Donnelley Challenge Grant

Dec 7, 2015

Chicago a cappella has received an exciting challenge from the Gaylord and Dorothy Donnelley Foundation.  This season, the Foundation will match any new gifts, increased gifts, or returning gifts up to $25,000!

  • If you have never made a gift to Chicago a cappella, your entire contribution will be matched dollar-for-dollar!
  • If you made a gift last season, any increase of your gift this year will be matched dollar-for-dollar!
  • If you gave in previous seasons but not last year, your entire gift will be matched dollar-for-dollar!

This is a wonderful opportunity, but we need your help to make it reality.  Your tax-deductible gift will support our educational and artistic programming.  Help us meet this challenge: donate now!

A Chanukah Celebration with Chicago a cappella

Dec 1, 2015

Chicago a cappella has produced an hourlong radio special for the WFMT Fine Arts Network, called A Chanukah Celebration with Chicago a cappella.  Hosted by our Artistic Director, Jonathan Miller, the program includes performances of Chanukah music from the ensemble's concert and CD recordings over the last 15 years.  In addition to the broadcast on WFMT in Chicago (on Dec. 6), stations around the country are airing it throughout the month.  Check your local NPR or classical radio station schedule!  The full program is also available online.  

Outreach program receives national recognition

Jun 9, 2015

Chicago a cappella’s work with high school students has received national recognition.  The national service organization Chorus America recently focused on high school choral festivals for the cover story of its magazine, The Voice.  Four organizations were presented as outstanding examples: Carnegie Hall, Chanticleer, the Los Angeles Master Chorale, and…Chicago a cappella!  The article states, High school choral festivals engage teens, produce powerful music, and leave a lasting impact.”  One student interviewed “says that his festival experiences with high-level professionals showed him ‘music has the power to change lives.’Read the entire article here.

Chicago a cappella's Youth Choral Festival includes high school students from all over the Chicago area.  This year's festival will be held Saturday, November 7, 2015, at the Logan Center for the Arts on the campus of the University of Chicago in Hyde Park.  We invite you to join us for the inspiring public concert (5 PM) that caps off the day.  If your school is interested in participating, contact Education/Outreach Coordinator Susan Schober.

2015 Non-Profit Community Partner Organizations

Jan 30, 2015

In conjunction with our A Cappella en Español concerts, Chicago a cappella is honoring and partnering with four exceptional non-profit organizations, each serving the Latino/Spanish-speaking community surrounding one of our concert locations.  Each organization will be honored on our concert stage and a representative will take a few minutes to educate our audience about the extraordinary work they do in their community. 

Centro Romero is a community-based organization located in Rogers Park, serving the refugee immigrant population on the northeast side of Chicago and the surrounding suburban areas.  Their mission is to provide opportunities for community residents through education, emphasizing the development of the whole family unit, the creation of community leadership and self-reliance.  Their interrelated programs include Youth Learning and Leadership Development, Women’s Empowerment Projects, Adult Education, HIV/AIDS Outreach and Education, and Legal Services.
Corazon Community Services is a Cicero-based organization seeking to improve the quality of life for families, children and youth through holistic social services offered in a culturally sensitive environment.  They offer local residents a comprehensive set of programs, focusing on Prevention, Intervention, Education and Health, in a ‘settlement house’ style using a bilingual/bicultural approach.

Latinos Progresando is a well-established and highly-effective community organization located in Chicago’s Little Village neighborhood, the largest Mexican community in the Midwest.  Their mission is to serve immigrants with the highest quality, low-cost legal immigration services, community education and engagement, and advocacy/organizing around policy that affects immigrants.  Executive Director Luis Gutierrez is a dedicated community leader, and has been extremely helpful and generous with his time and resources helping CAC staff establish relationships within Chicago’s Mexican-American community.

Family Focus Aurora is one of seven Family Focus direct service centers throughout the Chicago area.  The Aurora center is helmed by Gonzalo Arroyo, a leader in the west suburban Latino community for almost two decades.  Their mission is to assist families in low-income, immigrant communities in giving their children the best possible start in life through customized classes, support groups and referral services in a warm, caring environment.

