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You both have nominated for Latin Grammy, both, and Carlos, you won five awards, right?
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Six.
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Six Grammys.
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Yeah.
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Two in composition, two in tango, and one with an album that I did, a duet with a fabulous
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jazz bass player, Eddie Gomez.
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Alison, you are also nominated.
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Yeah.
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I've been nominated twice for Grammys and three for Latins.
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And my name is on one of his wins.
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Carlos won for composition.
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It was a piece that I recorded, but I'm not the winner because the piece won, not the
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recording itself.
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In my book, you are.
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Aw.
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You know people call a duo like you, power couple, right?
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Actually, yeah.
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We have been referred to that way, which we find really fascinating because we really
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just do what we do.
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And the good thing is that, I must say, I mean, she's the pianist, she's the concert
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pianist.
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I am a composer.
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So we share things, but we don't get to the point of competing.
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We, it's not that we compensate each other.
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We compliment.
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We compliment.
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That's the word you're looking for.
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You know.
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We've been extraordinarily fortunate that way.
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We're very, very respectful of each other's work, very separately, as well as everything
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that we've done together.
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Hello piano enthusiasts.
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Welcome to the PianoPod with me, Yukimi Song.
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Today we're diving deeper into the second installment of this season's eighth episode
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with extraordinary artists, Carlos Franzetti and Alison Brewster Franzetti, an exceptional
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duo with multiple Grammy and Latin Grammy awards, celebrated as the power couple of
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classical music.
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In case you missed our captivating part one conversation, exploring their fascinating
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journey to becoming Grammy and Latin Grammy winning artists.
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Don't worry.
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You can catch up on all the excitement on your favorite podcast platform right now.
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As we wrap up 2023, it's been an incredible year connecting with you and remarkable guests
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through this magical podcast medium.
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My heartfelt gratitude goes out to each of you for tuning in throughout the year and
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since the PianoPod's launch in the summer of 2020.
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Your support has fueled my passion for sharing the piano world with you.
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Over the past four years, we've strived to make classical music resonate in fresh ways
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with today's audience.
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To keep these episodes coming, your support is vital.
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Every contribution helps cover essential podcast expenses.
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So click the PayPal link in the show notes or visit the pianopod.com to donate.
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As a token of gratitude, I'll personally mail you the PianoPod's logo sticker.
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So stay tuned for the year 2024.
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Our exciting lineup of guests is ready to share thoughts, ideas, and expertise.
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I'm thrilled to bring you more inspiring conversations, captivating performances, and behind the scenes
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insights into the world of classical music.
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A warm welcome to all our new listeners.
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This podcast is your all access pass to the enchanting world of piano.
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In each episode of the PianoPod, we interview a guest speaker pioneering new grounds in
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the industry.
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Please take a moment to rate and review the show on your favorite podcasting platform.
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It truly helps others discover our show.
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So dear friends, here is part two of the PianoPod season four, episode eight, featuring Carlos
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Franzetti and Alison Brewster Franzetti.
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Please enjoy the show.
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So you both are the good influence and good impact for one another.
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That's that.
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Oh, I know.
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Absolutely.
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That's for sure.
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We really do bring out the best in each other constantly.
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And it's really great to have that kind of support.
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This weekend, I will be playing some of Carlos's music out at Penn State University with Bart
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Feller, the principal flute of New Jersey Symphony.
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We have a concert at Penn State University on Sunday.
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And then Laurel Zucker, the flutist, Carlos wrote sonata for her that we are going to
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be recording next summer and a couple of other pieces that you have heard that we're also
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recording next summer.
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And amongst other people, you know, a whole bunch of your music is getting done various
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places right now.
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Well, you have so many more fun projects and concerts and hopefully more recordings to
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come.
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Hopefully.
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I mean, the world of recording is kind of convoluted and the streaming, you know, all
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this is a result of COVID because when COVID started, people wouldn't leave their homes
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and they had to entertain themselves with streaming movies and music and things like
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that, which that market, all those platforms grew tremendously.
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People don't own CD players anymore.
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Like in your car, you don't have a CD player anymore.
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So I don't know really what the future will be for recordings unless people decide it
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in films, platforms that films that they produce, they're not available in theaters, but they're
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available in platforms.
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So I don't know whether it's going to be the case with music to people, whatever, somebody
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like Madonna or Lady Gaga, new recording available on so and so sound platforms.
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So it might be the future because I don't, you know, it's it's the way it is.
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You know, I mean, and the thing with streaming, of course, for most of us mere mortals, you
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don't make any money from it.
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So if you tell it, Swift, you do.
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Who of course set yet another record on Spotify yesterday.
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All the power to her.
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I mean, she's brilliant.
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Yeah.
