Biography

Oscar Rojas Oscar Rojas has 54 years of musical career full of passion, rhythm and flavor

Oscarcito Rojas and his unmistakable lump.

In Venezuela, during the years 53-54, there were cold and humid nights in the home of the Rojas Mendoza Family, located in a high area of the Pastora of beautiful Caracas, there the furniture that was outside would wake up damp, particularly a child’s chair with a colonial design, which had the back and seat made of cattle leather, which when heated by the heat of the sun became warm like the leather of a coastal drum.

That is when the restless child Oscar, barely 7 years old, discovered the sounds produced by that cured leather and began that love relationship with percussion without realizing that this would be his life; his livelihood; his passion; his everything.

Oscar Rojas has 54 years of musical career full of passion, rhythm and flavor

He also devised a pair of congas with two milk cans of different sizes, and thus achieve different sounds in his new instrument.

By the 70s, being a talented young man and wanting to earn his own living, Oscar bought a motorcycle to work as a messenger. Unfortunately, he had an accident on it, which led to his resignation from the company. With the money he generated from the liquidation, he bought a drum kit that belonged to the illustrious Pavo Frank. This is how his foray into rock began.

Later, due to the fractures he suffered in the motorcycle accident, he could not continue playing drums, but he got involved in percussion without a drumstick, which is to say, by hand, and he started playing congas.

Óscar Eduardo Rojas Mendoza is one of the most beloved and respected conga players in the country. He is the third of five siblings (Jaime; Yolanda; Óscar; Freddy and Leibia), son of Óscar Benito Rojas (musician and cabinetmaker) and Cira de los Santos Mendoza (dressmaker).

Loved by all his family, especially by his sons Gabriel ☦️ Osduare☦️ and Enrique; and his granddaughters Gabriela and Daniela.

Familia Rojas Mendoza: Liebia, Freddy, Oscar, Yolanda y Jaime

Born in Caracas on October 18, 1946, he began his musical career in 1970 with Ramón Hernández, continuing with a trail of figures such as: Pablo Schneider, Vytas Brenner, Victor Cuica, Oscar Maggi, Soledad Bravo, Lilia Vera, Frank Hernández (El pavo Frank), Oscar D’Leon, Chuchito Sanoja, Professor Juan Carlos Núñez, Alfredo Naranjo.

He has participated in the best Jazz festivals in the world and in the country such as the Memphis in May International Festival (Tennessee), Varadero International Festival (Cuba), V International Festival of Montreal (Canada), Festival D’te de Québec (Canada), 10 International Festival of Montreal (Canada), Mar de Plata Jazz Festival (Argentina), Curacao International Festival where he was invited by the great saxophonist Paquito D’ Rivera, in the Venezuela Jazz Festival, in the 4 Caracas Jazz Festivals, in the Jazz Festival in El Hatillo editions IV, V and VII, and in festivals in the interior of the country.

He was an active founder of salsa groups such as Oscar D’Leon, where he participated in the recording of the first 3 albums, the group Caribe Libre, Gerardo Lugo’s Incorregibles, Alfredo Naranjo’s El Guajeo, Nano Grant’s Ensemble ll, Pavo Frank and his Orchestra. He was also part of the jazz groups Oscar Maggi (Macoya), Pedrito López, Otmaro Ruiz and Víctor Cuica.

Among the national and foreign artists he has accompanied are: Trino Mora, Chucho Avellanes, Mirtha Pérez, Estelita del Llano, María Rivas, Nancy Ramos, Nancy Toro, Cheo Feliciano, Ted Cordón, Paquito de Rivera, Eddie Sansson, Aldemaro Romero, Chuchito Sanoja, Jimmy Bosch, the Venezuelan Symphony Orchestra, the Municipal Symphony Orchestra of Caracas, among others. He was the founder of the La Calle Group and the Ensemble de la Calle, ReNueve (rock group), Negros and Aparte.

He currently works as a percussionist for Maigualida and his Ensemble. He also rehearses every Wednesday at Juan Sebastián Bar “El Templo del Jazz y La Salsa” with the new Ensamble de la Calle.

He has been in a musical career for 54 years, full of passion, rhythm and flavor.

Oscarcito Rojas y su mazacote inconfundible

Research Sources:

Djane. Shina Rojas

Jaime Rojas

Lutier: Freddy Rojas

Also Read: Djane Shina Rojas a Passion Turned into Reality

Larry Harlow and Ismael Miranda: beginning of the so-called “Salsa Arseniana” in honor of the music of Arsenio Rodriguez, the creator of Son Montuno and “King of Guaguanco”

Extracted from the book called: “El origen y la creación de la Salsa”; creator: Mon Rivera, promoter: Al Santiago.

For sale on Amazon kdp, by clicking on the following link:

With which is attached a complete summary of the musical work of Larry Harlow with Ismael Miranda from its creation in 1966 to 71.

At the end is the original song of Arsenio: “Oiga mi Guaguanco”, with the fabulous musical arrangement of Harlow himself in “Salsa Clasica”, with the exquisite singing of the “Niño Bonito de Puerto Rico” Ismael Miranda.

Larry Harlow and Ismael Miranda: 1966 – 1971 with trombones.

Julio Cesar Galindo Alarcón Diplomático de Peru Ministro (R), Historiador Musical. Autor de Libro sobre Creacion de la Salsa

Lawrence Ira Khan, better known in the music scene as Larry Harlow, affectionately known as “The Wonderful Jew”, was born in Brooklyn, New York, on March 20, 1939 and died in New York on August 20, 2021, American musician, orchestra conductor, pianist, composer, musical arranger, producer, creator of the so-called “Latin Opera”, in 73 he was one of the most important disseminators of Afro-Cuban Jazz, “Arseniana” Salsa and Classical Salsa, confirming at the highest level the use of the trombone and the USA instrumental technique, corroborated as the two most important characteristics that identify the new American Musical Movement.

