> 00:23:26,920 to really reach out. 377 00:23:26,920 --> 00:23:29,320 And I think that it will be back to that. 378 00:23:29,320 --> 00:23:35,680 I mean, I think the people are getting cabin fever and, you know, like too much of Internet, 379 00:23:35,680 --> 00:23:37,360 too much of this of concerts. 380 00:23:37,360 --> 00:23:43,640 And I even play some concerts here, you know, on Zoom to Zoom. 381 00:23:43,640 --> 00:23:45,440 And so did Allison and think. 382 00:23:45,440 --> 00:23:50,640 But I think it's, you know, it had to do with like getting together with other people, going 383 00:23:50,640 --> 00:23:58,200 to a concert, going to a jazz club or whatever is something that we need to, you know, it's 384 00:23:58,200 --> 00:23:59,920 as gregarious as we are. 385 00:23:59,920 --> 00:24:01,680 We know we have to be with other people. 386 00:24:01,680 --> 00:24:06,440 We can't be like only doing it, you know, selectively and at home. 387 00:24:06,440 --> 00:24:08,480 You know, the Internet is a fantastic medium. 388 00:24:08,480 --> 00:24:09,920 It's wonderful. 389 00:24:09,920 --> 00:24:14,720 But then, you know, there are certain things that you appreciate more being like there, 390 00:24:14,720 --> 00:24:18,760 like a concert rather than watching a video of a concert. 391 00:24:18,760 --> 00:24:24,000 I mean, Carlos was telling me we had done the Empire Strikes Back last spring and our 392 00:24:24,000 --> 00:24:29,760 daughter was here from Las Vegas and I was able to get them comps to go. 393 00:24:29,760 --> 00:24:32,320 I was playing piano on that one. 394 00:24:32,320 --> 00:24:39,120 And they said it was an extraordinary experience to be in that audience. 395 00:24:39,120 --> 00:24:45,720 Because it was simultaneously synchronized, simultaneously the movie without the soundtrack, 396 00:24:45,720 --> 00:24:50,880 just the dialogue and the soundtrack was coming from the podium, from the from us, from the 397 00:24:50,880 --> 00:24:52,880 concert hall. 398 00:24:52,880 --> 00:24:54,360 And they were. 399 00:24:54,360 --> 00:24:55,360 And the place was packed. 400 00:24:55,360 --> 00:24:56,360 And it was amazing. 401 00:24:56,360 --> 00:24:57,880 I mean, it was packed. 402 00:24:57,880 --> 00:24:58,880 It was incredible. 403 00:24:58,880 --> 00:25:04,840 I mean, I've never been to one of those concerts, you know, when they do a movie and, you know, 404 00:25:04,840 --> 00:25:09,520 they play the score synchronized or, you know, they conducted to the movie. 405 00:25:09,520 --> 00:25:13,120 The conductor, Konstantin Katsopoulos did a marvelous work. 406 00:25:13,120 --> 00:25:18,400 And so did the whole orchestra, because you have two hours of music without stopping, 407 00:25:18,400 --> 00:25:20,920 you know, demanded music. 408 00:25:20,920 --> 00:25:27,640 But wasn't it like this, like the Charlie Chaplin's time, there was an actual orchestra, 409 00:25:27,640 --> 00:25:32,680 you know, exactly to the orchestra. 410 00:25:32,680 --> 00:25:34,560 The conductor knows the timing. 411 00:25:34,560 --> 00:25:36,480 It doesn't have a click track or anything like that. 412 00:25:36,480 --> 00:25:41,480 I mean, he's doing it to movie the way they did it in Hollywood long time ago. 413 00:25:41,480 --> 00:25:47,520 You know, the Elmer Bernstein's and the, you know, the, you know, Hermann's and he did 414 00:25:47,520 --> 00:25:48,880 a fantastic job. 415 00:25:48,880 --> 00:25:50,280 And so did all the musicians. 