Conductor Gustavo Dudamel in 2010 | 60 Minutes Archive

There's something about Gustavo Dudl. There's something about Gustavo Dudl. Maybe it's the hair. Maybe it's the joy Maybe it's the hair. Maybe it's the joy Maybe it's the hair. Maybe it's the joy he exudes when he's conducting. At the he exudes when he's conducting. At the he exudes when he's conducting. At the age of 29, he's classical music's age of 29, he's classical music's age of 29, he's classical music's reigning rock star. Everything is going reigning rock star. Everything is going reigning rock star. Everything is going for him. Critical international acclaim for him. Critical international acclaim for him. Critical international acclaim recording contracts. And last fall, he recording contracts. And last fall, he recording contracts. And last fall, he took over the Los Angeles Philarmonic. took over the Los Angeles Philarmonic. took over the Los Angeles Philarmonic. Ask him about it and he'll tell you he Ask him about it and he'll tell you he Ask him about it and he'll tell you he owes it all to a remarkable program in owes it all to a remarkable program in owes it all to a remarkable program in his native Venezuela. a social program his native Venezuela. a social program his native Venezuela. a social program that has used music to change his own that has used music to change his own that has used music to change his own life and the lives of millions of life and the lives of millions of life and the lives of millions of children there. Venezuelans call it children there. Venezuelans call it children there. Venezuelans call it Elsma, the system, and Gustavo is Elsma, the system, and Gustavo is Elsma, the system, and Gustavo is bringing it to the US where he believes bringing it to the US where he believes bringing it to the US where he believes it can work wonders. But before we tell it can work wonders. But before we tell it can work wonders. But before we tell you about it, we want you to see why you about it, we want you to see why you about it, we want you to see why Gustavo Dudl is simply the most exciting Gustavo Dudl is simply the most exciting Gustavo Dudl is simply the most exciting conductor in the world. It's probably conductor in the world. It's probably conductor in the world. It's probably because for him, music is not just his because for him, music is not just his because for him, music is not just his profession. He couldn't get through the profession. He couldn't get through the profession. He couldn't get through the day without it.

is something that I need. is something that I need. It's like the air. It's like water. It's It's like the air. It's like water. It's It's like the air. It's like water. It's like food. I is I need music. I have to like food. I is I need music. I have to like food. I is I need music. I have to be, you know, always around the sound be, you know, always around the sound be, you know, always around the sound and the and the and the magic. It was a huge day for this kid from It was a huge day for this kid from Venezuela. His first rehearsal on his Venezuela. His first rehearsal on his Venezuela. His first rehearsal on his first day as music director of the Los first day as music director of the Los first day as music director of the Los Angeles Philarmonic. Angeles Philarmonic. Angeles Philarmonic. At 29, he's by far the youngest maestro At 29, he's by far the youngest maestro At 29, he's by far the youngest maestro of any major orchestra in the world. But of any major orchestra in the world. But of any major orchestra in the world. But age is not the only thing that age is not the only thing that age is not the only thing that distinguishes him from the other guys. distinguishes him from the other guys. distinguishes him from the other guys. There's something about Gustavo that is There's something about Gustavo that is There's something about Gustavo that is primal, something that makes people primal, something that makes people primal, something that makes people describe him as a conducting animal.

>> He coaxes his musicians. >> He coaxes his musicians. >> He inspires them. >> He inspires them. >> He inspires them. >> Stop. >> Stop. >> Stop. He amuses them. >> He was rehearsing Gustaf Mer's turbulent >> He was rehearsing Gustaf Mer's turbulent first symphony for the most anticipated first symphony for the most anticipated first symphony for the most anticipated conducting debut in decades. His conducting debut in decades. His conducting debut in decades. His >> If you ask me if I'm nervous, I'm not >> If you ask me if I'm nervous, I'm not >> If you ask me if I'm nervous, I'm not nervous. Never. nervous. Never. nervous. Never. >> You've never been scared >> You've never been scared >> You've never been scared about music? No. about music? No. about music? No. >> One. When Gustav Mala reaches his crescendo, When Gustav Mala reaches his crescendo, so does Gustavo Dudl. >> Do you know where we're going now? >> Do you know where we're going now? >> We are going the place. >> We are going the place. >> We are going the place. >> Yeah, >> Yeah, >> Yeah, >> we are going to Hollywood.

