A journalist for a popular monthly magazine in Amsterdam called me an hour ago to enquire about house concerts. It’s a subject I’d like to write about, having personally experienced them in London, North Wales, Birmingham, Houston, Bussum, Utrecht, and Amsterdam.
I should clarify that initially I organised and produced house concerts in London so that I could perform in them. It evolved into a mechanism to play chamber music with interesting musicians that I was meeting in my travels. I’ve also attended concerts in beautiful homes in Houston, Amsterdam, and Utrecht. Nowadays I prefer to perform and leave the organising to house concert producers.
The late composer pianist Robert Avalon first introduced the term “home concerts” to me on one of my frequent trips to Houston where he was based. I languished in the triangular logic of “home is where the heart is” and “music is the food of love” and therefore “home concerts” or “house concerts.” It made total sense.
After performing in difficult situations, such as against the rattling of refrigerators and restlessness of audiences not familiar with the classical concert circuit, I longed for the silence and stillness of dedicated house concert audiences. They pay anywhere between 8 euros (Funen Concerts Art Productions, Amsterdam) to 15 euros (on average) and up, even voluntary contributions for a house concert that could include refreshments or more.
Our Monument House Concert Series, which hosts concerts twice a year in our home, began as a vehicle to share our music and our musician friends with our neighbours and the local community in 2006. It was also a way to introduce new repertoire, such as Robert Bekkers’ solo guitar programme in the 2007 Kitchen Concert in our newly renovated kitchen.
I am lucky to be on the mailing of a house concert series in prestigious Keizersgracht in Amsterdam, where I’ve once turned pages to experience it first-hand. The photographer-turned-impresario stores four grand pianos for musicians that allow them to be used in his ground floor flat which accommodates up to 80 people.
We gave our most recent contemporary duo concert in a house concert series in Funen Park Amsterdam. The owners Bart and Erik run their fortnightly Sunday afternoon concert series and art gallery out of their modern one-bedroom apartment. This deserves a separate blog entry.
Earlier in May, we gave a concert in a beautiful villa on the edge of Madrid — another forthcoming blog to write.
On 26 September 2009, we will give a mixed concert in a new house concert series in Amsterdam. In the first weekend in October, we will organise a classical guitar concert in our Monument House Concert Series, the previous one being a cross-domain event of contemporary piano duets with live video in March (pictured below).
What is so special about house concerts? For musicians, we get the opportunity to play to an attentive audience who are true connoisseurs of our music. It also allows us to “practise” before an important audition, a competition or a bigger concert, such as a high profile venue.
For the audience, it’s a rare occasion to go into someone’s private dwelling and enjoy live music in an intimate and relaxed setting.
Once you’ve experienced a house concert, you would think twice about going to a big hall, sit among strangers, and leave as soon as the music is over. We encourage our house concert guests to linger and get to know the performers and members of the audience.
While house concerts are a big and necessary part of the Americana singer-songwriter movement in the USA and Canada, it is not so well advertised (if at all) for classical music. Ironically in the 19th century, chamber music was performed in such house concerts where often performers played their own compositions. We tell the story of the Ducaten concerts of Johann Nepomuk Hummel and Mauro Giuliani where you pay one “ducat” to attend. But how many composers perform their own works today?
What do the organisers get out of producing house concerts? We put on three consecutive concerts in the space of two days in November 2007 to raise funding for our first trip to the USA (pictured below). For us, a mailing list and a large network of classical aficionados helped make it a joy to organise. Each concert was unique. In the following month, we gave two house concerts in Houston, the first in a 10,000 sq. ft designer home of architects in Memorial Park and the second in the town house of an investment banker in Montrose.
I told the journalist that producing house concerts isn’t profitable unless you do it on a regular (frequent) basis. “It barely breaks even for us,” I said. “We don’t charge our time or that of our volunteers. We have often included home-cooked food and a variety of refreshments. It’s time-consuming and interruptive to our daily routine, for we have to move the furniture and give up our rehearsal space.”
“So why organise house concerts?” she asked.
“It has to be for the love of music and a desire to share.”
I neglected to mention that the garden house (designed by Robert Bekkers in 2007 and finished in 2009) is our new venue for extremely intimate house concerts. Below is a video tour taken just before the celebrated violin guitar duo of Matt and Beth arrived from Italy to stay for a week. Duo46 had opened our first concert in summer 2006 with “Music of the Americas.”
We will be hosting the Cape Town classical guitarist Derek Gripper at the end of September next. Watch this space.