Category Archives: fundraising

The monument house for sale

It is a nerve-wracking experience to buy a property for the first time. We both have had our share. When it came to buying a property together, it was one of indecision.

I searched in the Roman city of Utrecht for 5 months alone, online and offline in my broken Dutch, until I narrowed down to 12 properties. The monument house was not on the list. It was too big, too expensive, and not the right shape. But it was the only one Robert was interested in.

The Dutch monument house measured 8 meter by 8 meter – a squarish curiosity that looked small from a distance but hid a spacious basement, generous ground floor, a middle floor of three bedrooms, bathroom, and toilet, and a quirky attic. I thought it was too dark, unsafe (steep staircase), and small inside. But Robert felt a calling. We visited three times before we made an offer in 2005.

Located next to a peaceful lock that runs into the Amsterdam Rijn Canal, which flows into the famous Rhine, the house is part of a row of turn-of-the-century houses built by the Dutch National Water Board for its employees to manage the lock. The monument status meant that we could claim expenses spent on upkeeping the house. In this case, we wanted to restore it to its original spendour. If I were to bring up the old pictures of the house, you wouldn’t recognize it.

On a cold winter’s day in January 2006, we signed the contract and obtained the keys. The previous owners had painted the window frames red (not the uniformly dark green it should be). The ceilings were lowered to window level (beneath the top frame). Despite the inner window between the kitchen and the living room, it was still dark. The upstairs was carpeted and the walls were adorned with colourful dinosaurs and other fairytale creatures. The back garden was fully exposed to the elements, including smokers who walked by and interrupted our conversation in mid-sentence. There was no security in the back as we were outside the communal gate. Anybody could walk in. The noise from the side street and beyond carried over the apple tree.

Keulsekade 25 Utrecht-8947

For the first 5 months, Robert lived alone, busily stripping out the old pinewood floors, inner doors, and ceilings. There was not a square inch of surface that he did not touch. In the afternoons he would go teach at the music school near the western coast. Once a week, I’d visit him from Bussum. Each time, I’d get a shock.

Something was always different. Once the ceiling was missing. Another time, the floor was gone. By the second month, we both felt the cashflow draining from a future that had no end in sight.

The ground floor seemed to take forever, and the euros was going out the door at an alarming rate.

“Let’s rent out a room,” I said.

This meant renovating the middle floor, one that we had agreed to leave untouched. And so the dust started to rise, from the ground floor upwards. Robert carved a little kitchenette from the master bedroom so that he could knock out the downstairs kitchen. Before long, the renovation had become a grand affair.

We found Brendan from northern England. He only needed a room for four days a week because of his commute. We were surprised that he took pictures of the as-yet-unfinished house. The skip in the front was not a pretty sight. Yet he seemed very pleased to have found a place that was within cycling distance of his office.

Keulsekade 25 Utrecht-8924

Renovating a house follows Pareto’s rule: the first 20% of effort is expended on 80% of what you see. The remaining 80% of effort is on the nitty gritty details, the 20% you don’t notice. It’s that remaining 20% you don’t notice that makes you feel uncomfortable.

For the next few years, we lived in a house that never felt truly finished.

The cordless power drill showed up at breakfast. A few loose screws accompanied our daily existence. The corners were not smoothed. The door handles fell off. We could not sit firmly on the toilet seat. It wobbled.

Keulsekade 25 Utrecht-8921

By mid-May, nearly done with my second year at Utrecht Conservatory, I was eager to move into the house and contribute to what I thought would be the final touches. By then we had two housemates — Brendan from northern England and German from Barcelona. It was the only way we could afford it, with Robert’s not-quite full-time teaching salary and my negative salary as a full-time student.

At the end of June 2006, we gave a week’s notice to our friends and held a house warming party. Over 70 people came, mostly musicians. We were all curious how the acoustics sounded.

In early July, we launched the Monument House Concert Series with a violin guitar concert by Duo 46. One of the two photographers took photos of not only the performers but also members of the audience.

Keulsekade 25 Utrecht-8944

Besides committing to two house concerts per year, we organized events such as yoga, Chinese banquet, self-expression workshops, impromptu concerts, piano recitals, and numerous barbecues. Looking back, it was a house full of action and activities, with guests visiting to stay or play.

