How do ukulele groups approach the task of song selection to serve the dual purpose
of attracting and retaining members and audiences? This question addresses both repertoire development and concert programming.
Members are those who attend the meet-ups to play ukuleles and/or sing along
Audiences are those who attend the performances, and may sing along from where they sit or stand but don’t play with the group
Does the responsibility for choosing songs, finding, creating, or altering existing song sheets, making them available online or in print, as links, individual song sheets, compiled songbook, etc rest on one individual such as the leader? Does an official “gig book” or “song book” exist for the group, from which participants call out their choice of song? Or does a new songbook or song list get compiled for each gathering? Alternatively, do participants bring copies of the song sheet of their own choosing to distribute to others?
Maui-based composer Robert Pollock’s “A Little Transition Music, Please” is exciting and engaging to play. Listen to the recording and judge for yourself.
One of the reasons for calling composers to submit sheet music for multi-hand piano duets (i.e. my Call for Scores) was that I got tired of the predominance of the existing repertoire for 4-hand one piano music that’s easily available in libraries and in music stores. I was sure there was more music than the quartre mains of the bygone 18th and 19th centuries. Back then, composers readily arranged piano versions of chamber music and even orchestral works. Some began with duets and then orchestrated them.
When I told Maui-based composer and pianist Robert Pollock about my Call for Scores, he immediately gave me his “A Little Transition Music, Please” — quatre mains written for the occasion of 21st November 2010 – MACC presents E&FA. Robert Pollock founded Ebb & Flow Arts after he moved to Maui from New Jersey. Most recently the foundation organised a “Battle of the Pianists” on 16th July 2011 in which my multi-hand duet “Three on One” (6 hands on one piano) was performed.
As I could not participate in the “Battle of the Pianists” because I would be physically on the other side of the world, namely in the Netherlands not Hawaii, I carried his piano duet across the Pacific Ocean to San Francisco to sightread it with Chong Kee Tan and across the Atlantic Ocean to Utrecht, Netherlands where I finally recorded it with Brendan Kinsella on my Steinway on 4th July 2011.
What emerged was a duet we all found to be exciting, engaging, and fun. Click to listen to the recording below.
The secundo starts with what seems like an ostinato on the left hand, setting the scene, or rather the pace and the anticipation. The primo joins in the second beat of the third bar, like a conversation. In fact, the entire piece is a conversation that gets more and more charged and exciting. The secundo never stays still but keeps the momentum going.
Music that has been performed is obviously more ready to be sightread and played than untested sheet music. Let’s hope works like these find their way into mainstream quatre-mains repertoire.
We are now preparing a completely new programme for 2010. What sets it apart from previous programmes is that it is full of new transcriptions that are equally fun and exciting for piano and guitar. We open with Handel’s Arrival of the Queen of Sheba.
We are now preparing a completely new programme for 2010, to debut on 21st January 2010 in Doorn, Netherlands. What sets it apart from previous programmes is that it is full of new transcriptions that are equally fun and exciting for piano and guitar.
We open with Handel’s Arrival of the Queen of Sheba, whose 4-hand one piano score could easily be read for our piano and guitar combination. While I was visiting Helsinki in mid-November to play the duet with my Finnish friend, Robert Bekkers transcribed it for our duo. It’s a piece that makes me happy every time I play it.
The choice for the second piece is tricky. I’m not sure what to put between the Queen of Sheba and the third piece: Winter from Vivaldi’s Four Seasons. Perhaps we should choose a lesser known piece, just to break the familiarity of sticky tunes, or as the composer and pianist Daniel Abrams suggested, a solo piano or guitar piece.
Robert arranged Winter for our duo, largely because the Summer concerto worked so well for us. The latter was very exciting and challenging to play in sync. He chose it after spotting a young Korean guitarist playing the fast sections on youtube. Originally written for string orchestra, Winter is much easier to play than Summer. I particularly like the second movement – Largo. How fitting it is to study Winter in the final week of 2009 with snow thawing on the ground. I feel that sweet contentment of being indoors, in the warmth and coziness of a well-insulated Dutch house. Winter has never been like this, where I grew up — in the subtropics.
I first heard Manuel de Falla’s Danse Espagnole from the opera La Vida Breve at a final exam concert at the Utrecht Conservatory in 2008. I was so taken by it that I invited the Spanish violinist Angel Sanchez Marote and the Okinawan pianist Shumpei Tanahara to play it again in our Monument House Concert Series. [A midsummer afternoon tea concert programme PDF] I asked Angel (pronounced An – hul) where to get the music. He said it was one of many popular arrangements by Fritz Kreisler, available at music book stores. Coincidentally, Robert owned an arrangement for two guitars which he rehearsed with his own duo. His guitar part was 80% the same as the violin part in the violin-piano score I found at a second-hand sheet music store in Amsterdam. Needless to say, it was a matter of time before we adjusted the score for our piano guitar duo.
I was delighted to stumble upon a video clip of Angel playing the Spanish Dance, with a different pianist (below).
The only works in our new programme that are original to piano and guitar are the Grand Duo Concertant and Grand Potpourri National which are long enough to fit a concert by themselves. The former was a collaboration between 33 year old Mauro Giuliani and 19 year old Ignaz Moscheles, and the latter between Giuliani and Johann Nepomuk Hummel. The 25-minute Grand Potpourri National is a joy to play. It contains themes of national anthems of the countries in 1815 when it was written. So far we’ve only managed to identify Rule Britannia and Haydn’s Deutschland Uber Alles which became the Austrian national anthem. We’re told there is also Vive Henri IV (French national anthem). What about the others?
When I met the English guitarist and composer David Harvey in London in 2006, he gave me his arrangement of Piazzolla’s Tango Suite no. 2 (from his guitar duos). It’s only now that we have time to include it in our repertoire. We played it recently for my Rotary Club gathering.
We revisit another great Spanish maestro, the blind composer Joaquin Rodrigo (1901-1999), whose Fantasia para un Gentilhombre took us through all of 2009. This time, we return to his most famous guitar concerto, if not THE most famous of all guitar concertos: the Aranjuez. Robert had arranged the beautiful slow movement for himself as soloist with an ensemble of flute, bassoon, and guitar in an outdoor summer concert which I organised in London (photo below). Since 2002, we’ve considered studying all three movements of the Concierto de Aranjuez, we’ve never been so convinced until now to include it in our program.
Ever since I saw Bizet’s Carmen in Amsterdam, I promised and vowed to make an arrangement of my favourite pieces from this delightful opera. The orchestral score has been sitting on my grand piano for months while I searched for interesting piano solo and duet arrangements. Perhaps my own arrangement for piano and guitar will be the missing second piece in our new programme. That’s my way of getting back into the swing of composing again.