James Baker

Producer, Host: Classics a la Carte

James first introduced himself to KPAC listeners at midnight on April 8, 1993, presenting Dvorak's 7th Symphony played by the Cleveland Orchestra. Soon after, he became the regular overnight announcer on KPAC.

If pressed to describe himself, James will say he is a musician who hosted classical music.  For over 40 years, he has worked as a professional French horn player, holding posts in the Austin Symphony, San Antonio Symphony, Orquesta Filarmonica de la Ciudad de Mexico, Orquesta Sinfonica del Estado de Mexico, and Orquesta Sinfonica de Xalapa, the oldest orchestra in Mexico.  He has held the Principal Horn position in the Mid Texas Symphony for the past 20 years.

James also is an avid marathoner.  Look for him running the streets of San Antonio with his three rescued border collies.

James was the long-time host of Itinerarios, a weekly program of music with Latin-American roots, Listener's Choice, KPAC's request show, and for over 10 years co-hosted with Ron Moore Alternate Routes, KPAC's program of contemporary music.

Ways to Connect


Matching music with visual art can be a challenge. In some instances the two are intertwined by intention, by design, such that the work is already done. But in the case of providing a sound track to some of the contemporary art displayed at The McNay, specifically the visiting show titled Miro: The Experience of Seeing, and the concurrent exhibition in The McNay's Lawson Print Gallery, titled Picasso, Braque and the Cubist Legacy, one is confronted with the question of whether visual art can sing and, conversely, whether music can paint a picture.

Throughout 2015 the world has been celebrating the 400th anniversary of the publication of Miguel de Cervantes novel, Don Quixote. We've also been celebrating on KPAC's weekly Classics a la Carte, focusing upon a variety of different musical tellings of the many adventures of Don Quixote and his sidekick, Sancho Panza.

Museo Nacional Centro de Arte Reina Sofia. © Sucessio Miro / Artists Right Society (ARS), New York / ADAGP, Paris 2015

The curtain rises on Modernists at The McNay, Part Two with another perspective on the large canvas which greets visitors to the McNay's current headline show, Miro: The Experience of Seeing. Rene Barilleaux, Chief Curator at the McNay, describes what he sees in Miro's Homage to Picasso. We then follow Rene into the next room, coming face-to-face with Woman and Bird in the Night. The question raised here is whether by a simple charcoal inscription of the word "orange" the viewer will "see" a color which isn't really there.

"Pablo picasso 1 (cuadrado)" by Revista Vea y Lea (cuadrado por Juan Pablo Arancibia Medina) - Fuente Original: Mágicas RuinasFUENTE DEL CUADRADO. Licensed under Public Domain via Wikimedia Commons - https://commons.wikimedia.org/wiki/File:Pablo_picasso_1

Although Joan Miró is the current headliner at The McNay Art Museum, many will tell us that the Miro we know in the exhibition Miro: The Experience of Seeing might not have existed if not for his long friendship with Pablo Picasso. Miró regarded Picasso, 12 years his senior, as his mentor.

Museo Nacional Centro de Arte Reina Sofia. © Sucessio Miro / Artists Right Society (ARS), New York / ADAGP, Paris 2015

The visual art style of Cubism was born between the years 1907 and 1914, breathing first life mostly in Paris, and largely through the efforts of Pablo Picasso and Georges Braque. As the world began to notice this new way of “seeing,” reaction ranged from dismay to celebration. As other artists began to adapt their work to the new style, both music and theater became infected. Picasso found an ally and a friend in Igor Stravinsky, while Erik Satie pressed the boundaries of music to better reflect the changes in the art world.