Barely a year after settling into the monument house, Robert started a new hobby: brewing his own beer. To serve his beer, he designed the Monument House Glass Mug, good for cold and hot drinks. He experimented with grains and other ingredients until he started to plant and harvest his own hops.

Once the monument house was more or less renovated, we decided to do something about the back garden. “Let’s rip out the apple tree, the fence, and the shed and replace all that with a garden house,” I said. “An atelier,” said he.

We wanted to enjoy the garden with the privacy and security afforded by a structure that blocked the side traffic and bitter north wind. We also wanted a place that we could play music without disturbing our neighbours. We were naive to think that we could build a sound proof space. It was a formiddable task that required creative design and clever financing.

I had another year (my 4th and final year) to go. 2007-2008 became the most challenging year — the garden house, the trip to the USA — duo for export benefit concert, and my chamber opera premiere. Once we hired the builders, there was no turning back.

When the structure of the garden house was nearly complete, Robert and his student Onno dug out the back garden and located the sewer. [To be continued]

Keulsekade 25 Utrecht-8946

Keulsekade 25 Utrecht-8957

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Materialism and the art of letting go

In this age of post-911, post-2008 financial meltdown, nobody likes to be described as “materialistic.”

When I was trying to decide whether to stay in London or move to the Netherlands, my friend Jackie observed,”You’re not materialistic, Anne. What are you going to do with all the money you earn?” With that, I decided to stop earning money and earn time. I moved to the Netherlands to study music.

Sightreading thesis and piano duet sheet music, San Francisco, May 2011

Today I reassured a friend who made shopping a ritual: “You’re not materialistic. You are sentimental. You are attached to what the things represent. You want quality things. So you take your time.”

Equally, I have asked myself why I should find it so difficult to let go of things when I have been described as being NOT materialistic.

In 2003, I threw an open house one weekend to sell my things so I could leave London with less luggage. The only things I moved to the Netherlands were my sheet music, Laura Ashley dresses, and house plants.

Now I need to do the same with all that I have accumulated in the Netherlands. But every time I see something I recognise, like the photograph of a hand-made white vase for a single rose, I’m reminded of where it came from and how it came to be. It’s a present for such and such occasion. It was given under such circumstances. Because it’s a gift, I should not sell it or give it away. But why should I keep it?

A physical object may remind us of an occasion, a relationship, a conversation, a place, or a moment in time. When we attach ourselves to an object, we are relating to all that it represents.

When we walk into a stranger’s home, nothing has history or represents anything meaningful to us. In contrast, our own homes are full of objects that bear meaning.

Buddhism talks about detachment and emptying oneself. I never understood it until now. Why be owned by what we own? Should we be slaves to objects? I would rather spend my time with people and talk about ideas. How can we detach ourselves from objects that consume our time?

Clean up your house. Adorn the walls with unfamiliar art work. Play music you’ve never heard of before. Distance yourself from what is familiar, or make what is familiar unfamiliar by all these measures. Detach yourself. These are the ways to help you let go of what was once dear to you.

Is it regret that you fear? That if you let go, you will regret doing so?

I have a dozen boxes of sheet music that took 20 to 30 years to collect — an activity I rewarded myself in the basement of a bookstore in London. The music is worth nothing to anyone else but everything to me. How can I possibly let it go?

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Transferrable skills: from music to ?

This time four years ago, in the historic city of Utrecht, Netherlands, I was contemplating “how am I to do it.”

The task of recruiting musicians to study my music and perform (or rather, premiere) it for the first time and only once — without compensation — was a daunting one.

It would have been easiest to have just one performer play my music. And that performer could be me. After all, I know my own music. I wouldn’t need to find other musicians, convince them to rehearse, and take the risk of playing music that’s never been performed or heard before. And to play it just once?  After all that studying?

Next easiest would be to write music for a duo or a limited number of players. Why did I challenge myself with producing a half-hour-long opera with a sizable ensemble, choir, and soloists? There had to be separate rehearsals with the choir. This was not the path of least resistance.