>> we are going to Hollywood. >> we are going to Hollywood. Hollywood. Not a bad place for a guy Hollywood. Not a bad place for a guy Hollywood. Not a bad place for a guy loaded with talent and charisma. Gustavo loaded with talent and charisma. Gustavo loaded with talent and charisma. Gustavo was so sought after, he could have was so sought after, he could have was so sought after, he could have conducted almost anywhere. He chose Los conducted almost anywhere. He chose Los conducted almost anywhere. He chose Los Angeles in part because he thought it Angeles in part because he thought it Angeles in part because he thought it was a good place to transplant the was a good place to transplant the was a good place to transplant the system to the US. system to the US. system to the US. >> Is this the first time you've both lived >> Is this the first time you've both lived >> Is this the first time you've both lived in the United States? in the United States? in the United States? >> Yes. >> Yes. >> Yes. >> Yes. And Gustavo and his wife Eloa >> Yes. And Gustavo and his wife Eloa >> Yes. And Gustavo and his wife Eloa believe that teaching classical music believe that teaching classical music believe that teaching classical music can transform the lives of thousands of can transform the lives of thousands of can transform the lives of thousands of LA kids. LA kids. LA kids. >> I know. Can you imagine classical music >> I know. Can you imagine classical music >> I know. Can you imagine classical music for everybody? No, this is a crazy for everybody? No, this is a crazy for everybody? No, this is a crazy dream, but it's true because it's dream, but it's true because it's dream, but it's true because it's happening. happening. happening. >> What do you want to build for the >> What do you want to build for the >> What do you want to build for the future? future? future? >> To build a better life through the >> To build a better life through the >> To build a better life through the music. And I think speaking with music, music. And I think speaking with music, music. And I think speaking with music, you can do many things. you can do many things. you can do many things. >> A better life through music. That's the >> A better life through music. That's the >> A better life through music. That's the idea behind Yolo, the youth orchestra of idea behind Yolo, the youth orchestra of idea behind Yolo, the youth orchestra of Los Angeles. Gustavo wanted it and he Los Angeles. Gustavo wanted it and he Los Angeles. Gustavo wanted it and he got it. An orchestra with an ambitious got it. An orchestra with an ambitious got it. An orchestra with an ambitious social agenda. social agenda. social agenda. >> We want to develop extraordinary human >> We want to develop extraordinary human >> We want to develop extraordinary human beings one by one.

beings one by one. beings one by one. >> Gretchen Nielsen, the LA Philarmonics >> Gretchen Nielsen, the LA Philarmonics >> Gretchen Nielsen, the LA Philarmonics education director, runs Yola. What do education director, runs Yola. What do education director, runs Yola. What do you hope to accomplish? you hope to accomplish? you hope to accomplish? >> I think we're really striving to change >> I think we're really striving to change >> I think we're really striving to change the landscape of Los Angeles. We want to the landscape of Los Angeles. We want to the landscape of Los Angeles. We want to see these kids graduate. We want to see see these kids graduate. We want to see see these kids graduate. We want to see them just connect to the world in ways them just connect to the world in ways them just connect to the world in ways that they might not have normally that they might not have normally that they might not have normally otherwise. And and we want to see it otherwise. And and we want to see it otherwise. And and we want to see it across this city. across this city. across this city. >> You're speaking of something which >> You're speaking of something which >> You're speaking of something which resembles a revolution in this resembles a revolution in this resembles a revolution in this community. community. community. >> Feels like a revolution because it >> Feels like a revolution because it >> Feels like a revolution because it builds builds builds >> from nothing 3 years ago to a free music >> from nothing 3 years ago to a free music >> from nothing 3 years ago to a free music education program that after school 4 education program that after school 4 education program that after school 4 hours a day, 4 days a week, teaches the hours a day, 4 days a week, teaches the hours a day, 4 days a week, teaches the basics to 300 kids from South LA, one of basics to 300 kids from South LA, one of basics to 300 kids from South LA, one of the city's poorest neighborhoods. the city's poorest neighborhoods. the city's poorest neighborhoods. Everything from the language of music to Everything from the language of music to Everything from the language of music to the fundamentals of rhythm to how to get the fundamentals of rhythm to how to get the fundamentals of rhythm to how to get that clarinet to make a sound. >> Okay, now we're officially all clarinet. >> Okay, now we're officially all clarinet. >> On Saturdays, all the kids get together >> On Saturdays, all the kids get together >> On Saturdays, all the kids get together in an orchestra. The day we were there, in an orchestra. The day we were there, in an orchestra. The day we were there, so is Gustavo. He's been conducting so is Gustavo. He's been conducting so is Gustavo. He's been conducting youth orchestras back in Venezuela since youth orchestras back in Venezuela since youth orchestras back in Venezuela since he was 13 and has his own way of getting he was 13 and has his own way of getting he was 13 and has his own way of getting musicians to understand the music.

