Tag Archives: Utrecht

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.

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

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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)

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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)

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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.

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

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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)

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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

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Concerts for free or nearly free

Search for “classical concert etiquette” and you will get guides like this one and numerous others. These articles are well-written. It would be superfluous to write more about this subject. In thinking about advice for first-time concert goers, I recall how I became an avid concert goer. It began with the word FREE.

When I lived in London and learned of the free concerts at the local music college, I was curious if I could or should attend. I would show up for a lunch concert. Sometimes there were more people on stage than in the audience. I would make eye contact and feel somewhat uncomfortable because I had seen them before. Perhaps elsewhere in town or at a previous concert, I was not sure. The discomfort could also be described as a kind of guilt. It was a free concert. What did I do to deserve a free concert? It was sheer indulgence for me —- I had the time and interest and desire. The discomfort could also be described as a kind of trespass. I was neither a student nor an employee. I merely lived in the neighbourhood.

After I became a “regular,” someone from the college introduced himself to me and talked to me.  I gasped. I was not invisible after all. Somebody noticed that I had been faithfully attending these free concerts. Was it time to cough up and pay? [It's so English not to say anything unless you are introduced. Self-introductions are an American phenomenon.]

It wasn’t until I enrolled as a full-time conservatory student in the Netherlands, that I saw the concerts from the other side. The concerts were always free. There was no budget to administer tickets. There was hardly a budget for publicity. The free concerts were never full unless it was someone’s final exam, opera, orchestra, or composition concert.  There could easily be more people on stage than in the audience. There were regulars from the community. I would give them a nod and sometimes a grin. We acknowledged each other as conspiring in the same indulgence of classical music.

As a composer and performer, I wanted to see more people in the audience. Yet as a student, it was not for me to change the policy of the school. The doors were wide open for anyone to come to concerts. But the concerts were not actively promoted. The shops around the school did not have posters of the concerts. The shop keepers and assistants didn’t know about the concerts. The conservatory once welcomed Mozart, Schumann, and Brahms. That was history. The teachers were busy teaching. The students were busy studying.

And that’s how I clocked up thousands of free concerts. Every conservatory and music school seemed to have the same policy or lack of a policy when it came to concerts. Free.

Audience at final exam concert in Utrecht Conservatory, 2008. Photo: F. vd Meer

Audience at final exam concert in Utrecht Conservatory, 2008. Photo: F. vd Meer

University of Hawaii Maui College (UHMC) is situated directly across from Maui’s equivalent of Carnegie Hall (New York) and Concertgebouw (Amsterdam) and the Royal Albert Hall (London). Its largest concert hall seats 1,200. The smaller hall seats 250. There’s also an outdoor stage. When I first arrived on the island, I assumed there was a connection between the two. Just as Amsterdam Conservatory gets to use the Concertgebouw and Muziekgebouw aan ‘t IJ  and the Royal College of Music has access to the Royal Albert Hall, I thought UHMC had access to the Maui Arts and Cultural Center (MACC).

Well, it doesn’t work that way. UHMC is not a conservatory. Yet the MACC is very much a world-class facility with state-of-the-art acoustics and instruments. Perhaps the association is not about sending students to perform on stage but to fill the seats with last-minute discount tickets, as is offered elsewhere. While students cannot afford higher priced tickets, they can tolerate the uncertainty of not having a ticket well in advance.

In England, there are always last-minute standby tickets (lowest price for whatever is available) about 30 minutes to 1 hour before the show. These are offered to students, unwaged, low-income, and pensioners. One of the perks of studying in London was attending concerts at the South Bank, Wigmore Hall, Royal Albert Hall, and countless other venues, on a last-minute standby student discount. Could such a perk be offered to the 4,000 students at Maui College? If they know of this discount, they can look out for it.

** From the point of economics, one could argue that those that can afford to pay for a ticket will not necessarily buy the most expensive ticket. Thus the best seats risk being unsold. To avoid such front-row seats being empty, offer these to those who are flexible with time and tolerant of uncertainty yet can’t afford the high prices. The rationale is that these seats would otherwise not get sold at all.

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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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Surfers and Performers: a parallel universe?

