Wednesday, January 25, 2012

The Art Song Recital is Alive and Well: Sparks and Wiry Cries Relaunches as an Ezine

Calling all champions of the art song genre: Sparks and Wiry Cries, the brainchild of Erika Switzer and Martha Guth which previously had its debut as a podcast, has now relaunched as a blog an ezine. Here is just a sample of some of the articles that you'll be able to find on the new SWC format:

Sparks and Wiry Cries also has a Facebook page, which you're obligated to join if you're an avid CPB reader. Fans of the original SWC podcast will be glad to know that all the previous podcast archives are still prominently featured on the site. 

Best of luck to Erika and Martha as they embark on the next stage of their podcasting/blogging/ezining journey!

(Thanks, Liz!)


Tuesday, January 24, 2012

10 Things Every Collaborative Pianist Should Have

Today's guest post is written by Nancy Harder, who speaks to musicians about being entrepreneurial and tossing out the status quo on her blog, The Composed Musician. She's an active collaborative pianist, teacher, and writer. She's also on the faculty at Virginia Tech's Department of Music. Sign up for her free monthly newsletter on The Composed Musician for inspiration and news.

These are the things I've needed time and again as a collaborative pianist. Some of them have taken me a while to learn about and implement, but they've all made a big difference in my career as an entrepreneurial collaborator.

The list, of course, doesn’t include the indefinables - the gifts, talents, character set, and mindsets that are needed to be a musician.

But, these are the 10 simple things that will make a big difference in the marketing and success of yourself and your talents as a collaborative pianist, whether you’re a professional, amateur or something in between.

1. Website

If I could get all musicians in the world to do one thing for their business, this would be it. Have a website. Have a website. Have a website.

It’s best to have a dedicated domain (a la youname/brand.com), but using a free host like WordpressBlogspot, and Musicteachershelper also works well.

Make sure the site’s clean & organized. Simple = classy.

Think of your website as your portfolio, a one-stop preview of who you are and what you do. 

What could you include to give people the full picture of what you do, what you’ve done, and what you’d like to do in the future?

2. Great Bio

Have a carefully crafted bio at the ready. Don’t be shy about what you’ve done and who you've worked with.

Take note of bios you like and assimilate what you’ve liked best from other people’s bios.

This is important: have both a long and short version. The long version’s for your website, marketing materials, etc. The short version is a good blurb for certain programs, newsletters, etc.

This is not the same thing as a CV/resume. Though, you should have one of those at the ready too.

3. Cocktail Line

What do you do? 

Does hearing this question in social situations make you break out into a sweat? 

Having a great cocktail line may seem insignificant, but it’s not about small talk. It’s about a quick, authentic round-up of what lights you up in the world presented with confidence.

And you never know who you could next be standing in front of.

4. Professional Photos

Have a good headshot and/or professional photos. The investment will be worth it, I promise. 

You can use the photos on your website, promo material, business cards, programs, facebook profile/page, twitter profile, linkedin, etc.

Think about the image you want to get across. If you’d like a range of pics, work with the photographer and be detailed about what you’d like to convey and for what purpose.

Whatever you do, avoid photos that look like they were snapped by a friend at a party or were taken by yourself. 

If it's been more than 10 years since your last photo shoot, it's time to update. You don't want to be unrecognizable in your professional photos. It's distracting and reads as lazy.

5. Business Card

It never fails; the day you forget to carry business cards will be the day a prospective collaborator/event manager/etc…will come up and ask you for one. 

And it just doesn’t feel as elegant to have to grab a scrap of paper to put your info on.

Get some cards printed up cheaply at an online printing service, like Vistaprint.com. (Again, simple is better.) 

And if you’re into arty flair, Moo.com is great for specialty products and cards.

6. Respectable E-mail Address

Avoid monikers like greeneyedpianoplaya@aol.com.

Your name (e.g. janedoe@gmail.com) is better, a dedicated e-mail is best (e.g. jane@janedoe.com). 

Get on the Gmail train if you still hear “you’ve got mail” when you check your e-mail.

7. Attire

Don’t add stress to your life and wait until the last minute to find the right outfit for performances.

Let's face it. As collaborators our concert wardrobe is predominately black, but due to the variety of concert settings we need all kinds of black (Sunday matinee, evening, white tie, etc….) as well as more colorful concert attire.

Make sure you have a pair of shoes you’re comfortable performing in and are scuffed up to prevent slipping on newly polished stage floors.

Ladies - have flattering make-up and hair styles practiced and ready to go. Watch out for too-high heels that are difficult to maneuver on the piano pedals.

8. Set rates + availability

Know EXACTLY what your rates are and EXACTLY when you’re available. 

Don’t wait until a request comes to set a rate or figure out your calendar. This is when the risk of overbooking at too little money becomes very high.

Being very clear about your rates & availability is a form of service and respect to yourself and others.

I say this all the time on my blogIt's our job as musicians to teach the world the value of what we do. 

Want others to respect your role as collaborative pianists? It's up to you to teach others the value of what you do and proactively set what you're worth.

9. Proactive responses

Don’t waste time crafting responses to requests every time one comes in. This is reactive and a big energy waster. Be proactive and have set responses to requests.

For example, create a “Yes, I’m interested. Take a look at more of my info on my website…” e-mail and a “I’m honored you thought of me. However, I’m unavailable/my rate is ___. Here are people I recommend…”

Of course, the e-mail is personalized, but the structure and language of the response is already done and is effortlessly courteous and professional.

10. Have it in writing

Have everything in writing, whether contract, agreement, dates, price, etc… 

It not only protects you legally, but you’ll find people step up their commitment when it becomes official.