The beginning of Larry’s musical work must be analyzed from his return from Cuba in 1959, after having traveled to the island in the mid 50’s, to know and study Cuban music in its different rhythms, but because of the Revolution he had to return to New York; finding the boom and enthusiasm produced by the Pachanga spread by Charlie Palmieri, Pacheco, Quijano, Orlando Marin, Mon, Eddie Palmieri, Ray Barretto, Richie, among others.

At the end of 65 he forms his orchestra with trombones and application of the instrumental technique of Jazz; he signs a contract with the “Fania” label and plans to record his first album.

In 1966 he recorded his first album called “Heavy Smokin” with Felo Brito’s vocals; L.P. little known, in which stand out: “Tu Tu Ratan”, “Maria la O”, “Rica Combinación”, “Mi Guaguancó”, “Orchestra Harlow” and “Adios Mamá”.

In the same year he recorded his second album called “Gettin’ Off” or “Bajándote”, sung by Ramón Quian: “Monguito” el Unico, an excellent full-length album that was a great success.

Some of the highlights are “Bajandote”, “Guarachita”, sung by Vickie; “Tu no lo creas”, “Meta y Guaguancó”, “Coco May May” and “Cienfuegos”.

In ’66, a young teenager appears singing in Andy Harlow y su Sexteto’s group.

Andy gave him to his friend Joey Pastrana at the beginning of 67 to record the album “Let’s Ball”, in which the young singer Ismael Miranda had his first hit with the song “Rumbón Melón”.

Larry Harlow who lacked a good singer, offered the job to Ismael, who without hesitation accepted it immediately; and debuted with Larry on his third album in 67 called “El Exigente” and thus began the WONDERFUL DUPLE OF LARRY HARLOW AND ISMAEL MIRANDA, who together formed a sensational duet, amazing and impressive, in the History of Classical Salsa.

In “El Exigente” with the debut of the “Niño Bonito de Puerto Rico”, the songs “El Exigente”, “Las luces”, “Rumba me llaman” and “El Mejor” stand out. The following year, in 1968, he recorded the album, “Orchestra Harlow presenta a Ismael Miranda”. With this unsurpassable combination, the Classic, Brava and Hard Niuyorquina Salsa begins in the unique style of the “Judío Maravilloso” with the singing of the fabulous Ismael Miranda, one of the most attractive, fine and sharp voices in the history of Salsa, in which stand out the songs: “La Contra- ria”, “Jaguey”, “Yo me voy”, “Lamento Cubano”, “Bobby’s Boo-galoo, ‘Rumba a la vida’ and ‘Mi Guajira si’.

In 1969 he recorded his fifth album and third with Ismael Miranda, called “Mi Mono y Yo”, in which he continues the teaching of Classical Salsa with Afro-Cuban Jazz fusion, in which almost all the songs stand out: “El Malecón”, “Voy para la luna”, “Amorcito Ven”, “Jovenes del Muelle”, “Ven Rumbero Ven”, “Para donde tu vas”, “Mi Madre” and “Traigo Guajira”. With these last two albums, Larry with Ismael had achieved the expected success; and they had become the favorite orchestra in all the Salsa Concerts that had already become customary in the weekends of the Big Apple. In ’69, the author witnessed for a month these Salsa Dance Concerts that were usually given in the halls of the Hotels of the New York districts.

DIPLOMATICO DE PERU, MINISTRO (R); HISTORIADOR MUSICAL; AUTOR DE LIBRO SOBRE CREACION DE LA SALSA.

In 1970, Larry introduces the electric piano in his orchestral format; this motivates him to title his album of the same year: “Electric Harlow”. With the recording of this album really begins the so-called “Salsa Arseniana” of Larry, coinciding with the last year of life of the great Cuban musician Arsenio Rodriguez, the father of Son Montuno and “King of Guaguancó”, Legend and undisputed genius of the development of Cuban music; but, however, having been the most important Cuban musician of the twentieth century, for his contribution of having created the Son Montuno and the modernization of Guaguancó, has NOTHING TO DO WITH THE CREATION OF SALSA: BUT YES; FOR HIS VALUABLE CONTRIBUTION, WITH THE DEVELOPMENT OF THE MOVEMENT CREATED BY MON.

In “Electric Harlow” stand out: “La Revolution”, the wonderful Salsa arrangement of “Oiga mi Guaguancó”, by Arsenio Rodríguez, “Guasasa”, “Con Dulzura”, “Donde va Chichi” and “Tu Cosita Mami”. In 71 he recorded his album “Abran Paso”, and here we have to refer to Ismael Miranda as a singer-songwriter; because if from his first album recorded with Larry: “El Exigente”; he had already shown his composer’s fiber, having composed some songs together with Harlow; in this 71 album: “Abran Paso”, he confirms and ratifies his conditions as a singer-songwriter, composing five themes of his authorship, successfully distinguishing the theme of the same name of the album: ‘Abran Paso’, ‘Donde lle- vas el Son’, ‘Abandonada fue’, ‘Oigan bien mi Guaguancó’ and ‘Dolor y Amor’. Other highlights include: “Se casa la Rumba” and ‘Vengo Virao’, by Tite Curet Alonso.

Orchestra Harlow Vocal Ismael Miranda – Electric Harlow

Having died the penultimate day of 70 Arsenio Rodriguez, Larry Harlow, a few months later had the idea of offering him a posthumous tribute, which materialized with the recording in 71 of an album “Homenaje Póstumo”, which was called “Tribute to Arsenio Rodriguez”, including four hit songs by Arsenio: “Tumba y Bongo”, ‘No me llores’, ‘Sueltala’ and ‘El Terror’; ‘Arsenio’, Harlow’s theme with Ismael Miranda and ‘Saludos a todos los Barrios’, by Lázaro Prieto. The Harlow Orchestra in the last two albums was integrated with: Conductor and piano: Larry Harlow; Singer: Ismael Miranda; Trumpets: Larry Spencer and Ralph Castrello; Trombones: Lewis Khan, Leopoldo Pineda and Sam Burtis; Bass: Lydio Fuentes; Congas: Frankie Rodríguez; Bongó: Manny Oquendo; Timbal: Phil Newsum; and Tres y Cuatro: Yomo Toro, in “Abran Paso”.

