Tag Archives: Netherlands

Queen’s Birthday Gift: abdication for the new king

If I weren’t in Maui or connecting flights in Chicago, I would definitely rather be in Amsterdam right now.

Only by stumbling upon a friend’s post on Facebook did I learn that the Dutch Queen is abdicating her throne for her son on 30th April 2013. What a historic event it is!

Every year, on 30th April, every one in the Netherlands comes out to play. It’s not the present queen’s birthday but that of her mother’s that she chose to declare a public holiday for the nation. There are street parties from morning till night. You can either choose to host your own party, sell your wares outside your house, on your street, or visit other parties. The next day is probably the smelliest and dirtiest day in the country, for the streets reek of stale beer and urine.

My first encounter of the Queen’s Birthday Party was in 1995 when I decided to visit the Keukenhof, by way of a conference in Rotterdam. My Dutch friend told me about this public holiday and gave me a glimpse.

From that day on, I was hooked. Every 30th April in the Netherlands was a day to enjoy with friends.

Here’s a toast to the Queen and the new King —- and all my friends in the Netherlands.

Leave a Comment

Filed under communication, culture

Real-time crisis management of concert performers

Recently I found myself describing the busiest period of our duo’s life as that of real-time crisis management. Each concert was real-time. Each concert held surprises. We could never fully anticipate  what might go wrong. It took a lot of practice (giving concerts) to get good at dealing with the unexpected.

Some things were in our control, such as giving ourselves enough slack to get to the concert venue, but the even the reliable Dutch train system has defied our planning. We always had to get used to the piano at the venue, its interaction with the guitar, and the acoustics of the hall or room. Our performances were never “broadcasts,” except those on radio. They were interactions, for we affected the audience as much as they affected us.  Any number of things could go wrong. Ambient noise and what seemed normal in the venue’s routine (such as the sound of refrigeration) were not acceptable for optimal concert performances. Yet we had to put up with that.

Real-time crisis management implied adjusting to surprises and solving problems on the spot. When a piano leg broke just before our concert in northern Spain, we found a remedy and gave our performance as if nothing was amiss.

Our rule was never to cancel a gig and never be late to a concert. Even when traffic made it nearly impossible, we kept our word, such as the arduous journey in getting to the south of the Netherlands.

In 2008, we gave about 60 piano guitar duo concerts. In 2009, we gave 36. In 2010, we gave 61. These did not include our concerts as soloists or duo or trio with other instruments, including choir.

In 2011, we gave only 3 piano guitar duo concerts. In 2012, none.

During our active concertizing period, our daily routine consisted of practicing by ourselves, rehearsing together, booking concerts, driving to concerts, performing, and returning. The Dutch have a custom of giving fresh bouquet of flowers. During busy periods, we ran out of vases. Some audiences gave us bottles of wine, boxes of chocolates, and even organic produce from their gardens. Our reward was a fine performance with appreciation shown in the audiences’ faces. And of course, the cheque.

Given this sort of lifestyle, i.e. that of real-time crisis management, it’s not surprising that we didn’t have time to look beyond the concert stage.

Piano guitar before a concert

Piano guitar before a concert

In 2010, it was clear that the Dutch government was going to make generous cuts to the arts. Our orchestral friends were protesting in the streets.

We set a couple of goals. Go to America. Robert would pursue his doctorate in music while I would revamp my career in other areas that would bring more certain income to allow me to live in Maui near my family. What next? We need to learn the art of planning to get there.

Leave a Comment

Filed under audience, communication, concert, guitar, instrument, piano, travel, venues

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

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.

Leave a Comment

Filed under audience, communication, composer, composition, concert, economics, planning, venues

Piano concert in Zeist, Netherlands

On the other side of the world, I am following what goes on in the Netherlands. This coming Sunday 18th November 2012, there’s a concert in Zeist, not far from Utrecht where I used to live. I can’t get there from Hawaii but I hope my friends will visit. When they do, please also visit the room full of grand pianos.

What lives in Zeist, where the concert will take place, is my beloved Steinway Grand. It’s been tuned, regulated, voiced, and ready for sale at euro 19,500, a far cry from what I listed when I was trying to sell it on my own in Utrecht after I tried to say goodbye.

Steinway Grand for Sale in Zeist

Steinway Grand for Sale in Zeist, photo: Fokke vd Meer

Sunday 18 November 2012
3 pm

Hanna Shybayeva

  • Sergei Rachmaninov: Etudes-Tableaux
  • Alberto Ginastera: 12 American Preludes
  • Igor Stravinsky: Tango
  • Astor Piazzolla: Soledad/ Michelangelo70/ Preludio 195/ Adiós Nonino/ Libertango

‘t PianoPodium

Dijnselburgerlaan 1 hal 20 3705 LP Zeist

The Netherlands

e-mail to reserve  Suggested donation 15 euros.

Leave a Comment

Filed under audience, concert, piano, venues

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

5 Comments

Filed under art, audience, concert, culture, fundraising, planning, review, venues

Sheet music for sale

Books on bookshelf 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)

2 Comments

Filed under composition, economics, photos, sheet music, sight reading

Adieu to a Steinway

When we first received the Steinway, it took up a big corner of the house in Bussum. I was afraid it was too close to the fire place. Robert joked, “Well that’s a lot of wood to burn, for a long time.”

Throughout the years, from the Steinway Welkomfest in Bussum to our house concerts in Utrecht, visiting concert pianists brought out the depth and breadth of sound — warm nostalgic tones from the Romantic era.

As I scout the market for its next owner, I can’t help thinking that once again I am saying goodbye to a friend via cyberspace. I am unable to play it, caress it, or hear it. I am on the other side of the world, answering e-mail enquiries and writing to those who might have a hand in its future.

