{"version":"1","chapters":[{"title":"Excerpt:  Une barque sur l'océan","startTime":0,"endTime":75},{"title":"Introduction","startTime":75,"endTime":240},{"title":"What drives Aïda’s music-making","startTime":240,"endTime":357},{"title":"Overview of Mirrors and Echoes","startTime":357,"endTime":610},{"title":"Esquisses de Crimée, Op. 9 No. 4 Kaïtarma","startTime":610,"endTime":703},{"title":"Programming Mirrors and Echoes creatively","startTime":703,"endTime":855},{"title":"Miroirs: V. La vallée des cloches","startTime":855,"endTime":979},{"title":"Excerpt: Lamma Bada Yatathanna","startTime":979,"endTime":1001},{"title":"Improvisation and its benefits","startTime":1001,"endTime":1143},{"title":"Miroirs: III. Une barque sur l’océan","startTime":1143,"endTime":1163},{"title":"Why reimagine Ravel through an intercultural ","startTime":1163,"endTime":1920},{"title":"Spirituality and ritual in the album","startTime":1920,"endTime":2064},{"title":"Environmental engagement and music as action","startTime":2064,"endTime":2176},{"title":"Listener and critical response to the album","startTime":2176,"endTime":2279},{"title":"Excerpt: Beethoven Piano Concerto 3","startTime":2279,"endTime":2338},{"title":"Childhood, Menuhin. Cambridge, Guildhall","startTime":2338,"endTime":2972},{"title":"Concert experiences that left a lasting mark","startTime":2972,"endTime":3076},{"title":"Aïda as a stand-up comedian","startTime":3076,"endTime":3442},{"title":"Redefining success beyond recognitions","startTime":3442,"endTime":3969},{"title":"The return of the impresario","startTime":3969,"endTime":4122},{"title":"How Aïda measures success today","startTime":4122,"endTime":4155},{"title":"What's next","startTime":4155,"endTime":4477}]}