Finally, Larry Harlow participated as pianist in “Red Garter”; and also as pianist and producer in “Chee-tah”. Ismael Miranda did it as a singer in the two concerts of the “Fania All Stars” in ’68 and ’71.

Julio Cesar Galindo Alarcón

Diplomat of Peru Minister (R), Musical Historian. Author of a book on the Creation of Salsa.

Also Read: Larry Harlow ”El Judío de la Salsa”: innovative and irreverent

Fundación Cultural Madera 15 where Brotherhood, Sports, Dance and Salsa go Hand in Hand

By the end of the 70’s and beginning of the 80’s a group of young people from different parts of the country gathered by chance in the same sector 4 de las Mercedes in La Victoria, Aragua State, began to listen to the new genre of the time, the popular “Salsa”.

Fundación Cultural Madera 15 donde la Hermandad, el Deporte, la Danza y la Salsa van de la Mano

Each one with different tastes but without leaving the genre, they felt the desire to imitate the Venezuelan and international bands they knew through the Lps, so every weekend they organized themselves to play their instruments with musicians already studied and the guataqueros in an empirical way.

These meetings became more and more frequent and due to the need of an acquaintance of the zone to have a salsa group they decided to form the first salsa group of the sector called “El Quinto Sonero”, then years later with many of the members of the previous group they formed the group “Juancito y su Son” and years later the “Conjunto Sabor”.

It is worth mentioning that the rehearsals of the different groups took place in the homes of some of the members, playing songs by Ray Barreto; Eddie Palmieri; Dimensión Latina; Grupo Mango; Trabuco Venezolano Grupo Libre and of course Grupo Madera, among others.

By the end of the 80’s this same group of young people always supported by their families decided to formalize all the events that took place during the year, thus creating the “Madera 15 Foundation” unifying culture, sports, art and dance all in what was once a “Little Square” and over the years became a court, which would become its main location.

Its name is due to the admiration that everyone felt for Grupo Madera and product of its unexpected accident in which most of its members lost their lives on August 15, 1980.

For this reason the affection and the interpretation of many of their songs and the attendance to their concerts. Once the tragedy occurred, the passion for the Caracas group grew, specifically in the Marín neighborhood of San Agustín del Sur, which was invited to the inauguration of the Cancha in 1989, an invitation that was accepted and it was possible to enjoy three days of Afro-Caribbean songs and dances among neighbors and people close to the area.

From then on, cultural, recreational and sporting activities are carried out and one of the most important meetings is organized every year on December 31st, where the Guataca de Fin de Año is held, which began as an informal meeting of these young people every year-end, specifically on the 31st of the year, and continued with a soup on January 1st, welcoming the new year.

Currently by decree of the Mayor of the Municipality of Ribas in La Victoria Aragua State, specifically by Mayor Juan Carlos “Jaimito” Sanchez in his 1st term in 2012, the Municipal Day of Salsa is celebrated, and are invited to cultors and musicians from different parts of the country to participate in this special date with all attendees, which enjoy a unique day full of much feeling.

For years, all kinds of musicians, orchestras, groups and salsa characters that have exalted the salsa culture, as well as characters of the gaita and folklore, have passed through the festival.

Today, the tradition of the Guataca is still maintained, paying tribute to the life of its famous characters and remembering those who left for another plane and those who unfortunately emigrated.

Hand in hand with the music was also formed the dance group of the area called in its beginnings “Los Gurrugurru” which performed nationalist dances and sang aguinaldos and parranda every Christmas. Today there is still a dance group called “Danzas Tricolor” also dancing all the national folkloric dances.

Through both groups passed the great majority of the young people of the sector and after generations their children and now grandchildren, all under the direction of Griseida and Mileyda Batidas.

It is important to highlight some emblematic names of the foundation among them stand out:

Benilde (RIP), Mercedes (RIP), Ligia (RIP), Aminta (RIP), Alicia (RIP), Carmen (RIP), , Williams (RIP), Santana (RIP), Agustín (RIP), Neptali (RIP), Mileyda (RIP), Ángel Miguel (RIP), Amalia, Dinora, Raquel, Adela, Eugenia, Ángel, Jaime, Nelly, Entre otros.

Participating Families:

Los Bauter, Los Yanes, Los Ascanio, Los Bastidas Salazar, Los Momplasiert, Los Power, Los Anzolar, Los Escalona, Los Guevara and many more.

Memorable sites

La Placita, La Cancha, La Matica de Amalia, La Esquina de los Bauter, and El Terreno.

There the traces of all those who in their time gave their hearts for the good of the most rumbustious sector of La Victoria were captured.

This message goes to them:

MADERA 15 we are all and even those who left.

Collaboration and Main Source:

Lcda. Shinaury Rojas / Publicist for Salsa Escrita

Photographer Nelson Bauter

Actividad con el Septeto Caribe y Nelson Bauter en La Fundación Cultural Madera 15

Also Read: Djane. Shina Rojas una Pasión Convertida en Realidad

Enrique “Culebra” Iriarte, master of the piano and musical composition

Eusebio Enrique Iriarte, “Culebra Iriarte, was born on January 24, 1947 in Maiquetía, in the Republic of Venezuela.

Enrique Culebra Iriarte, master of piano and musical composition

In his childhood, Enrique Iriarte was already taking his first steps in the musical world with his father, who played several instruments.

