Classic FM London in Maui

With internet radio, I can listen to practically any station in the world anywhere.

This morning I’m listening to one of my favourite stations — Classic FM. It’s the station that accompanied those years I lived in London, educated me the composers and their works that laid the foundation for my interest in classical music. I had Classic FM Radio on all the time — first as background music and then as a necessity to my daily life.

Later when I studied music history in Utrecht, Netherlands, I learned to appreciate how accessible the radio programmers made the music to the audience.

Today I am in my home in Maui — a sunny day like any other. The outdoor washing machine is on. I am indecisive about going swimming. The day is young. I switch on to Classic FM at 10 am HST: David Mellor’s special edition of St Patrick’s Day tribute. It ended with an orchestral arrangement of “Old MacDonald Had a Farm”

Thereafter John Suchet presented Beethoven: The Man Revealed. His perspective was from that of Beethoven in love. Each time he fell in love, he wrote a piece. The stories behind the Moonlight Sonata, the Appassionata Sonata, and Fur Elise are simply fascinating.

Listening to Classic FM London in Hawaii makes me realise that it’s possible to have the best of both worlds.

I find myself doing my filing and my chores as background to active listening of Classic FM from London.

Ides of March Concert

Branding begins with a name.

A relevant name makes it easier to remember than a non-relevant one.

Make the name easy to pronounce and spell. Then it’s easy to remember.

The 15th of March is traditionally known as Ides of March.

Ides of March first page by Anne Ku

For years, I celebrated the Ides of March, not for “bubble, bubble, toil and trouble” or the risk of it, but rather the fact that I launched my first website on the Ides of March.

One particular Ides of March in 1997, I drove my red Nissan convertible out into the wet streets of Houston. Actually, it was more than wet. It was flooding. At the wettest point, I found my car swimming in the waters of Upper Kirby. This ordeal left such an impression that, immediately upon my return, I wrote the lyrics and music to “Ides of March.”

For my Friday Piano Class, I decided to give their first recital a name — the Ides of March Concert. Doors open at 1:45 pm. The Concert begins at 1:45 pm on Friday 15th March 2013 — in Maui!!

Comfortable with unfamiliar music

Very few people, I daresay, would spend money to hear music they’ve never heard of, written by composers they don’t know, and performed by artists unknown to them. The risk of discomfort and a waste of their time and money is too high. Even fewer people would venture alone to a venue they’ve never visited before to experience the complete unknown.

You lower that risk by going with a group that’s comfortable and familiar to you, led by someone whose authority and expertise you respect.

There are too many other ways to spend your time and money that will give you the certainty of joy, pleasure, and positive value you expect.

I challenge my piano students to broaden their horizons and listen to music that is unfamiliar. They think that unfamiliar music means unknown pop songs or unknown piano sonatas. I tell them that everything they’ve heard and played so far is tonal and consonant.  What? What else is there?

Atonal. Pan tonal. Dissonant. Unfamiliar.

They have no point of reference. How do you listen to music that’s unfamiliar and possibly dissonant?

Does music have to be explained?

I say YES — a resounding YES!

Unless you are the composer or the performer, it could be your first exposure to it — and you do need a reference.

In composition class, our teachers introduced music that was unfamiliar. We followed the scores and learned the techniques of composition. In music history class, we learned to appreciate music of dead composers. In theory class, we analysed them. Perhaps it’s time I introduce unfamiliar music for my students to play so that their ears do not compensate for what they cannot read or play properly (yet).

Step out of your comfort zone and embrace the unfamiliar — how else will you learn?

A Thousand Years for easy piano

How do you teach complete beginners how to play the piano?

Start with a tune they want to play.

So I searched Pandora and Youtube for the most popular movie themes. Christina Perri’s “A Thousand Years” is one of those sticky melodies that haunts me like the movie Twilight. Although I’ve yet to see Breaking Dawn, I can see why young people like it so much.

The short cut is to search for the sheet music online. However, it’s in a key too challenging for most beginners. Plus there are too many notes. Too much variety.

So I reduced it from 6/8 time to 3/4 time and transposed into the white key of C.

The result is something quite do-able, particularly with added fingerings. Of course, it’s always possible to simplify this further still. I will assign my students to figure how how it ends.

A Thousand Years for easy piano

5 steps to concert promotion

One of the most read posts in this blog is “Getting people to come to a concert.” Another name for this exercise is audience development. One goal is to get enough people to come to a concert so that your costs are covered and you can even get a return. Another goal is to have these people that come to your concert come to  your next one and, even better, they get others to come.

