It was a novel experience to go on radio, not just to be interviewed but to play on radio. To play meant playing on a magnificent concert grand — a Steinway — in the radio’s recording studio.
I wish we had taken photos of ourselves in the studio. This was before smartphones. It was before we knew how to behave on radio. At least we blogged about it.
Listening to the radio clips reminds me there’s more work to be done. We have recorded Summer and Winter of Vivaldi’s Four Seasons, and then our lives got hugely interrupted. We need to do Spring and Autumn. When will that be?
There are many interesting stories surrounding the compositions and even more that we could relate to regarding our re-discovery and revival of these compositions for our two instruments.
Reading the latest news about KUHF’s layoffs distresses me. Bob Stevenson, who had interviewed us, has been laid off. Couldn’t the CEO’s salary be halved and save a few positions?
Here on Maui, I almost exclusively listen to the Hawaii Public Radio in my car. I tell my music literature students to give up what they usually listen to and, at least for the current semester, listen only to public radio. It’s a good way to absorb classical music by immersing yourself in it.
What do we do now? Download the mp3 clips and save them before everything disappears!
Nearly a month after the concert, people are still raving about it. The CD recording brought back fond memories of that evening of standing room only on Maui.
A CD arrived in the post about 4 weeks after the concert. Listening to it brought back memories of that action-packed, full-house evening. The guests started arriving more than an hour before the concert. Half-an hour before it began, the hall was full. Minutes before the concert, I saw the “reserved for pianists only” seats taken by two ladies who read the cards but ignored the request.
It was every concert producer’s dream: standing room only.
Perhaps it was the rigor of concert promotion effort or the success of previous year’s piano concert or both, the outcome was impressive. Nearly a month later, my hairdresser mentioned that she heard about this concert though she was not able to attend herself. One of her customers raved about it.
I was warned that seats would be taken early for the 7:30 pm concert at Maui Music Conservatory, on the second floor of the Queen Ka’ahumanu Mall in Kahului, the capital of Maui County. “Piano Synergy” was the name of this concert, which, for us 6 pianists, actually began 4 months earlier with Sunday afternoon group rehearsals.
On Saturday 14th July at 7:30 pm, Ebb & Flow Arts, the non-profit arts organization on Maui, presented that one-hour concert (without intermission) of original works for many pianos, including the premiere of a new piece it commissioned for this occasion.
The composer Thomas Osborne was not only present for this premiere but also played one of the parts: Piano 1. Aptly titled “Canyons,” it began with Piano 4, nearly always in forte or fortissimo and definitely always the loudest of all 4 pianos. Piano 3 echoed Piano 4 but slightly softer. I played Piano 2, even softer. Piano 1 was nearly always pianissimo. This method of imitation in terraced dynamics continues until an augmentation, a spacing out of the repeated passages. Listen below.
The last work to be performed that evening of the celebration of French independence on Bastille Day was none other than Darius Milhaud’s 4-piano work “Paris.” Wearing my dry-cleaned black silk dress purchased in Paris in summer of 2009, I stood up to introduce this 6-movement work. It was, without doubt, one that required the most study of all works selected for this concert.
“And now, for the piece d’ resistance, Paris, which is the raison d’etre for tonight!” There were French-speakers in the audience who were glad to help my pronunciation. Before each movement, I introduced that part of Paris and what to listen for. After Montmartre came L’isle St Louis. On a foggy day, you can hear the church bells of Notre Dame and nearby churches. Sometimes you can hear they are out of tune!
Promoting a concert involves more than announcing an event in one medium. It requires multiple media: television, radio, newspaper, and posters. View an example by photo, video, and audio of Ebb & Flow Arts Piano Synergy Concert on Maui, Hawaii.
Once upon a time, the concert was the talk of town. It’s the end result of all things. But nowadays there is too much competition for your attention — to0 many other things you can be doing, including staying at home and watching TV. To get people to come to a concert, you’d have to promote it.
Identify a concert’s unique selling points. Below is a photo of something quite rare: 4 pianists sitting at four grand pianos. It would catch anybody’s eye. This appeared in a free weekly paper that gets published on Thursdays — and just in time, too — the Thursday before the Saturday concert.
How to attract people to come to a concert? Mention the composers and repertoire, particularly if they are interesting and connects. In this case, there’s the premiere of a new piece written by a composer based in Honolulu, Thomas Osborne, who also teaches at University of Hawaii at Manoa. The date of the concert, 14th July 2012, also coincides with Bastille Day, celebrating French independence, hence a concert of music by French composers, including Darius Milhaud’s Paris.
