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The Secret Ingredient for Success

Thursday, January 26th, 2012

By: Edna Landau

To ask a question, please write Ask Edna.

I was recently honored to be asked to participate on a panel at the annual Astral Artists auditions, during which I listened to a substantial number of pianists and wind players. While all were on a rather high level, I was struck by the relatively small number who grabbed my attention right from the start of the audition and sustained it all the way through. It got me thinking about a three letter word, not often mentioned, that for me constitutes an essential ingredient of successful performance, whether on stage or in the workplace:  JOY.  While it is indisputable that beloved artists such as Itzhak Perlman and Yo-Yo Ma have earned their place as musical legends first and foremost by virtue of their extraordinary artistry, I am convinced that their joy in music making has been an essential ingredient in making them household names. It is palpable from the very first notes that they play. I believe that this element of performance is rarely addressed in the practice room, where the majority of attention may be focused on the mechanics of playing. Can joy be taught? Probably not, but I do think that all teachers can encourage their students to identify and perform repertoire that brings out the best in them and in which they feel they have something special to say. For works that are relatively unfamiliar, the artist should be encouraged to share with their audience some spoken comments regarding why they chose to program the work, thereby increasing the potential receptivity to it from their listeners. Joy in performance may result from confidence that a program has been well prepared, and from the artist’s belief that it offers works or interpretations that might be new to an audience or juxtaposed in an interesting way. The artist might pause, almost imperceptibly, before a phrase that they find particularly special, just as a storyteller would do, thereby sharing that moment more meaningfully with the audience. It seems to me that our most treasured artists are those who give us the impression that there is nothing they would rather be doing than performing for us. While a healthy schedule of performances is essential to a successful career, a concert should never be a means to advance to the next rung on the career ladder. It is a special moment in time, and the opportunity to communicate with a live audience should be savored.

And what about the workplace? In my twenty-three years as Managing Director of IMG Artists, I interviewed many job applicants and often made a positive decision after the first few minutes. A good number of people that I hired still work at IMG after ten years or more, and they have all advanced through the ranks to higher levels of responsibility and more distinguished titles. Their excitement about working at a dynamic and distinguished international agency was visible to me from the start, and it quickly became apparent that the pleasure they took in their work overshadowed any eagerness they may have felt to advance in their career. The promotions came naturally because they were great team players, galvanizing everyone around them with their enthusiasm and joy in having a job that allowed them to be surrounded by great performers and inspiring colleagues. This created a family atmosphere throughout the years, despite substantial growth in the size of the artist roster and number of employees, which I think was a key element in the company’s success.

Beethoven’s Ninth Symphony may be the most beloved work in the classical music literature, uplifting all who hear it with the final movement’s magnificent setting of Friedrich Schiller’s Ode to Joy. Our lives will undoubtedly be richer and more meaningful if we can compose, and actually live, our own personal ode to joy.

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© Edna Landau 2012

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You Don’t Know Me, But…

Thursday, January 19th, 2012

By: Edna Landau

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Dear Edna:

I’m an artist sending out letters of inquiry to a handful of presenters. Can you give me an example of an inquiry letter you might send, as an artist, to a concert series or presenter when proposing a concert? —Kimball Gallagher

Dear Kimball:

In a time when the DIY approach is increasingly the way to go, especially for young artists, I commend you for plunging in and seeking engagements on your own. While nobody really knows how many presenters actually read unsolicited letters from artists, some I have talked to indicate that they might at least read the first paragraph, and if the letter is well-written and compelling, they will finish it. They might even listen to a little bit of an accompanying demo cd. It is therefore critical that your letter is concise and to the point. Your letter can demonstrate your awareness of the presenter’s typical series offerings and how you think you might fit into their artistic planning. If you have a particular repertoire strength that is somewhat unusual or can offer a new work that you commissioned, that should certainly be highlighted. You might also want to mention your interest in doing outreach activities, if applicable. While each situation might call for a specifically tailored approach, here is an example of what might prove effective:

Dear Ms. Caldwell:

In a time when recital series seem to be dwindling in number, it is a pleasure to see the commitment you continue to make to solo artists and to introducing your audiences to musicians whom they might not yet know. I am a pianist and graduate of Juilliard who seeks to offer somewhat unusual programs and enjoys engaging with audiences before or after a concert.