His name was born in the Sonora Caracas thanks to the vocalist Johnny Perez when he discovered the thinness.

After his incursion in this world, with the inherited talent and the permanent updating and musical practice, has allowed him to treasure a long trajectory full of experiences next to orchestras such as La Sonora Caracas, Federico y su Combo Latino, El Sexteto Juventud, Don Filemón, in the beginnings of La Dimensión Latina for 10 months.

He also accompanied Oscar D’León on piano, for whom he also arranged his songs, among which are: “Mata Siguaraya”, “El Manicero”, “Siéntate Ahí”, “Mi Bajo y Yo”, “Mis Hijos”, “Juanita Morei”, “María”, “Ven Morena”, among many others.

In 1981 he recorded his first long-playing record, standing out with the song “La Ola Marina”, a piece that reached the first place in the music scene. It is worth mentioning that this album earned him a platinum record.

With more than six decades of artistic career, this Venezuelan virtuoso has left an indelible mark on salsa, collaborating with great artists such as Oscar D’León. During his career, the experience gained in iconic groups such as: La Dimensión Latina, Sonora Caracas, Federico y su Combo Latino, among others.

Currently, he continues to perform with his Sonora and has already become an internationally recognized musician.

Enrrique “CulebraIriarte Icon of Salsa is declared Illustrious Son of La Guaira and Cultural Heritage of Venezuela.

“Mr. Felo Bacallao Founder of the Aragon Orchestra, we are very proud to have as Cultural Heritage this distinguished MUSICIAN Maestro Enrique Culebra Iriarte”.

Reconocen trayectoria de “Culebra” Iriarte

September 28, 2019

The outstanding Guairean musician and arranger Enrique “Culebra” Iriarte was honored for his career, being considered one of the best salsa pianist, in an event held in the auditorium of the Bolivar Chavez Square.

Iriarte has stood out as a member of orchestras such as La Sonora Caracas, Federico y su Combo Latino, Sexteto Juventud and Don Filemón.

He was one of the founders of Dimensión Latina, the group that paid tribute to him yesterday and with whom he shared in some of the interpretations made by Rodrigo Mendoza, José and Edie Pacheco.

Culebra accompanied Oscar de Leon for many years as arranger of many of his songs.

The Mayor’s Office of Vargas presented him with the Armando Reverón order, within the framework of the municipal program “Forjadores y Forjadoras de Identidad Guaireña”, which seeks to exalt the work of men and women from Guaire.

Culebra Iriarte's trajectory recognized — Culebra Iriarte’s trajectory recognized

“This is an emotional act with the presence of many musicians of the region, friends and relatives of Iriarte, to exalt the legacy that for years has given us this extraordinary musician. This is the twelfth award to people who have marked the local history”, said Alexis Rumbo, secretary of municipal government.

Percussionist Augusto Felibertt relates: exactly from 1997 to 1999 I was in the ranks of Maestro Enrrique ¨Culebra¨ Iriarte and his Sonora playing the Tumbadoras, at that time the founding members were:

Enrrique ¨Culebra¨ Iriarte: Pianist, Musical Director and Arranger, Eli: Bassist.

Juan Pablo Barrios: Timbalito, Campana and Bongo, Larry Machado: Singer, Perla Tabata: Singer, then Maritza De Quisquella, Cesar Pinto: 1st Trumpet, Yenny: 2nd, 3rd Trumpet a special guest, substitute percussionists: Yomar Mendez (Caballo) and Heyzer Cabrera.

Tremendous experience lived with all these musicians. Fabulous.

Note: The rehearsal studio at No 41 in Caño Amarillo-Caracas.

Augusto Felibertt y Enrrique Culebra Iriarte Foto en Rincon Caribeño

Cheo Navarro, Naty and El Maestro Enrique “Culebra” Iriarte Respected Masters and indisputable referents of the sound of Salsa and its history in Venezuela!!!!!

It has been for me immensely pleasing to share and receive with them this valuable recognition from SALSA SUPERIOR INTRNACIONAL!

Enrrique “Culebra” Iriarte, Alfredo “Guajeo” Naranjo, Dj. Augusto Felibertt, Elio Pacheco, Cheo “Bailatino” Navarro and Joseito Rodriguez 2nd Edition of the International Award 2022 by Richard Roman Director and Founder of Salsa Superior Miami.

Enrrique “Culebra” Iriarte, Alfredo “Guajeo” Naranjo, Dj. Augusto Felibertt, Elio Pacheco, Cheo “Bailatino” Navarro y Joseito Rodríguez 2da Edición de la entrega de Reconocimientos

Also Read: Eddie Palmieri brought salsa for the first time and live from Sing Sing Penitentiary in New York

Goodbye to José Antonio Abreu, the most beloved Master – Part 1

Latin America / Venezuela / Caracas

José Antonio Abreu

This extraordinary human being died on Saturday March 24 at the age of 78. Given the shock and infinite sadness of musicians, family, friends, music teachers, his thousands of disciples and all his followers, his wake took place on Sunday, March 25, in the Simón Bolívar Hall of the National Center for Social Action for Music, and was buried in the Cementerio del Este, in Caracas, Venezuela.

The manifestations of pain, and at the same time of gratitude, that the death of the Master has produced have sounded in all corners of the world, where his person and his work have been both a source of inspiration and an object of admiration and recognition.

The teaching of ART AND MUSIC in the whole world changed radically after the creation of EL SISTEMA. We invite everyone to read here the complete report on its activity published in our magazine, in June 2015, on the occasion of its 40th Anniversary.