musicians to understand the music. musicians to understand the music. >> What do you want to play first? >> What do you want to play first? >> What do you want to play first? H. Let's do gypsy. Okay. It's like a a a H. Let's do gypsy. Okay. It's like a a a H. Let's do gypsy. Okay. It's like a a a man talking to a girl, you know. No. No. No. No. No. No. No. No. Maybe. Okay. Maybe. Okay. Maybe. Okay. >> Almost none of these kids knew anything >> Almost none of these kids knew anything >> Almost none of these kids knew anything about classical music before they came about classical music before they came about classical music before they came here. What Gustavo knows is that the here. What Gustavo knows is that the here. What Gustavo knows is that the program does a lot more than teach program does a lot more than teach program does a lot more than teach music. It builds character, discipline, music. It builds character, discipline, music. It builds character, discipline, and teamwork. And it keeps kids off the and teamwork. And it keeps kids off the and teamwork. And it keeps kids off the streets. Why did you pick this streets. Why did you pick this streets. Why did you pick this neighborhood? neighborhood? neighborhood? >> There are kids in that neighborhood who >> There are kids in that neighborhood who >> There are kids in that neighborhood who never leave the boundaries of South LA. never leave the boundaries of South LA. never leave the boundaries of South LA. It's needed for them to be able to bust It's needed for them to be able to bust It's needed for them to be able to bust out of the confines of that out of the confines of that out of the confines of that neighborhood. neighborhood. neighborhood. >> Up, please. We are playing like we are I >> Up, please. We are playing like we are I >> Up, please. We are playing like we are I don't know. How old are you? 85. One more time. One more time. Please Please Please >> 3 M.

>> They couldn't have busted out much >> They couldn't have busted out much further than to the Hollywood Bowl. >> The bowl may have been empty, but this >> The bowl may have been empty, but this grandest of stages was packed with grandest of stages was packed with grandest of stages was packed with youngsters. Gustavo was rehearsing these youngsters. Gustavo was rehearsing these youngsters. Gustavo was rehearsing these musicians, many of whom picked up their musicians, many of whom picked up their musicians, many of whom picked up their instruments for the first time. Only a instruments for the first time. Only a instruments for the first time. Only a couple of years ago, >> two days later, they were back. >> two days later, they were back. >> Yeah. >> Yeah. >> Yeah. >> Playing in a music festival, welcoming >> Playing in a music festival, welcoming >> Playing in a music festival, welcoming Gustavo to town. This time before 18,000 Gustavo to town. This time before 18,000 Gustavo to town. This time before 18,000 people. people. people. >> We are here because all these children, >> We are here because all these children, >> We are here because all these children, they are the future. What is your vision for the future of What is your vision for the future of Yola? Yola? Yola? >> To multiply all the program in Los >> To multiply all the program in Los >> To multiply all the program in Los Angeles and to go around the country. Angeles and to go around the country. Angeles and to go around the country. >> Gustavo was in Chicago last year to help >> Gustavo was in Chicago last year to help >> Gustavo was in Chicago last year to help make that happen. He went there for a make that happen. He went there for a make that happen. He went there for a symposium on what the system is all symposium on what the system is all symposium on what the system is all about.

about. about. >> The movement has started with a >> The movement has started with a >> The movement has started with a significant number of cities. significant number of cities. significant number of cities. >> The head of the system in the US said >> The head of the system in the US said >> The head of the system in the US said it's already spreading. Chicago, Los it's already spreading. Chicago, Los it's already spreading. Chicago, Los Angeles, Baltimore, New York, Miami, and Angeles, Baltimore, New York, Miami, and Angeles, Baltimore, New York, Miami, and Boston are among them. Boston are among them. Boston are among them. >> And what better way to promote it than >> And what better way to promote it than >> And what better way to promote it than this? Venezuela's Simon Bolivar Youth this? Venezuela's Simon Bolivar Youth this? Venezuela's Simon Bolivar Youth Orchestra flown in for the symposium. Gustavo has been conducting these Gustavo has been conducting these musicians for 11 years now. Here they musicians for 11 years now. Here they musicians for 11 years now. Here they are filling Chicago's orchestra hall for are filling Chicago's orchestra hall for are filling Chicago's orchestra hall for a rehearsal. Just listen to them. All these musicians have one thing in All these musicians have one thing in common. They started out like this. As common. They started out like this. As common. They started out like this. As youngsters in neighborhood orchestras. youngsters in neighborhood orchestras. youngsters in neighborhood orchestras. That's how the system works. When we That's how the system works. When we That's how the system works. When we went to Venezuela, we found them went to Venezuela, we found them went to Venezuela, we found them everywhere. In schools, abandoned everywhere. In schools, abandoned everywhere. In schools, abandoned buildings, juvenile detention centers, buildings, juvenile detention centers, buildings, juvenile detention centers, even in jails. 600 orchestras and choirs even in jails. 600 orchestras and choirs even in jails. 600 orchestras and choirs in all. a massive national program with in all. a massive national program with in all. a massive national program with more than a quarter of a million kids.