The first concert may be a lot of work (to promote). Each subsequent concert should get easier. After you’ve built a reputation and a mailing list, you should get a full house every time.

Empty seats before the first concert at the Monument House Utrecht

In the last 10 years of experimenting with different ways to get people to come to my concerts, I’ve identified 5 steps that have worked for me.

1. Identify who you want to come to the concert.
   This is where you have to analyse your audience make-up. In Houston, I brought my colleagues. In London, I invited my neighbors, colleagues, and new contacts. In the case of Monument House Concert Series in Utrecht, Netherlands, I wanted new people to come so that they can experience the authentic house concert tradition. I knew that previous guests would always come because of the sticky nature of such intimate occasions. I also knew the viral nature of word of mouth. But it was getting new people that was the challenge. If I only expected the same people to come every time, our concert goers would have been a clique.
2. Analyse the lure.
   What is the ace of spades? Is it the music? The performer(s)? The composer(s)? The audience? (People want to come to be with other people they expect to see there.) The venue? The occasion? The date/time? (nothing else better to do). The theme? (benefit concert). Identifying the ultimate lure is the key to a yes.
3. Figure out where these folks are located, i.e. how they can be reached.
   You may start with the low hanging fruit, i.e. your family, friends, neighbors, and colleagues. Beyond that, how do you find your audience? Where do they hangout? Music stores? Music libraries? Music colleges? A concert? How about music lovers groups on Linked-In?  ”If it’s fish you’re looking for, why climb trees?”
4. Use the right communication tool.
   Some folks read their emails and act. Some react to newspaper ads. Some listen to the radio. There are online, offline, face-to-face communication methods. You might have to try everything. See “concert promotion by other media.”
5. Write. Rewrite. Format. Reformat.
   A concert invitation is different from an announcement. You have to write to persuade. You may even have to put a personal touch to it. The result you want is action — which leads to a full house and a guestbook that looks like this.

The secret to success is your mailing list. The bigger it is, the higher the chance of drawing an audience. Mailing lists get built over time not over night. This is the subject of yet another blog post.

Sheet music for sale

Books on bookshelf for sale

When Robert told me a few weeks ago that he had packed my sheet music into 12 moving boxes, I mentally switched off. What he really meant was, “What are we going to do about your 12 boxes of sheet music?”

These books and scores were stacked in 3 huge Ikea book cases. Every time he mentioned my music, I fell silent. Already I had to let go of 400 CDs. sheet music was even more precious. I was not ready to decide.

To make space to photograph the house for sale, he declared that he’d move the boxes into the bicycle shed. Out of sight, out of mind.

I have nowhere to put those 12 boxes in Maui. I don’t want to pay for shipping. I simply don’t want to deal with it. Why not?

I had gone through my music in London before I decided to pack them into boxes and move them to the Netherlands in 2003 and 2004. Thereafter I continued my curious hobby of visiting music bookstores and music libraries to select sheet music to buy or copy. This unusual pastime of a person who loves to sightread started a long time ago. It accompanied my travels. Every time I visited a city that had a music book store, I would treat myself to buying sheet music.

Houston. New York. London. Amsterdam. Paris. Milan. Prague. Taipei.

I began by collecting music for piano solo. When I discovered the joy of piano duets with my piano teacher at Duke University, I started collecting music for 4-hand, 1 piano and then 4-hand, 2-piano. When I discovered the joy of chamber music, I started seeking scores for piano and other instruments whose players I befriended: clarinet, flute, bassoon, oboe, French horn, violin, viola, cello, harp, guitar, recorder. I bought the music so that I could play them by myself or with others.

Once at conservatory, I reasoned that it was important to learn about different instruments so that I could compose for them. While pursuing my teaching diploma in piano, I began collecting piano pedagogy, methods, techniques, and other related books. Collecting sheet music was no longer merely to feed my insatiable thirst for sightreading. It was necessary for teaching piano, my composition degree, and performance. I discovered the buzz of performing long before composing and teaching. In the Netherlands, the world of getting paid to perform with guitar, French horn, cello, and voice opened up — as did the need to expand my chamber music repertoire.

I knew that I was the most loyal client of second-hand sheet music stores. There were two I visited on a regular basis: one in London and the other in Amsterdam. I also knew that the owners regularly scanned the obituary column in local newspapers, looking for famous musicians that had died. They knew that they could get their sheet music for next to nothing. They’d get them in bulk and price each piece individually.

Second-hand sheet music are typically cheaper than newly printed scores. However, often second-hand sheet music is no longer in print and thus no longer available. As a graduate student in London, I’d go after second-hand sheet music. As a full-time magazine editor traveling between London and New York, I’d go for first-hand music books and collections. Over time, I built a sizable library of sheet music that included composers from A to Z.