The Venezuelan Musical Miracle

José Antonio Abreu economist, manager, entrepreneur, visionary, composer, conductor, distinguished teacher and tutor of several generations of Venezuelans is the founder of what is recognized as the Venezuelan musical miracle: The National System of Youth and Children’s Orchestras and Choirs from Venezuela. “This Venezuelan musician, sower of illusions and builder of dreams, has carried out a task that goes beyond the musical and cultural horizon, and is inserted in the rescue and formation of Venezuelan and Latin American youth.”

http://fundamusical.org.ve/category/el-sistema/jose-antonio-abreu/

“The life of José Antonio Abreu is the stellar journey to the land of a privileged human being, with a perfectly planned itinerary, always fulfilled and ascending. Thanks to its visionary mission, Venezuela has managed to crystallize one of the cultural, artistic and social programs of greater importance for America, the Caribbean and the world”.

Venezuela Seeded with Chefi Borzacchini Orchestras.

Caribbean Bank. Caracas, 2004.

“THERE ARE BEINGS THAT SEEM MARKED by God’s chalk. They are beings destined to leave a mark of their passage on earth. There are artists who make works of art with the purpose of conquering beauty, achieving fame or defeating death. There are others, however, rarer and more special, who prefer to dedicate themselves to making the other human being a work of art. That is the case of José Antonio Abreu: without a doubt, one of the most definitive and transcendent Venezuelans of contemporary Venezuela”.

The Impossible 3. Conversations on the edge of a microphone. Leonardo Padron.

Aguilar, Editorial Santillana. Caracas, 2008.

José Antonio Abreu was born in Valera, Trujillo state, Venezuela, on May 7, 1939, and from an early age he demonstrated his musical and artistic sensitivity. He began his music studies at the age of nine with the pianist and beloved teacher Doralisa de Medina, in the city of Barquisimeto, Lara state, once considered the musical capital of Venezuela, and then moved to Caracas in 1957.

He entered the José Ángel Lamas Superior School of Music, where he became a disciple of important Venezuelan masters such as Vicente Emilio Sojo, with whom he studied composition; Moisés Moleiro, his piano teacher, and Evencio Castellanos, who gives him organ and harpsichord classes.

In 1964 he obtained the titles of Performing Professor and Master Composer. Later he studied Orchestral Conducting with maestro Gonzalo Castellanos Yumar and became a guest conductor of the main Venezuelan orchestras.

In order to materialize his life project, the founding of El Sistema, Abreu first forged an important career as a planner and economist. I have obtained a degree in Economist from the Universidad Católica Andrés Bello, in Caracas, and a Ph.D in Petroleum Economics, from the University of Pennsylvania, USA.

His academic achievements allowed him to distinguish himself as a university professor, planner and economic advisor, serving as Director of Planning for Cordiplán, Advisor to the National Economy Council, President of the National Council of Culture, Minister of State for Culture and Deputy to the National Congress of the Republic.

In 1975 he founded the Juan José Landaeta National Youth Orchestra of Venezuela, which would later be called the Simón Bolívar Youth Symphony Orchestra of Venezuela, now the Simón Bolívar Symphony Orchestra of Venezuela, the “top” orchestra of the National System of Orchestras and Choirs . Juveniles e Infantiles de Venezuela, an enormous network planted throughout the Venezuelan territory, within which several generations of Venezuelan musicians have been formed.

Between 1960 and 1980, Abreu managed time between management, teaching and organization of the nascent cultural company that is El Sistema de Orquestas y Coros, for musical creation and a large artistic agenda that allowed him to raise his baton in front of the Orchestra Venezuela Symphony as guest conductor and, later, in front of the Youth Symphony of Venezuela and the Simón Bolívar Youth Symphony of Venezuela.

Abreu wrote some musical works, including La symphonic cantata Veni Mulier de Samaria (National Composition Prize, 1966); Oratorio on texts of the Apocalypse, Triptych for eleven instruments and Wind Quintet. He took on the challenge of conducting with his rigorous, demanding style and, above all, always searching for the depths, subtleties and meaning of the works he conducted. In this facet he has also been a teacher and has left his mark on the musical stamp and the unique sound that the Simón Bolívar Symphony of Venezuela possesses, as well as on other orchestras of the System that have been directed by him, such as the Teresa Carreño Youth Symphony. or the Caracas Youth Symphony.

Abreu has been the tutor and the most influential teacher in the style and apprenticeship of Gustavo Dudamel, Diego Matheuz, Christian Vásquez, Dietrich Paredes, as well as other young conductors who are currently taking their first steps in conducting.

Awards and honours

“This beautiful distinction allows me to redouble my efforts to build an increasingly better world through the sowing of music in the souls of children and young people.” With these words, maestro José Antonio Abreu received on October 10, 2013, in the city of Tokyo, Japan, the Special Culture of Peace Prize awarded by the Goi Foundation for Peace, an institution that praised the creator of the National System of Orchestras and Youth and Children’s Choirs of Venezuela “for having dedicated his life to social work to promote the culture of peace through music.”

“With four decades of experience, Abreu’s work is the most important social responsibility program in Venezuela and is inspiring many nations around the world. For his invaluable musical contribution, and for having filled thousands of Venezuelan and Latin American children and young people with hope, nationalist consciousness and tools for work, this exemplary Venezuelan has received multiple national and international awards, granted by numerous governments, countries, foundations and non-governmental organizations”, among which the following stand out:

2014:

Notre Dame Public Service Award in Latin America. Indiana, United States.
Abu Dhabi Festival Award. Abu Dhabi Festival, United Arab Emirates.

2013:

Special Culture of Peace Award from the Goi Foundation for Peace, Tokyo, Japan.
Charles Ansbacher Music for All Award. Second edition. Organization “Free for All Concert Fund”.
Grand Cross of the Cruzeiro del Sur National Order. Brazil.
Trebbia European Award. Prague, Czech Republic.
Ibero-American Prize for Music Cortes de Cádiz. Municipal Foundation of Culture of the City Council of Cádiz, Spain.
Educator of the year. Musical America Worldwide, USA.