Where could I find these musicians? Ask their teachers? Approach them one at a time?

How would I get musicians to do it? I asked other composition students. How did they do it? Nobody had written a chamber opera with so many performers before. Orchestra yes. But not opera.

Conductor Henk Alkema greets first violinist and soloists, June 2008. Photo: Some 40 musicians performed in my final exam in composition on 2 June 2008 at Utrecht Conservatory. These photos were taken by Fokke van der Meer

Conductor Henk Alkema greets first violinist and soloists, June 2008. Photo: Fokke van der Meer

What I learned from those months from February to June 2008 was how to produce a concert with no budget. What was involved? It was a collaborative effort.

  • recruiting musicians
  • scheduling rehearsals
  • getting the musicians to arrive on time
  • getting the musicians to show up
  • getting the musicians to commit
  • organizing the music (making the part scores)
  • changing and editing the music
  • preparing the programming notes
  • preparing the slides for the overhead projector
  • setting put the stage
  • getting the event photographed and recorded
  • doing the publicity
  • getting help (stage manager, stagehands, usher)
  • ordering flowers to thank the musicians and selecting wine to thank the conductors
  • arranging post-concert refreshments for the audience
  • arranging dinner for the musicians
  • getting sponsors to pay for printing programs (PDF) and posters and the rest
  • getting the posters and programs printed

Thinking back, these skills are transferrable, for now I am managing an expanding team of volunteers. I am not paying them. They are not paying me. But we all work to the same goal.

The audience at the final exam concert of 2 June 2008. Photo: Fokke v.d. Meer

The audience at the final exam concert of 2 June 2008. Photo: Fokke v.d. Meer

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A piano for Roselani

For Mother’s Day and Thanksgiving Day, I brought my 70-something mom to Roselani Place to celebrate with the residents. I played the electric keyboard while the residents and their guests enjoyed their chef-cooked luncheons. Music has an amazing way of uniting people when they recognize tunes they know and start humming. Some came up and thanked me afterwards.

I love looking for music to play for an audience. For both luncheons, I had borrowed several volumes of sheet music from the local library: music from the ’20s, ’30s, and ’40s. Because of the diverse ethnicities of the residents, I even included the popular “Sakura” and Hawaiian songs. I wanted to play them the way I prepared them on the grand piano I practised on.

Steinway concert grand in Maui

Steinway concert grand in Maui

Unfortunately an electric keyboard, despite its bells and whistles, is not an acoustic piano.

Once the restaurant was filled, the people in the back could not hear me. I had cranked up the volume to the max. I tried fiddling with the instrument selection. A harpsichord sound was surprisingly louder than the “grand piano” selection. I tried synchronising a drum beat to it. I could not increase the overall volume.

When I first visited Roselani earlier this year, I was eager to try the upright piano in the reception area. I quickly learned that the entire treble half was long gone. Unstoppable, I moved to the bass half and continued to play. Somebody switched off the piped recorded music. The residents started to listen as if finally awakened from their reveries. The piano was different from the constant music coming out of overhead speakers. There was a person at the piano. Knowing that they were listening changed the way I played. It was no longer practice but performance.

I know for a fact that live foreground music is much more effective than recorded background music. In my research into programming live music for the elderly, I learned that live music is therapeutic for alzheimer sufferers. Just google “alzheimer music” and see the evidence. I have seen a passive audience come alive when they see and hear a live concert. Even if they cannot speak or recognise me, I can see life in their eyes and feel the firmness of their hand grip. In years of playing in such homes throughout the Netherlands, my piano guitar duo has revised our repertoire to choose what works best. The staff and volunteers at such homes know that the choice of music directly affects how well the residents sleep at night.

What will it take to move a working piano to Roselani Place?

Fundraising to get a piano in there?

Roselani Place is a 501c organization. This is a form of savings for anyone who is leaving the island but is stranded by a piano they can’t sell should consider donating to Roselani. They can deduct the value of their piano against their income tax. It’s a last resort, unless they are prepared to pay for storage or leave it with a tuner or music store for sale on consignment.