With less than 2 weeks before Robert’s return to Boston, I finally gave in. “Let’s take a look at those boxes,” I said.

There were now 15 boxes stacked in the garden house bicycle shed.

The first box took half an hour to go through. The second box a little less than half an hour. By the 3rd box, we had gained momentum and criteria. Say good-bye to anything that can be found on the Internet, too hard to play, boring, old, falling apart, or duplicated. Keep the really interesting pieces that I can’t get anywhere else, including out-of-print editions and those I paid dearly for.

We are now half way through my music. I’m letting go of all chamber music except for piano & guitar duos that we’ve yet to try but want to. I’m parting with that collection of Dutch composers, piano duets, piano methodology and technique books, easy piano for students, and countless binders full of photocopied sheet music — which Robert said is illegal to sell.

Out of 15 boxes, I expect to extract enough for just 3 boxes to ship over.

That’s a lot of music to say good-bye to. A lot of music I won’t be playing. A lot of time spent choosing and acquiring the music.

I just hope what I don’t keep will find a home very soon.

FOR SALE:
400 CDs and sheet music for piano, duets, piano methods, piano technique, chamber music with piano, dictionaries, travel guidebooks, and more!!
Saturday 1 September 2012 from 1 to 4 pm
Keulsekade 25, 3531 JX Utrecht
or by appointment (REPLY BELOW)

Post-concert recordings

A CD arrived in the post about 4 weeks after the concert. Listening to it brought back memories of that action-packed, full-house evening. The guests started arriving more than an hour before the concert. Half-an hour before it began, the hall was full. Minutes before the concert, I saw the “reserved for pianists only” seats taken by two ladies who read the cards but ignored the request.

It was every concert producer’s dream: standing room only.

Perhaps it was the rigor of concert promotion effort or the success of previous year’s piano concert or both, the outcome was impressive. Nearly a month later, my hairdresser mentioned that she heard about this concert though she was not able to attend herself. One of her customers raved about it.

I was warned that seats would be taken early for the 7:30 pm concert at Maui Music Conservatory, on the second floor of the Queen Ka’ahumanu Mall in Kahului, the capital of Maui County. “Piano Synergy” was the name of this concert, which, for us 6 pianists, actually began 4 months earlier with Sunday afternoon group rehearsals.

On Saturday 14th July at 7:30 pm, Ebb & Flow Arts, the non-profit arts organization on Maui, presented that one-hour concert (without intermission) of original works for many pianos, including the premiere of a new piece it commissioned for this occasion.

The composer Thomas Osborne was not only present for this premiere but also played one of the parts: Piano 1. Aptly titled “Canyons,” it began with Piano 4, nearly always in forte or fortissimo and definitely always the loudest of all 4 pianos. Piano 3 echoed Piano 4 but slightly softer. I played Piano 2, even softer. Piano 1 was nearly always pianissimo. This method of imitation in terraced dynamics continues until an augmentation, a spacing out of the repeated passages. Listen below.

Canyons as performed by Beatrice Scorby, Robert Pollock, Anne Ku, and Thomas Osborne (mp3)

The last work to be performed that evening of the celebration of French independence on Bastille Day was none other than Darius Milhaud’s 4-piano work “Paris.” Wearing my dry-cleaned black silk dress purchased in Paris in summer of 2009, I stood up to introduce this 6-movement work. It was, without doubt, one that required the most study of all works selected for this concert.

“And now, for the piece d’ resistance, Paris, which is the raison d’etre for tonight!” There were French-speakers in the audience who were glad to help my pronunciation. Before each movement, I introduced that part of Paris and what to listen for. After Montmartre came L’isle St Louis. On a foggy day, you can hear the church bells of Notre Dame and nearby churches. Sometimes you can hear they are out of tune!

L’isle St Louis from Paris by Darius Milhaud (mp3)

Longchamp refers to the race courses. The composer chose a fugue to represent that. A fugue literally means a chase. You can hear it getting faster and more intense.

Longchamp from Paris by Darius Milhaud (mp3)

The recordings were made by John Messersmith for Ebb & Flow Arts.

Canyons by Thomas Osborne

We six pianists first met on Sunday 4th March 2012 in Ruth Murata’s Maui Music Conservatory. Ebb & Flow Arts had commissioned a new piece for 4 pianos. As time marched on, we got anxious if we’d get the score in time to study individually and then rehearse as a group.

