Marin Arts & Culture MAC_Feb_Mar-18 | Page 10

Musical Expression Daniel Canosa conducts with heart By Lily O’Brien M usic is incredible. If you engage with it, it can penetrate your entire body, and go straight into your heart . . . and maybe into your soul. Live performances can have the most direct impact; singers and instrumentalists can send out vibrations in a room that are almost palpable. There is an art to live performance, however, and Argentinian-born composer and conductor Daniel Canosa has journeyed far and wide to develop the skills and knowledge to create performances that are not just technically correct but are also—inspirational. “Music has a purpose of waking people up to a larger reality,” says Canosa. “My role is—I am the medium—the person who makes that possible.” As the current director of several 10 Marin Arts & Culture Marin-based ensembles, his musical influence has touched many in the community—and beyond. received an invitation to do exchange concerts with the Apollo Symphony Orchestra in California’s Sierra Foothills. So how did he get started? Canosa accepted and came “West.” After three months, they asked him to stay on, and he decided to move to California. The orchestra was part of a spiritual community that included a winery and an arts center. “I come from a country that is very musical,” says Canosa. “My father wanted me to learn tango so that I could sing to him,” he adds with a laugh. He began studying classical guitar at age six at a small local music school. “I grew up in a neighborhood that was very rough,” says Canosa. “And going to this little conservatory—when I opened the door, it was like a new world!” Canosa studied composition and conducting at the Argentine Catholic University, continuing at the Universidad Nacional de La Plata. In 1989, after several years developing his career in Argentina, he But Canosa still had a hunger to learn more, and particularly about the specific intricacies of baroque music. So in 1992, he wrote a letter to renowned Bay Area baroque conductor, Nicholas McGegan, asking if he could study with him. Much to his surprise and delight, McGegan said yes. “I had no money,” says Canosa, explaining that he paid for the lessons with bottles of