Chicago a cappella in The Huffington Post

Oct 16, 2014

Chicago a cappella's concert Global Transcendence: World Sacred Harmony and Chant was featured in The Huffington Post on Oct. 17.   Read the full article here.


Jul 25, 2014

Do you shop on Amazon? Sign up with AmazonSmile and do your shopping at the same store and you can determine a nonprofit that gets a percentage of everything you buy! Choose Chicago a cappella as your charity of choice and 0.5% of your eligible purchases on Amazon will be donated to Chicago a cappella. Sign up today!

Jonathan’s Mexico Trip - Part 9 - Conclusion

Jun 8, 2014

As part of our Mexican cultural exchange project, founder and artistic director Jonathan Miller is traveling to Mexico to conduct musical research, visit archives, and meet and confer with choral directors and composers. Enjoy his travelogue!

Sunday, May 25, 2014 – Day 9

The day began with a phone call to my wife Sandy, breakfast, and about an hour of hanging out with the little videos that I ended up having handy, since I had taken them during Thursday’s concert of children’s and  youth choirs. What a stroke of good fortune. I don’t know what possessed me at the time to make videos instead of taking pictures, but it was so great – because it quickly became clear that the best way to structure the masterclass was to use the videos as the basis for feedback about each choir.

Lupita picked me up at 8:30, and we drove to the school to start getting set up. I helped her with moving a few things around, and then we hung out in her office while she talked about her work in the school. Not easy. The politics are tricky, and the lives of so many of the kids whom she serves are in turmoil.  In fact, after the masterclass, she told me that the soprano in her choir who was trending sharp in her pitch is incredibly anxious all the time, due to the violence in her home. The only place this girl feels safe and lets her guard down is in choir.  (I was moved to tears by a recent NPR article, which I heard after returning home, about a Latina gang member in L.A., who told the conductor of a Latina-based orchestra that hearing her conduct the Brahms 4th Symphony was the first time in her life that she actually felt some emotion.  It seems that the two girls live in similar worlds.) So Lupita was explaining that the tension that lives in this girl’s body all the time was coming out in her singing, which pulled her pitch chronically sharp. Hopefully she can both learn to relax and be in tune, for the other soprano is beautifully right in the center of the pitch, a real gem of a singer.

The conductors started to mozy in, and around 9:30 we got started. Gaby went first, and I talked with her and then each director about what s/he did well and where improvement could be made. Some of them needed a little rhythmic crispness, or some help with tuning, a clearer or more compelling start to a phrase, or – in my view, which I was careful to qualify as personal opinion – a little more relaxed stage deportment like a smile from time to time. It was really fun and rewarding, and several hours whizzed by. I did almost the whole thing in Spanish…. Quite a confidence-builder. One of the funniest moments came when they all asked for my impressions of one of other festival choirs, whose director was not there that morning. I said, “Well, he’s not here, so I guess we can talk about him, yes?” We all cracked up. Then I made the analogy to the saying, “If you don’t vote, you can’t complain,” meaning that if this gentleman wasn’t there, it was open season in a sense for us to mention things his choir could do a little better.  We can all get better, right?  The spirit was very good and playful even as we worked hard.

Afterward, José gave me scores from the padre (now deceased) at the parish where he works – wonderful 3-part works for women’s and men’s choirs, available nowhere but in Guadalajara!  Now CAC has access to them…. what a blessing. And Gaby had brought 7 of her girls who wanted some coaching, which I gave them:  they sang “Seasons of Love” from Rent. This was so cute. The first line of the lyric is “Five hundred twenty-five thousand six hundred minutes….” We spent most of the time working on American-English diction, since some of the vowels and consonants do not exist in Spanish, and I told them if they wanted to sound like they “had game,” they needed some American-sounding syllables. So I drilled them over and over again on the new sounds (a short “I” vowel as in “min-utes,” the “th” of “thousand,” and the Z sound of the S in “thousand”).  Here they are singing the “EE” vowel of “mee-nuts”, which took a lot of work to make an American “ih” vowel!   

“Think ‘Mic-key Mouse,’” I told them. That seemed to help. We had a great time.  All of them wanted hugs afterward. So charming.

