Schroeter’s Waltz for 4-hand, 1 piano is reminiscent of the romantic era, a piece that is easily sightreadable and playable after some cosmetic changes. Listen to an extract played and recorded by Anne Ku and Carol Ruiz Gandia in Utrecht, Netherlands. Note: This blog post has been taken down due to protests by the composer.
Among the 42 piano duets by 30 composers submitted to my Call for Scores project is a delightful, easily accessible (readable, playable, and appreciable) quatre mains duet by Brazilian composer. This Los Angeles-based composer’s style is reminiscent of the romantic era familiar to many members of the piano club in San Francisco.
I noticed how easy it was to play this piece in Maui, San Francisco, Utrecht, and the Hague where I introduced this new work. There are many repeated and modulated sections. The secundo sets a firm pace.
Note @ 21 December 2011:
It is with great reluctance that I have decided to erase the rest of this blog post, remove the sample score and recording. I had spent quite some effort getting the music read, interpreted, and reviewed by enthusiastic pianists in Maui, San Francisco, Utrecht, and the Hague, culminating in a recording made with Carol Ruiz Gandia on my Steinway in Utrecht. However, the overwhelming number of protests, to the tune of 50 unpleasant spam e-mails from the composer, tells me that sometimes feedback and publicity is not appreciated.
Robert Bekkers arranges music from the great opera arias for classical guitar to accompany Dutch soprano Mirella Reiche for outdoor performance in central Utrecht, The Netherlands. It is preparation for his upcoming solo guitar concert in the Hague.
“I am going to play on the streets of Utrecht,” Bekkers the Busker declared.
It’s not about how many coins he will collect in his guitar case.
It’s not what people think.
I recall reading articles on the economics of busking in an academic journal. After all the transaction costs of concertising in established concert venues, busking works out just as well. An economist worked out the economics of busking in London. Here’s another one about busking in New York City. I remain skeptical how much money you can make from busking. But then, you don’t need to book a venue, do publicity, etc.
“I’m going to accompany Mirella Reiche. She has a license,” he added. Apparently you need a license to play in the streets of Utrecht, the fourth largest city in the Netherlands. “She will sing highlights from opera.”
Bekkers discovered that it was easier to arrange the guitar parts than to look for sheet music. “Most guitar arrangements,” he explained, “are written for guitar solo. I don’t have time to visit book stores or order online, if there are any at all. It’s faster for me to look at a piano accompaniment and arrange it for guitar.”
I have seen Mirella Reiche perform live on several occasions. She is very expressive when she sings. I can imagine her leading the crowd from joy to sorrow, from love to rage — all the emotions the great divas have expressed through the timeless arias of famous operas of Mozart, Puccini, and others.
Each day Robert Bekkers puts on his crisp white shirt and dark trousers and announces,”I’m going to town. I’ll be back in a few hours.” When he returns, he brings back coins which he throws into a big pickle jar. “By the end of the month,” he declares, “this jar will be full.”
Over coffee today I told a friend about Bekkers’ busking activities. “I think I heard someone sing yesterday. I was at the central library.” That’s where they were.
Tomorrow 3rd August 2011 at 2 pm Stadhuisbrug Utrecht (opposite the central public library) Robert Bekkers and soprano Mirella Reiche will perform the following opera arias:
Ach, Ich fühl’s
Meine lippen sie kussen so heiss
Mein Herr Marquis
Quando me vo
Mio Babbino Caro
Dolente Imagine di fille mia (Bellini)
Tuute le Feste
Voi, Che Sapete
Deh, Vieni, Non Tardar
In Uomini, in Soldati
Je Veux Vivre
It’s the best training for a live performance, because it is a live performance in front of listeners who are free to come and go as they please and donate as they wish. In other words, a live performance is the best preparation for the next performance.
I call it —- thinking outside the box. Talgam asked the string quartet questions such as
If you don’t have a conductor, how do you know when to begin or end? Who leads?
Which passage do you like best?
How do you indicate the right tempo?
These are questions we don’t ask ourselves when we are rehearsing. How musicians communicate with each other in rehearsals is a mystery to most non-musicians. As performers, we don’t dissect the way we get our messages across. We indicate. We interpret. We might discuss. We compromise. It is not a science. We simply take it for granted, as musicians.
I had intended to write a review of that pre-concert talk and opening concert of the string quartet, but I got swept away by the momentum of preparing for our concert tour of the USA. Talgam and Stegeman’s on-stage “quartet discussion panel” brewed on my back burner until I got a chance to re-enact it in Phoenix, Arizona in early November and again in San Francisco.
At the Spirit of the Senses event in a loft apartment in Phoenix, Arizona, we gave a duo performance before the intermission. Afterwards, I invited Tom Houlon, the organiser, and guitarists Robert Bekkers and Matt Gould to sit in front of the audience. I moderated a discussion panel on house concerts.
Two weeks later, something similar happened in another loft apartment. After a chef-catered gourmet dinner, I invited the concert host Dr Chong Kee Tan to talk about his activities as amateur pianist, founder of his piano club, and founder/developer of High Note Live, an online software to manage artists, concerts, and audiences. I contrasted this against the view of the next panellist — composer, software-developer, and artistic manager Marc Parella. Only after the discussion panel did Robert Bekkers and I give our duo concert.
Because of the energy economists in the audience in San Francisco, I deliberately referred to cultural economics. While energy is a commodity, music is anything but. The half-hour discussion allowed the audience to participate. Perhaps this is a possible formula for future house concerts.