more than a quarter of a million kids. more than a quarter of a million kids. Kids like Gustavo, who started in the Kids like Gustavo, who started in the Kids like Gustavo, who started in the system when he was five and was doing system when he was five and was doing system when he was five and was doing pretty well when we first met him 10 pretty well when we first met him 10 pretty well when we first met him 10 years ago. years ago. years ago. >> He says the system kept him out of >> He says the system kept him out of >> He says the system kept him out of trouble. trouble. trouble. >> I have to give the message of what we >> I have to give the message of what we >> I have to give the message of what we are doing in Venezuela. >> You speak about the message of Elsie >> You speak about the message of Elsie Stema. What is that message? that Stema. What is that message? that Stema. What is that message? that through music through art is possible to through music through art is possible to through music through art is possible to change life of thousand of children's change life of thousand of children's change life of thousand of children's change the life of a complete society change the life of a complete society change the life of a complete society >> hardly any place needs that change more >> hardly any place needs that change more >> hardly any place needs that change more than west Baltimore where poverty drugs than west Baltimore where poverty drugs than west Baltimore where poverty drugs and shootings are endemic where since and shootings are endemic where since and shootings are endemic where since last fall young children carrying last fall young children carrying last fall young children carrying musical instruments to school has been a musical instruments to school has been a musical instruments to school has been a common sight common sight common sight >> saxophone >> saxophone >> saxophone >> all right >> all right >> all right >> about 150 prek to third graders at >> about 150 prek to third graders at >> about 150 prek to third graders at Lerman Bundy Elementary School belonged Lerman Bundy Elementary School belonged Lerman Bundy Elementary School belonged to a new privately funded music program to a new privately funded music program to a new privately funded music program started by Marin Alop, the conductor of started by Marin Alop, the conductor of started by Marin Alop, the conductor of the Baltimore Symphony Orchestra called the Baltimore Symphony Orchestra called the Baltimore Symphony Orchestra called Orchestra Kids or Orchids for short.

Orchestra Kids or Orchids for short. Orchestra Kids or Orchids for short. It's another example of the system It's another example of the system It's another example of the system taking root in America. taking root in America. taking root in America. >> It's all about exposure at a very very >> It's all about exposure at a very very >> It's all about exposure at a very very young age. There's so many skill sets young age. There's so many skill sets young age. There's so many skill sets that you need. Coordination, you have to that you need. Coordination, you have to that you need. Coordination, you have to develop your ear, you have to develop develop your ear, you have to develop develop your ear, you have to develop your brain. And just like learning a your brain. And just like learning a your brain. And just like learning a foreign language, the younger you start, foreign language, the younger you start, foreign language, the younger you start, the more fluent you become. the more fluent you become. the more fluent you become. >> And that's what you're trying to do with >> And that's what you're trying to do with >> And that's what you're trying to do with our kids. our kids. our kids. >> You know, it's sort of the work in >> You know, it's sort of the work in >> You know, it's sort of the work in progress. progress. progress. >> Work really kicked off last October when >> Work really kicked off last October when >> Work really kicked off last October when a truck pulled up at the school carrying a truck pulled up at the school carrying a truck pulled up at the school carrying $50,000 worth of musical instruments. $50,000 worth of musical instruments. $50,000 worth of musical instruments. Enough for an orchestra and enough to Enough for an orchestra and enough to Enough for an orchestra and enough to make these kids think it was Christmas. make these kids think it was Christmas. make these kids think it was Christmas. >> I got a big one. >> I got a big one. >> I got a big one. >> You got a big one. >> You got a big one. >> You got a big one. >> Parents are parents. When you offer >> Parents are parents. When you offer >> Parents are parents. When you offer someone's child an opportunity to better someone's child an opportunity to better someone's child an opportunity to better themselves, I mean, themselves, I mean, themselves, I mean, >> people jump at it. >> people jump at it. >> people jump at it. >> They jump at it. >> They jump at it. >> They jump at it. >> So, you want to show your dad what you >> So, you want to show your dad what you >> So, you want to show your dad what you can do? can do? can do? >> Let's come on in here. >> Let's come on in here. >> Let's come on in here. >> We saw an example of that when Alop and >> We saw an example of that when Alop and >> We saw an example of that when Alop and Dan Trey, who runs Orchids, ran into Dan Trey, who runs Orchids, ran into Dan Trey, who runs Orchids, ran into tuba player Miguel Wear. tuba player Miguel Wear. tuba player Miguel Wear. >> He's five. >> All right. All we need from you guys is >> All right. All we need from you guys is a commitment that that he'll be here.

