Tag Archives: Utrecht
Years ago, as a composition student, I was asked to write music to make use of the huge space in St Nicolas Church in Utrecht. Pressed for time, I adapted a piece for baroque recorders and baroque violin. Only at the premiere did I see the greater possibilities of space and movement.
As a finishing touch to my recent application for an innovation grant, I asked the Maui-based artist Mike Takemoto if he would consider having his students collaborate with mine. I was thinking along the lines of an exhibit of paintings of musicians, music instruments, or music notes. It would be an extension of the piano ensemble poster exhibit that I “curated” and organized with the photography teacher Harvey Reed and his photo and design students last spring. Such interdisciplinary collaboration raised awareness of the activities we wanted to promote.
What a delight it was to receive a request through Twitter to share a variation of my music!
I wrote Ostinatrio for three recorders and revised it for oboe after its premiere in Utrecht, Netherlands. Like most of my music, I forgot about it until I heard the electronic version which is a lot more, hmmm, what shall I say, relevant? for film music? exciting to play? for my piano ensemble?
A year ago Robert and I put up our house in Utrecht, Netherlands for sale and for rent. We wanted neither, of course. But we were on opposite sides of the earth, 12 time zones apart, dealing with a situation that required us to empty our home and take the first offer. Had we sold it, we’d be closing an important chapter in our lives.
Luckily the first couple who saw the renovated Dutch monument house fell in love with it and offered to rent it.
Whew! We didn’t have to sell it. Thus I never wrote part 2 of my blog: monument house for sale. But we still had to remove everything, including my beloved Steinway.
Now it’s up for rent again.
Available in mid-October 2013 – the entire house plus the garden house behind it.
I wish a musician would rent it — then we would move the 1909 Steinway grand back where it belongs.
From 2006 to 2011, we met our commitments to hold two concerts per year as part of the Monument House Concert Series in that lovely space. The last one on 2nd July 2011, only a day after the first one, was a good-bye to years of music making. I can’t watch the video in the next blog without tears, but I will try to use it in introducing minimalistic music in the “Introduction to Music Literature” class I’m teaching this semester at University of Hawaii Maui College.
For more information: visit Sabbatical Homes
Can anyone tell me the name of the movie in which a man and a woman date, get into a relationship, and split — the man listens to Mozart’s Requiem to cope with the break-up? The woman can read minds, so he is never private?
I watched that movie a long time ago — and developed a habit of listening to Mozart’s Requiem whenever I wanted to feel the sadness and tragedy of a situation.
When I returned to Maui recently, I came upon such an occasion. But my CD of Herbert von Karajan’s conducting Mozart’s Requiem was no longer with me. It’s probably among the entire collection of CDs that have vanished from my life — in Utrecht.
That in itself is cause for mourning.
Thanks to the Internet, I googled “Mozart’s Requiem” and listened to a version on Youtube. Much to my dissatisfaction at the slower pace and thinner texture, I searched for “Mozart’s Requiem Karajan” to find that particular version I knew and yearned.
Not only was I able to listen to the entire Requiem but also see the performers on Youtube. This nearly beats listening to the CD, except I have no stereo system. That too is gone.
What am I mourning? The loss of what is meaningful because the situation dictates it. What is meaningful comes from intention, be it a gift or purposeful acquisition. Over time, even that which was not intentionally and deliberately acquired could become meaningful if dwelled upon and appreciated.
Two weeks ago, I returned to London and took out what I had stored in suitcases, photo albums, and boxes — everything that I had wanted to keep and preserve in the secret loft. I was like a child again, returning home, surrounding myself with everything familiar and nearly forgotten in the years I’ve been away.
Sadly, after reducing my possessions by half, I had to store the remaining half away, boxed up and sealed. I don’t know when I will return again.
In the 10 hour flight to San Francisco, I bid farewell via two onboard movies and a nap. Flying westbound was a journey of goodbye, mourning of a reluctant loss.
Listen to Mozart’s Requiem on full blast — and you will experience a great tragedy.
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.