{"id":899,"date":"2020-11-16T10:39:36","date_gmt":"2020-11-16T15:39:36","guid":{"rendered":"https:\/\/www.dallassymphony.org\/?post_type=dso_news&#038;p=899"},"modified":"2020-12-17T15:26:15","modified_gmt":"2020-12-17T21:26:15","slug":"ontherecord","status":"publish","type":"dso_news","link":"https:\/\/www.dallassymphony.org\/es\/news\/ontherecord\/","title":{"rendered":"On The Record - Steve Ahearn"},"content":{"rendered":"<div class=\"hero__no-img bg-blue-8\">\n\t<div class=\"container\">\n\t\t<div class=\"row\">\n\t\t\t<div class=\"col-md-10\">\n\n\t\t\t\t<ul class=\"breadcrumbs\">\n    \t<li class=\"breadcrumb__link \">\n\t\t<a class=\"a-hover\" href=\"https:\/\/www.dallassymphony.org\/es\/\">Home<\/a>\n\t<\/li>\n    \t<li class=\"breadcrumb__link a-styles\">\n\t\t<a class=\"a-hover\" href=\"https:\/\/www.dallassymphony.org\/es\/?page_id=618\">Discover &#038; connect<\/a>\n\t<\/li>\n    \t<li class=\"breadcrumb__link a-styles\">\n\t\t<a class=\"a-hover\" href=\"https:\/\/www.dallassymphony.org\/es\/?page_id=619\">DSO Media Vault<\/a>\n\t<\/li>\n    <\/ul>\n\n                \t\t\t\t<h1>\n                    <span >On The Record &#8211; Steve Ahearn<\/span>\n                <\/h1>\n                \t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n<div class=\"richtext m-spacer\">\n\t<div class=\"container\">\n\t\t<div class=\"row\">\n\t\t\t<div class=\"col-10\">\n\t\t\t\t\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>WITH SARAH KIENLE<\/p>\n\n\n\n<p>Clarinetist Steve Ahearn takes a deep dive into the ways in which we all enjoy music and shares his experience of being a parent and orchestral musician.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-medium\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"253\" src=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/11\/Steve-Ahearn-300x253.jpg\" alt=\"\" class=\"wp-image-900\" srcset=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/11\/Steve-Ahearn-300x253.jpg 300w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/11\/Steve-Ahearn-1024x865.jpg 1024w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/11\/Steve-Ahearn-768x649.jpg 768w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/11\/Steve-Ahearn-1536x1297.jpg 1536w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/11\/Steve-Ahearn-2048x1730.jpg 2048w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/11\/Steve-Ahearn-14x12.jpg 14w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/11\/Steve-Ahearn-445x375.jpg 445w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/11\/Steve-Ahearn-720x607.jpg 720w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/11\/Steve-Ahearn-350x296.jpg 350w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/figure>\n<\/div>\n<\/div>\n\n\n\n<iframe loading=\"lazy\" scrolling=\"no\" allow=\"autoplay\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/tracks\/865558129&amp;color=0066cc\" width=\"100%\" height=\"166\" frameborder=\"no\"><\/iframe>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p>BRAHMS:&nbsp;SYMPHONY NO. 4,&nbsp;I. ALLEGRO NON TROPPO<\/p>\n\n\n\n<iframe loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed?uri=spotify%3Atrack%3A57DpDuvpZzuhTsRGowy86A\" allowtransparency=\"true\" allow=\"encrypted-media\" width=\"300\" height=\"380\" frameborder=\"0\"><\/iframe>\n\n\n\n<p>\u201cFor me the opening of this piece is so perfect. Every time this piece starts, for me, it\u2019s like walking into a door of a warm room and the music is already playing.&nbsp; I feel like there\u2019s music that begins and it\u2019s like you\u2019re walking into it, like stepping into the ocean and it\u2019s always been there, and then there\u2019s music that sort of starts and hits you in the side of the face, and this is one of those pieces that for me it\u2019s like opening a door on a winter day and a fire\u2019s going in the hearth. It\u2019s just so warm.&nbsp; But it\u2019s also so immediately Brahms.&nbsp; It seems you can sit back and sort of bathe in it, in the simplicity of it, and then as you start to peel back the layers, he\u2019s creating something that feels simple that\u2019s incredibly complex.\u201d<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p>MAHLER:&nbsp; SYMPHONY NO. 2, III. IN RUHIG FLIESSENDER BEWEGUNG<\/p>\n\n\n\n<iframe loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed?uri=spotify%3Atrack%3A5cKu6t2xryAoOwptv2MS6Z\" allowtransparency=\"true\" allow=\"encrypted-media\" width=\"300\" height=\"380\" frameborder=\"0\"><\/iframe>\n\n\n\n<p>\u201cFor me the third movement of Mahler 2 is quintessentially Mahler\u2026 the way that he writes so beautifully but at the same time it\u2019s also funny, and it\u2019s sarcastic, it\u2019s sardonic, it\u2019s witty\u2026<\/p>\n\n\n\n<p>I think just from the opening, if Brahms is walking into that room with the fire going, Mahler just kicks the door in.