In the 2013-14 season, which marks the 100th anniversary of the birth of Benjamin Britten, I will be offering a program which will include his Five Waltzes, Opus 3, as well as other works related to dance, from a Bach suite to tangos by Astor Piazzolla. I have enclosed a sample of a recent cd and hope that despite your very busy schedule, you might have time to listen to at least a little of it. Also enclosed are sample programs from some recent concerts, my bio, review quotes, and a brief description of some educational and community activities I have offered to presenters.

I will call you in a few weeks to see if it might be possible for us to work together. With much appreciation for your consideration,

Sincerely,

My informal survey of presenters has not revealed a clear preference for receiving this sort of letter by traditional mail or by e-mail, with a downloadable music sample. However, several I spoke to did admit that e-mails have a way of getting overlooked in the hubbub of a given day and that they sometimes like to listen to demo cd’s en route to or from work. At the bottom of the letter, be sure to include links to your website or to YouTube, but take care to ensure that any video clips are recent and good quality. Good luck!

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© Edna Landau 2012

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One Stop Shopping for Management and Public Relations

Thursday, January 12th, 2012

by Edna Landau

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Dear Edna:

I am a well-established soloist who has always booked and promoted myself. Once I reached middle age, I made numerous efforts to find an agent who can do for me what I’ve done for myself, only with more savvy and sophistication. But I’ve found that the most desirable agents are closed to people in my age group, and that typically they do not do promotional work. I’ve also learned that publicists don’t book engagements. It seems to me that one-stop booking and promo would make sense for everyone and that such dual-service entities would be the answer to many artists’ needs.  Are there no hybrid agent/publicists out there who perform both tasks? —-curious soloist

Dear curious soloist:

Your question is a very interesting one. It seems logical that managers who spend their entire working day seeking performance opportunities for their artists would be equally adept at pitching stories about them to the media and helping to develop their image and profile. One would also imagine that their complete familiarity with their artists’ careers would enhance their pitches to the press. In truth, the skills involved in fulfilling these responsibilities are different and both campaigns rely on a well-developed network of contacts that is built over many years. There is no overlap between these two networks. As a result, there are very few agencies that offer their artists both services. I am aware of Kirshbaum, Demler and Associates and Dworkin and Company in the U.S., and Konzertdirektion Schmid and PR2Classic in Germany. (All management agencies do employ staff to send out publicity materials to presenters who have engaged their artists and to field requests for interviews and radio/television appearances which may come into the management.) In the case of the four agencies mentioned above, artists pay separately for public relations. Not all of the artists on the roster avail themselves of these services, except in the case of Dworkin and Company, whose list is rather small. This is probably a good thing since the principals of those companies would probably burn out in no time from the potential stress of fulfilling both roles. It should also be mentioned that not all artists require an ongoing targeted publicity effort to be made on their behalf, in particular the younger ones. Those that do usually have high profile careers with fairly regular newsworthy developments that justify their paying extra for public relations assistance. In your case, it sounds as though you should continue to handle your booking arrangements or find a suitable partner, while seeking out a publicist for key projects such as commissions and recordings. Many publicists will accept such project work. You will pay a fee instead of a monthly retainer and will probably come out ahead of the game financially.

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©Edna Landau 2012

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Pursuing Two Careers Simultaneously

Wednesday, January 4th, 2012

 

 by Edna Landau

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Dear Edna:

I am a composer, recently graduated with two Masters degrees, and I have chosen the administrative route for a small and ambitious organization. In your earlier column entitled “Overqualified and Underemployed”, you rightly wrote that many connections can be made working in an administrative position in the field of music. The downside is that (especially in this economy) many administrative jobs are 50+ hours a week, plus additional hours for commuting. The result is little time and energy for pursuing one’s musical craft during the week (and family members have their own ideas about your weekend time). Here’s my question: One disconcerting thing I have heard from multiple sources is that an administrator (I’m an executive director) is not taken seriously as a “real” musician; the implication being that if one is REALLY talented, one wouldn’t need to take a day job. Is this a reality? Not counting academia, are there musicians/composers with good reputations as both? –CS Rusnak