As with all new music, the approach is to first scan it, assess the difficulty and amount of time required to study it. We’d identify the challenging areas and spend more time studying them than the rest. We’d use a metronome to ensure we keep to a steady beat.

When we got together to rehearse on subsequent Sunday afternoons, we’d notice that the music for 4 pianos was quite different from the single score we were given to study. After studying Milhaud’s Paris, Busby’s Four!, Depue’s 16 Pawns, and two piano works, we learned towards the end of May, that Honolulu-based composer Thomas Osborne’s new work was ready.

When I first looked at “Canyons” I didn’t know what to make of it. The mp3 recording sounded extremely exciting though. I was willing to give it a chance. I became one of the pianists committed to studying it for premiere on 14th July. Robert Pollock, the founder and director of Ebb & Flow Arts, planned for us three pianists to rehearse and the last 3 rehearsals with the composer as the 4th pianist.

“Canyons” plays on the term canons. It uses imitation and terraced dynamics to produce the kind of echo effect you can hear in a canyon. The first pianist to play is Piano 4 — loud. The next pianist — Piano 3 — is slightly less loud. These dynamic levels are to be kept throughout the piece.

Canyons by Thomas Osborne, page 1

Robert Pollock and I discussed this and other works on Kaoi Radio recently.

Here’s the 25 minute audio clip.

Tonight’s concert is FREE — and expected to draw a standing-room only audience. My only regret is that we get to perform each piece just once — tonight.

Piano Synergy! Concert, 14th July 2012 at 7:30 pm at the Maui Music Conservatory, 2nd floor of the very centrally located Queen Ka’ahumanu Shopping Mall in Kahului, on Maui, Hawaii. We begin with a work of John Cage and end with Darius Milhaud’s Paris.

The highlight of the evening will surely be Thomas Osborne’s “Canyons.”

Canyons by Thomas Osborne bars 84 to 87

Paris by Darius Milhaud

The Paris of French composer Darius Milhaud in 1948 is captured in his 4 piano music for 4 pianists. I asked my friend Joe Goldiamond, who has lived in Paris, to write about each of the areas which title the movements of this work. He has always spoken fondly of Paris, a romantic city I was fortunate enough to visit as a 21-year-old backpacker through Europe, on holiday as a graduate student, day trip for a job interview, blind date, conferences & meetings, winter rendezvous with friend from Houston, and the last occasion in Summer 2009. I can’t wait to share his descriptions with the audience on Maui on Saturday 14th July 2012. [The bracketed comments are mine, after our 8th July rehearsal.]

Montmartre

Montmartre sits on a hillside in the northernmost part of the city and has a 2,000 year-old history as an independent village known for its windmills and vineyards.  Annexed by Paris in the late 19^th century, it quickly became home for artists, poets and revolutionaries who were attracted by its tolerant atmosphere, its buoyant nightlife, and by the beauty of its winding, narrow cobblestone streets, often with steep inclines, that may lead suddenly to small squares and fountains and gardens. [You can hear the scales, which I think depict the steps and paths.]

L’ Isle St. Louis      

The Isle St. Louis is a natural island in the River Seine right in the heart of Paris.  Yet, it feels far away and on Sunday mornings, when the island is shrouded in mist that rolls in from the river and the only sound you hear is that of a church bell, you might easily imagine yourself in rural France, 400 years ago.  It was the home of the Polish composer and pianist, Frederic Chopin.  The quays, which embrace the entire island, are legendary as lovers’ promenades. [You can hear the tenuto notes representing the bells of the Notre Dame.]

Montparnasse

Montparnasse became the heart of Paris’s artistic and intellectual life after the first decade of the 20^th century.  Located deep on the Left Bank, the area is a broad plain gathered around the boulevard Montparnasse, which today, as much as yesterday, blends bookstores and nightlife, cafés and crepe restaurants.  The stroller will still find legendary cafés, such as Le Dome and La Rotonde, where painters, sculptors, writers and philosophers from across the globe gathered to mold thoughts and debate ideas. [This piece is full of conversations, ideas, and thoughts criss-crossing each other. The biggest movement by far.]

Les Bateaux-Mouches

The Bateaux-Mouches are long, slender boats that have carried visitors on tours through the heart of Paris since the end of the 19^th century.  The visitor experiences a leisurely adventure and gentle breeze as his boat glides past Notre Dame Cathedral, the Louvre Museum and the Tuileries Gardens and under historic bridges.  He may also sense what the waters of the Seine have always meant to Paris, as its main artery, and some would say, its soul. [In 12/8 time, you feel the sway of the boat on the water, nice and relaxed!]

