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
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
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
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 (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
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
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
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. 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