After the masterclass, Lupita drove me back to the hotel. On the way, we talked about the fact that we have both done many things in our lives, and I mentioned that I work in software sales when I’m not working as a musician, and that I have a doctorate in musicology. She mentioned that she is a medical doctor!  Amazing. She just can’t get music out of her veins, so she does all the stuff that she does. We are both so fortunate to have incredibly supportive spouses. Now I just have to get Sandy and Ramón to meet – that would be fun.

Sunday afternoon was a little precious down-time. I did some shopping for friends and colleagues back home. The highlight was the hour I spent at the booth of an amazing Chilean jewelry maker, who is also a painter. He had a whole booth of semi-precious stones at the market near the Joyeria (the indoor jeweler’s mall, which is closed on Sundays).  I hung around for a while as he talked to other people. Then I noticed that he had a lot of round turquoise stones. He showed me two of the same size and said, “Can you tell which is fake and which is natural?” He explained the difference. I had been on the lookout for something special for Sandy, and this guy and I struck a deal:  he would make a necklace for Sandy out of stones that we selected together. I asked him for a price. Since it was outside, the custom is that you can haggle a bit. I offered a lower price, and he looked at me with a twinkle in his eye and said, “Okay, as long as you throw in a Intenso coffee from the 7-11 over there!” I had to go back and ask him what that was (a double-strength brewed coffee…. We don’t have that here). Very funny. The guy is a wizard:  here he is at work.

The other task was to buy a little rolling suitcase to hold all the CDs and scores. I tried to haggle for that, but the woman wouldn’t budge;  same for an Indiana Jones-style hat from Chiapas that another woman was selling near my hotel. But I bought them anyway.

The next day was a long and tiring travel day back to Chicago

* * * * * *
I am back in Chicago as I finish writing this up.

México, te amo: I love you.  I had been to Mexico three times before, but never like this.  What an amazing journey of heart and soul, music and friendship, history and the very rich present day of culture. This trip far exceeded my expectations. As I told the taxi driver on my way to the Guadalajara airport:  “I am rich in music, and my heart is full.” That is a blessing that I will treasure forever.  The cup of creativity is full and runneth over. Heart-full thanks to everyone who helped to make this happen.


Jonathan’s Mexico Trip - Part 8

Jun 8, 2014

As part of our Mexican cultural exchange project, founder and artistic director Jonathan Miller is traveling to Mexico to conduct musical research, visit archives, and meet and confer with choral directors and composers. Enjoy his travelogue!

Saturday, May 24, 2014 – Day 8

This day was an unexpected blessing. It started out with a walk around 7:30am in the cool morning air, when I went to stretch my legs and find an ATM. I initially went in search of coffee too, but the nicer coffee places didn’t seem to be open. I passed the cathedral on my walk.

I popped into the cathedral and found an early-morning mass in progress. I heard the “Alleluja” verse sung, led by a nun with a clear, strong voice, before the reading of the gospel. The “j” consonant was the Mexican version that was a little like a “djz”, so the result was sort of like “Ah-leh-lu-dzja.” Very sweet.

Kamuel Zepeda is my new dear friend here in Guadalajara. He is a pianist, conductor, scholar, historian, and just a sweet guy. He has done a number of different things in his musical life, most of which he has spent here in the GDL area. His dad is rather a big deal on the local arts scene, a well-known architect and professor of architecture and former was principal of the school of the arts here, as well as a freelance painter and expert in fresco paintings. Kamuel’s dad was also a consultant on the repair of the famous Orozco frescos here in town, when they started suffering water damage at the Governors’ Palace, which is a big honor.

I met Kamuel because he is the principal at one of the community music schools that Lupita Chavira runs here in Guadalajara.  He has been there since January of this year—in the right place at the right time, as he told me later in the day. Just a great guy. His gentle spirit reminds me of my friend Michael Oriatti, who is now a professor of choral conducting at Lyon College in Arkansas.

Here is Kamuel at breakfast with me. We ate a place called Chai –great buffet, easy on the wallet, open-air as so many restaurants here are.

We then headed on foot all the way to the east end of downtown, where the Instituto Cultural de Cabañas is located. It was so cool being with Kamuel on this walk, because he knows everything about art and architecture in Guadalajara, in addition to his expertise as a musician. Before we got to the murals, we saw a number of points of interest, and I got more and more of a history lesson about Mexico in general and Jalisco in particular as we moved through the day.

