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?
Today I read that the new CEO Shumate laid off key personnel at Houston Public Radio KUHF.
I was shocked.
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!
The Ides of March is a name for the 15th of March, clever branding for a concert.
Branding begins with a name.
A relevant name makes it easier to remember than a non-relevant one.
Make the name easy to pronounce and spell. Then it’s easy to remember.
The 15th of March is traditionally known as Ides of March.
For years, I celebrated the Ides of March, not for “bubble, bubble, toil and trouble” or the risk of it, but rather the fact that I launched my first website on the Ides of March.
One particular Ides of March in 1997, I drove my red Nissan convertible out into the wet streets of Houston. Actually, it was more than wet. It was flooding. At the wettest point, I found my car swimming in the waters of Upper Kirby. This ordeal left such an impression that, immediately upon my return, I wrote the lyrics and music to “Ides of March.”
For my Friday Piano Class, I decided to give their first recital a name — the Ides of March Concert. Doors open at 1:45 pm. The Concert begins at 1:45 pm on Friday 15th March 2013 — in Maui!!
Anne shares 5 steps she learned from 10 years of promoting concerts that she attended, organized, produced, hosted, or performed in.
One of the most read posts in this blog is “Getting people to come to a concert.” Another name for this exercise is audience development. One goal is to get enough people to come to a concert so that your costs are covered and you can even get a return. Another goal is to have these people that come to your concert come to your next one and, even better, they get others to come.
The first concert may be a lot of work (to promote). Each subsequent concert should get easier. After you’ve built a reputation and a mailing list, you should get a full house every time.
In the last 10 years of experimenting with different ways to get people to come to my concerts, I’ve identified 5 steps that have worked for me.
- Identify who you want to come to the concert.
This is where you have to analyse your audience make-up. In Houston, I brought my colleagues. In London, I invited my neighbors, colleagues, and new contacts. In the case of Monument House Concert Series in Utrecht, Netherlands, I wanted new people to come so that they can experience the authentic house concert tradition. I knew that previous guests would always come because of the sticky nature of such intimate occasions. I also knew the viral nature of word of mouth. But it was getting new people that was the challenge. If I only expected the same people to come every time, our concert goers would have been a clique.
- Analyse the lure.
What is the ace of spades? Is it the music? The performer(s)? The composer(s)? The audience? (People want to come to be with other people they expect to see there.) The venue? The occasion? The date/time? (nothing else better to do). The theme? (benefit concert). Identifying the ultimate lure is the key to a yes.
- Figure out where these folks are located, i.e. how they can be reached.
You may start with the low hanging fruit, i.e. your family, friends, neighbors, and colleagues. Beyond that, how do you find your audience? Where do they hangout? Music stores? Music libraries? Music colleges? A concert? How about music lovers groups on Linked-In? “If it’s fish you’re looking for, why climb trees?”
- Use the right communication tool.
Some folks read their emails and act. Some react to newspaper ads. Some listen to the radio. There are online, offline, face-to-face communication methods. You might have to try everything. See “concert promotion by other media.”
- Write. Rewrite. Format. Reformat.
A concert invitation is different from an announcement. You have to write to persuade. You may even have to put a personal touch to it. The result you want is action — which leads to a full house and a guestbook that looks like this.
The secret to success is your mailing list. The bigger it is, the higher the chance of drawing an audience. Mailing lists get built over time not over night. This is the subject of yet another blog post.
Anne Ku remembers performing in Villa Maria in Houston, now up for sale for $5.7 million.
During our tightly packed 5-week concert tour from Boston to Maui (18 Oct – 25 Nov 2010), we did not have the time to write about every concert. Needless to say, this does not mean that we do not remember them!
When my friend Grace e-mailed me that Villa Maria was up for sale, I discovered I hadn’t even mentioned this important concert that flew us into Houston, cutting short our stay in Phoenix!
My friend Linda had pushed for us to perform in that mansion. I had no idea it was so grand, the occasion so elegant and completely out of this world.
Houston was where house concerts started for me. In February 2001, I performed in a concert of improvised music. There were two Steinways, one from New York, the other from Hamburg, side by side. It was River Oaks. It was my first house concert.
Who would have thought that I’d be back in Houston nearly 10 years later, actually giving concerts?
I invited my friend Grace to the concert at Villa Maria. She probably thought every house concert was just like that — something out of a movie or ancient Rome.
It was a guitar extravaganza — a program already full. But the organizers managed to squeeze us in – just 20 minutes which became 15 minutes – 2 pieces: Vivaldi’s Winter from Four Seasons and Manuel de Falla’s La Vida Breve.
The owners sat directly in front of the stage like the patrons of days past. The concert hall was purposefully built and opened onto the balcony. Beneath was where we warmed up — a converted gym. Robert recalls: “it was my first time, being in a 5-star gym as a green room and the stage was like a Roman villa, complete with paintings: the perfect backdrop for a program with Vivaldi.”
The article neglected to mention the prized and decorated Doris Duke Steinway grand piano that I played on. I wonder if that is for sale, too? [Open the article in full view and scroll to the middle to read about this 1901 New York Steinway Model B.]
Anne Ku introduces Pachelbel’s famous Canon to beginners of piano.
Johann Pachelbel’s most famous work is his Canon in D. George Winston played his version of it in the key of C. Why not? C is 2 sharps easier than D major.
Is it possible to decompose it further? Simplify it so that even beginners can have fun with it?
I recall a post-concert spontaneous “jam session” in Houston, Texas where Robert on his guitar and I on the piano played the chords of Pachelbel and the host improvised on his flute. It was such fun that I wanted to do it again.
A canon, by definition, is a piece of music where one voice repeats the part of another, throughout the whole piece. Pachelbel’s Canon is often subtitled with “basso ostinato” — a repetitive bass. Once you know the bass line and the sequence of chords, you can repeat it over and over again.
In the above score, notice there are 4 parts. Four different players can play in sequence. The first begins. The second joins at the beginning when the first reaches rehearsal mark A. Similarly the third player joins at the beginning when the first reaches rehearsal mark B and the second reaches rehearsal mark A. And so on.
Of course there is more development than these 16 bars, but at least beginners can play this.
Twitter delivered the shocking news of the 5 Browns piano quintet
Twitter is magic for news hungry readers of the latest and the greatest, the free, and the last-minute. Twitter has been magic to confirm someone’s death and the lack of information until articles are published and investigations done. Twitter has been magic for last minute offers or about-to-be sold out concerts.
Today Twitter delivered a shocking piece of news in the classical music world.
The amazing five siblings called the Five Browns, born in Houston and home-schooled in Utah, are virtuoso pianists all trained at Julliard. Their father Mr. Brown confessed to sexually abusing his children and, according to the latest sources, will face 10 years in jail.
Just 10 years?
The Browns’ official website is down due to traffic overload. There are several Facebook pages.
Twitter is capable of delivering shocking news. Bad news travels faster than good, unfortunately. As a pianist, I am shocked and very sad.
Visit youtube (below) to find more clips of this amazing quintet – playing multi-hand piano duets — on 5 pianos!