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. 

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

Ways to Connect

Los Angeles Times

 

It was my good fortune to cultivate a friendship with the composer Daniel Catán. I knew Daniel primarily through his music, having first encountered it in 1982 while I was working as an orchestra musician in Mexico City. It was a freelance gig, known in Mexico as a hueso, and involved performance of a skillfully made pastorela, a Christmas pageant. I was impressed by what he had written, though when I reminded him of it years later he dismissed it as an early work, not yet matured. Daniel was like that, a man with high expectations while at the same time all too aware of the vagaries of the music business.

Clarice Assad

I have anticipated the premiere of Clarice Assad's song cycle, "Elementos," since Soli Chamber Ensemble first announced their 2015-16 concert season. I have watched with interest the evolution of Clarice as a composer since I first heard her "Violin Concerto" over a decade ago.

Amazon.com

It's a confusion of seasons. Is there any better way to describe Christmas week temperatures in the upper 70s, maybe 80's by Christmas day? How do we explain it? Global warming? Let's not get into that! Why not place the blame on the shoulders of those who write the songs? Here are three songs from the Great American Songbook, each with a confusion of seasons.

Sweat was on the brows of Sammy Cahn and Jule Styne when they wrote their classic “Christmas Waltz.” Diane Berlanga explains.

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

This week's Modernists at The McNay, Part Four, wraps up the 4-part series which has been exploring parallels between the visual art of Joan Miro (and also a number of the important Cubists) and music. The question addressed to some degree on each program queries the relationship between the visual and audible arts. Can a painting sing? Can music paint a picture? These two questions are addressed today by composer Jim Balentine and surface design artist Jane Dunnewold.

Amazon.com

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.

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