Bio:
Stephanie Jones’ childhood resonated with the sound of music from a very young age.
She played a lot of instruments, beginning first with the piano, and progressing to the violin, viola, saxophone and flute. However, it was the guitar with its captivating range of sounds and great versatility that especially appealed to her, and it quickly became her first love.
Stephanie Jones is an active soloist and chamber musician who is currently based in Germany. She has recently finished her Masters and is currently studying a Konzertexamen in Classical Guitar Performance with Thomas Müller-Pering at the prestigious University of Music Franz Liszt.
Stephanie won first prize in both the Uppsala International Guitar Festival Competition and the Hannabach Guitar Competition. She was also a finalist in the Deutscher Gitarrenpries and the Salzburg International Guitar Festival. In 2014, through the Fine Music Network National Competition, Stephanie was awarded the Young Virtuoso of the Year. In 2012, Stephanie competed in the prestigious Adelaide International Classical Guitar Competition and subsequently won second prize.
In 2014, Stephanie graduated from the Australian National University with First Class Honours. Over the previous four years, Stephanie was studying with the renowned Timothy Kain and Minh Le Hoang. Following this, she was awarded a Friends of the School of Music Transition Scholarship to assist her in a series of projects following her graduation. Stephanie underwent a successful Australian-Wide Tour which helped launch her new CD “Colours of Spain.” She was also awarded the Clifford Hocking Scholarship as part of the Mount Beauty Music Festival, and nominated for the Freedman Fellowship through The Music Trust. In 2015, Stephanie was awarded an Australian Music Foundation Scholarship, which included a performance at Wigmore Hall in London.
Stephanie has performed extensively around the globe, including three Australian tours, a New Zealand tour, and with the Weimar Guitar Quartet, a Germany and Slovenian tour. She continues to travel regularly for both international concert and festival invitations.
Stephanie has also completed her Diploma exam for the Associate Board of the Royal Schools of Music, her AMEB AMusA exam and LMusA Exam. She was then selected as winner of the “JB Vincent Memorial Award for Best Eligible LMusA Candidate in 2012”.
In 2010, Stephanie was awarded the Royal Schools Anniversary Scholarship and the Harmony Endowment Undergraduate Scholarship to study at the ANU. Furthermore, in 2013, Stephanie was presented with a John Wallis Scholarship on behalf of the Canberra/Versailles Association, and the Friends of the School of Music Travel Grant to study with exceptional teachers and perform throughout Spain and France.
Stephanie has released two albums, “Colours of Spain” (2015), and “Bach, the Fly, and the Microphone” (2009).
We recorded this video in the gorgeous gardens of Castle Belvedere in Weimar. Unfortunately not the Alhambra itself, but still a fantastic background to this...
A beautiful fugue from the famous Johann Sebastian Bach. The work was originally written in g minor for violin - I think it also works beautifully on the gui...
Another one of my favourite pieces to play - it is such a beautiful work, an expressive mixture of singing melodies and captivating rhythm. Piazzolla's New T...
For this video I'm venturing off the classical path with an awesome fusion piece called "Cielo Abierto" by Quique Sinesi! The Argentinian guitarist and compo...
III. AND THE MIT ECONOMIST BEHIND THE CREATION OF THE BRAZIL-BORN Integrated Global Creative Economy
Matrix team-member Darius Mans, Economist (PhD, MIT), president of Africare (largest aid organization in Africa), presents Africare award to Lula (2012). From 2000 to 2004 Darius served as the World Bank’s Country Director for Mozambique and Angola, leading a team which generated $150 million in annual lending, including support for public private partnerships in infrastructure which catalyzed over $1 billion in private investment. Darius lives between Washington D.C. and Salvador, Bahia.
IV. LET THERE BE PATHWAYS!
"I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
— Susan Rogers, Personal recording engineer for Prince at Paisley Park Recording Studio; Director, Music Perception & Cognition Laboratory, Berklee College of Music
"Many thanks for this - I am touched!" — Julian Lloyd Webber
"I'm truly thankful... Sohlangana ngokuzayo :)" — Nduduzo Makhathini, Blue Note Records
"Thanks, this is a brilliant idea!!" — Alicia Svigals, Klezmer violin, Founder of The Klezmatics
"This is super impressive work ! Congratulations ! Thanks for including me :)))" — Clarice Assad
"Thank you" — Banch Abegaze, manager, Kamasi Washington
The Matrix uncoils from the Recôncavo of Bahia, final port-of-call for more enslaved human beings than any other such throughout all of human history and from where some of the most physically and spiritually uplifting music ever made evolved...
...all essentially cut off from the world at large. But after 40,000 years of artistic creation by mankind, it's finally now possible to create bridges closely interconnecting all artists everywhere (having begun with the Saturno brothers above).
By the same mathematics positioning some 8 billion human beings within some 6 or so steps of each other, people in the Matrix tend to within close, accessible steps of everybody else inside the Matrix.
Brazil is not a European nation. It's not a North American nation. It's not an East Asian nation. It straddles — jungle and desert and dense urban centers — both the equator and the Tropic of Capricorn.
Brazil absorbed over ten times the number of enslaved Africans taken to the United States of America, and is a repository of African deities (and their music) now largely forgotten in their lands of origin.
Brazil was a refuge (of sorts) for Sephardim fleeing an Inquisition which followed them across the Atlantic (that unofficial symbol of Brazil's national music — the pandeiro — the hand drum in the opening scene above — was almost certainly brought to Brazil by these people).
Across the parched savannas of the interior of Brazil's culturally fecund nordeste/northeast, where wizard Hermeto Pascoal was born in Lagoa da Canoa (Lagoon of the Canoe) and raised in Olho d'Águia (Eye of the Eagle), much of Brazil's aboriginal population was absorbed into a caboclo/quilombola culture punctuated by the Star of David.