I suppose one way to find out the attractiveness of my proposal is to monitor Craigslist. How long does it take before a piano gets sold? Or perhaps I should ask a piano tuner or technician.

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Competition for attention: buskers vs charity mafia

“Do you always get the place you want?” I ask Robert as he prepares for today’s busking gig.

“No,” he replies. “There’s the charity mafia.”

The charity mafia refers to individuals who knock on your door and ask you to donate to a specific charity. They also operate out in the open, taking up public space, trying to get your attention and philanthropy. Apparently they get paid to ask for monetary donations.

“Why don’t you tell your listeners that you have a cause, too?” I suggest. “You are trying to finance your studies in Boston.”

Private education in America is known to be expensive. Some people spend their entire adulthood paying off college loans. Every penny counts. It’s a justifiable cause to ask people to give for education.

Besides the threat of the charity mafia, buskers are only allowed 15 minutes of play time per location. This means he would have to pack up his heavy concert guitar, guitar case, music stand, and sheet music every 15 minutes. Furthermore, the highly uncertain and changing weather conditions in Holland present clear and present danger to audience engagement.

“When will you be back?” I ask as he prepares to leave at 1:45 pm.

“Five or six.”

“That late? I need you to help me clear the attic. I can’t do it alone.”

Ironically, the more we clear the attic, the more we donate to charity.

Charity begins at home. Why is he seeking the attention of strangers?

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Monument House Concert 5 years on: Brendan Kinsella 2nd July 2011

Exactly five years ago on 2nd July 2006, we invited our friends guitarist Matt Gould and violinist Beth Schneider of Duo46 to open our Monument House Concert Series with the first concert. Fittingly entitled “Music of the Americas,” the one hour programme contained music by the American composers Astor Piazzolla, Robert Beaser, Allan Segall, and Jorge Liderman. Duo46 who flies from Phoenix, Arizona to Italy via Amsterdam every summer has a trio with pianist Nathanael May called the Strung Out Trio. On 1st July 2006, Dr Gould conducted a guitar master class at the Monument House.

It was much simpler then. Master class one day. Concert the next. My friend Linda from Wassenaar made carrot cake for the two dozen guests that gathered in the back garden after the concert.

Five years later, in contrast, the back-to-back concerts came with chef-catered pre-concert dinners, panel discussions, organic wine tasting, raffle prize draw, silent auction, discount vouchers for Chinese massage and manicure, post-concert organic luxury cookies, and home-made desserts generously donated by our neighbour Ita (on both evenings).

The piano room before the concert begins. Photo: Willem de Vriend

The piano room before the concert begins. Photo: Willem de Vriend

Three volunteers arrived early to anticipate the full house audience. Rotary scholar from Honolulu Robbieana Leung joined Amir and Susan, who had volunteered the day before at Nathanael May’s solo piano concert. As Eveline Scheren was arriving after dinner from another organic wine tasting, Susan took over the wine service.

Last year at the Glass Vase Concert where Egyptian cuisine was served, my Vietnamese friend in Houten offered her Vietnamese chef friend for a future concert. Chef Hong and her daughter drove hours to here with pre-cooked fried rice, chicken, noodles, pickled salad, and vegetarian dishes. The spring rolls were deep fried on location.

Vietnamese dinner by Chef Hong at the Monument House. Photo: Willem de Vriend

Vietnamese dinner by Chef Hong at the Monument House. Photo: Willem de Vriend

Once again the weather was agreeable to an outdoor gathering, necessary to make space for the non-dinner guests who arrived between 7:30 and 8:15 pm. One couple called to ask if it was possible to attend without prior reservations. Several more not on the pre-paid reserved guest list showed up. Luckily there was standing room.

Robert Bekkers played two solo guitar pieces to welcome Brendan Kinsella.

Full house at Monument House Utrecht Kinsella Concert. Photo: Willem de Vriend

Full house at Monument House Utrecht Kinsella Concert. Photo: Willem de Vriend

Brendan Kinsella apologised for playing Liszt in Utrecht where the International Liszt Piano Competition is held every three years. One Liszt fan who had attended every Liszt semi-final round later commented that she had never heard the pieces chosen by Kinsella. His programme is listed below.