416 00:25:50,280 --> 00:25:52,080 The orchestra sounded fabulous. 417 00:25:52,080 --> 00:25:53,080 And some of the other ones. 418 00:25:53,080 --> 00:25:59,280 And I, and I have to say, I'm really supportive of this is the video game concerts with orchestra. 419 00:25:59,280 --> 00:26:00,800 I've done a bunch of those. 420 00:26:00,800 --> 00:26:06,120 And I tell you, first of all, your audiences know the music, even if we don't play the 421 00:26:06,120 --> 00:26:09,800 games and we don't know it, they do. 422 00:26:09,800 --> 00:26:16,040 So they're, you know, and they're always packed and they're always excited to be there. 423 00:26:16,040 --> 00:26:20,480 And I have to say that so much of that music is great. 424 00:26:20,480 --> 00:26:21,480 It's great. 425 00:26:21,480 --> 00:26:24,200 And it's really exciting to play it. 426 00:26:24,200 --> 00:26:25,200 And that's the truth. 427 00:26:25,200 --> 00:26:30,720 And it brings people to the concert halls. 428 00:26:30,720 --> 00:26:38,600 And so I say, I think that doing these kinds of events to bring people to the concert halls 429 00:26:38,600 --> 00:26:39,600 is great. 430 00:26:39,600 --> 00:26:47,040 And also what I've seen people, I've seen people come back to hear more classical kind 431 00:26:47,040 --> 00:26:55,240 of the concerts as a result of having this live experience and saying, this is great. 432 00:26:55,240 --> 00:26:58,280 So that's why really seriously I'm all for it. 433 00:26:58,280 --> 00:26:59,280 Thank you for saying that. 434 00:26:59,280 --> 00:27:02,360 I mean, I didn't have to even guide you for this conversation. 435 00:27:02,360 --> 00:27:03,880 You said it, said it all. 436 00:27:03,880 --> 00:27:04,880 Thank you. 437 00:27:04,880 --> 00:27:05,880 Beautiful. 438 00:27:05,880 --> 00:27:06,880 We have plenty to say. 439 00:27:06,880 --> 00:27:09,640 I never want to. 440 00:27:09,640 --> 00:27:13,200 In the end, why do you think classical music matter? 441 00:27:13,200 --> 00:27:15,360 Why music education matters? 442 00:27:15,360 --> 00:27:17,760 I feel that we live thanks to music. 443 00:27:17,760 --> 00:27:32,280 We are subject to music from the little songs and the kinder, the rhymes, the wedding marches 444 00:27:32,280 --> 00:27:34,000 up to the end with the funeral march. 445 00:27:34,000 --> 00:27:37,460 I mean, we are there with music all our lives. 446 00:27:37,460 --> 00:27:44,400 But classical music matters because it's something that narrates a time, narrates a state of 447 00:27:44,400 --> 00:27:51,160 mind of what was Baroque, what was Rococo, what was classical, what was Impressionism, 448 00:27:51,160 --> 00:27:56,280 what was the jazz age, 20s, and what is today the music. 449 00:27:56,280 --> 00:28:01,320 I mean, you know, you couldn't have minimalistic music in 1900. 450 00:28:01,320 --> 00:28:03,440 You have to have it later on. 451 00:28:03,440 --> 00:28:08,840 And the same thing is you can't have Impressionistic music at the time of Bach. 452 00:28:08,840 --> 00:28:14,920 It happened because it was a whole movement of painting, of literature, of music. 453 00:28:14,920 --> 00:28:17,600 So it's a time. 454 00:28:17,600 --> 00:28:19,360 And that's what culture does. 455 00:28:19,360 --> 00:28:20,920 Culture is history. 456 00:28:20,920 --> 00:28:22,200 And so is music. 457 00:28:22,200 --> 00:28:24,200 Music is our history. 458 00:28:24,200 --> 00:28:25,200 Right. 459 00:28:25,200 --> 00:28:26,200 Exactly. 