Here is THE SPOT where the city of Guadalajara was founded, 470 years ago.  

And a close-up of the inscription at the bottom, showing the date of February, 1542 – amazing:

Kamuel explained that there were a few attempts to create a city called Guadalajara in various places around here. The others didn’t stick;  this one did. A rather fierce woman named Beatríz Hernandez was part of the crew that made sure this Guadalajara would endure, and she’s memorialized here on this monument:

As we walked, Kamuel pointed out some Art Deco architecture that graces the Centro Histórico. The chevrons in the iron railing are as indicative of Art Deco (at least to this Chicago boy’s eyes) as anything else.

As with so many cities, there are areas where there are restrictions on making changes to historically-protected buildings; as in some others, the government here gives no funds for the upkeep of the buildings, and many owners aren’t interested in keeping them in good repair. This is true of buildings from the Virreinal period up through more recent ones.

Despite the lack of interest/funds for remodeling, there’s a movement afoot wherein more people are moving back to the central city from elsewhere, and formerly dormant office buildings are becoming shops, restaurants, schools (beauty schools etc.), and even a few apartments.

On the way to see the Orozco murals, we stopped in to visit the University of Guadalajara’s School of the Arts. This is where Kamuel himself studied, and his father was the principal here for many years and taught architecture.

In the main courtyard there were a number of young people practicing instruments. Anyone, student or not, can come in here on the weekend and practice. It was Saturday, and the place was hopping.

Through a door we entered another courtyard where students are working on sculpture. I took extra pictures for Laura, my daughter, who is studying ceramics and art in college. Here are a few.

Upstairs there are painting studios, dance studios, you name it. Kamuel has taught a variety of things here, including rhythm and music to dance students. I thought that was cool; he covers the basic dance forms, has them learn the structure and what to count and listen for when dancing and choreographing, and so on.  I had never connected those dots before.

Here’s a dance-studio mural:

Remembering this makes me even more excited about our upcoming collaboration with Ensemble Español Spanish Dance Theatre in February 2015—the artists there are so inspiring for me. When Matt and I met with José and Irma from Ensemble Español a few weeks ago, we talked about which songs to choreograph—and, rather than showing us much dancing on video, the main thing they did was play music, which is what gives rise to the choreography.

  • Sidebar:  I like drawing parallels between things. Reflecting on my discussion with Kamuel, I wonder if, in the creative process, music is to dance the way words are to choral music. What I mean is this:  does one give rise to the other, more or less, in the creative process?  I am thinking about my experience as a composer.  I write choral music to a text.  If anything, the melodies in my head are tunes to songs I already know. I generally don’t have new melodies floating around in my head, by which I mean melodies in search of a text.  Beethoven did, and he famously carried a sketch book around to make sure he wrote down his best ones. Some composers, of course, have the gift of writing music without a text (Stacy Garrop can do both texted and untexted new music, for example, which gets my respect).
  • When I am fired up by a piece of poetry, then I start to hear new music, usually with the rhythm first. My favorite example of this is my Shehecheyanu, which came to me as I was walking down the street, thinking about the prayer and having my feet hit the pavement.  Similarly, the Ensemble Español people choreograph to a piece of music. José and Irma were talking about creating a new dance for our collaboration, and we need to pick the music first.  So it seems that, depending on your art form, one of the other arts can propel yours. And I suppose the opposite direction can work too, in that Chopin wrote waltzes and mazurkas, which could have been inspired by watching dancers. Anyway, end of digression.

Then we went on to the main attraction of the city, from a cultural point of view. The Instituto Cultural de Cabañas houses the amazing, huge frescoes by Orozco. Kamuel explained that these are the largest installation of frescoes in the world, second only to the Sistine Chapel. The building is a UNESCO cultural treasure. Here is the courtyard that you enter first, en route to the main event.

