Wed September 4th, 2019
Minimum Age: 18+
Doors Open: 7:00PM
Show Time: 8:00PM
Event Ticket: $75 / $55 / $30
Daniel Medina de la Rosa: kanari, lyrics and voice
Erasmo Medina Medina: raweri
Philip Glass: piano and arrangements
Victor Sanchez: Cultural Adviser and Associate Producer
Concept: Philip Glass, Daniel Medina de la Rosa and Victor Sanchez
Indigenous Cultural Adviser: Alfredo Gonzalez (Tayau)
$75 VIP Premium Table Seating (first row of tables)
$55 GA Table Seating
$30 Standing Room
INDIGENOUS WORLD IN DAYS AND NIGHTS
As can be seen in many of his operas, music for films and his albums in collaboration with artists from around the world; Philip Glass has been interested in the music, philosophy and spirituality of ancestral cultures across the world, throughout his entire life. These experiences have represented for him not only an artistic research; but also part of his personal and spiritual development quest.
During the last twenty years, the renowned composer has dedicated time and energy to know the deepest
aspects of the world culture; so he has traveled extensively through remote corners of the world, where he has visited indigenous communities, archaeological sites and natural remote places; all of which has left a deep imprint on both his soul and his work.
As an example of this, The Symphony No. 7, named Toltec, is his personal tribute to the indigenous cultures of
Mexico, both of the past and the present.
THE SPIRIT OF THE EARTH
The Spirit of the Earth, was originally presented in Mexico City in of December of 2017, as a prelude to the
Toltec Symphony’s Mexico Premier; since it allows getting a sense of the human, cultural and spiritual context; deeply personal, from which the Toltec Symphony arises.
This public collaboration with wixarika musicians started with the Concert of the Sixth Sun that took place in Real de Catorce, SLP, Mexico, in December 2012 and the album of the same name that was made out of that musical meeting.
DANIEL MEDINA DE LA ROSA AND ERASMO MEDINA MEDINA
Daniel Medina de la Rosa, who plays the Wixarika violin (xaweri) and delights us with his voice, is a traditional Wixarika musician, follower of a lyrical and spiritual heritage, which goes back many centuries before the conquest.
Besides dedicating himself to cultivate the land to make a living, from an early age he was touched by the gift of music; which he uses as a way to share the experiences, visions and messages he receives from his deities during the pilgrimages and ceremonies in which he has participated and continues to participate, throughout its life.
Erasmo Medina Medina, who plays the Wixarika guitar (kanari), is the son of Daniel Medina de la Rosa and a follower of the same tradition.
ON THE TYPES OF WIXARIKA MUSIC
Music is an integral part of the spiritual life of the Wixaritari; and there are several types of singing in their
culture. Among them are distinguished on the one hand, the famous singing of the marakame or cantador;
whom we could describe as one of the central shamans of the community; who has the responsibility to give voice to Grandfather Fire. These type of songs are exclusively ceremonial and therefore they are restricted to that context.
On the other hand there are the songs received individually by the musicians/pilgrims like Daniel, in which he remembers and describes what he saw; what he listened or what he said during his encounters with the sacred powers or Poderios Sagrados.
These are his songs and he can share them whenever his heart asks for it; in any place and before any person willing to listen to him with respect and with an open heart.
ABOUT WIXARIKA CULTURE
The Wixarika people have attracted the attention, as much of anthropologists and academics in general, as of spiritual seekers and artists; without us being able to finally determine what is that makes them so special. They are too often described in terms of their shamanic practices and the use of peyote, in a reductionist vision that prevents us from getting a real sense of the broad spectrum of their cultural, spiritual and human richness.
Like all human cultures, the Wixarika one is important and deserves to be supported and preserved; But the Wixarika case is particularly important since they are perhaps the last living indigenous people who that despite nonstop pressure during five centuries, has managed to maintain their Pre-Hispanic cosmogony and a spiritual tradition based on the sacredness of nature.
It is with great satisfaction that Philip Glass invites us to share the ancient magic of the Wixarika music and sensibility; right in this moment when we need, as never before, to pay attention to this part of our universal human culture that is so often forgotten and undervalued.
TABLE SEATING POLICY
Table seating for all seated shows is reserved exclusively for ticket holders who purchase “Table Seating” tickets. By purchasing a “Table Seating” ticket you agree to also purchase a minimum of two food and/or beverage items per person. Table seating is first come, first seated. Please arrive early for the best choice of available seats. Seating begins when doors open. Tables are communal so you may be seated with other patrons. We do not take table reservations.
A standing room area is available by the bar for all guests who purchase “Standing Room” tickets. Food and beverage can be purchased at the bar but there is no minimum purchase required in this area.
All ticket sales are final. No refunds or credits.
Through his operas, his symphonies, his compositions for his own ensemble, and his wide-ranging collaborations with artists ranging from Twyla Tharp to Allen Ginsberg, Woody Allen to David Bowie, Philip Glass has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times.
The operas – “Einstein on the Beach,” “Satyagraha,” “Akhnaten,” and “The Voyage,” among many others – play throughout the world’s leading houses, and rarely to an empty seat. Glass has written music for experimental theater and for Academy Award-winning motion pictures such as “The Hours” and Martin Scorsese’s “Kundun,” while “Koyaanisqatsi,” his initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble, may be the most radical and influential mating of sound and vision since “Fantasia.” His associations, personal and professional, with leading rock, pop and world music artists date back to the 1960s, including the beginning of his collaborative relationship with artist Robert Wilson. Indeed, Glass is the first composer to win a wide, multi-generational audience in the opera house, the concert hall, the dance world, in film and in popular music — simultaneously. (read more at philipglass.com)