Dear CS Rusnak:

While I am not totally surprised to hear that numerous people have questioned the seriousness of a musician’s commitment and level of accomplishment if they hold a day job, it does seem peculiar both from the point of view of today’s economy and the number of established and renowned musicians who do both, with great distinction. In the case of younger musicians, it should come as no surprise that opportunities don’t always present themselves right out of school and that composers, in particular, who rely on commissions, might need to supplement their income in other ways. My colleague, Kristin Lancino, who is Vice President at G. Schirmer Inc. in New York, tells me that there are four people in her office who work full-time and who are active composers or performers/conductors. If one looks at higher profile administrative positions, one finds Ed Harsh, President and CEO of New Music, USA, himself a composer, and Laura Kaminsky, Artistic Director of Symphony Space in New York, who received a prestigious Koussevitzky Music Foundation-Library of Congress award to write her recently premiered piano concerto for Ursula Oppens. Undoubtedly, these arts administrators find that their day jobs lend an extra dimension to their creative lives, removing them from the potential isolation of a composer’s daily existence and immersing them in the heart of the performing world. Their interaction with music industry colleagues on a daily basis also serves to increase awareness of their creative output. More importantly, their administrative positions afford them opportunities to build new audiences and to mentor and assist young musicians, while possibly giving them exposure. Composer Missy Mazzoli was Executive Director of MATA, an organization committed to helping young composers. Some of today’s most beloved artists have managed to assume leadership roles in arts administration, achieving all of these goals and more, while maintaining a rigorous performing schedule. A towering example is Placido Domingo, founder of the Operalia Competition, who concurrently juggled General Director positions with both the Kennedy Center and the Los Angeles Opera. Musical America’s 2012 Musicians of the Year, David Finckel and Wu Han, show no sign of reducing their busy solo, duo or chamber music performance schedules, while simultaneously lending their brilliant vision and artistic direction to the Chamber Music Society of Lincoln Center, as well as Music@Menlo, which they founded. Hopefully, these examples prove that if one is a REALLY talented musician, one might still want to take a day job (or two), for the sheer joy of sharing one’s experience with others, expanding opportunities for the next generation of performers, and ensuring that the venues in which they will perform will be run with the vision and openness needed to promote those performers’ increasingly innovative and groundbreaking ideas.

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© Edna Landau 2012  

 

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Is There a Network of House Concerts?

Thursday, December 15th, 2011

By: Edna Landau

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Dear Edna:

I have been told by many of my musician friends that it is very gratifying and helpful to perform in house concerts because they allow for direct communication with a small and appreciative audience and an opportunity to play through repertoire in an unpressured environment. In some instances, they might even put a little money in your pocket. Can you tell me how I might go about identifying such opportunities? Is there any central house concert website? —Andrew K., violinist

Dear Andrew:

While it is true that house concerts take place all over the world, I am not aware of any directory that lists them. This may well be because of the need to maintain privacy and ensure security when opening one’s home to the public. There is an informative website, ConcertsinYourHome.com, which does provide its members with information about hosts of house concerts, enabling them to get in touch directly, but it is my impression that the opportunities are for singer-songwriters and folk music performers, not classical. They do offer a free and helpful “House Concerts Guide”, written by their founder, Fran Snyder, which walks the reader through all aspects of performing in or presenting a house concert. Most of what they cover is universal to any genre of music.

A good place for you to start would be to ask your musician friends whether they can introduce you to the individuals who have hosted their concerts. Perhaps you can also encourage them to program a work in their upcoming concerts that might include you. If you are still a student, you should visit your school’s concert office to see if they have a list of hosts. You could also check with the Development office, as they often coordinate private concerts for current or potential donors. Let them know of your interest in participating in them. Set aside some time to think about possible concert hosts among family friends, fans, or people you may have met in a variety of professional or social situations. Violinist Hilary Hahn was able to secure a substantial amount of the funding for her commissioning project that is generating twenty-seven new encore pieces via a house concert hosted by someone she happened upon by chance.