The interior of the building, where the frescoes are, was originally a hospital for orphaned children. What I did not know is that fresco does not refer to being out of doors—these are indoor frescos—but rather to the artistic technique, which is to put cement on the wall and to paint it while it’s still fresh. (Duh, it makes sense, but I never studied art!)  I won’t go into a long treatise about them:  the pictures speak for themselves. Here are a few:

Amazing. It also had a fantastic gift shop, where I bought ten CDs of traditional Mexican music.

There are more Orozco murals in the governors’ palace, where we went next. Here’s a plaque there, showing that Benito Juarez used Guadalajara as the center of Mexican government for a while (he moved around the country to avoid getting killed).

The hall where the legislators used to meet (they don’t any more) is covered with Orozco murals. Just beautiful. The acoustic in there is great too, although Kamuel told me they don’t use it for concerts, only poetry readings and other sorts of events from time to time.  I’m getting an idea…

We next stopped at the Biblioteca Octavio Paz. The music selection was pretty slim, but the building was pretty. A few blocks down the road is another main building from the University of Guadalajara, which is now not only an art museum but also the place where the Board of Regents meets whenever it has serious official business to transact.

As you might imagine, there’s a surprise inside:  more Orozco murals and a great acoustic!

This one is famous, the “five faces of man”:

Next, Kamuel took me to his father’s studio. The guy has a rather wacky imagination, which I really liked. Here are a few pieces of his dad’s work:

Kamuel himself has a studio in here, with a piano that he uses when he needs to get away from the city’s bustle. He also has a nice personal library of recordings and scores, and after I had offered a “Bound for Glory” CD and some Louis Sullivan-inspired stationery, he very graciously offered me copies of many of his scores to take home for browsing, which was very generous. This was an unexpected addition to my growing goldmine of music and sound. It’s almost impossible to get access to scores of Mexican choral music, as most of the publishers are out of business, but most of the 20th-century music is still under valid copyright due to their laws, so it will be a journey to find out how to get legitimate scores for performing purposes of some of these. Of course, the first task is actually to get hold of the repertoire, so I can decide whether or not I actually want to pursue a particular piece or composer.  I was blown away by all that he was willing to share with me, especially since musicians can be quite territorial about the scores that they actually do have… believe me, I heard stories.

We then went to a beautiful place for lunch, which Kamuel called a fusion of Mexican traditional dishes and haute cuisine. I ordered two things I’d never had before, and it was a memorable meal.

By the time “lunch” was over, it was almost 5pm. What a day!  We drove back along one of the main streets sporting stately homes, most of them repurposed as event spaces, high-end bridal shops, and so on:

What a nice day. Kamuel is truly one of the kindest people I have ever met. After returning to the hotel, I started thinking about packing to come home, and I’m glad I did, since I had so much new stuff that it quickly became clear I needed to go to the open-air market the next day and buy a cheap little suitcase for the trip home! I had a pretty quiet evening, which I very much needed, especially since Sunday morning was the masterclass with the conductors from Thursday night’s concert.

Jonathan’s Mexico Trip - Part 7

Jun 4, 2014

As part of our Mexican cultural exchange project, founder and artistic director Jonathan Miller is traveling to Mexico to conduct musical research, visit archives, and meet and confer with choral directors and composers. Enjoy his travelogue!

Friday, May 23, 2014 – Day 7

I woke up late – for the first time on the trip, I got 8 hours of sleep. Hallelujah; I really needed it. I am really glad that people in Mexico are so chill, especially the tapatíos (people from Guadalajara), because I sort of put my foot in my mouth today. Before I left for Mexico, I had arranged to meet an American musician, Tim Welch, who relocated from Chicago (where he sang with many choirs, so he knows tons of people including Matt) to Guadalajara about 15 years ago. He was gracious in inviting me to his home in the Centro for breakfast on Friday the 23rd. He supposed, correctly, that I probably wouldn’t have eaten in anything but a hotel or restaurant or airport during the whole trip up to that point. So I was grateful for the invitation.

Not having much access to WiFi except in my hotel room, where I wasn’t spending much time, and having turned off data roaming on my phone, I hadn’t realized that Tim had pinged me a few times Thursday on Facebook to confirm. To compound that, having totally spaced out on our breakfast in my bleary, Spanish-saturated fatigue, I had agreed late last night that Ramón would pick me up at 10 for a day trip to Tequila!  After “me di cuenta” (I realized this), and after being quite flustered first thing in the morning at having realized this, a few phone calls allowed me to keep my original breakfast date with Tim, mostly thanks to Ramón’s being so relaxed.