460 00:28:26,200 --> 00:28:29,320 I used to teach journal music at Kean. 461 00:28:29,320 --> 00:28:32,240 It was one of the many areas that I taught. 462 00:28:32,240 --> 00:28:35,200 And kids would have to take this class, right? 463 00:28:35,200 --> 00:28:38,360 They had to take a GE and they would take music. 464 00:28:38,360 --> 00:28:41,600 And they would come in, come in, say they didn't know anything, they're going to hate 465 00:28:41,600 --> 00:28:42,600 it. 466 00:28:42,600 --> 00:28:43,600 They'd be terrified. 467 00:28:43,600 --> 00:28:47,520 So I would start with pieces that I knew they'd already know. 468 00:28:47,520 --> 00:28:51,000 So you start playing the opening of Beethoven 5th. 469 00:28:51,000 --> 00:28:59,200 And at the time it was rodeo was being used, beef, it's what's for dinner, stuff like that. 470 00:28:59,200 --> 00:29:02,200 And a clarinet and other things. 471 00:29:02,200 --> 00:29:07,160 And I would start with pieces like this and go, okay, how many of you recognize this piece, 472 00:29:07,160 --> 00:29:09,200 even if you don't know what it's called? 473 00:29:09,200 --> 00:29:11,440 And all the hands would go up. 474 00:29:11,440 --> 00:29:13,600 And I picked a whole bunch of these. 475 00:29:13,600 --> 00:29:18,280 And I said, so you already know something about classical music. 476 00:29:18,280 --> 00:29:21,160 So you still scared of this class. 477 00:29:21,160 --> 00:29:26,400 And people would chill out immediately with that because they'd realized they had been 478 00:29:26,400 --> 00:29:30,920 exposed to this their whole lives, though they didn't necessarily know what it was exactly 479 00:29:30,920 --> 00:29:32,120 they're being exposed to. 480 00:29:32,120 --> 00:29:34,760 So that was thing one that I would do. 481 00:29:34,760 --> 00:29:37,840 The other thing and Carlos was I agree. 482 00:29:37,840 --> 00:29:44,800 What I would say is, at a time when a piece of music is being composed and performed, 483 00:29:44,800 --> 00:29:48,000 here's what's going on at that time. 484 00:29:48,000 --> 00:29:50,340 So here's a question I want you to think about. 485 00:29:50,340 --> 00:29:54,080 Do you think that music is a reflection of some of those things? 486 00:29:54,080 --> 00:29:56,720 Or is it telling you what's coming? 487 00:29:56,720 --> 00:29:58,800 Or it may be some of both. 488 00:29:58,800 --> 00:30:04,520 And so we would cover various periods of music that way, and genre music that way. 489 00:30:04,520 --> 00:30:08,800 And I would remind people at the time that this was being composed. 490 00:30:08,800 --> 00:30:10,680 This was new. 491 00:30:10,680 --> 00:30:13,640 So this didn't exist before. 492 00:30:13,640 --> 00:30:17,280 Put yourself in that kind of frame of mind as you listen to it. 493 00:30:17,280 --> 00:30:25,160 But when we got to around 1920 something, I said, you have several different kinds of 494 00:30:25,160 --> 00:30:27,360 musical events happening. 495 00:30:27,360 --> 00:30:29,800 Here's why this is all happening. 496 00:30:29,800 --> 00:30:34,440 And at the same time that you have classical music happening, you already have jazz developing. 497 00:30:34,440 --> 00:30:36,400 You already have ragtime developing. 498 00:30:36,400 --> 00:30:37,800 You've had the cakewalk. 499 00:30:37,800 --> 00:30:41,800 You've had all these different things that are happening. 500 00:30:41,800 --> 00:30:46,960 A couple of years ago I played in Italy, a jazz concert. 