In New York, where I live, there are a wide variety of house concerts taking place regularly.  Some of them, such as the series at the home of Shirley and Sid Singer, have been going on for as long as twenty years and generally feature up and coming soloists and chamber ensembles who are recommended by managers or returning by popular demand. Others, such as chamber music concerts hosted by Dr. Daniel Kuhn, a cellist and psychiatrist by profession, are motivated by the host’s desire to play great music with artists they admire. A third category would be concerts for the benefit of a designated charity, such as Classical Action’s Michael Palm Series, which typically feature artists of some renown. None of these would be easy for you to penetrate. However, Michael Reingold, Producer of NYC House Concerts for the past six years, works with a variety of hosts in presenting 25-30 concerts per year. Some of the artists are his own choices outright but others approach him by e-mail, and he tries to introduce new faces into the mix. His particular motivation is to introduce his friends and their friends to the beauties of classical music. He also is happy to afford artists the opportunity to try out a new program and to gain experience in communicating verbally and socially with audiences that are new to this music.  Neither he nor the artist(s) receive any financial gain but if the host is in agreement, the artists can put a basket at the door for voluntary donations, and they can always feel comfortable selling cd’s. If you live in New York, you should definitely acquaint yourself with this organization.

Perhaps the most entrepreneurial individual I have met in regard to pursuing house concerts (and more) is pianist and composer, Kimball Gallagher. A graduate of Rice University and Juilliard, he is the founder of PIANOKEY, “a salon concert company that is dedicated to the revival of the romantic salon culture”. He is currently in the midst of “The 88 Concert Tour”, which he organized totally on his own and which has recently included performances throughout the U.S., as well as in Shanghai, Taipei, Mongolia, Hanoi, Bangkok, Tunisia, Turkey and Afghanistan. Each concert host receives a short personalized piano work that he writes for them, using a compositional system to spell out musical notes to match their names, and which is included as part of the program.  Mr. Gallagher receives a fee for these concerts which, added to income from private teaching, allows him to make a reasonable living. He does not conceive of the concerts as preparation for more significant events but rather as events in themselves. He connects with his audiences in interesting and innovative ways that wouldn’t be possible in a larger venue; for example, playing a virtuosic Chopin etude at a slower tempo before performing it as it was intended to be heard. His success at international networking is quite spectacular, and yet it breaks down into small, logical steps that follow from one another. He keeps track of every new contact he meets and has the charm and confidence to ask them to help, If he believes they can. When he has needed to fill out a tour in Asia, he has contacted Juilliard to see which alumni might be residing there. There is much to learn from Mr. Gallagher’s intrepid approach to organizing his own concert life. The fundamental answer to your question is: Don’t look for a network of house concerts. Research them as best you can but in the end, don’t hesitate to create one!

To ask a question, please write Ask Edna.

© Edna Landau 2011

This is the final “Ask Edna” column of 2011. I wish all our readers a very happy holiday season and look forward to reconnecting with you on January 5, 2012!

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The Student as Critic

Thursday, December 8th, 2011

By: Edna Landau

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Just a week ago, I had the pleasure of visiting the Oberlin Conservatory at the kind invitation of Prof. Kathleen Chastain. Prof. Chastain teaches a course called Professional Development for the Freelance Artist and she has been encouraging her students throughout the semester to send in questions to this column. As a result, we have had some excellent questions from Oberlin students which I have enjoyed answering. While at Oberlin, I learned of a brand new initiative, The Rubin Institute for Music Criticism, which excited me greatly. Why, you might ask (Edna), would I become so enthused about a program to train future writers about the arts when they might not be able to support themselves doing so? The internet is full of articles and blogs that address the steady increase in the number of arts critics who have been dismissed from their posts. There is certainly the hope that institutes such as this one may help to underscore the importance of expert music criticism and the role it plays in educating and building future audiences for the arts. I also strongly believe that music students can greatly benefit from having the opportunity to learn from leaders in arts journalism and from the experience of writing about performances they attend. Reflecting upon how they felt about a concert and expressing their thoughts in writing can help them achieve a higher level of objectivity and enable them to set new standards for the evaluation of their own performances. It is one thing to leave a concert exhilarated. It is another thing to be able to articulate why. Was it solely the extraordinary level of artistry of the performer and their ability to communicate with their audience, or might it also have been the opportunity to hear a new work, a beautifully crafted program, an unusual collaboration among several artists, or some words from the stage (before, during or after the concert), that engaged the audience and made them feel both welcome and enlightened? Aspiring young artists should keep in mind that critics often have to choose which event to cover among multiple concerts taking place simultaneously. It is elements such as these which can figure into their decision.

