Anne Ku connects the themes of rose, Father’s Day, the brain, and Alzheimer’s Disease to pay tribute and raise awareness at the Rose Concert 2015. She premieres Emre Aki’s “Little Angel” dedicated to his daughter.
Two years ago, I gave my first Rose Concert at Roselani Place, a home named after the rose in central Maui for elderly residents. When I ran out of songs about the rose, I ventured into songs about other flowers like jasmine, cherry blossoms, etc.
This time, on Friday June 19th, I also paid tribute to Father’s Day (Sunday June 21st) and National Alzheimer’s Disease and Brain Awareness Month. Call it a concert to celebrate the beautiful minds of Aaron Copland, Maurice Ravel, and Scott Joplin.
Chopin’s Raindrop prelude was used in the movie Margin Call.
The movie “Margin Call” takes place in the space of 24-hours. In that time, someone is fired, a model gets completed, the results are communicated, decisions are made, actions are taken, reputations are ruined, and the financial crisis is triggered.
While waiting for dawn to break, head honcho Sam Rogers (Kevin Spacey) drifts off to sleep at his desk. We hear the second part of Chopin’s famous prelude, also known as “The Raindrop.” It’s not the raindrops we hear but the growing sound of a storm coming. It starts low and builds in strength and range. When it finally reaches its peak, Rogers jolts from his nap and the headphones fall off. The music stops. He awakes.
The piano solo score can be downloaded for free from the IMLSLP Library. Listen to Horowitz play this famous work.
Click HERE for a good analysis of the movie “Margin Call” and analogies.
Background solo piano music to a yoga session in Maui led one practitioner on a trip down memory lane.
Yesterday afternoon, I attended my first yoga session since returning to Maui. The new instructor put on piano music as background to the 1.5 hour session. At first it was not intrusive, for I did not recognise any of the pieces. They seemed like improvisations or new age music that’s not familiar.
This sort of music was what I had been collecting as background music to play in hotels and social occasions: music that is unfamiliar and not intrusive.
After awhile, the music got repetitive. I could figure out the same pattern of chord progressions. Very tonal. Very predictable.
As I lay there on my back with one leg on one side and my arms on the other in a typical “twist” position, I listened to the music and started wondering who wrote these solo piano pieces. More questions arose.
Who played them?
Where did the yoga instructor get her music?
Would I recognise any piece?
Was it all piano music?
How did the instructor select these pieces? Was it a pre-compiled selection specifically destined for Vinyasa Yoga?
Just when I was about to give up trying to figure out the music, or more importantly, whether I could have played and recorded a selection of my own favourites, I heard a chord that I recognised.
It was Debussy’s Clair de Lune. A hesitant introduction to a scene in the movie “Twilight.” I forgot yoga. I started listening actively. This interpretation was different from mine. What’s next?
Erik Satie. Gnossiennes number 1.
While I was listening and hunting for the correct title – not Gymnopedies but Gnossiennes, I also thought of the composer’s background and life. I was no longer conscious of the yoga moves or the yoga positions but completely absorbed in the classical music world that I had left behind in the Netherlands.
Surprisingly, after Satie, came Brahms. It was one of his many intermezzos that took me through my brief stay this past summer in Holland.
After Brahms, I expected more romantic music but instead it regressed to an early Baroque piece. Perhaps it was Bach. Perhaps it was a reduced version of a work used in film music. I could not pin it down. But it reminded me of the piano solo transcription of the theme from one of his harpsichord concertos that was used in the movie “Hannah and Her Sisters.” I played and recorded it on my Steinway in Utrecht, Netherlands in early August 2011.
When it ended, I came back from my trip down memory lane. What next?
Just two chords and I knew it was Chopin. It was a nocturne I had played before. It was not my favourite but it was definitely familiar. I had once aspired to record an entire CD of Chopin for my mother but I became too critical of myself.
Anne Ku remembers the 1st July 2011 concert of Nathanael May the way she planned it and invites the guests to comment.
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.
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).
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.
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.
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.
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.
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)
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)
Coincidentally, it is also the year of the International Franz Liszt Piano Competition which occurs every 3 years in Utrecht, Netherlands, where I have been living since 2006. The winners get to tour the world until the subsequent competition. As audience, you attend the semi-finals and finals not to understand and appreciate Liszt but to experience piano playing at its best. You sit and watch young pianists devour Liszt repertoire with stunning virtuosity. The Liszt menu varies by the day, and die-hard Liszt aficionados (a.k.a. Lisztians) never tire of it.