Recently I came across an article entitled “The Surfer’s Guide to Personal Development.” The author Svrinas Rao, obviously a surfer, talks about lessons he learned as a surfer and how they apply to life.

Being a newcomer to the surfer capital of the world, I can’t help but be fascinated by the surfer culture here: the lingo, the way surfers check weather forecasts, the intricate network in which surfers monitor the waves and call each other up for updates. I’m intrigued by how keen they are to get up before dawn to catch a wave and how they talk enthusiastically about it afterwards.

Makena, Maui watercolor by Frances Ku

Makena, Maui watercolor by Frances Ku

How does this relate to the world I’m from?

Musicians have our own language. We get information about gig opportunities from other musicians or from participating in certain projects and ensembles. We observe certain etiquette — the way seasoned surfers acknowledge the line-up. Each concert is a real-time experience, just like catching a wave. Each wave is different. The acoustics are different. The audience is different. We have to be able to anticipate and cope with uncertainty. We embrace the unknown.

Rao talks about “being present.”  He translates this to mean “focus on what you’re doing now.” As performers, we can’t afford to be distracted by movements in the audience or unexpected and annoying flickering of light. We have to focus on the music, our playing, and delivering the best.

In his earlier article, Rao wrote “timing can make the difference between a great ride and a severe wipeout.” For us chamber musicians, it’s all about timing. That’s why we first establish the tempo and the rhythm. We have to be in sync even when we are slowing down, speeding up, or doing a rubato.

Here on Maui, I’ve seen men greet each other not just as teacher to student or salesman to customer but also as surfers who have shared a morning together. There is a comraderie built from years of surfing from the same beach. Perhaps these surfers who go to Utrecht, Netherlands will notice how my fellow musicians greet each other, from years of performing together.

Click here for a live webcam from Mama’s Fish House at Hookipa, Maui. Click here to read a sociological study of surfers.

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Waltz by John Carollo

John Carollo, composer, and Anne Ku, blogger, Honolulu, 3 April 2011

John Carollo, composer, and Anne Ku, blogger, Honolulu, 3 April 2011

On Sunday 3rd April 2011, while sightreading 81 short piano pieces entitled “80th Birthday Jingles” by the Honolulu-based composer John Carollo, I came across an old work of his from 1986. John, whom I first met in Cortona, Italy in July 2006, walked out of his kitchen and came towards me.

“I haven’t heard that in awhile.” He seemed caught off guard. Later, I learned that he had forgotten about this piece.

It was tonal music from his pre-serial days.

“Play it again,” he mused.

John had written this Satie-like waltz for his friend Bill whose surprise birthday party I had attended two nights earlier in a million dollar home in Hanepepe Loop. On Sunday in a penthouse in central Honolulu, we were just eating the leftovers from that executive chef-catered dinner when my playing of his Waltz evoked even earlier memories of his journey as a composer.

I liked it so much that I took it to Utrecht, Netherlands and recorded it on my grand piano on 4th August 2011.

Waltz by John Carollo, interpreted by Anne Ku (mp3)

Waltz by John Carollo

Waltz by John Carollo

Just yesterday afternoon I found the three of John’s CDs: the award-winning Ampersand, Starry Night for String Orchestra, and Transcendence in the Age of War. Now that I have time in Maui, I will listen to his works, although I have already heard one performed in my house on 1st July 2011. Pianist Nathanael May played his Prelude as the last piece of a set of five by the composers Antheil, Chopin, Gershwin, and Debussy as the opening to a house concert. (Programme 2-page PDF) It was well chosen before John Cage’s dream-like “In a Landscape.”

Immediately after I left Honolulu, John began composing a 9-movement work for my piano guitar duo. While we have not yet had time to rehearse the piece, I have already requested John to extend the second movement which is so addictive!

Born in Torino, Italy, John Carollo was brought to the U.S. by his adoptive parents.  John took piano lessons and began composing his first piano works while at San Diego State University where he graduated with a Masters Degree in Psychology.  Shortly thereafter, John moved to Honolulu, began a full-time mental health career for the State of Hawaii and started private composition lessons with Dr. Robert Wehrman. So great was his passion for composing that he quit his day job to compose full-time. Since then his works have been performed in Italy, Netherlands, and elsewhere. Website: http://www.johncarollocomposer.com

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