\u201d<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p>RADIOHEAD&nbsp;&#8220;NUDE&#8221; FROM&nbsp;<em>IN RAINBOWS&nbsp;<\/em><\/p>\n\n\n\n<iframe loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed?uri=spotify%3Atrack%3A5k7VKj1Xwy5DjO4B0PdAOb\" allowtransparency=\"true\" allow=\"encrypted-media\" width=\"300\" height=\"380\" frameborder=\"0\"><\/iframe>\n\n\n\n<p>\u201cWhat they did on this album&nbsp;<em>In Rainbows<\/em>&nbsp;for me really is beautiful. It\u2019s so simple and it really highlights Thom Yorke\u2019s voice in a way that\u2019s almost operatic\u2026<\/p>\n\n\n\n<p>Also on this track early in the song you can hear their guitarist, whose name is Jonny Greenwood, who is also a composer and he is a huge fan of Messiaen, and he uses an instrument on this song called the ondes martenot, which is a French instrument from the 1920\u2019s that actually Messiaen uses in his&nbsp;<em>Turangal\u00eela-Symphonie<\/em>&nbsp;and they use it in a very subtle way.&nbsp; It sounds a little bit like a theremin.&nbsp; It\u2019s like a keyboard but it has wires on it so you can bend pitches. So it\u2019s in the background, but I love that he uses that and to me, that\u2019s a meaningful part of my connection with that band and this song in particular is hearing people experimenting&nbsp; with other instruments and finding other ways of making music.\u201d<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p>RYUICHI SAKAMOTO:&nbsp; &#8220;CHURCH DREAM&#8221; FROM&nbsp;<em>THE REVENANT<\/em>&nbsp;(ORIGINAL MOTION PICTURE SOUNDTRACK)<\/p>\n\n\n\n<iframe loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed?uri=spotify%3Atrack%3A6wkIpXr0zeEz1MBA91dVGH\" allowtransparency=\"true\" allow=\"encrypted-media\" width=\"300\" height=\"380\" frameborder=\"0\"><\/iframe>\n\n\n\n<p>\u201c[<em>The Revenant<\/em>] to me was absolutely incredible and a main character of the movie was the soundtrack\u2026<\/p>\n\n\n\n<p>In this movie, it\u2019s this incredible space that they create, this vast frozen tundra which is also a character in and of itself in the film.&nbsp; And then the music backs that up so much.&nbsp; I love the simplicity of the writing and I really love how there\u2019s some production in it, like there\u2019s a little bit of synthesizer but the strings are still the main voice.\u201d<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p>THE BAD PLUS AND JOSHUA REDMOND &#8220;AS THIS MOMENT SLIPS AWAY&#8221; FROM&nbsp;<em>THE BAD PLUS JOSHUA REDMOND<\/em><\/p>\n\n\n\n<iframe loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed?uri=spotify%3Atrack%3A5CcAkJMkqpx7vwyYq1CQQd\" allowtransparency=\"true\" allow=\"encrypted-media\" width=\"300\" height=\"380\" frameborder=\"0\"><\/iframe>\n\n\n\n<p>\u201cThis track always gets me every time I put it on.&nbsp; It\u2019s not unlike the Brahms in that\u2026 it sets up an expectation and then \u2018whap!\u2019, immediately it\u2019s different, but it\u2019s not in a way that is that obvious to you\u2026<\/p>\n\n\n\n<p>I can\u2019t imagine playing it actually, it seems incredibly hard, but it sounds so natural and the rhythm section is so tight.&nbsp; Then, when Josh Redmond solos over the top of this thing that is already so complex, I just absolutely love it.&nbsp; It gets me every time.\u201d<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-listen-to-other-episodes-of-on-the-record-with-sarah-kienle\">Listen to other episodes of On The Record with Sarah Kienle:<\/h3>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-medium\"><a href=\"https:\/\/www.dallassymphony.org\/on-the-record\/\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"202\" src=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/11\/On-the-record-logo-1600-x-1076-300x202.jpg\" alt=\"Logo for On the Record hosted by Sarah Kienle\" class=\"wp-image-2981\" srcset=\"https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/11\/On-the-record-logo-1600-x-1076-300x202.jpg 300w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/11\/On-the-record-logo-1600-x-1076-1024x689.jpg 1024w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/11\/On-the-record-logo-1600-x-1076-768x516.jpg 768w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/11\/On-the-record-logo-1600-x-1076-1536x1033.jpg 1536w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/11\/On-the-record-logo-1600-x-1076-16x12.jpg 16w, https:\/\/www.dallassymphony.org\/wp-content\/uploads\/2020\/11\/On-the-record-logo-1600-x-1076.jpg 1600w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a><figcaption><a href=\"https:\/\/www.dallassymphony.org\/on-the-record\/\">more episodes<\/a><\/figcaption><\/figure><\/div>\n\n\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n\n<\/div>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>El clarinetista Steve Ahearn se sumerge profundamente en las formas en que todos disfrutamos de la m\u00fasica y comparte su experiencia de ser padre y m\u00fasico de orquesta.<\/p>","protected":false},"featured_media":2981,"template":"","class_list":["post-899","dso_news","type-dso_news","status-publish","has-post-thumbnail","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.dallassymphony.org\/es\/wp-json\/wp\/v2\/dso_news\/899","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.dallassymphony.org\/es\/wp-json\/wp\/v2\/dso_news"}],"about":[{"href":"https:\/\/www.dallassymphony.org\/es\/wp-json\/wp\/v2\/types\/dso_news"}],"version-history":[{"count":0,"href":"https:\/\/www.dallassymphony.org\/es\/wp-json\/wp\/v2\/dso_news\/899\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.dallassymphony.org\/es\/wp-json\/wp\/v2\/media\/2981"}],"wp:attachment":[{"href":"https:\/\/www.dallassymphony.org\/es\/wp-json\/wp\/v2\/media?parent=899"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}