501 00:30:46,960 --> 00:30:53,440 And Addison came with me and I talked to Addison before and then to the organizers of the concert 502 00:30:53,440 --> 00:31:00,760 that Addison was presenting before my jazz concert with the trio kind of a lecture of 503 00:31:00,760 --> 00:31:04,420 the influence of blues in classical music. 504 00:31:04,420 --> 00:31:11,520 And not only in the obvious of George Gershwin, but also on Ravel piano concerto in G. 505 00:31:11,520 --> 00:31:12,520 And the violin sonata. 506 00:31:12,520 --> 00:31:13,800 And the violin sonata. 507 00:31:13,800 --> 00:31:17,360 And then on Stravinsky and so many. 508 00:31:17,360 --> 00:31:25,440 And she would play the effect after playing the blue notes, showing what Ravel did with 509 00:31:25,440 --> 00:31:30,840 the piano concerto in G and then with Mio and other composers that you chose. 510 00:31:30,840 --> 00:31:38,200 And it was very interesting because we always see the influence of classical music in jazz. 511 00:31:38,200 --> 00:31:44,640 People like Bill Evans and so many others who benefit from Debussy and Ravel, but not 512 00:31:44,640 --> 00:31:45,640 the other way around. 513 00:31:45,640 --> 00:31:49,680 And she did it in Italian. 514 00:31:49,680 --> 00:31:50,680 Very interesting. 515 00:31:50,680 --> 00:31:51,680 She did it in Italian. 516 00:31:51,680 --> 00:31:54,920 Boy, did I have to work at that because I don't speak Italian. 517 00:31:54,920 --> 00:31:56,480 Oh my goodness. 518 00:31:56,480 --> 00:31:57,480 I have to work at it. 519 00:31:57,480 --> 00:31:58,480 She wrote everything. 520 00:31:58,480 --> 00:32:03,080 I wrote everything and it was evidently people understood me quite well. 521 00:32:03,080 --> 00:32:07,600 And when I would make mistakes, I'd start to laugh and so would everyone else because 522 00:32:07,600 --> 00:32:12,200 we all knew I'd messed up and I'd make fun of myself and it was fine. 523 00:32:12,200 --> 00:32:18,800 I then expanded it to the influence of jazz and blues and classical music and then incorporated 524 00:32:18,800 --> 00:32:24,760 all sorts of different composers, whether they're male, female or whatever their orientation 525 00:32:24,760 --> 00:32:28,440 from different parts of the world and how that really expanded. 526 00:32:28,440 --> 00:32:32,960 So one of the composers that I found really interesting was Dana Suisse. 527 00:32:32,960 --> 00:32:37,680 Now Dana Suisse died in the 80s, I believe. 528 00:32:37,680 --> 00:32:41,760 And she was during her lifetime, she was referred to as the female Gershwin. 529 00:32:41,760 --> 00:32:43,420 She was a composer. 530 00:32:43,420 --> 00:32:44,420 She was a pianist. 531 00:32:44,420 --> 00:32:45,420 She was a singer. 532 00:32:45,420 --> 00:32:51,840 She wrote all kinds of wonderful music that disappeared for a while, but quite a few pianists 533 00:32:51,840 --> 00:32:57,140 are doing her stuff, including Sarah Davis Buechner and Lisa Moore. 534 00:32:57,140 --> 00:32:59,040 So I'm hardly the only one that's doing it. 535 00:32:59,040 --> 00:33:04,760 One perfect example of influence of jazz in musicians and classical composers is Kapustin 536 00:33:04,760 --> 00:33:06,640 when you record it. 537 00:33:06,640 --> 00:33:13,880 Obviously beautifully written, but totally thinking toward jazz. 538 00:33:13,880 --> 00:33:15,480 And his stuff is completely written out. 539 00:33:15,480 --> 00:33:16,480 Oh yes. 540 00:33:16,480 --> 00:33:18,280 It may sound like you're improvising. 541 00:33:18,280 --> 00:33:21,440 It sounds like a trickery of improvisation. 