I walked the 20 minutes to Tim’s house, passing some beautiful buildings on the way. Tim was great. He made a fabulous home-cooked breakfast of eggs (with lots of onion and garlic), homemade frijoles refritos and salsa, tortillas, and killer coffee.  He has a dog, Kia, who totally got it that I’m a dog person, so of course she wanted to play fetch the whole time I was there. This was nice, since I miss Moseley and Higgins very much. Here she is, nose at the breakfast table, eager for the orange ball.

Tim and I talked and talked, finding much in common, and two hours went by very quickly. He has made a great life for himself here as a pianist, vocal coach, piano teacher, and choral director. He is also quite entrepreneurial and has a mind for business, which is useful when you’re a musician!  Tim has been, for several years now, the music director at the Anglican parish in Chapala, a mostly-expat community about 45 minutes south of the city, situated along the largest fresh-water lake in Mexico. (An Anglican church in Mexico still strikes me as a little funny, but I guess it shouldn’t surprise me any more than a Chinese restaurant in el centro or a Chilean artisan at the mercado.) There is a section of the Chapala area, called Ajijic, which is almost all expats. Tim has created a community choir in Chapala, called Los Cantantes del Lago, comprised of 60 or so singers, from age 11 to 74 (maybe older), which is about 1/3 Mexicans and 2/3 expats. He said it’s important to him to include the Mexican community in the choir. They have toured many places in Mexico and have gone out of the country to perform as well. He gets 900 people in the audience at every concert in Chapala—amazing. The guy is doing something right. When they go on tour, everyone gets to go; people with resources to share ensure that those with limited funds don’t miss out. I think that’s so great.

Tim also has a treasure-trove of Latin American choral music. He is moving down to Chapala next week, where he has a house, and he offered to make me single browsing photocopies of hundreds of scores that might be useful to Chicago a cappella. What a guy.  This was just one of so many times on the trip when I felt showered with generosity.

I walked back to el Hotel Morales and texted Ramón, who said he’d be by at 1:45 to pick me up.  I got a few nice pictures of buildings on the way back, as well as a shot of a horse-drawn carriage while I waited outside; the sun was really hot.

I also took a few pictures of the hotel’s interior.  They renovated it, after it had fallen into disrepair and disuse, and opened again in 2005—just beautiful.  (There’s a plaque outside commemorating the reopening of the Hotel Morales.)  My room is off this courtyard.

Here’s the other interior courtyard: notice the Virgin of Guadalupe on the lower left wall.

Here’s the street sign right outside and the hotel as viewed from across the street:

The hotel gets great reviews, the staff is wonderful, and the prices are excellent. I’d recommend it to anyone who wants to be able to see pretty much everything in el centro on foot.

Ramón picked me up around 2pm, and we headed out of town. Traffic was a bit nuts on Friday afternoon—he said everyone was ready to party—so it took a while to get out of the centro. Once we did, things went pretty smoothly. Ramón is a bit of an impatient driver. He’s originally from Mexico City; around Mexico, natives of D.F. are called chilangos. We laughed when he did a few wacky things like driving on the shoulder, zooming around here and there, taking very wide corners to go around buses, and so on. He said he could easily imagine the tapatíos saying, thinking, or yelling, “F-you, you f-ing chilango!” I told him that I appreciated him wanting to get us to Tequila and reassured him that there was no timeline for the day. I looked in my pocket dictionary (the best $6.99 I have spent all year) and found the phrase “tener prisa,” which means “to be in a hurry.” So I told him, “No tenemos prisa.” It became sort of a running joke during the day. Several times, when traffic was cramped or there was road construction, one or the other of us would say it. Once, at the end of the day, we looked at each other and said exactly at the same time, “No tenemos prisa, ja ja ja!” Very fun and funny, just like him.

The road to Tequila is not that interesting. However, once you turn off the main highway onto the road that goes into town, it’s much different. There are agave plantations everywhere, and it reminded me of the California wine country:

Blue agave on every side, and mountains beginning to rise up in the distance: a beautiful vista.