“a la consolation” by Leonardo

” Angelus” and “Les jeux d’eau a la Villa d’Este” by Franz Liszt

“Aubade” by Francis Poulenc

“Down by the Riverside” by Frederic Rzewski

INTERMISSION

“Sonata in C Major, op. 53″ by Ludwig van Beethoven

Encore: “Erlkonig” by Schubert/Liszt

As a special treat, Utrecht-based American entrepreneur Katie Miller donated 100 luxury organic cookies including a box for silent auction. The winner took home a box of 20 cookies for her birthday.

The best part of the concert, for me, was sitting behind Brendan and experiencing his performance close up. I wonder what was the best part for the more than 3-dozen guests who attended this concert? Please LEAVE A REPLY below.

Brendan Kinsella gives virtuosic performance. Photo: Willem de Vriend

Brendan Kinsella gives virtuosic performance. Photo: Willem de Vriend

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Remembering the Body of Your Dreams Concert on 1st July 2011

Rather than writing a review of the two back-to-back concerts on the first weekend of July 2011 at the Monument House, I would like to invite the guests to LEAVE A REPLY below with their comments. Already I’d like to thank Susan Raddatz for her photos and blog reviews.

What led me to organise solo concerts for two different artists on two consecutive evenings with two different caterers, plus fundraising activities, masterclass, panel discussion, and an opening act? Never at the Monument House, had we undertaken such variety besides the live music. Could it be a desire to reciprocate and replicate all that we learned on our 24-concert coast-to-coast tour of the USA since October 2010? Or simply a desire to share with audiences in the Netherlands?

There was the option to have the two American pianists to share a programme, each giving half a concert, and simply repeat it the next evening. Being a culture vulture, I wanted all of one artist, not twice of two halves. I mistakenly assumed that others could afford the time to indulge in two separate concerts on two consecutive evenings at the beginning of the summer holiday season.

There was no grand plan in organising these concerts. It was rather ad hoc and piecemeal, largely due to the fact that I was on the other side of the world when the planning began. In January 2011, I spoke to Nathanael May about his travel plans for Europe. For the first time since 2005 when he first launched his music festival in Italy, Utrecht was on his way.

Knowing how busy and popular organic wine tasting was, I booked Eveline Scheren immediately. Nathanael told me about Texas-based pianist Brendan Kinsella, who was a guest faculty at the same festival. I reserved 1st and 2nd July 2011 on my calendar. When I returned to the Netherlands on 28th May 2011, I started looking at the details of what Nathanael and Brendan were going to play. The one piece that stood out above others was Dutch composer Jacob ter Veldhuis‘ “Body Of Your Dreams,” which I had first seen performed by Thomas Rosenkranz in Cortona, Italy in 2006.

By mid-June, with less than 3 weeks before the concerts, I considered adding a pre-concert dinner. Where would I get a chef? On Sunday 12th June 2011, just before my outdoor yoga event in the back garden, I attended a house concert of Carol Ruiz Gandia who mentioned that her friend had catered for more than 30 people not long ago. This was just what I needed to attract more people to come. Chef Alberto prepared an authentic Andalucian meal for 20 people on 1st July 2011.

Chef Alberto prepares a traditional meal from Andalucia, Spain. Photo: Susan Raddatz

Chef Alberto prepares a traditional meal from Andalucia, Spain. Photo: Susan Raddatz

As I wanted to try some of the fundraising techniques I learned in the USA, I decided to include a Raffle Draw, Silent Auction, and CD sales. Not everything translated culturally I soon discovered. Local merchants, unlike those in the USA, were not used to being asked to donate items for auction or raffle. I managed to get my fitness club on the other side of the canal, BodySports, to donate several summer passes (unlimited group lessons for 2 consecutive weeks) and Ton van den Ijssel, the bicycle shop behind our home, to donate several 100% T-shirts. The closest word in Dutch to “raffle” was “lotterij” or “lottery,” and the concept was strange in the context of a classical concert. Silent auction was even more foreign. Nonetheless, we did manage to encourage several risk-taking guests to put their bids for a barbecue dinner with us, guitar lesson, sightreading workshop, our 3-CDs produced in Maui, a set of speakers and amplifier, and Paul Richards “Fables, Forms, and Fears” CD (with Nathanael May’s Strung Out Trio).