In the announcement of the Rubin Institute for Music Criticism, the first of its kind to focus on performance and performance criticism, the Oberlin Conservatory’s dean, David Stull, states: “All of us have reactions to concerts, but rarely do we refine these reactions into perspectives. During the course of the inaugural week in January, the audience, the critics and musicians will have an opportunity to engage with and consider music, not just hear it”. The ten student fellows participating in this imaginative program have been hand-picked from a larger group that have taken Oberlin’s Introduction to Music Criticism course in the fall.  All ten will write reviews of four performances (all part of Oberlin’s Artist Recital Series) to be given in the Institute week by The Cleveland Orchestra, The International Contemporary Ensemble, Apollo’s Fire Baroque Orchestra, and pianist Jeremy Denk, who as the author of a widely read blog, will also participate as a journalist. (The wonderful programs, which include the world premiere of a work by David Lang, as well as details of a public session with several of the guest artists on composing and performing, can be found on the Institute’s website.) The students’ reviews will be critiqued by distinguished journalists, both in private workshops and in public Panel Sessions dealing with writing critically about music. The guest journalists, who include Anne Midgette, Alex Ross, Tim Page and Heidi Waleson, will also give pre-concert keynote talks, addressing the many opportunities for writing and speaking about music.  At the end of the Institute, they will join with Dean Stull and the Institute’s benefactor, Stephen Rubin, President and Publisher of Henry Holt & Company, to determine the winner of the $10,000 Rubin Prize, which is intended to support further study and internships in the field of music criticism.  An additional $1000 Public Review Prize will be given to an audience member who submitted a review of one of the first three concerts. The three professional critics judging these reviews – Donald Rosenberg of the Plain Dealer and Mike Telin and Daniel Hathaway of ClevelandClassical.com – will consider “critical acumen, fluency of writing and clarity of thought”. Six reviews of each concert will be chosen for consideration and posted on the Rubin Institute’s website. The authors will receive private feedback by e-mail from the three critics. The winning review will be chosen from this group of eighteen submissions.

Judging from all this, I would say that Oberlin, Ohio will be an exciting place to be in mid-January. Lucky are the students and the entire community, who will have the opportunity to be in the company of such journalistic luminaries and to be part of what promises to be a memorable week of immersion in great performances, inspired talks and eye-opening insights into the world and the art of music criticism.

To ask a question, please write Ask Edna.

© Edna Landau 2011

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Balancing Career and Family

Thursday, December 1st, 2011

By Edna Landau

To ask a question, please write Ask Edna.

Dear Edna:

My name is Zoe Sorrell and I am a second-year flute student at the Oberlin Conservatory. Something that concerns me as I begin to consider my life after school is the balance between professional and personal life. I was wondering what advice you could offer as to how one balances their musical profession with their familial responsibilities. As a freelance musician, my life is already often busy and unpredictable, what with gigs and practicing. Also, some of the best musical opportunities I’ve received required moving to far-away states and countries for periods of time. And yet, many professional musicians are committed family members. How can one healthily maintain this balance?  

Dear Zoe: 