a commitment that that he'll be here. a commitment that that he'll be here. Parents have to sign a contract Parents have to sign a contract Parents have to sign a contract promising that kids like Miguel will be promising that kids like Miguel will be promising that kids like Miguel will be there, get good grades, and take care of there, get good grades, and take care of there, get good grades, and take care of their instruments. >> When the regular school day ends at >> When the regular school day ends at 3:15, the kids start making music. Start 3:15, the kids start making music. Start 3:15, the kids start making music. Start making music. making music. making music. If they stick with the program, they'll If they stick with the program, they'll If they stick with the program, they'll be doing it all the way from be doing it all the way from be doing it all the way from kindergarten to the fifth grade. kindergarten to the fifth grade. kindergarten to the fifth grade. A staff of about 15 teachers, some of A staff of about 15 teachers, some of A staff of about 15 teachers, some of the musicians from the Baltimore the musicians from the Baltimore the musicians from the Baltimore Symphony, work with the kids. You always Symphony, work with the kids. You always Symphony, work with the kids. You always talk about how music can transform the talk about how music can transform the talk about how music can transform the life of a child. Can you be more life of a child. Can you be more life of a child. Can you be more specific? How does music actually do specific? How does music actually do specific? How does music actually do this transformation? this transformation? this transformation? >> It's a discipline. And if you have this >> It's a discipline. And if you have this >> It's a discipline. And if you have this kind of discipline from the beginning of kind of discipline from the beginning of kind of discipline from the beginning of your life is something. So when you give your life is something. So when you give your life is something. So when you give a little violin to a little kid, you a little violin to a little kid, you a little violin to a little kid, you feel like you're doing something which feel like you're doing something which feel like you're doing something which is life transforming. is life transforming. is life transforming. >> Absolutely. >> Absolutely. >> Absolutely. >> Desine Parker, a single mother with >> Desine Parker, a single mother with >> Desine Parker, a single mother with three children in the program, says they three children in the program, says they three children in the program, says they love it.

love it. love it. >> They want to come to school every day, >> They want to come to school every day, >> They want to come to school every day, they don't want to miss a day from the they don't want to miss a day from the they don't want to miss a day from the program. And now that they're bringing program. And now that they're bringing program. And now that they're bringing their instruments home, it's just their instruments home, it's just their instruments home, it's just teaching them how to be, you know, teaching them how to be, you know, teaching them how to be, you know, better children and responsible. better children and responsible. better children and responsible. >> And you play the cello. We saw that >> And you play the cello. We saw that >> And you play the cello. We saw that yesterday. Cello. yesterday. Cello. yesterday. Cello. >> Cello. >> Cello. >> Cello. >> Yes. Cello. >> Yes. Cello. >> Yes. Cello. What is it about the cello that you What is it about the cello that you What is it about the cello that you like? like? like? >> That you can play like different sounds >> That you can play like different sounds >> That you can play like different sounds on different strings and you can like on different strings and you can like on different strings and you can like make it sound different. You can play make it sound different. You can play make it sound different. You can play open notes and harmonics. open notes and harmonics. open notes and harmonics. >> You know a lot about music, don't you? >> You know a lot about music, don't you? >> You know a lot about music, don't you? >> Yes. >> Yes. >> Yes. >> And the kids in Baltimore are already >> And the kids in Baltimore are already >> And the kids in Baltimore are already picking up the baton. A baton which picking up the baton. A baton which picking up the baton. A baton which could one day take them someplace like could one day take them someplace like could one day take them someplace like this. This was Maestro Gustavo Durill's debut This was Maestro Gustavo Durill's debut as music director of the Philarmonic as music director of the Philarmonic as music director of the Philarmonic from the city of angels and stars.