542 00:33:21,440 --> 00:33:24,640 But it's all written, everything. 543 00:33:24,640 --> 00:33:28,680 So yeah, that was a perfect example. 544 00:33:28,680 --> 00:33:35,000 And one of the composers that I had included in the original lecture was several different 545 00:33:35,000 --> 00:33:37,760 examples of the work that he did. 546 00:33:37,760 --> 00:33:43,520 So this is also where the fact that I also live with Carlos, who is a phenomenal jazz 547 00:33:43,520 --> 00:33:50,720 pianist, has been really helpful to me when I do some of these cross genre type of presentations 548 00:33:50,720 --> 00:33:52,240 that I do. 549 00:33:52,240 --> 00:33:58,440 We have so much to talk about, but sadly it's time for us to go. 550 00:33:58,440 --> 00:34:03,000 But before we go, just quickly, what's the next phase for you? 551 00:34:03,000 --> 00:34:08,680 The symphony, I'm in the process of orchestrating certain parts, but I mean, it's almost done. 552 00:34:08,680 --> 00:34:12,240 After that, we go on a cruise next week. 553 00:34:12,240 --> 00:34:17,000 We're going to go from Los Angeles to the Mexican Riviera. 554 00:34:17,000 --> 00:34:18,000 Los Capos and El Tejada. 555 00:34:18,000 --> 00:34:19,000 Los Capos and all that. 556 00:34:19,000 --> 00:34:23,280 I mean, just we love to sail and this time we're doing it with our daughter. 557 00:34:23,280 --> 00:34:24,280 Oh, great. 558 00:34:24,280 --> 00:34:29,680 Then I'm coming back to this other project, the Minotaur Suite, orchestrate that. 559 00:34:29,680 --> 00:34:35,600 As far as other things, as I said, yes, we have some concerts together, the February, 560 00:34:35,600 --> 00:34:39,480 the opera in San Francisco, which I don't know if I'm going to go. 561 00:34:39,480 --> 00:34:42,280 But there are several things there. 562 00:34:42,280 --> 00:34:49,280 And if the year begins, the 24 will begin, there are always going to be new challenges. 563 00:34:49,280 --> 00:34:50,280 Right? 564 00:34:50,280 --> 00:34:51,280 Yep. 565 00:34:51,280 --> 00:34:55,960 I have a lot of recording projects that are. 566 00:34:55,960 --> 00:35:02,880 So one with Maureen Heard-Huss, who is the Associate Director of Music at Rutgers, and 567 00:35:02,880 --> 00:35:06,120 she's doing a project of Irish music. 568 00:35:06,120 --> 00:35:10,060 Then Laurel Zucker, we're going to be recording Carlos's music. 569 00:35:10,060 --> 00:35:15,360 There's another fluteist, Norley Garcia, that we're doing a French project and that's going 570 00:35:15,360 --> 00:35:19,520 to be in Florida, I think in early January. 571 00:35:19,520 --> 00:35:24,480 There's a violist, Brett Dubner, that I'm going to be recording with again. 572 00:35:24,480 --> 00:35:27,280 I don't have dates on that yet, but I know we're doing that. 573 00:35:27,280 --> 00:35:29,400 This thing in San Antonio might happen. 574 00:35:29,400 --> 00:35:30,400 Right. 575 00:35:30,400 --> 00:35:35,120 San Antonio, that we're waiting to hear on some stuff in San Antonio. 576 00:35:35,120 --> 00:35:36,800 Boy. 577 00:35:36,800 --> 00:35:38,480 And I think I've left some out. 578 00:35:38,480 --> 00:35:44,960 And of course, the concert with Carlos's Suite in February, and I will be doing Nutcracker 579 00:35:44,960 --> 00:35:47,640 in this winter. 580 00:35:47,640 --> 00:35:52,600 So I am the Sugar Plum Fairy every year, which I enjoy doing. 