2012:

Hanz Lenz Medal of the Confederation of German Orchestra Federations.
City of Ravello Award. Italy.
City of Valencia Order in its first class The Mayor’s Office of Valencia, Carabobo state, Venezuela.

2011:

Special Echo Klassik Award from the German Academy of Phonography, the Cultural Institution of the German Music Industry Association.
Austrian Cross of Honor for Sciences and Arts from the government of Austria.

2010:

Erasmus Award 2010 from the Praemium Erasmianum Foundation

2009:

Chevalier de la Légion d’Honneur (Knight of the Legion of Honor). France.
Polar Music Prize.
Frederick Stock Award. Institute for Learning, Access and Training of the Chicago Symphony Orchestra.
Bridge Builders Award.
Frankfurt Music Prize.
TED Prize. Technology, Entertainment and Design (TED) Award.

2008:

Yehudi Menuhin Award for the Integration of Arts and Education. Albeniz Foundation. Spain.
Prince of Asturias Award for the Arts of the Prince of Asturias Foundation.
Grand Cordon of the Order of the Rising Sun. Japan.
Glenn Gould Award. Glenn Gould Foundation. Canada.
International Puccini Award. Pucciniano Festival Foundation.

Among other awards received by Maestro Abreu and El Sistema are:

– WQXR Gramophone Award. England, 2007; Don Juan de Borbón Award for Music, 2007; GlobArt Award, 2006; International Peace Prize for Arts and Culture, 2004; UNICEF Award. Italian Committee for UNICEF, 2006. Praemium Imperiale. Japan Arts Association, 2006. International Peace Prize for Art and Culture. World Culture Open, 2004; The Right Livelihood Award. Sweden, 2001, among others. As well as countless Honorary Doctorates from Venezuelan Universities and from around the world, Orders of Merit, Gold Medals.

Photo of José Antonio Abreu y Gustavo Dudamel

We invite you to review the complete list of awards received by Maestro Abreu and El Sistema on the FundaMusical website:

http://fundamusical.org.ve/category/el-sistema/recognitions/

THE SYSTEM —The National System of Youth and Children’s Orchestras and Choirs of Venezuela—

Youth and Children’s Orchestras of José Antonio Abreu

“The Orchestra System is the ideal dimension of Venezuela. From the beginning I saw in the orchestras the most beautiful expression of national unity. I saw a thriving Venezuela, full of wills and efforts to get what is wanted.”

“The irradiation of the Orchestras in the community, in each town, in each state, in the family, is undoubtedly transforming Venezuelan society. And the important thing about this is that if the other arts did the same, undoubtedly, art constitutes a fundamental, strategic, unique and revolutionary instrument for the transformation of the country”.

Jose Antonio Abreu Venezuela Seeded with Orchestras. Chef Borzacchini. Caribbean Bank, 2004.

“Thanks to El Sistema, young people from all over the world can benefit from the power of music to bring about a change in their lives. But At its deepest, El Sistema is a social program that It has saved lives and will continue to save many more.”

Sir Simon Rattle. Music Director of the Berlin Philharmonic

During the practices of the young members of the orchestra

“The fundamental mission of El Sistema is not only to help children, but often – and literally – to rescue them and, in the process, also to produce real and lasting changes in the lives of their families and communities.

“The orchestra and the choir are much more than spaces for artistic development,” says Abreu. They are examples and schools of social life. From the very minute a child is trained to play an instrument, that child stop being poor. Becomes an agent of progress who will become a citizen” »

Changing Lives: Gustavo Dudamel, The System and the transformative power of music.

Tricia Tunstall. Editorial Alfa, Caracas 2014.

The National System of Youth and Children’s Orchestras and Choirs of Venezuela, also known as El Sistema, was conceived and founded in 1975 by maestro José Antonio Abreu to systematize the instruction and collective and individual practice of music through symphony orchestras and choirs. , as instruments of social organization and humanistic development.

Youth and Children’s Orchestras practice

This pedagogical, artistic and social model, which has reached relevance throughout the world, constitutes the social responsibility program with the greatest impact in the history of Venezuela. Its governing body is the Simón Bolívar Musical Foundation, attached to the Ministry of People’s Power of the Office of the Presidency and Monitoring of Government Management of the Bolivarian Republic of Venezuela.

The System is based on the formation, at an early age, of integral individuals for society through the individual and collective practice of music. It incorporates boys, girls and young people from all social classes:

66% come from homes with limited economic resources, or who live in adverse conditions and in vulnerable areas; while the other 34% attended belong to urban areas with better access possibilities, thus achieving an example of inclusion of all sectors and strata of the Venezuelan population, without distinctions of any kind. In this way, the orchestras and choirs radiate their healing and uplifting effects on each student, their family and their community.

Orchestral and Choral Training Program

The focus of this artistic-social project stands out for the collective musical practice from an early age where the premise is to make quality music through orchestral, choral, chamber, folk, alternative and diverse genre groups that constitute and are part of a community and the Nuclei, educational, artistic and administrative backbone of El Sistema throughout the national territory.

In front of the lectern and under the leadership of the director, music becomes a powerful agent of positive change; Students learn to work as a team and to achieve goals by overcoming program levels, performing a sequential symphonic and choral repertoire, and performing on national and international stages.

Photo of the integrants Simón Bolívar Symphony Orchestra of Venezuela

The methodology also includes individual classes of symphonic instruments up to general rehearsals, with a sequential repertoire gradually structured for each level that includes works of all genres -national and universal-. In this way, the development of an artistic career is promoted individually and in groups, with the support of teachers prepared to facilitate meaningful learning.

The teaching-learning process is complemented through the daily and continuous practice of the members of El Sistema, combining their activities in the nuclei with frequent presentations to the public to make their work and achievements a constant and significant learning.