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But even then she had to fight for it because she had to remaster her original because she
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wasn't making much money.
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Right.
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So it's a really tricky business here.
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Then Carlos, you mentioned a little bit about Covid.
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So for the last three years affected us so in so many, so many ways.
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Like, you know, the way we communicate is now different tremendously.
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As you mentioned, the way we listen, the way we just to enjoy art, enjoy a little film
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is not the same as before.
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So tell me,
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I live here, I mean, I work here and so Covid didn't affect me in that sense.
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I was writing music and it was the same thing.
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I would go out and do some groceries with a mask.
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Then eventually I got Covid and Alison got Covid and except I barely noticed that I had
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it on.
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I mean, I was so not I sailed through that without me.
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I mean, my I did some blood work and my doctor told me.
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By the way, you have antibodies, you develop antibodies, you have Covid.
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Later on, I had this episode that I thought that I had, you know, a brain, a HCV and it
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was
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Septurolumatoma.
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I had to go and had surgery.
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So I had three surgeries because it would, you know, I mean, we're just bleeding on the
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dura to the brain and which compresses the brain and kind of.
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So and the doctor said, I said, well, you know what happened?
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I didn't hit my head or anything like that.
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This is a Covid result.
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Well, I had brought that up actually to the surgeon at one point when he was about when
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he was having procedure number two, which is the craniotomy.
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And I said, you know, Carlos had antibodies in his system.
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And I said, there is this research talking about the things that can happen to the bacteria.
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At the beginning, they thought Covid only affects your lungs and this and that's it.
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I mean, now they know that it affects your heart, your kidneys and, you know, your brain.
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It can affect all sorts of things.
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So it manifests in different ways.
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And this was what hit me.
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And it was kind of dramatic for to have brain surgeries.
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I have a diatomid plate.
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It was very dramatic.
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And oh my goodness.
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And he's fine.
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I mean, he's really fine.
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I couldn't even tell like you have such a huge.
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Yeah, well, I have a lot.
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Not just a look, but yeah, you wouldn't tell.
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You know, the funny.
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Well, the funny thing is later on, I was looking at the so there are all the hematomas and
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days and rate of survival and said, well, 20 percent of the people survive.
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I said, well, I've been this right.
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Yeah, you know, then I said, well, you know, I am one of the lucky ones.
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But then you're still you're still writing music.
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You're still.
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Oh, yes.
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Yes.
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And I recorded the album right after a year later, six months.
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I wanted to do an album, a jazz album, which is the last thing I did for Sunnyside Records
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and this call in the Weasel hours of the morning, which is a beautiful song.
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And I tried to get songs from the era of the Second World War when like we'll meet again.
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Memories of you things that call about distance and longing and loss.
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And because I think that we went to a period like that, I mean, we lost a lot of so many
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friends and so did everybody.
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I mean, so it was a way of, you know, when during the war, the G.I.
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without knowing what would happen to them and their families and their loved ones and
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all the songs, Time Remembered and How Deep Is the Ocean, all those songs reverberated
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70 years after that made so much sense to recording.
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So I went and recorded this album.
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May of 2021.
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Oh, what's the title of the record?
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In the Weasel Hours.
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In the Weasel Hours.
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You know, I can we can make it send it to you.
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And that's with David Pink and Billy Drummond on drums.
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It's a real dream trio.
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Wonderful, wonderful.
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Beautiful, beautiful trio.
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Oh, my goodness.
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That's I think it's on Spotify as well.
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It's on Sunnyside.
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OK, I always say the owner and producer, Francois Salacan, you're a hero.
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You're putting out CDs at this time.
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I mean, you know, you're either a hero or a martyr.
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But you know, it's amazing.
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I congratulate you.
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And, you know, he keeps doing it.
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It's fantastic.
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Yep.
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So there.
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Yeah.
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So in terms of the industry, there are certain labels who are still putting out a lot of
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stuff like Parma is doing and some others that are actually putting out some really
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wonderful product.
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And so we're very fortunate.
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Of course, legacy we put out ourselves on our label because we really felt that we could
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best represent what that record was and what it is, what it stands for.
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But we've been really more fortunate than many people when it comes to recording who
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we've gotten to work with.
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I have several upcoming projects that are going to have various homes that I'll be collaborating
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with a wide range of people right now.
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And again, I'm very fortunate to be able to say that that I keep having these opportunities.
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I also just finished doing Jurassic Park with New Jersey Symphony.
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Oh, my God.
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Yeah.
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Yeah.
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And unfortunately, I was behind the screen so I couldn't see it.
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But those things are fun to do.
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I have to say when you get to play live to film like that, that your audiences have such
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a great time.
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And the scores are difficult.