Appeal to different audiences, including those who have access to television. The following 10 minute video clip was aired twice a day, every single day in the week of the concert on Channel 55, the 24/7 cable TV of University of Hawaii Maui College (UHMC).
Reach audiences via different avenues and media. On the Wednesday before the Piano Synergy concert, the following 25 minute clip was aired on local radio.
Besides local paper, TV, and radio promotions, there were also color posters, postcards, and local newspaper listings mentioning the forthcoming concerts.
What can we learn from this? While the musicians are busy practising, the concert organizer (producer) is busy letting as many people know about the concert as possible. These “previews” are important to help potential audience decide and anticipate. Here is a blog post anticipating the event.
It’s simply not enough to tell someone to come to a concert. It needs to reach all audiences in more than one way. Before doing so, one needs to think through what appeals, what attracts, what is relevant.
Saying goodbye to a Steinway Grand by finding the next owner and avoiding the fate of the worst kind….
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.”
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.
As preparation for her next concert of many hands on many pianos on 14th July 2012 in Maui, Anne Ku discovers other interpretations on the Internet.
In preparation for my next concert in mid-July on Maui, I decided to check out performances of the selected works on the Internet. The interpretations are much faster, crisper, and cleaner. It’s really hard to play fast, crisp, and clean —– that is, with many pianists on many different pianos.
Darius Milhaud’s Paris: Suite for 4 pianos spans different arrondissemont of Paris. I try to remember the Paris I know but I only remember Montmartre, L’ile Saint-Louis, and the Eiffel Tower from the 6 movements. I could not find a video clip of this fantastic work against the different scenes of Paris though the 2 on Youtube are sufficiently interesting. This piece is by far the most demanding of our entire 1.5 hour program.
Next, I looked for Gerald Busby’s Four! a statement for 4 pianos. Instead, I found Plucked — 15 hands on one piano. It’s a most remarkable and funny piece. If you have time to watch it, do enjoy the performance art.
Another 4 piano 8 hand piece is Wallace DePue’s 16 Pawns. It’s a short and fast one page work. No videos on the Internet. No background description. Perhaps we can get our own recording at the concert.
We will be playing two multi-hand pieces by Robert Pollock, founder and artistic director of Ebb & Flow Arts, the non-profit organization that is putting together this concert of Sunday 14th July 2012. The titles reveal just how many pianists and pianos. Five for Four. Three for Six. Answer: Five pianists on 4 pianos. Three pianos for Six hands.
I finally get to play a work of Morton Feldman, a composer I have heard much about but never studied. His “Piece for 4 Pianos” is interesting in that all pianists have the same score. It’s up to each pianist to decide when to play each note. Everything is soft. The result? a kind of rippling, echoey effect. Watch the meditative result below.
John Cage’s “Music for Piano” is another aleatory piece (one which the composer instructs the performer to decide on duration or other aspects of the composition). We each chose two consecutive pages from the album. It’s prepared piano at its best, though it would take about 30 minutes to prepare. We each have a bag of black rubber and white felt objects to insert between the strings of the piano for those notes we need to mute. The result? Texture that we’d otherwise not hear. Again, we decide when and how long to play each note. Last time we had agreed on the piece to last 7 minutes, but some of us were too fast and others too slow. It does take some practice to get 4 pianists to end at the same time.
Below is one interpretation of John Cage’s “Music for Piano”
Sadly there is not enough music for many pianos. Ebb & Flow Arts commissioned composer Thomas Osborne to write one for us. The mp3 version of his “Canyons” for four pianos is very powerful. I will try playing it today.
Luckily there is plenty of fun pieces for two pianos and even two pianists on one piano. As 14th July is Bastille Day, we decided to choose works of French composers. Ravel’s Mother Goose Suite; Faure’s Dolly Suite; and Debussy’s Petite Suite.
I am so glad to be able to participate this time. Last year my multi-hands on one piano work “Three on One” was performed in the Battle of the Pianists concert in Maui while I was in Utrecht. Ironically, rehearsing these multi-hand, multi-piano works with other pianists just makes me miss sightreading chamber music with string and wind players even more!
Free concert – no reservation required. Get there early — last year was standing room only!
Anne Ku catalogues new piano solo works by living composers on Concertblog
As a sightreader, I am always looking for new challenges, that is, to play new music I have not seen before. Before I entered the world of composers, I would search for published music of dead composers.
In my musical journey, I discover that the new music (of living composers) is just as interesting if not more. These days, if I come across music of a composer I like, whether it’s ensemble music or piano guitar duo, I’d ask if he or she had written anything for piano solo or piano duet. Similarly — vice versa.
Below is a catalogue of the piano solo works I have reviewed and introduced on Concertblog. I will continue to add to this list, arranged alphabetically by the composer’s last name.