A musical use for trash

Favio Chávez, a technician at a Paraguayan landfill site, formed the the Cateura Orchestra of Recycled Instruments: an orchestra comprising of the children of landfill works. The orchestra was designed to encourage musical education in an low socio-economic area. A violin would hold more value than a landfill worker’s house. However, by creating instruments out of trash, Favio Chávez was able to offer instruments to a wide range of children to create music with. The orchestra has now toured internationally.

Instruments include a violin made out of metal oven trays, cello made out of oil barrels, and a guitar made out of a can which used to contain dessert. Aida, 14, plays an violin made out of an oil paint tin. “I don’t care that my violin is made out of recycled parts,” she says. “To me, it’s a treasure.”

Jonathan Gilbert, “Paraguayan landfill orchestra makes sweet music from rubbish”, The Guardian, 26 April 2013.

Click here to read article and view video.


Posted

in

by


Featured Content

From the heart
“What comes from the heart, goes to the heart.” — Samuel Coleridge Taylor, English poet, critic and philosopher. Coleridge, Samuel (1856) Seven Lectures on Shakespeare and Milton. London: Chapman and Hall, page xlv
It’s not hard work
“Talent labors, genius creates.” Florestan (one of Schumann’s characters) Robert Schumann,Gesammelte Schriften über Musik und Muisker  (Leipzig, 1854), IV.  Cited in Weiss, Piero & Taruskin, Richard (2008) Music in the Western World: A History in Documents.  California: Thomson, p. 306.
The orchestra as a symbol of unity
“You see behind me a symphony orchestra.  Every single one of the instruments has an entirely different background and history; they come from different places …; they’ve had different developments; they sound different… And so, the next time your soul sings, assailed with some sort of horrid indication that people can’t get along together, please […]
Silence, slowness, clarity, reinvigorate
“No matter if you’re an artist, a desk jockey, or anything in between – give yourself permission to include regular (dare I say daily?) reinvigoration in your work ethic. Silence. Slowness. Clarity. The machine doesn’t work so well without them.” Kim Pensinger, from Living and Singing on Interest in the WTO Blog
Franz Joseph Haydn: Piano Trio (Hob. XV, No. 25) “Gypsy Trio”
I. Andante II. Poco Adagio III Rondo all’Ongarese Chamber music in the eighteenth century was written for and performed for the aristocracy. Music was an aesthetic pleasure: thus an emphasis was placed on musical balance and clarity in the context of an expressive style: evident particularly in the first two movements of this trio, which […]
Tips for composers
Rob Deemer highlights several aspects needed for a composer to survive in the artistic community: – ability to accept “failure” (entering competitions, etc.) – maintaining a “stubbornness” to achieve recognition – promoting not only your best works, but also occasionally enjoying the success of your “foibles” – having a sense of “who you are” as […]
Jan Lisiecki on Chopin
Schumann described Chopin’s works as “cannons buried in flowers”.  Contained in Chopin’s music are painful moments, suffering, longing and much drama. Similarly to Mozart, the external impression may be one of pure beauty, elegance, exuberance or joy but, deep down, there is something else entirely, a sort of imprecise discomfort, a certain malaise. The contrast […]
Debussy on Chopin
Chopin is the greatest of them all, for through the piano alone he discovered everything. — Claude Debussy P. Kildea, Chopin’s Piano, London, Allen Lane, 2018, p. 40.
Out of practice
“All I have left is a long nose and a fourth finger out of practice.” Chopin, in Scotland, unable to visit his friend Julian in London because of ill health. Cited in: Zaluski, Iweo & Pamela (1993) The Scottish Autumn of Frederick Chopin. Edinburgh: John Donald Publishers, p.23.
The price of an encore
At a concert in London in December 1911, Rachmaninoff was received to great acclaim: perhaps a little too much from the orchestra's view point, who wanted to play the rest of their program: The London Philharmonic Concert given on November 7, provided an object lesson in this study of the relation of applause to encores.  […]