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They are hard.
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They're hard.
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Yeah.
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On this particular one, I was doing the synth part.
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So not only was I having to change patches constantly, which I was actually doing with
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my foot, I had to keep adjusting the volume depending on which patch I was on because
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they were very unevenly matched.
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So it's like if I had a Chalice patch to play and I had a lot of them, I had to put the
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volume all the way up.
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But the second I would have to play something else, I'd have to bring it back.
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And I was constantly guessing, depending on what venue we were in, was my volume actually
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correct?
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There was no way for me to know.
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And so I just had to go with what I heard and trust the sound guys in the house to handle
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all the rest of it.
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So I was constantly adjusting here, playing here, adjusting here, adjusting with.
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It's kind of how it goes when you do those.
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But it seems like you both have such a varied career.
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You're not just one thing, right?
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Like also you have this experience with the film as well.
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00:13:24,400
And then also, Carlos, you wrote for commercials, but also you are Latin Grammy, Grammy Award
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winner and write jazz, this and that.
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And so what your film too?
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Yeah, that's true.
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00:13:32,640
That's true.
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00:13:37,640
So is that the maybe secret to the longevity of your career?
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00:13:41,720
Sort of like a diversifying your career, you know what I mean?
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00:13:43,400
Not just to focus on one thing.
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00:13:50,080
Well, there is a collecticism in a sense, but it's also that I, you know, being a commercial
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00:13:55,480
professional musician, I had to accept to do as being an arranger is an extension of
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00:13:56,480
being a composer.
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00:14:00,480
You know, you learn to orchestrate and arrange other people's music.
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00:14:06,720
And I was called to do, as I said, from the times of Mexico, doing mariachi music to Latin
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to rock to some movies.
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00:14:19,120
And then later in New York, the salsa phenomenon of the seventies and then R&B and jazz and
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other types of music.
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00:14:25,320
I think in tango, I don't think that I have skipped any genre of music.
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00:14:30,560
I mean, I've done mostly, you know, they call me and said, we need you to do this arrangement
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00:14:37,280
of Spanish songs, like Jose Nin, but we need to, you know, you to adapt this for a wind
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00:14:39,120
quintet or we need.
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00:14:42,080
So you do all kinds of different things.
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00:14:47,800
I would say that the only thing I don't do is heavy rock, because there's no, you know,
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00:14:53,600
there's no place for me to write in on a techno pop or things like that.
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00:14:56,320
But, you know, other than that, I've done everything.
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00:15:01,600
I think the other thing, and I know you're going to bring this up, is that you have to
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00:15:07,600
be willing to adjust to the times and the world that we originally were brought up in
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has nothing to do with the world we're in.
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It really has changed that radically in so many ways.
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00:15:19,560
You know, just the fact that we're having this conversation a few years ago, we wouldn't
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have done it.
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Right.
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00:15:23,520
We have that proliferation.
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00:15:31,320
So like one of the things that I got involved with during COVID was I contacted my best
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00:15:37,760
friend of the past 40 years, who's a techie amongst other things and a producer.
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00:15:43,180
And when I saw that orchestras were starting to shut down, I realized that this was a long
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00:15:44,220
haul situation.
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00:15:45,680
It was not going to be for a couple of weeks.
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I knew it immediately.
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00:15:52,880
I contacted my best friend and said, there's got to be a way for orchestras to be able
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to continue.
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00:16:01,520
And we had actually, he with his tech guys and me filling him in on orchestral leads
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00:16:08,600
and stuff like that, we had devised a system where orchestras could be in the same building
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at the time.
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Right.
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But in different parts of the building.
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Right.
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00:16:18,480
And following all the protocols, because we knew what all the protocols were from the
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00:16:25,800
various unions, setting up the cameras, the microphones, the kind of high speed access
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00:16:31,000
you needed, et cetera, being able to have a conductor yet in another location in the
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00:16:36,920
building and then being able to have orchestras actually play together.
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And it turned out with latency and dealing with latency too.
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Now it turned out we were way ahead of our time.
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00:16:47,800
Various orchestras took a really good look at it and were really considering it.
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00:16:53,280
And then they started looking at the possible price tag and going, can't do it.
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00:17:00,560
But what that led us to was the orchestra, the Americas in the orchestra Academy, and
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00:17:03,000
we became part of their advisory board.
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00:17:09,120
And what the Academy is doing is really fascinating because they are hybrid at this point, but
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00:17:12,160
during COVID everything was online.
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00:17:20,360
So they were doing all these incredible workshops from the orchestral level of various repertoire,
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00:17:26,280
working with various conductors, renowned conductors from around the world.
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00:17:33,480
And then having modules for the respective instruments with these, again, world renowned
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00:17:36,360
musicians taking them through.