581 00:35:52,600 --> 00:35:53,600 I really do. 582 00:35:53,600 --> 00:35:56,720 I really enjoy playing that piece every year. 583 00:35:56,720 --> 00:35:57,720 I do. 584 00:35:57,720 --> 00:35:58,720 I look forward to it. 585 00:35:58,720 --> 00:36:02,960 And a whole bunch of other concerts that will be coming. 586 00:36:02,960 --> 00:36:06,320 Plus I have a huge studio that I teach. 587 00:36:06,320 --> 00:36:08,240 So I'm at Blair Academy. 588 00:36:08,240 --> 00:36:10,040 I also have private students. 589 00:36:10,040 --> 00:36:13,120 So I have something like 28 students. 590 00:36:13,120 --> 00:36:16,040 I don't see them all in a given week, but you know what that's like. 591 00:36:16,040 --> 00:36:17,040 You teach. 592 00:36:17,040 --> 00:36:18,040 Oh, yes. 593 00:36:18,040 --> 00:36:19,040 Yes. 594 00:36:19,040 --> 00:36:20,040 So you know what that is. 595 00:36:20,040 --> 00:36:24,840 And so when I do see everyone in a week, it's 28 lessons. 596 00:36:24,840 --> 00:36:29,560 But it varies from the week, depending on who is available when. 597 00:36:29,560 --> 00:36:32,200 I mean, I have certain students that I teach every week, of course. 598 00:36:32,200 --> 00:36:34,800 So that's probably about 20 of them. 599 00:36:34,800 --> 00:36:35,800 Oh, wow. 600 00:36:35,800 --> 00:36:37,600 That's a lot of students. 601 00:36:37,600 --> 00:36:40,360 It's a lot, but I enjoy it. 602 00:36:40,360 --> 00:36:43,520 It's been a wonderful conversation, Carlos and Alison, both of you. 603 00:36:43,520 --> 00:36:49,200 So for my audience, if you want to find out more about Carlos, you can go to his website 604 00:36:49,200 --> 00:36:52,240 at carlosfranzetti.com. 605 00:36:52,240 --> 00:36:58,920 And if you want to find more about Alison, you can go to Alison Brewster franzetti.com. 606 00:36:58,920 --> 00:37:03,360 And both of you are on Facebook, Instagram, all the good stuff. 607 00:37:03,360 --> 00:37:04,360 Correct? 608 00:37:04,360 --> 00:37:05,360 We're all there. 609 00:37:05,360 --> 00:37:07,360 There's stuff on Spotify, Apple Music. 610 00:37:07,360 --> 00:37:08,360 And there's YouTube. 611 00:37:08,360 --> 00:37:09,360 YouTube. 612 00:37:09,360 --> 00:37:13,240 We're on where you want to find us. 613 00:37:13,240 --> 00:37:14,240 We're findable. 614 00:37:14,240 --> 00:37:15,240 Great. 615 00:37:15,240 --> 00:37:17,060 That's so fantastic. 616 00:37:17,060 --> 00:37:19,440 So this has been a great conversation. 617 00:37:19,440 --> 00:37:21,920 Before I let you go, we have one more thing to do. 618 00:37:21,920 --> 00:37:26,420 It's the rapid fire questions where I get to ask silly questions. 619 00:37:26,420 --> 00:37:29,920 But actually, these questions are tricky. 620 00:37:29,920 --> 00:37:31,260 So be aware. 621 00:37:31,260 --> 00:37:33,080 So you don't have to explain anything. 622 00:37:33,080 --> 00:37:35,360 I will just ask you something. 623 00:37:35,360 --> 00:37:39,360 Just answer them with the shortest responses as possible. 624 00:37:39,360 --> 00:37:40,360 Okay? 625 00:37:40,360 --> 00:37:41,360 Okay. 626 00:37:41,360 --> 00:37:42,360 Yeah. 627 00:37:42,360 --> 00:37:43,360 Who goes first? 628 00:37:43,360 --> 00:37:46,160 You know, you can just both answer them simultaneously. 629 00:37:46,160 --> 00:37:48,160 It's just let's improvise. 630 00:37:48,160 --> 00:37:52,280 This is where improvisational skill is required. 631 00:37:52,280 --> 00:37:55,160 And I'm sure you have to know. 632 00:37:55,160 --> 00:37:57,920 So first one, what is your comfort food? 633 00:37:57,920 --> 00:37:58,920 Strawberries. 