The nucleus

The functional, educational, artistic, and administrative structure that shapes El Sistema is at its core. All the orchestral and choral programs of the Simón Bolívar Musical Foundation are held there, which makes them teaching centers that, in many cases, function as centers for promoting the educational, artistic and cultural activities of the communities. The nuclei vary in size and complexity and are located in every state in the country.

The nuclei offer musical development programs for children between 2 and 6 years of age, ranging from musical stimulation and initiation to the formation of a group that includes content and musical activities appropriate to their ages. From the age of 6, students have the opportunity to develop in pre-infant, children’s and youth orchestras, the latter for young people between 12 and 18 years of age.

The module

It is a structure that joins this network to reach the most remote towns in the country, border areas, communities, urbanizations and schools, with the purpose that no Venezuelan girl, boy or young person is excluded from the experience and enjoyment that music provides.

The environment

In addition to developing in the musical field, the teaching-learning process facilitates the comprehensive development of the beneficiary from birth to adulthood, promoting responsibility, discipline, commitment, teamwork, respect, coexistence, collaboration and a sense of belonging, thus forming multiplier citizens of all these values in their family environments and communities.

Work with parents, representatives and communities

In the teaching-learning process of El Sistema, a constant link is maintained with the community and the family environment of children and young people, in order to provide a motivating environment for the beneficiaries that allows them to continue in their educational artistic process. Parents, representatives and community thus become indirect beneficiaries.

Currently, El Sistema has 423 nuclei and 1,340 modules serving 700,000 girls, boys, adolescents and young people. The academic staff is made up of 9,010 teachers, distributed in the 24 states of Venezuela, forming a complex and systematic national network of youth and children’s orchestras and choirs: 1,305 youth, children’s and pre-children’s orchestras; 1,121 children’s and youth choirs.

The National System of Choirs

It stimulates the training of children and young people in choral education, fostering the creation of networks that generate training systems for choral directors, lyrical singing students and vocal groups. Those who stand out at all levels of training make up the Youth Symphonic Choir, while the National Youth Symphony Choir of Venezuela is made up of regional teams.

Other programs:

Program for new members of “El Sistema”

It stimulates the growth of babies from the prenatal period up to 3 years of age.

The Paper Orchestra Program fosters unity between the family, the child and the teacher, designed so that the process of orchestral and choral initiation for students between the ages of 3 and 6 is pleasant and satisfying.

Alma Llanera Program, which trains children and young people through the collective practice of music with traditional Venezuelan instruments, in order to rescue and preserve popular Venezuelan folk music.

concert

New Orchestras and Musical Genres Program that offers academic training to musicians of the popular genre and promotes the emergence of groups of all styles. Venezuelan music in all its genres and aspects (popular, folk, llanera, Afro-Venezuelan, oriental, Zulian and Caribbean music); Urban music; Jazz; Latin and Caribbean music, including the salsa genre.

Two programs stand out for their capacity for integration and social reintegration: the Special Education Program; that integrates people with disabilities through music, and the Penitentiary Symphony Orchestra Program, which seeks to minimize the levels of violence within prisons and facilitate the process of social reintegration through learning, practicing and enjoying music. music.

Hospital Care Program that provides assistance to children and adolescents who suffer from illnesses and remain in health centers.

Luteria program that trains young people in the manufacture and repair of musical instruments.

Photo imón Bolívar Symphony Orchestra of Venezuela

More information at:

http://fundamusical.org.ve/category/el-sistema/que-es-el-sistema/

http://fundamusical.org.ve/category/el-sistema/impacto-social/

http://fundamusical.org.ve/category/educacion/metodologia/

http://fundamusical.org.ve/nucleos/

http://fundamusical.org.ve/educacion/

Progress in practice

Simultaneously with the pedagogical plan, which is applied throughout the national network of El Sistema, that is, in all the nuclei of the Venezuelan territory, a process of promotion is developed in practice: the student-performers enlist in the Pre-Children’s Orchestras , in the Children’s Orchestras, and, later, they moved on to the Youth Orchestras. Finally, the most talented performers, through rigorous audition processes, are selected to occupy a lectern in the Simón Bolívar Youth Symphony Orchestra of Venezuela, in its “A” or “B” section, where they achieve the greatest experience and the most high professional level.

In each of the orchestras, in their different categories, the personal and group effort of the students is promoted. For example, children and adolescents who work hard and progress have the opportunity to “win” prizes such as participating in advanced courses, workshops, seminars, rehearsals and concerts with national and international teachers.

http://www.musicabancaribe.com/Publicaciones/Libro_digital/VenezuelaEnElCielo/info/capitulo6/i/index.php#prev

Pedagogical structures on the rise

The pedagogical plan of El Sistema contemplated, since 1980, approximately, the foundation of exemplary pedagogical structures and models as scenarios for the training and improvement of musicians.

As the demand for children entering El Sistema and its nuclei has grown, projects for the construction of new educational centers are on the rise. Among them, the Simón Bolívar Conservatory, the Montalbán Children’s Academic Center, the Center for Social Action for Music, the Academic Center for Lutherie and the twelve Latin American Academies for the instruments of: Violin, Viola, Cello, Flute, Horn, Contrabass, Clarinet, Classical Harp, Trumpet, Oboe, Bassoon and Trombone.

http://www.musicabancaribe.com/Publicaciones/Libro_digital/VenezuelaEnElCielo/info/capitulo6/i/index.php#prev

The Simon Bolivar Conservatory

The Simón Bolívar Conservatory offers training of the highest pedagogical and artistic rank to the ever-increasing number of students, with a very complete curriculum of studies in which orchestral practice accounts for approximately 70%. The title of Performing Musician is granted, an important endorsement that allows graduates to continue higher studies at universities.