A friend sent me 4 consecutive e-mails of the following video from the New York Times. He really wanted to make sure I got it, I guess. It’s not a nice way to say goodbye, and I surely hope it will not be the death of mine.

Requiem for a Piano (video)

Another friend sent me the NY Times article that wrapped around the above video: For More Pianos, Last Note is Thud in the Dump.

For sale: 1908-1909 New York Steinway model A, Utrecht, The Netherlands

Listen to me playing my Adieu to a Piano on every one of the 88 keys of the Steinway, saying goodbye to its predecessor in London. [MP3]

Adieu to a piano by Anne Ku

Adieu to a piano by Anne Ku (3 page PDF)

1 Comment

Filed under articles, mp3, piano, sheet music, video

For sale: Steinway grand piano

Asking price Euro 21,000     now euro 19,500

Please use LEAVE A REPLY box below for enquiries & appointments. These will NOT be posted but owner will reply.

First time buying a Steinway? Download the Steinway Buyer’s Guide for free.

IMG_2915

Steinway Grand at the Monument House, Utrecht, Photo: Fokke v.d. Meer, 2012

IMG_2909

Steinway Grand at the Monument House, Utrecht. Photo: Fokke v.d. Meer, 2012

Steinway Grand at the Monument House, Utrecht

Steinway Grand at the Monument House, Utrecht. Photo: Fokke v.d. Meer, 2012

Steinway Grand at the Monument House, Utrecht

Steinway Grand at the Monument House, Utrecht. Photo: Fokke v.d. Meer, 2012

Sound clips:

Amaranthinesque – piano duet 4 hands, by Chip Michael, performed by Anne Ku & Brendan Kinsella, Utrecht, Netherlands July 2011

Fantasy Impromptu – Chopin – performed by Rie Tanaka, Bussum, Netherlands, June 2004 (shortly after purchase & restoration)

6 Comments

Filed under concert, culture, instrument, mp3, piano, sheet music, venues

Wanted: home for a Steinway

My relocation to the Netherlands in 2003/2004 coincided with a refund of monies from Singapore. It was a milestone for change.

Frustrated by the daily challenge of finding a good piano to practise at the conservatory in Utrecht and the inadequate upright piano at home in Bussum, I decided to find a grand piano of my own.

First I visited the local piano shop whose owner led me to a room full of Yamahas. I could not find a piano that was special enough to be different. I abandoned the idea of a Yamaha and went for a Steinway instead. The story of how I found that piano and the piano technician who helped me negotiate the price is an interesting one, perhaps for another blog post. He did request that I visit his atelier after I got back from Taiwan. A month later, the French polished, restrung Steinway grand arrived in Bussum.

It was a glorious moment — to finally have a Steinway Grand Piano in my home. The Steinway was not from Hamburg but from New York. Made in 1909. All 188 CM of it. Model A. Ivory keys. One celebrated concert pianist, Dutch winner of the Liszt Piano Competition who commuted between Vienna and Utrecht, remarked that it was a Rachmaninoff piano for it had that romantic sound.

Here’s how the Steinway sounds: Intermezzo by Allan Segall, performed by Anne Ku, recorded by Robert Bekkers.

I held a Steinway Warming party for my piano friends. With the upright piano, four pianists could play on both pianos. We tried all sorts of duets.

Once I got accustomed to being the proud owner of a Steinway, it was time to let go of my Gerhard Adam, a German mahogany grand piano from the 1920′s which I left behind in London. I wrote a decision making guide to buying a second-hand piano to help sell that piano online. Once again I walked down my memory lane of buying a piano. I wrote an Adieu which used all 88 keys on the piano, a way for me to say goodbye thru the new owner I did not meet.

Here is a recording of my playing on my Steinway. Adieu to a Piano by Anne Ku

Steinway Grand Model A 188cm, 1909 New York, before recording session

Steinway Grand Model A 188cm, 1909 New York, before recording session

In summer 2006, the Steinway moved with me to Utrecht. We launched the Monument House Concert Series with a violin and guitar concert by Duo 46. That December we chose the theme Piano as Orchestra, featuring several concertos (harp, euphonium, guitar). The following year we combined food with music in Chamber Music Tapas Style. Every year we committed to organizing two house concerts. Often we had several mini concerts, including a kitchen concert, garden concert, impromptu concert. Each time we became more adventurous and more professional. We outsourced food and wine to professional chefs and wine sommeliers. We included art exhibitions.

On my last trip back to the Netherlands, I felt compelled to host two concerts back to back. Despite being time-challenged with only 2.5 months to sort out my things, I felt it was important to organize these concerts for two American pianists on their way to the Italian alps. Why? Maybe instinctively I knew it was the last time my grand piano would be heard in a concert setting. Sure enough, 2nd July 2011 became the last house concert.

And the last recordings were that of piano duets I had collected from a Call for Scores from Hawaii to Holland. Here’s Brendan Kinsella and I playing my late composition teacher Henk Alkema’s piece.

APPEAL:

This Steinway Grand, made in New York in 1909, model A – 188 cm – needs a home. SALE. RENT. or LOAN.

Steinway for Sale with new photos and sound clips.

Interested parties please use the LEAVE A REPLY field below.

Steinway Grand at the Monument House, Utrecht

Steinway Grand at the Monument House, Utrecht

3 Comments

Filed under concert, personality, photos, piano, travel, Uncategorized

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

Leave a Comment

Filed under audience, composer, composition, concert, fundraising, instrument, photos, planning, recording, rehearsal, research, review, sheet music, sponsorship, video