Raffle table at the Monument House Utrecht. Photo: Susan Raddatz

Raffle table at the Monument House Utrecht. Photo: Susan Raddatz

Thankfully wine tasting was popular, and organic wine even more intriguing. By asking Ms Scheren to provide the wines, we hosts freed ourselves to attend to the artists and the guests. In the past when we purchased the wines ourselves and allowed the guests to pour their own, we risked certain guests drinking too much, staying too late, and causing problems with other guests. Verdict: wines should be served and not self-served.

Organic wine tasting from Biowijnclub.nl   Photo: Susan Raddatz

Organic wine tasting from Biowijnclub.nl Photo: Susan Raddatz

Quite late in the planning, I suddenly remembered that we had offered master class and workshop at two previous house concerts. Would anyone be interested in participating? The Dutch are fond of master classes, but the inclusion in the publicity was too late. Tom Rose, who recently launched his own blog for learning to play the piano as an adult, was the lucky recipient of the coaching of both pianists on 1st July 2011 from 5 to 6 pm. He played Haydn:  Sonata in F Hob XVI No. 23 1st and 2nd Movements and Martinu: Etude in F.  Last piece in Book 3 of Etudes and Polkas.

Masterclass: Tom Rose with Nathanael May and Brendan Kinsella. Photo: Susan Raddatz

Masterclass: Tom Rose with Nathanael May (left) and Brendan Kinsella. Photo: Susan Raddatz

The changing weather in the Netherlands was kind on 1st July 2011. We were able to hold the Andalucian dinner outdoors in the back garden. The highlight of Chef Alberto’s menu was the Pisto Cordobes acompanado con pan en aceite de la tierra: vegetables cooked for hours with tender loving care, resulting in irresistible mouth-watering heavenly goodness.

Traditional Andalucian dinner by Chef Alberto. Photo: Susan Raddatz

Traditional Andalucian dinner by Chef Alberto. Photo: Susan Raddatz

In the back of my mind, I wanted to hold a panel discussion, much like the one I facilitated at the house concert in San Francisco last November after a pre-concert dinner and sightreading workshop. Given the budget cuts in the arts and the negative impact of global recession, I was very much interested in the survival of classically trained musicians. Clearly our conservatory education had not prepared us for this. Could we learn from successful musical entrepreneurs? I invited Amsterdam-based mezzo soprano Carla Regina to talk about her foundation Voice Actually and pianist Nathanael May to talk about the contemporary music festival he founded in Italy. Both musicians went beyond the usual career path of performance to establish new vehicles that served others.

Panel discussion by Carla Regina and Nathanael May. Photo: Susan Raddatz

Panel discussion by Carla Regina and Nathanael May. Photo: Susan Raddatz

5 pm Master class

6 pm Doors open for pre-concert dinner

7 pm – 7:45 pm Panel discussion

8:15 pm Opening Act: Robert Bekkers, guitar

  • Andante Religioso from El CATHEDRAL, Preludio A. Barrios Mangore
  • Allegro from BWV 998 Prelude J.S. Bach
  • CAPPRICHO DIABOLICO M. Castelnuovo-Tedesco

8:40 pm Concert: Nathanael May, piano

Five Preludes
by George Antheil (1900-1959)
Frederic Chopin (1810-1849)
George Gershwin (1898-1937)
Claude Debussy (1862-1918)
John Carollo (b.1954)

In a Landscape (1948) by John Cage (1912-1992)

Any Resemblance is Purely Coincidental (1980) “for piano and tape” by Charles Dodge (b. 1942)

Intermission

Intermission. Photo: Susan Raddatz

Intermission. Photo: Susan Raddatz

Preludio (2011) by Ada Gentile (b. 1947)

Rain Tree Sketch II (1992) by Toru Takemitsu (1930-1996)

The Body of Your Dreams (2004) for piano and boombox” by Jacob Ter Veldhuis (b. 1951)

Nathanael May selects the first raffle prize. Photo: Susan Raddatz

Nathanael May selects the first raffle prize. Photo: Susan Raddatz


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Afternoon Tea Trio and Duets

Also known as Trio Afternoon Tea and Piano Duets

subtitled: Musicians Open Day

What do we want to do after hosting two consecutive concerts from our home? Chill out.