Wednesday, January 04, 2012

Rob Ford, The Opera Premieres on January 22nd at the University of Toronto

Toronto Santa Claus Parade 9525
Image by sniderscion
As part of its Student Composer Collective, the Faculty of Music at the University of Toronto will be presenting one performance of Rob Ford, The Opera on Sunday, January 22nd at 2:30pm in the Macmillan Theatre. Admission will be free. The concept and libretto (based on Toronto's colorful and controversial mayor) are the brainchild of U of T Resident Stage Director (and Tapestry LibLab dramaturg/animateur) Michael Albano. From the U of T press release:
To celebrate the 15th successful year of the Student Composer Collective, the Faculty of Music will present Rob Ford, the Opera. The concept and libretto is by the Opera Division’s Resident Stage Director, Michael Patrick Albano with musical contributions by four of the Faculty’s gifted student composers: Massimo Guido, Anna Hostman, Adam Scime and Saman Shah.

In 1997, the Opera Division inaugurated a workshop at the University of Toronto’s Faculty of Music to allow student composers to gain experience writing opera, following a process of composition, dramaturgy, orchestration and staged public performance. The concept proved so successful that the workshop was ultimately introduced as a formal course in composition at the graduate level.

The opera [approximately an hour in length] is a surrealist fantasy based loosely upon the personality of Toronto’s current and much discussed Mayor. In describing the piece, the librettist writes “I have long been puzzled that one of the most important dramatic movements of the twentieth century, The Theatre of the Absurd - skilfully pioneered by Apollinaire, Ionesco, and Samuel Beckett - has, curiously, not made substantial inroads into opera. Rob Ford, the Opera, corrects that omission and jaunts joyously into the no-holds-barred ring of the ridiculous”

In addition to the GamUT ensemble, Rob Ford, the Opera features singers from the Faculty of Music’s distinguished Opera Division, including Andrew Haji as Rob Ford and Rosanna Murphy as Margaret Atwood. The opera will be conducted by Raphael Luz and directed by Erik Thor.
There is no word yet regarding whether or not Mayor Ford will be making a cameo appearance in the opera. I presume that there will be no comment from the Mayor's office. My vote for Most Predictable Line in the libretto: "I'm Rob F***ing Ford!"


Tuesday, January 03, 2012

Meme of the Day


Remembering Martin Isepp

Martin Isepp, one of the world's great vocal coaches and mentor to countless singers and pianists, has passed away over the holidays. Although I never worked with Martin, his influence on those I have worked and studied with over the years, both in the art song and opera realms, was palpable. Here is Martin Isepp with tenor Paul Austin Kelly in a 2010  performance of Britten's On This Island:



More remembrances from around the blogosphere:

Two posts from Norman Lebrecht (also read the comments)
Brian Dickie of the Chicago Opera Theater
Musical Toronto
Lewes Classical
Nicholas Phan

If you have any experiences or stories you would like to share, please leave a comment.

Monday, January 02, 2012

Meme of the Day



Ever met someone like this? No matter how much you compliment them on their playing, they will always turn it back on you.

"Nice Hammerklavier, bro. That fugue was awesome."
"How on earth could you enjoy that feeble excuse for a performance that I attempted tonight? Did you not listen? Are you not familiar with Op. 106?"


Sunday, January 01, 2012

Fixing, Flow, and Self-Nudging

Back from some much needed downtime, I would like to wish everyone a Happy New Year and I hope that your 2012 is safe, healthy, successful, and creative.

First of all, an interesting update on the recent discussion about practicing more effectively rather than longer. Study Hacks listed some strategies on practice from an anonymous pianist - here are all four:
1. Avoid flow. Do what does not come easy.
2. To master a skill, master something harder.
3. Systematically eliminate weakness.
4. Create beauty, don't avoid ugliness. 
I would agree with most of those four statements - the only one that I would disagree with is the avoidance of flow. My conception of Flow as it relates to the creative process (based on Mihaly Csikszentmihalyi's book) is not just the experience of playing the work, but the experience of engaging with the entire process of taking the work apart, working the small parts, putting it back together, and repeating the process en route to the best performance possible. 

A better way to understand flow in this context would be to add a fifth statement which would read something along the lines of "Cultivate flow as you observe the previous four concepts".

For those who can work their way through some complex concepts, an article by Penny Tompkins and James Lawley in the Clean Collection entitled Self-Nudging: unconscious decision-making and how we can bias our future self provides some very useful clues on how we can build a first-person support system. Rather than focusing only on goals, Tompkins and Lawley's NLP-based feedback system relies on targeting very small, incremental changes and becoming aware of them over time:

1a. Decide on the behaviour you would like to do more of (in particular contexts) =X.
1b. Identify how specifically will you know more X-ing is happening?  
2a. Identify what needs to get your attention in-the-moment (trigger and signal =Y) so that you automatically tend to do more X-ing? (i.e what internal conditions will nudge you to do more of X?)
2b. Identify how will you know Y-ing is happening more?  
3a. Identify several ways of practising how to get good at generating Y =Z.
3b. Identify undeniable evidence that will let you know whether you are making ‘incremental progress’ – or not.  
4. Do Z regularly  
5. Put yourself in contexts where X will likely be required – and notice what happens: If you detect incremental progress do more of Z until you have demonstrated you are good enough at doing X and it has become a habit. If you detect no, or decremental progress, identify what other Y and/or Z are likely to have more influence, and repeat using those.
(Via Get Everything Done forums and @mgr88)