Ramón made a reservation for a 4:00 tour for me, and then we walked around for about 20 minutes until the tour started. First, we went over to Jose Cuervo Mundo, a kind of museum/store/restaurant complex run by the famous tequila brewer. (Lupita for several years directed the Coro Jose Cuervo, a group of singers from Tequila puebla [town] that is funded by the Fundación Cuervo. That is an unusual form of direct philanthropy from a corporate foundation to a cultural organization.) The foyer here looks a lot like the Hotel Morales: heavy pillars, orange paint, tile floor.

On the men’s room door was advertised a Beatles tribute concert, to be held here in a few weeks. I wish I could be here for that!  Ramón said that Lupita’s brother is the drummer in the tribute band.  Mundo pequeño. Here’s a picture of me with the status of the guy tapping a barrel of tequila.

There’s a little bar here, no surprise. The surprise was the plaque on the wall, telling the story of the invention of the margarita. Evidently a woman named Marjorie King used to go to a bar in Rosarito, and she was allergic to all forms of alcohol except tequila. Nobody drank tequila without a mix, and in 1938 she asked the owner, Danny Herrera, to come up with something. He improvised something with triple sec, lime juice, and crushed ice, and called it “La Margarita” in honor of Marjorie.  Make a toast to her memory next time you have one!

Here I am with another barrel person. Ramón said I should put my arm around her shoulder and say “tequi-laaaaaa.”

Here’s the tour bus. We drove around to several tequila companies and learned about the history of the town as well as the history of how tequila was and is made. It takes 8 years for an agave plant to mature. It used to take 6 weeks to ferment tequila, but now, with modern methods, they’ve accelerated that to a week. Shelly, my bilingual tour guide, was born in California and returned with her Mexican father when she was 12. She now sings 2nd soprano in the Coro Jose Cuervo and is a protégée of sorts of Lupita. Mundo pequeño, anyone?

One of my favorite things to see was the truck that takes the “chaff” from used-up agave leaves and hauls them away. You can see at upper right the green discharge location where the used-up leaves are dumped out. Look carefully and you’ll see the pile building in the center of the truck bed.

They are used for all sorts of things, including making paper. I wonder if my friend Craig Jobson has ever made paper from agave leaves!

Here’s a pretty horse, standing on a street in town. Is he phoning home?

Here’s the entrance to the old Sauza plant. The new one is further away;  this is where the tour goes, and where you can see old, no-longer-operational ovens, fermentation tanks, and more.

Here’s Shelly with the four bottles from which we were given samples. I asked for the smallest possible samples, since I am not one who can hold my liquor!

After the tour, we went into the little parish church, which has beautiful Stations of the Cross in ceramic tile:

Then we had dinner in town and headed back. Ramón demonstrated the technique of putting a drop of salsa on the back of the hand in order to test how picante it is, before dousing your food with it. I thought that was cool. Thanks to Ramón for being a great tour guide again.

Jonathan’s Mexico Trip - Part 6

Jun 4, 2014

As part of our Mexican cultural exchange project, founder and artistic director Jonathan Miller is traveling to Mexico to conduct musical research, visit archives, and meet and confer with choral directors and composers. Enjoy his travelogue!

Thursday, May 22 – Day 6

After about 4 hours of sleep, off to the airport to head to Guadalajara. I don’t know why they tell you to get there 2 hours early, but I actually got there 3 hours early because Jorge said I needed to leave early to beat the traffic, which worked. Thanks to a kind waitress, I caught up on my e-mail in an airport restaurant and drank lots of coffee! Here’s a mural at the Mexico City airport, Terminal 1.

The trip to Guadalajara was pretty uneventful. You have to understand, as I did not, that “a tiempo,” or “on time,” does not mean that my plane actually left at 10:15. It means we sort of started boarding around 10:20, and we pulled back from the gate a little after 10:30. We were about 20 minutes late getting to Guadalajara, but maybe that counts as “a tiempo.” I sure wouldn’t consider it “a tempo” if I were conducting, but nobody asked me!

