The one time I was proud of my playing as a member of the guitar orchestra and the combined sound we produced was also the one instance that I had forgotten to bring equipment to video or audio record ourselves. The three pieces we played in the concert of 27th April 2018 were much easier than the repertoire of the two previous concerts. I felt in control. I felt like a contributing member of the ensemble. We started and ended at the same time, no extra noises. My only regret was that I did not record it, and we won’t be giving this concert again.
From the reaction of the audience (loud and instant applause after each piece and the prolonged applause at the end; individual compliments after the concert), I gather we didn’t do badly at all. What makes an excellent performance? The first clue, we had an effective rehearsal only four nights earlier.
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If we celebrate birthdays, why not one for Mother Earth? Every April 22nd, people all over the world celebrate Earth Day in different ways. While I was living on Maui, I started using music to gather community and raise awareness for sustainability through concerts and jam sessions. It’s a combination of entertainment and education. The last one was my piano class joining forces with the ukulele class (video below). This year, Earth Day falls on Sunday 22nd April 2018, and I’m determined to do something special.
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Yesterday, the Boston Guitar Orchestra held its first open rehearsal at the Somerville Public Library. I dare take credit for suggesting it to Robert, the conductor and artistic director. Rehearsing in a public space will draw attention to who we are. This idea was born years ago when I proposed to situate new digital pianos from my innovation grant in the library and other places outside the classroom. Visibility raises awareness.
So what was it like to rehearse in the open?
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Premiering a new work is always a nerve-wracking experience, especially in front of the composer and an unknown public. I’m not sure who has the greater pressure, the composer or the performer, or in this case, the conductor.
On Sunday 18th March 2018, the Boston Festival Guitar Orchestra, made up of several regional guitar ensembles, including Boston Guitar Orchestra, gave the world premiere of Robert Beaser‘s Chaconne, a piece commissioned by the Boston Classical Guitar Society for the New England Guitar Ensemble Festival (NEGEF).
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After learning how to hold and tune your ukulele, the next step is what to do with your right hand (if you are right-handed) on the ukulele. This is the hand that controls the rhythm, the beat, the accents, and the tempo (speed). Strumming is all about time-keeping and rhythm.
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Eight years ago, I gave a paper on “house concerts for art music” to economists in love with music in Copenhagen. Today, Groupmuse is one of the grassroot initiatives that intermediates between artists and venue owners to realise such a concept. On Maui, I know of a clarinettist who produces these concerts from his home — always sold out. In and around Utrecht, I know of at least two. What are the issues that confront turning your private space into a concert venue for the public?
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After playing the guitar, picking up the ukulele is dead easy. However, the other way around is not so easy. My first and last guitar ensemble experience in the summer of 1998 brought back sweet memories of playing Gaspar Sanz at an annual guitar festival in West Dean, England. If I could do it then, surely I can do it now.
Continue reading “From ukulele to guitar, joining a guitar orchestra”