I want to hear the brand new trio of French horn, concert harp, and soprano — an unusual combination.

Trio Afternoon Tea: Emile Kaper, Kitty de Geus, Maria Pozdynakova

Trio Afternoon Tea: Emile Kaper, Kitty de Geus, Maria Pozdynakova

I want to play and hear the new multi-hand piano duets that did not get performed in San Francisco.

But most of all, I’d like to get the two pianists Nathanael May and Brendan Kinsella to share their views on the future for professional classically-trained musicians and conduct a career workshop. To lure musicians to participate in the discussions on topics close to their hearts, I am inviting a professional photographer and videographer to make press photographs and videos. I am inviting Chef Hany to once again provide an Egyptian feast for all. We will have workshops on how to launch a concert tour, writing professional biographies, and advanced networking skills.

Like the two previous events in this weekend of house concerts at the Monument House, there will be organic wine tasting, raffle draw, and silent auction. What’s different is that the performances are FREE to the public. The dinner is again 18 euros (but including a glass of organic wine).

Musicians get a discount of 10 euros if they recruit 1 dinner guest; 5 euros if they recruit 2 dinner guests; and a free dinner if they recruit 3 dinner guests. Otherwise, they pay 15 euros (not including wine, which is 2 euros per glass). In other words, musicians (performer, composer, conductor, teacher) pay nothing if they get 3 guests to reserve/pay dinners, 5 euros if 2 guests, 10 euros if 1 guest.

Discussion panels topics:

  • future of classical musicians’ career (given budget cuts), i.e. how to survive as a musician after budget cuts
  • work life balance: how to have a career in music and have a family
  • concert touring: how to do this, costs and benefits, contacts
  • house concerts: variety of approaches, audience development
  • music for a cause: fundraising, publicity, and the new revenue model
  • what do you need to have a career in music? website? photographs? social media networking?

To reserve, visit the High Note Live website.

The concert itself is FREE — or rather, by donations only — similar to the Glass Vase Concert of 2011 concept.

"Blue and White Vases"  24x36 acrylic on hard board by Rob Judkins (2011)

"Blue and White Vases" 24x36 acrylic on hard board by Rob Judkins (2011)

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Kinsella Concert 2nd July 2011

Wines painted for Columbus Symphony Orchestra fundraiser, 16x20 acrylic on canvas, Rob Judkins (2011)

Wine and Strawberries, 16x20 acrylic on canvas, Rob Judkins (2011)

As I blog, I plan the details of upcoming concerts which could easily comprise a festival. These events are more than concerts. They have elements of music, drink, food, conversation, and fundraising. Dare I call it a festival? Or just a concert series?

Alternative names for the second concert in this series:

  • organic wine concert
  • Kinsella plays Rzewski
  • Vietnamese dinner concert
  • Beethoven, Poulenc, Liszt, Rzewski

Which came first? The idea of introducing organic wine to guests of the Monument House to accompany live music.

Next, pianist Nathanael May introduced the American pianist Brendan Kinsella who will travel with him to the Soundscape Music Festival in the Italian Alps the following week.

I contacted my Vietnamese friend to take up on her suggestion an authentic Vietnamese dinner after she experienced the Egyptian dinner at last year’s Glass Vase Concert. She then contacted Chef Hong who is available to cater for Saturday 2nd July 2011.

Kinsella is giving a virtuosic programme of the late works of Franz Liszt, the famous Waldstein Sonata of Beethoven, Poulenc’s Aubade, and the very American feel of Rzewski’s version of American popular ballad “Down by the Riverside.”

As with the previous evening (Body of Your Dreams Concert), there will be organic wines served by Eveline Scheren and fundraising for an artist-in-residence fellowship through a silent auction of items from the Monument House and other donations.