Thank you for submitting such an important question to “Ask Edna”. It is great that you are asking yourself this question while still a sophomore at the Oberlin Conservatory.  The topic of balancing career and family has been dealt with very effectively by my colleague, David Cutler, on his blog The Savvy Musician. I encourage you to read it. He writes very realistically, as follows: “Of course, building a great career in music is never easy. Nor is having a family. But the best things in life usually aren’t. And if you’re truly devoted to both visions, each will add fulfillment, meaning and depth to the other.” He goes on to make very practical recommendations , such as choose a complementary partner, live near family, become a master of time management and practice a lot when you’re young. When I spoke to my good friend and colleague, Mary Loiselle, who is a Personal and Career Development coach and also Director of Career Development at the Curtis Institute of Music, she emphasized that the best preparation for building career and family in the future is coming to grips now with who you are, what your core values are, what lifestyle seems most attractive to you, what pace works best for you, and what you hope for in both your personal and professional life. This kind of self-reflection seems like a very good exercise for someone in your stage of education and career development, since you can arrive at some valuable conclusions before opportunities start rolling in and you run the risk of feeling that you should accept everything that comes your way. When you reach the point of choosing to settle down with a spouse or partner, spend as much time as necessary to feel reassured that you share the same vision for career and family and that you are both prepared to be flexible. Discuss ways in which you anticipate being able to help one another achieve your goals. (I have been told that some couples switch primary parenting roles over the years, giving their spouse or partner greater freedom to concentrate on their career.) Speak openly about your potential willingness to relocate for the sole benefit of only one of you. Try to seek out role models who can share with you the challenges they faced and how they dealt with them. Until then, I suggest you accept as many attractive offers as you feel you can, especially if they involve travel and working in new communities and environments. That will help to confirm your likes and dislikes and your adaptability to life in the fast lane. 

In preparing this column, I spoke to several mothers, one of whom plays in a very successful string quartet, along with her husband.  They have two young children. She told me that although they feel artistically fulfilled and have handled it well, it is by no means easy. It is also not inexpensive. They have relied both on a nanny and close family members to travel with them or to babysit at home when the older child started school. When leaving a child at home, they avoid successive concerts of longer than three or four days. Some parents have found Skype to be a helpful way to stay connected with their older children while traveling.  If you choose to join a chamber ensemble, you can state from the outset that should you eventually start a family, you will not want to be away from home for more than a set number of days. 

In my opinion, the most important thing is to remember that you are always in a position to exercise total control of your career and to stand firm and decline opportunities that create too much conflict. A prominent artist who I used to manage blocked off all family birthdays, his wedding anniversary, and school year vacation periods as non-bookable dates. He never made exceptions. Perhaps that may seem like a luxury, suitable only for someone well-established in their career. I think it is undeniable that respecting and cherishing family milestones adds meaning and joy to a hectic performance life and helps to maintain a healthy approach toward life’s priorities. A few days ago, I spoke to a manager colleague who told me that one of her clients, a conductor, canceled three weeks of work around the time his wife was due to give birth to their first child. She gave birth after all three weeks had passed! I applaud the artist, who is still building his career, for giving up the work. He has clearly sorted out his priorities and although some orchestras may have been a bit inconvenienced and he is out some money, I am sure he didn’t jeopardize his career in the least bit. 

To ask a question, please write Ask Edna.

© Edna Landau 2011

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On the Occasion of Thanksgiving

Thursday, November 24th, 2011

By: Edna Landau

On the occasion of the Thanksgiving holiday, I would like to offer my thanks to Musical America, all our devoted readers, our sponsors, and those who have sent in their interesting and thought-provoking questions. (I look forward to hearing from more of you!) Happy Thanksgiving to all.

“Ask Edna” will return to a regular weekly schedule next Thursday, December 1.

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Playing for Free

Thursday, November 17th, 2011

By: Edna Landau

To ask a question, please write Ask Edna.

Dear Edna:

I am in my last year of an undergraduate program at a conservatory in the U.S. where I have formed a string quartet with fellow students. We have only been playing together for less than a year but we have hopes to stay together after graduation. Meanwhile, our biggest challenge is to find places to perform. There are churches and even one or two art galleries in the area where we believe we could give concerts but we would not receive a fee. This doesn’t particularly bother us but we have been advised that we should never play for free. Do you agree with this approach?—Michael B.

Dear Michael:

