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Matías Alvear, Ana Cachimuel, Álex Alvear.
Music Notes
Music of the Americas: One Year of En Casa
March 15, 2021

Music of the Americas looks back to the first year of En Casa with excerpts of some of our favorite videos.

Ecuador
Peru
Venezuela
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United States
Argentina
Brazil
Arts & Culture
Adolfo Jorquera. (Image via Americas Society video.)
Music Notes
Music of the Americas: Looking South
March 9, 2021

Music of the Americas debuts videos from Bianca Gismonti, Adrián Iaies, and Adolfo Jorquera, and we remember Antonio Meneses' concert of years ago. 

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Brazil
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Paraguay
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Installation of Joaquín Orellana: The Spine of Music at Americas Society. (Image: Alexander Perrelli)
In the News
The New Yorker on Joaquín Orellana: The Spine of Music
March 8, 2021
/ Johanna Fateman

Using instruments made from the materials indigenous to Guatemala, Joaquín Orellana "articulates a radically expansive and humane approach to avant-garde composition," writes Johanna Fateman. 

Guatemala
Arts & Culture
Andy Averbuch and Mireya Ramos
Music Notes
Music of the Americas: La Frontera
March 1, 2021

A week of music by U.S.-based artists from Latin America, curated by Alex Rodas-Neira. 

Colombia
Ecuador
Dominican Republic
Puerto Rico
Mexico
United States
Arts & Culture
Jessica Tong
Music Notes
Music of the Americas: Canada, Colombia, congada
February 23, 2021

A meditation on time for guitar trio, baroque and baroque-inspired pieces by Canadian musicians, and Francisco Mignone's Afro-Brazilian piano piece "Congada."

Colombia
Canada
Brazil
Arts & Culture
Sebastián Zubieta
In the News
To Express the Sound of a Country’s Soul, He Invented New Instruments
February 19, 2021
/ Corinna da Fonseca-Wollheim

The Spine of Music showcases Joaquín Orellana's “sculptural, Surrealist, and darkly sensuous” instruments, per a New York Times review.

Guatemala
Arts & Culture
Joaquín Orellana: The Spine of Music
In the News
4 Art Gallery Shows to See Right Now
February 17, 2021

"'The Spine of Music' offers a different, vaguely utopian model of peaceful no-rules anarchy, participation and silence," writes Martha Schwendener in The New York Times.

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