Longchamp

The Longchamp Racecourse is located along the banks of the Seine in a wooded area in western Paris.  From the time of Napoleon III and across La Belle Epoque into the early 20^th century, it was the kind of place that you went to in a top hat, if you were a man, and carrying a parasol, if you were not.  Even the thoroughbred horses had an understated elegance, along with power, in the masterly paintings of Edouard Manet and Edgar Degas. [This is a fugue, which means chase. You can literally hear the parts can't wait to imitate each other, more like chasing each other!]

La Tour Eiffel

The Eiffel Tower is the tallest structure in France, the most visited monument in the world, and the universal symbol of Paris.  If the islands in the River Seine are the city’s heart, and the river its soul, then the Eiffel Tower is the city’s intelligence.  Constructed of iron lattice, like Parisian balconies, it was considered an impossible feat until it was done.  It was completed in 1889, in time for the World’s Fair, which was held to celebrate the centennial of the French Revolution, an event we commemorate this evening. [As the last movement, this is grand and triumphant, rising high like the tower itself! Lots of octaves!]

Piano synergy: music for many hands on many pianos

In preparation for my next concert in mid-July on Maui, I decided to check out performances of the selected works on the Internet. The interpretations are much faster, crisper, and cleaner. It’s really hard to play fast, crisp, and clean —– that is, with many pianists on many different pianos.

Darius Milhaud’s Paris: Suite for 4 pianos spans different arrondissemont of Paris. I try to remember the Paris I know but I only remember Montmartre, L’ile Saint-Louis, and the Eiffel Tower from the 6 movements. I could not find a video clip of this fantastic work against the different scenes of Paris though the 2 on Youtube are sufficiently interesting. This piece is by far the most demanding of our entire 1.5 hour program.

Next, I looked for Gerald Busby’s Four! a statement for 4 pianos. Instead, I found Plucked — 15 hands on one piano. It’s a most remarkable and funny piece. If you have time to watch it, do enjoy the performance art.

Another 4 piano 8 hand piece is Wallace DePue’s 16 Pawns. It’s a short and fast one page work. No videos on the Internet. No background description. Perhaps we can get our own recording at the concert.

We will be playing two multi-hand pieces by Robert Pollock, founder and artistic director of Ebb & Flow Arts, the non-profit organization that is putting together this concert of Sunday 14th July 2012. The titles reveal just how many pianists and pianos. Five for Four. Three for Six. Answer: Five pianists on 4 pianos. Three pianos for Six hands.

I finally get to play a work of Morton Feldman, a composer I have heard much about but never studied. His “Piece for 4 Pianos” is interesting in that all pianists have the same score. It’s up to each pianist to decide when to play each note. Everything is soft. The result? a kind of rippling, echoey effect. Watch the meditative result below.

John Cage’s “Music for Piano” is another aleatory piece (one which the composer instructs the performer to decide on duration or other aspects of the composition). We each chose two consecutive pages from the album. It’s prepared piano at its best, though it would take about 30 minutes to prepare. We each have a bag of black rubber and white felt objects to insert between the strings of the piano for those notes we need to mute. The result? Texture that we’d otherwise not hear. Again, we decide when and how long to play each note. Last time we had agreed on the piece to last 7 minutes, but some of us were too fast and others too slow. It does take some practice to get 4 pianists to end at the same time.

Below is one interpretation of John Cage’s “Music for Piano”

Sadly there is not enough music for many pianos. Ebb & Flow Arts commissioned composer Thomas Osborne to write one for us. The mp3 version of his “Canyons” for four pianos is very powerful. I will try playing it today.

Luckily there is plenty of fun pieces for two pianos and even two pianists on one piano. As 14th July is Bastille Day, we decided to choose works of French composers. Ravel’s Mother Goose Suite; Faure’s Dolly Suite; and Debussy’s Petite Suite.

I am so glad to be able to participate this time. Last year my multi-hands on one piano work “Three on One“ was performed in the Battle of the Pianists concert in Maui while I was in Utrecht. Ironically, rehearsing these multi-hand, multi-piano works with other pianists just makes me miss sightreading chamber music with string and wind players even more!

Free concert – no reservation required. Get there early — last year was standing room only!

PIANO SYNERGY FREE CONCERT

Sunday 14 July 2012

7:30 pm

Maui Music Conservatory
Queen Ka’ahumanu Mall (upstairs) 
Kahului, Maui, Hawaii

Pianists (alphabetical order): Lotus Dancer, Anne Ku, Peiling Lin, Ruth Murata, Robert Pollock, Beatrice Scorby

Ebb and Flow Arts North South East West Festival of New Music