While I understand that whoever advised you wanted to ensure that your group would not be taken for granted, it is common for ensembles who are just starting out to occasionally play for free in order to build up a fan base and gain performing experience. Performing for a public that is not familiar with you, as opposed to school where the audience is composed of friends and teachers, is a valuable and essential experience. You have to give a little extra to connect with such an audience and their reaction will be true and unbiased. These types of concerts provide important opportunities to run through repertoire that you wish to polish and maybe even perform at a competition. Whenever you play a free concert, be sure to ask the venue whether they have a mailing list to whom they might send an announcement of your concert.  You will also want to have a sign in book somewhere near the entrance that encourages members of the audience to join your mailing list by submitting their e-mail address. Should you wish to encourage voluntary donations, you can put a basket and sign next to the book. You might also want to put a sentence in your program to the effect that you are grateful to each member of the audience for coming and should they wish to support your group with a voluntary donation, it would be greatly appreciated. You might accompany this with an invitation to come backstage to meet all of you following the concert. The key point is that playing a free concert doesn’t seem like an imposition when it affords you opportunities to get the name of your quartet known and maybe even to generate some publicity. The venue that is hosting you may have some connections to the press and might be able to get some advance coverage of your upcoming appearance. While this type of performance is unlikely to be reviewed, it is possible that you or the venue know some bloggers who write about arts events and would be willing to come and share their reactions on their blog. If the venue is willing to allow you to make a video of your concert, and assuming you can do so without undertaking a major financial commitment, this could be a real plus, especially if you are lacking any exposure on YouTube. Finally, be sure to take the time to invite any people who might prove useful to you in the future and who will spread the word in the arts community about your group and its potential for a promising future. Once you consider all of these possible benefits to be gained from one concert, playing for free doesn’t seem at all like a compromise.

I would love to have YOUR question! Please write Ask Edna.

© Edna Landau 2011

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Do We Take Ourselves Too Seriously?

Thursday, November 10th, 2011

By: Edna Landau

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A few nights ago, I attended a musical evening of sorts—not at Carnegie Hall or Lincoln Center but at Carolines Comedy Club in New York City. Intrigued by the advertisements I heard on radio station WQXR for its Classical Comedy Contest, I bought two tickets, figuring that a lighthearted evening is always welcome. The sizable club was filled to the rafters and the sense of occasion was enhanced by my first glimpse of the judges who included Robert Klein, Deborah Voigt, Peter Schickele and Charles Hamlen. WQXR’s Elliott Forrest, whose idea this was, proved to be a captivating and amusing host and was proud to introduce two members of the late Victor Borge’s family who were in the audience. What followed was a smorgasbord of eight comic acts, all including live music, ranging from a recorder virtuoso playing on five instruments simultaneously to a duo of “cranial percussionists” and a singer, somewhat reminiscent of the great Anna Russell, attempting to sing O Mio Babbino Caro while her pianist kept modulating upwards at regular intervals. The audience loved every minute and the judges even got into the act with their witty reactions. The winner was Igor Lipinski, a gifted pianist who gave a sensitive performance of a Bach fugue while simultaneously reciting the order of a deck of cards which had been shuffled and was visible to the audience, but not to him. My own personal favorite was Gabor Vosteen, the recorder player. With instruments coming out of his mouth and nose simultaneously, he amazed us with perfectly balanced chords and even a section from Mozart’s Eine Kleine Nachtmusik, played both musically and flawlessly. I read on his website that he decided to embark on this type of antic when he wanted to form a recorder ensemble and no one wanted to play with him. He studied recorder at the Hochschule for Music and Theater in Hannover, Germany, but wanted to go beyond playing to making an audience laugh. He attended circus school in Budapest and has training as a mime. As someone who regularly talks to students about finding their own unique path, I was delighted to encounter Mr. Vosteen who was one of eight finalists in this competition that attracted eighty applicants.

This delightful evening got me thinking that fun and joy are words not often associated with musical performances. That is truly a shame. At a recent concert on Halloween at Carnegie’s Zankel Hall, Brooklyn Rider topped off a substantial and thought-provoking program with an encore, their free-fantasy adaptation of Michael Jackson’s “Thriller,” dressed in suitable costumes. It was a pleasure seeing artists taking a risk in a serious concert venue and allowing themselves to let their hair down, to the genuine delight of their audience and seemingly, even the New York Times critic. I am not suggesting that artists should engage in comedy routines as part of serious recitals but there are often moments when a witty comment from the stage or an imaginative encore can go a long way to charming an audience and breaking down the barriers that too often exist between performer and listener.  One memorable moment for me was when I first heard Itzhak Perlman introduce a short work by Ferdinand Ries as one of his favorite “Reese’s Pieces.” As much admired for his superb artistry as for his humanity and joyful music making, this universally beloved artist should serve as a reminder that we must be personally engaged with our audiences and not take ourselves quite so seriously.

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© Edna Landau 2011

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