My main contact in Guadalajara is Lupita Chavira, a singer from here who lived in Mexico City for many years as a professional singer and director and teacher. She was tapped about ten years ago to return to GDL to begin a youth choral movement. It is incredible what she is doing. In the four main sections of the Guadalajara metro area (about 6 million people, but almost no choral culture relative to its size), she goes to public squares and hands out flyers to kids, inviting them to be in her choirs which are free of charge, funded (not without some gnashing of teeth and losing of sleep) by the Jalisco state government. She is deeply concerned about the prevalence of depression among the youth, and she’s both drawing on and doing her own research that shows improved health outcomes for kids who sing. She also mentioned that domestic violence is a big deal in Mexico, and she’s trying to help counter that, too.

Lupita had urged me to be sure to be in Guadalajara for her concert tonight, so I made sure it happened. She was pretty busy with preparations for that after she and her wonderful husband picked me up at the airport, so Ramon (that’s his name) was my host for the afternoon. Boy, did we have fun. I love this guy. He is a blast. He’s a businessman, proud to support Lupita in her musical passions. Ramon took me around the main squares of town, and we passed some beautiful trees:

Here’s the double-spired cathedral:

There is a market downtown with all sorts of hand-crafted goods, both inside and outside. Ramon pulled out a hand-carved wooden cane and mugged for the camera: in this pose he reminded me of Doc from Snow White! But he’s not Grumpy, he’s hilarious.

Ramon wanted to show me some of the shoemakers, and we found one who obliged: first he put a sandal and tools my hand and showed me how to weave the leather.

Then he put me in this huge pair of sandals and told Ramon to take a picture!

His name was Maximo, and he was 80 years old and spry as anything. He told us that his family have been shoemakers for something like 6 generations…. Amazing.

Next we were headed to the little market town of Tonalá. To get there, we needed to take a city bus to Ramon’s and Lupita’s house. At rush hour in Guadalajara they have – get this – women-only bus cars! I guess this is to give women a place to go where they will not be accosted in any way while they are commuting. It actually seems quite civilized to me. I wonder if Metra or the CTA will ever catch on.
Here’s the sign:

In Tonalá they are making many things out of different materials – metal, wood, plastic, cloth, you name it. Since we are in mariachi-land, I shouldn’t have been surprised to see this:

Or this:

Here’s another riff on the Day of Dead lady, this time adorning the entrance to a restaurant:

There is all kind of fresh fruit available at the market, including herbs for various health conditions.

Every Mexican who mentions nopales tells me how good they are for digestion and weight control.

In the lobby of the Hotel Tonala ($40/night, plus an extra $5/night if you want air conditioning), there were some metal-work “paintings”:

Next we drove to the town of Tlaquepaque, which is similar to Tonalá but a little more upscale:

Here’s another mariachi statue:

Then back to Guadalajara, where the sun was starting to set:

The highlight of the whole day was Lupita’s choral festival. There were 8 choirs in all, and here’s the program (one of the choirs wasn’t listed):

This was a revelation for me. With only one exception, all of this music was Mexican. Most of it was recent, and about a third of it was a cappella. Jorge Cózatl is a close friend of Jorge Córdoba. Jorge Cózatl is currently in the USA, working in the Vocalessence program – he’s done that for a few years. It’s nice to see both Jorges getting so much traction in both counties.

My programming brain was working hard at this concert, and the choirs were mostly quite impressive. A little group of boys blew me away. They need to learn how to smile, but they sang beautifully. Also wonderful was a group of (mostly) girls, the first to perform.

Here is a group of women who mostly do Gregorian chant, but tonight they did a few pieces in parts, all by a local padre who died a few years ago. The director is the local champion of the padre’s works, and he was friendly and eager to share repertoire with me.

Here’s a group from the University of Guadalajara, which had the best men’s section of the night:

Here’s a sweet picture of all of the directors (and kids, behind them) on stage at the end:

There must have been at least 150 kids up there. It was amazing, and very inspiring, and I am so impressed with the way that Lupita and her colleagues are deliberately using choral music as a force for social good.

I was approached by several of the conductors afterward, who (as Lupita had mentioned earlier) are eager to talk about how they can do things better. We’ll be getting together on Sunday morning to see how I can help. What a great group.

Newer Entries   Older Entries