Saturday 2nd July 2011

6 pm Doors open for authentic Vietnamese dinner

7:30 pm Doors open for concert

Silent auction, pre-bidding online

8:15 pm Concert (no intermission)

9:30 pm Raffle draw for door prizes

9:45 pm Results of silent auction.

For details and reservations, visit High Note Live.

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Body of Your Dreams Concert

Acryllic by Rob Judkins

"Rings" 24"x48" acrylic on board by Rob Judkins (2009)

Everyone wants to have the body of your dreams. It requires conscious regular exercise and attention to a balanced diet. Without concerted effort, the body of your dreams remains in your dreams.

Dutch composer  Jacob ter Veldhuis (affectionately known in the USA as Jacob TV) wrote a piano solo work in which the pianist needs to listen to a click track tape of his remixed American television advertisement of a slimming weight-loss belt. The so-named “Body of Your Dreams” for piano and boom box has made its way into the concert repertoire of a new generation of pianists, further made popular by the body-builder pianist Andrew Russo.

The tape, CD, and now video broadcasts: “It’s one of the ea­siest ways ever to get your bo­dy in the sha­pe you want it. It helps to to­ne and tigh­ten your up­per abs, lo­wer abs, arms and legs with no sweat at all!. It’s one of the simplest, smal­lest and most com­for­ta­ble to­ning de­vi­ces ever. You can use it whi­le wat­ching te­le­vi­si­on, do­ing the dis­hes, mo­wing the lawn.”

In short, Jacob TV’s “Body of Your Dreams” is a clever take on the American finesse in marketing and obsession with fitness.

When American pianist  Nathanael May told me he had included “Body of Your Dreams” in his programme for the house concert we are organising for him on Friday 1st July 2011, I just had to give the concert this name. I met Nathanael in 2003 when he invited me to give a sightreading workshop in North Cyprus. Since then, he has invited our duo to Italy where he founded an annual festival of contemporary music, first in Cortona and now in its third location in the alps. The Soundscape Contemporary Music Festival has now expanded to offer scholarships for composers and performers each year.

The concert will take place in the Monument House, in the multi-cultural neighbourhood of Lombok in Utrecht, the fourth largest city in the Netherlands, and also known as the creative capital and home of the oldest Dutch university.

Along with the theme of “Body of Your Dreams,” we have booked Eveline Scheren to provide tasting of organic wines she has carefully selected from Italy, Spain, France, and Chile. I met Eveline at a Rotary club meeting, before she started her own business of introducing organic wines to the Netherlands.

Each ticket will be entered into a raffle draw after the concert for prizes such as CDs, the limited edition of Monument House Glass Beer Mugs, and more. There will be also be a Silent Auction (to be linked to a blog yet to be posted) to raise funding for an artist-in-residence fellowship. Besides items from the Monument House, we are happy to receive donations for this cause.

** Breaking news: We are pleased to have Chef Alberto, who was born in a small village in Cordoba, to cater for a pre-concert dinner at 6 pm. He will be serving canapes, tapas, and a main course from the traditional Andalucian cuisine at 6 pm. This optional dinner before the concert can be reserved by indicating it in your email.

For more information and to reserve a seat, visit High Note Live, a web-based concert management and audience development website I am testing for use outside of the USA. Thus all $$ are actually in Euros for this concert.

This is the first of several concerts at the Monument House featuring music of American pianists and composers. The next one is on 2nd July 2011. [Watch this space.]

Friday 1st July 2011

6:00 pm: doors open – Traditional Andalucian dinner (optional) **

7:30 pm: doors open

organic wine tasting, view of silent auction items & bidding

 New! Panel discussions

New! Robert Bekkers, guitar, support act

8:15 pm concert starts (no intermission)

9:30 pm raffle draw (prizes include CDs, Monument House beer mug, and more)

9:45 pm silent auction results

The above painting by Rob Judkins, my classmate from Kubasaki High School in Okinawa, comes from his private collection. I will display more of his work in forthcoming posts of this Concertblog.

Parking until 9 pm is euro 2.29 per hour. But I expect most people will cycle or walk along the canal.

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