Having hosted a Liszt prize winner twice and listening to him bringing out the most from my Steinway grand, I thought I knew Liszt until I heard Thomas Purviance at the Maui Arts & Cultural Centre (MACC) yesterday.
Legacy of Franz Liszt
On Sunday 10th April 2011, Purviance presented Liszt as a person —with a slide show projected to the big screen. He greeted the audience as a storyteller, introducing Franz Liszt as a pianist, composer, teacher, and benefactor. He contrasted Liszt with Chopin, whose 200th anniversary preceded Liszt’s by a year. While Chopin played in salon concerts, Liszt preferred public concert halls. While Chopin wrote almost exclusively for piano with great perfection and mastery, Liszt’s music extended far beyond the piano but not everything was perfect.
After this introduction to Liszt via Chopin, Purviance played the Etude de Concert no. 3, also known as Un Sospiro which means “a sigh.” My Finnish friend had introduced this piece to me in London. It was nice to hear it again. I could easily have mistakened it for one of Chopin’s works because of the distinctive melody floating on the wave-like arpeggiation beneath. It was a good opening piece to those of us less familiar with Liszt. Below: Thomas Purviance playing Un Sospiro in the Czech Republic.
Paganini made a huge impression on Liszt. After hearing the violinist perform in Paris in 1831, Liszt decided to do the same for the piano by extending what was technically possible for the piano and establishing new standards of performance. Liszt took 6 of Paganini’s original caprices and turned them into a volume of work for the piano, entitled Grand Etudes of Paganini, S141, of 1851. Embedded in this are new innovations for piano playing.
Purviance demonstrated the alternating octaves in the beginning of Paganini Etude no. 2 in E-flat before executing the piece beautifully.
The Années de Pèlerinage (Years of Pilgrimage) contain some of Liszt’s finest works, inspired by his years in Switzerland and Italy. Purviance chose Vallee d’Obermann from the first pilgrimage (to Switzerland). The melancholic mood is entirely different from the romantic mood of the next piece, Sonetto 123 del Petrarca from his second pilgrimage (to Italy).
Finally, Purviance gave an example of Liszt’s Hungarian Rhapsody no. 12, lesser known of the 19 piano solo works based on Hungarian gypsy tunes. Through this format of slide show, lecture, and performance, Purviance showed his knowledge of Liszt and repertoire and shared his love of the music he selected in this programme.
The audience leapt to give a standing ovation. But something was amiss. Hungarian Rhapsody No. 12 is not like the No. 2 which has become famous through use in cartoons and Hollywood films. How should an all-Liszt concert end?
Purviance read our thoughts.
He said, “When I gave this concert to some friends, they asked, ‘haven’t you forgotten something?’ ”
Without further ado, he sat down and rolled out one of Liszt’s most famous and eternal pieces — Liebesträume (Dream of Love).
Later I learned from a fellow listener that Thomas Purviance gave a concert of all Chopin works in 2010 in the same location — similar format. This integrative approach of introducing the composer through his works, portraits, and influences fared well with the audience, for you get to understand and appreciate the artist.
Whose birthday is it next year to get the Purviance touch? I only got as far as getting a business card from Thomas Purviance in the back stage. But his card had nothing to do with music!
Classical musicians are trained to perform not entertain. However, increasingly audiences want entertainment. Is there a compromise?
At conservatory, we’re taught to perform not entertain. Yet the world of performance is being crowded out by demand for entertainment.
Famous classical pieces take on new meaning after they have been chosen as themes for movies. Chopin’s posthumous Nocturne in C sharp minor reminds us of the movie “The Pianist.” Whenever I play it, I think of that tragic atmosphere of loss and hopelessness.
Debussy’s Clair de Lune accompanies that delicate moment when Bella visits Edward for the first time. My friend in Denver wants me to play it exactly the way it sounds in the Twilight movie.
Or is simply that classical music takes on a new context when used in situations that bear meaning to us?
Would it be a compromise on our training and eternal quest for beauty and perfection to abdicate performance and embrace entertainment?
Or should we pay attention to what our listeners want? They want to hear those tunes that remind them of the good times in their lives, the movies they love, the weddings they attended (or perhaps their own). We as musicians can easily execute that.
To us, Pachelbel’s Canon in D may be a performance. To them, it’s entertainment — reminding them of the theme from “Ordinary People.”
My friend in DC sent me the following clip of the most popular string quartet in Poland. They are popular because they are entertaining. But more importantly, they are virtuosic, creative, and fun! Mozart would be laughing at this. Click on Mozart Group.
In short, a performance can be entertaining. But to differentiate ourselves and to draw audiences, we as performing artists may need to do more than interpret the music the way we think the composers expect their works to be played.