Photo of the Simón Bolívar Symphony Orchestra of Venezuela

“…the Simón Bolívar Conservatory has emerged as the head and model of a network of conservatories already established in Yaracuy, Carabobo, Aragua, Guárico and Ciudad Bolívar. However, I am excited and pleased with the new challenge we are facing: broadening the musical and artistic horizon of that large contingent of students that El Sistema has and of those who will join in the future.

These are the new contents: the Venezuelan Popular Music Teaching Program, in all its aspects, including that of Afro-Venezuelan roots; the Urban Music Program; the Jazz Program, which is already in progress with our Simón Bolívar Big Band Jazz Symphony and the Latin and Caribbean Music Program, which especially includes the salsa genre.

This is already underway with the creation of more than 15 pilot nuclei and the formation of a body of teachers specialized in these genres. The idea is that these programs capture and channel the talent of many musicians and students who have greater virtues for these musical currents, always pursuing and achieving the same level of excellence as those who perform symphonic music in our orchestras”.

Valdemar Rodriguez. Taken from the interview with Valdemar Rodríguez, clarinetist, Director of the CSB, creator of the Latin American Clarinet Academy, among other titles and positions, by Chefi Borzhacchini in the digital book Venezuela en el Cielo de Los Escenarios. Caribbean Bank, 2010

http://www.musicabancaribe.com/Publicaciones/Libro_digital/VenezuelaEnElCielo/info/capitulo6/ii/

Diversification of teaching, orchestras and festivals

In the same way that teaching has been diversified, including different musical genres –popular, urban, jazz, Latin Caribbean, salsa– other orchestras have emerged dedicated to developing each of these genres, as well as festivals to promote them at the regional level. These events, organized by El Sistema, revolve around an artist, musician, composer, instrument, or arise for the meeting between musical talents from various regions, local or international.

Among them are the FIP-Llanos International Percussion Festivals, the Spain-Venezuela Festival, the Festival of New Venezuelan Clarinetists, the Chamber Music Festival (in Mérida and Caracas), the International Flute Festival, the International Bassoon Festival, the International Festival of Clarinet, International Oboe Festival, Young Virtuosos Festival, Youth Festival, Young Directors Festival and Latin American Music Festival, among others.

Simón Bolívar Symphony Orchestra of Venezuela

The Simón Bolívar Symphony Orchestra of Venezuela (OSSBV) was founded by maestro José Antonio Abreu and is currently the apex ensemble of the National System of Youth and Children’s Orchestras and Choirs of Venezuela.

Under the musical direction of maestro Gustavo Dudamel, its 180 young musicians, whose ages range between 18 and 28 years old, named Ambassadors of Peace by UNESCO, have been trained in the Orchestral Academic Program of the Simón Bolívar Musical Foundation, through the which have received master classes with outstanding world-class teachers and soloists, including teachers from the Berlin Philharmonic, the Sibelius Academy in Finland, the Bach Academy in Stuttgart and the New England Conservatory in Boston.

His performances with internationally renowned conductors include Simon Rattle, Claudio Abbado, Daniel Baremboim, Krzysztof Penderecki, Essa Pekka-Salonen, and Lorin Maazel, among many others.

Other orchestras

Simón Bolívar Afro-Venezuelan Orchestra
Simón Bolívar Youth Baroque Orchestra
Caracas Youth Orchestra
Alma Llanera Youth and Children’s Orchestra of Guárico State
Simón Bolívar Latin Caribbean Orchestra
National Flute Orchestra of Venezuela
National Children’s Orchestra of Venezuela
Simón Bolívar Symphonic Rock Orchestra
Francisco de Miranda Youth Symphony Orchestra
Carabobo Youth Symphony Orchestra
Prison Symphony Orchestras
Teresa Carreño Youth Symphony of Venezuela

Bands

Simón Bolívar Youth Symphonic Band
Simon Bolivar Big-Band Jazz

Assemblies

Assemble 7/4
Carabobo Metal Assembly
Metal Ensemble of Venezuela

Chamber Groups

Simón Bolívar String Quartet
Liberators Quartet
Teresa Carreno Quartet
Yaracuy Quartet

Choirs

White Hands Choir
Simón Bolívar National Youth Choir of Venezuela
Network of Prison Orchestras and Choirs

More information at:

http://fundamusical.org.ve/agrupaciones/

The system in the world

The philosophy and methodology of El Sistema has had an almost magical ability to inspire artists, educators, and social activists across the globe, as Tricia Tunstall puts it in her book Changing Lives…“its guiding principles—the orchestra as school of civility and the passage from a vision centered on music to a humanistic vision of social change through music–” have been taken as a model to follow and El Sistema has been implemented or adapted in more than 66 countries in which five continents.

Programs inspired by El Sistema have emerged in:

AMERICA: Argentina, Barbados, Bolivia, Brazil, Canada, Chile, Colombia, Costa Rica, Dominican Republic, Ecuador, El Salvador, Guadeloupe, Guatemala, Haiti, Honduras, Jamaica, Mexico, Panama, Paraguay, Peru, Puerto Rico, United States , Saint Lucia, Trinidad and Tobago, Uruguay.
AFRICA: Angola, Kenya, South Africa, Uganda.
EUROPE: Germany, Armenia, Austria, Bosnia, Croatia, Denmark, Scotland, Slovakia, Spain, Finland, France, Wales, Greenland, England, Ireland, Iceland, Italy, Luzembourg, Norway, Netherlands, Portugal, Czech Republic, Romania, Serbia, Sweden, Switzerland, Turkey.
ASIA: Afghanistan, Japan, South Korea, Philippines, India, Taiwan, Vietnam, Singapore.
OCEANIA: Australia, New Zealand.

You can find more information at:

http://www.elsistemausa.org/el-sistema-around-the-world.htm

http://sistemaglobal.org/

http://www.sistemaeurope.org/

http://fundamusical.org.ve/category/el-sistema/el-sistema-en-el-mundo/