It’s a mouthful, but every single word is significant. Today is the official summer solstice in 2018, otherwise known as the longest day of the year. Yesterday, being the Wednesday that my ukulele group meets each week, we gave our first public performance for the senior residents and staff members of a nearby building. Sunset is that magical time when you know the deadline of darkness is approaching, and everything must get done by then. To make it participative, we called our gig a singalong so the audience would be encouraged to join us in the singing. Standish Village is an award-winning assisted senior living residence, housed in a historic landmark building (no. 24 in this document), in Historic Lower Mills, just a short walk from Walter Baker Artists Lofts where we regularly meet to jam (or rehearse).
What’s noteworthy? One person had just learned how to play the ukulele three weeks ago in my crash course, four others had never performed on the ukulele before, and it was our first performance as a group.
Four years ago, Anne Ku faced the daunting task of getting 40 musicians to play her music. She learned that those skills are transferrable.
This time four years ago, in the historic city of Utrecht, Netherlands, I was contemplating “how am I to do it.”
The task of recruiting musicians to study my music and perform (or rather, premiere) it for the first time and only once — without compensation — was a daunting one.
It would have been easiest to have just one performer play my music. And that performer could be me. After all, I know my own music. I wouldn’t need to find other musicians, convince them to rehearse, and take the risk of playing music that’s never been performed or heard before. And to play it just once? After all that studying?
Next easiest would be to write music for a duo or a limited number of players. Why did I challenge myself with producing a half-hour-long opera with a sizable ensemble, choir, and soloists? There had to be separate rehearsals with the choir. This was not the path of least resistance.
Where could I find these musicians? Ask their teachers? Approach them one at a time?
How would I get musicians to do it? I asked other composition students. How did they do it? Nobody had written a chamber opera with so many performers before. Orchestra yes. But not opera.
What I learned from those months from February to June 2008 was how to produce a concert with no budget. What was involved? It was a collaborative effort.
getting the musicians to arrive on time
getting the musicians to show up
getting the musicians to commit
organizing the music (making the part scores)
changing and editing the music
preparing the programming notes
preparing the slides for the overhead projector
setting put the stage
getting the event photographed and recorded
doing the publicity
getting help (stage manager, stagehands, usher)
ordering flowers to thank the musicians and selecting wine to thank the conductors
arranging post-concert refreshments for the audience
arranging dinner for the musicians
getting sponsors to pay for printing programs (PDF) and posters and the rest
getting the posters and programs printed
Thinking back, these skills are transferrable, for now I am managing an expanding team of volunteers. I am not paying them. They are not paying me. But we all work to the same goal.