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00:17:41,120
Not only were they working on repertoire things, but they're working on strategies for the
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00:17:50,280
21st century, how to market yourself, how to work with entrepreneurial things, you name
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00:17:51,280
it.
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00:17:52,640
They're touring it.
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00:17:58,640
And they are also developing actual degrees in it.
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00:18:03,400
So we have these fellows that work with them in these various ways, including that they
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00:18:10,240
have this whole piano contingent with Gabriella Montero, which she's incredible.
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00:18:13,600
I mean, what she's doing is incredible.
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00:18:19,080
So you have all these cohorts from around the world who are participating in this.
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00:18:23,940
And so every three months we at the advisory board, we meet, we see what they're doing,
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00:18:26,960
what they're developing and give feedback on it.
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00:18:33,360
My area has been working with them on syllabi and stuff like that and looking at what they're
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00:18:35,360
actually offering.
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00:18:37,480
How are they communicating it?
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00:18:44,640
Is this really what they're looking to do is really quite groundbreaking in so many ways
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00:18:46,440
and very exciting.
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00:18:51,120
And so being part of something like that is really fascinating.
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00:18:57,280
Having come from the very academic musical world that they're looking to compete with
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00:19:04,200
at this point, but because their point of view is constantly looking at the future and
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00:19:14,280
what needs to happen to keep music viable, not just now, but for the future and reaching
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00:19:21,960
also in many cases, some very underserved communities around the world.
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00:19:27,480
So it's really, it's quite fascinating to see what people are doing, why they're doing
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00:19:30,280
it and the need for it.
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00:19:36,040
And so I really do believe that schools like Berkeley have been on top of this stuff for
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00:19:41,480
years in terms of where the business is going and why the business is going a certain way.
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00:19:46,080
And the kinds of degrees that they offer are not just necessarily performing or teaching
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00:19:47,080
degrees.
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00:19:55,000
They have a whole system of careers related to music that you can be part of and trained
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00:19:57,720
for and why do you do it?
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00:20:02,880
That take into account all these various developments that have happened.
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00:20:08,440
And this is where a lot of the more traditional music conservatories or universities don't
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00:20:11,760
necessarily do this and they need to be doing it.
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00:20:12,760
Wow.
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00:20:13,760
So this is a, yeah.
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00:20:17,120
I have a little bit of an opinion about it, you think?
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00:20:17,120 -->
00:20:18,120
Oh yeah.
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00:20:21,240
But it's incredible that you do have this.
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00:20:23,120
But what did you notice?
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00:20:27,200
Did you notice that from your students, observing from your students or from your audience that
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00:20:30,400
something is missing and then needs to take an action right now?
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00:20:33,240
Oh, it was all of the above.
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00:20:33,240 -->
00:20:34,920
It's been all of it.
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00:20:41,320
And that, you know, and looking sometimes at who's attending concerts and who are we
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00:20:44,040
reaching or who are we really missing?
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00:20:45,640
What's happened to music education?
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00:20:50,560
Now in New Jersey, we're more fortunate than a lot of places in terms of the wealth of
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00:20:58,200
opportunities that are available here for kids to be able to study, to play with different
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00:21:02,120
kinds of orchestras or singing choirs or whatever it is.
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00:21:06,920
We have a lot of it, you know, New York City is not that kind of fortunate, not like we
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00:21:17,080
are, but even so still adapting for what this musical world is and is going to be does take
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00:21:18,200
a lot of foresight.
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00:21:23,400
On the other hand, if you're a performer, you still have to be able to perform.
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00:21:29,960
So a lot of the stuff that you still have to do is still that didn't change in terms
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00:21:36,880
of the excellence that you have to have in terms of how you go about playing your instrument
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00:21:36,880 -->
00:21:39,880
or singing or composing or arranging.
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00:21:41,760
That's all still the same.
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00:21:44,160
You've still got to have those skill sets.
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00:21:50,920
But what you do with them is what has changed so completely in so many ways so that the
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00:21:54,280
opportunities like Carlos was in jingles for so many years.
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00:21:56,720
Well, that world doesn't exist now.
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00:21:58,360
Of course.
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00:22:00,280
So what do you do?
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00:22:08,240
And so so that's where he's had all these other opportunities and people who have approached
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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.
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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
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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.
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00:22:40,920 -->
00:22:41,920
That's true.
365
00:22:41,920 -->
00:22:42,920
OK.
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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.
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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
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00:23:00,600 -->
00:23:03,040
having and to self promote.
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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,
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00:23:15,920 -->
00:23:17,200
a great music.
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00:23:17,200 -->
00:23:18,200
Right.
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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
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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,
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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
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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.