634 00:37:58,920 --> 00:38:02,960 I'm so surprised I said that. 635 00:38:02,960 --> 00:38:04,640 How do you like your coffee? 636 00:38:04,640 --> 00:38:05,640 Black. 637 00:38:05,640 --> 00:38:06,640 With milk. 638 00:38:06,640 --> 00:38:07,640 Espresso. 639 00:38:07,640 --> 00:38:09,320 Espresso with milk. 640 00:38:09,320 --> 00:38:10,320 Great. 641 00:38:10,320 --> 00:38:11,920 Cats or dogs? 642 00:38:11,920 --> 00:38:13,160 Dog. 643 00:38:13,160 --> 00:38:17,640 What skill have you always wanted to learn but haven't had the chance to? 644 00:38:17,640 --> 00:38:18,640 Tennis. 645 00:38:18,640 --> 00:38:21,480 Bat people, I guess. 646 00:38:21,480 --> 00:38:22,480 Okay. 647 00:38:22,480 --> 00:38:25,840 What is your word or words to live by? 648 00:38:25,840 --> 00:38:26,840 Love. 649 00:38:26,840 --> 00:38:30,680 Work. 650 00:38:30,680 --> 00:38:35,120 What is the most important quality you look for in other people? 651 00:38:35,120 --> 00:38:36,120 Fidelity. 652 00:38:36,120 --> 00:38:38,080 Honesty. 653 00:38:38,080 --> 00:38:42,240 Name three people who inspire you, living or dead. 654 00:38:42,240 --> 00:38:44,920 Stravinsky, Ravel, Bilevans. 655 00:38:44,920 --> 00:38:49,160 My husband, Ravel, and Bach. 656 00:38:49,160 --> 00:38:50,400 Great. 657 00:38:50,400 --> 00:38:52,960 Name one piece in your current playlist. 658 00:38:52,960 --> 00:38:56,640 Matisseur Mather, in the mid. 659 00:38:56,640 --> 00:38:59,640 Icarus from Minotaur and the Labyrinth. 660 00:38:59,640 --> 00:39:02,120 Last question, fill in the blank. 661 00:39:02,120 --> 00:39:03,120 Music is blank. 662 00:39:03,120 --> 00:39:04,120 Life. 663 00:39:04,120 --> 00:39:07,120 Food for the soul. 664 00:39:07,120 --> 00:39:08,440 Beautiful. 665 00:39:08,440 --> 00:39:09,440 That's it. 666 00:39:09,440 --> 00:39:10,440 Congratulations. 667 00:39:10,440 --> 00:39:11,440 You've passed. 668 00:39:11,440 --> 00:39:12,440 Thank you. 669 00:39:12,440 --> 00:39:16,440 So this concludes this episode of The Pianopod. 670 00:39:16,440 --> 00:39:21,940 Thank you, Alison and Carlos for joining my show today and sharing your beautiful stories 671 00:39:21,940 --> 00:39:23,800 and insights and expertise. 672 00:39:23,800 --> 00:39:29,620 You can learn more about Alison and her amazing work through her website and also Carlos through 673 00:39:29,620 --> 00:39:30,620 his website. 674 00:39:30,620 --> 00:39:33,040 All the links are listed in the show notes. 675 00:39:33,040 --> 00:39:36,020 Thank you to my wonderful audience and fans for tuning in today. 676 00:39:36,020 --> 00:39:40,960 If you enjoyed today's episode, please rate and review it on your favorite podcasting 677 00:39:40,960 --> 00:39:46,640 platform and be sure to subscribe to my YouTube channel if you're watching this episode from 678 00:39:46,640 --> 00:39:47,640 YouTube. 679 00:39:47,640 --> 00:39:52,360 Follow The Pianopod on social media to get the latest piano news via Facebook, Twitter, 680 00:39:52,360 --> 00:39:54,240 Instagram, and LinkedIn. 681 00:39:54,240 --> 00:39:58,600 Hope you all have a safe and happy holidays with your loved ones wherever you are tuning 682 00:39:58,600 --> 00:39:59,600 from. 683 00:39:59,600 --> 00:40:05,520 I will see you in the year 2024 for the next episode of The Pianopod. 684 00:40:05,520 --> 00:40:06,520 Thank you. 685 00:40:06,520 --> 00:40:07,520 Bye everyone. 686 00:40:07,520 --> 00:40:08,520 Happy holidays. 687 00:40:08,520 --> 00:40:09,520 Thank you, Carlos and Alison. 688 00:40:09,520 --> 00:40:29,400 Happy holidays.