Premiere woes

topic posted Tue, October 11, 2005 - 8:34 AM by  Polly
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Hmmmm...where to begin in the story of the premiere. It was my flute quartet, and I was one of the performers.

The performance kind of fell victim to bad event planning. It was a big fundraising gala with silent and live auctions. They decided to do the live auction right before the piece was performed. It was loud and raucous. When we took the stage, the 300 guests wouldn't quiet down. Some of them wanted to hear us, and struck their glasses with silverware trying to get the others to shut up. The VP of marketing grabbed a microphone and asked the guests for their attention, but even after that it was so loud in there we couldn't hear each other across the stage.

We started playing but we couldn't hear each other. Eventually I had to stop the first movement and turn to the audience and signal them to quiet down. Quite a few of them tried, and it got 50% quieter, so we tried again, but we still couldn't hear each other. We were playing mostly from visual cues. Somehow we got through the piece. I looked down and saw about half the audience paying attention and the rest ignored us and kept talking.

When we were done there was applause. After we got down off the stage staff members came running to apologize. The development director was apologetic and said she had been out of the office so much she didn't know they had put the live auction ahead of us and that shouldn't have happened. My colleagues were furious that the piece, which they were very proud of, hadn't been heard properly and that the recording was unusable. I was kind of in shock for a little while but then I put it aside.

I'm focusing on not taking it personally. The DD says she wants to have the piece performed again at a major donor appreciation event which she thinks will be a more appropriate venue, quieter, etc. I told her I was open to talking about it.

The whole point of the grant I was awarded was to give new music to an audience that was unfamiliar with it. That goal was certainly accomplished. I've written a good piece which, if I can get it recorded, will probably be published. I've had the privilege of working with 3 very fine musicians, and all may not be lost as regards the museum. It's all a learning experience.
posted by:
Polly
SF Bay Area
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  • Re: Premiere woes

    Tue, October 11, 2005 - 8:55 AM
    ouch. bad timing. you're going to record it again, though, right?
    • Re: Premiere woes

      Tue, October 11, 2005 - 10:05 AM
      > ouch. bad timing. you're going to record it again, though, right?

      Definitely. Either at this other event, or in a rehearsal space, whatever can be arranged.
      • Re: Premiere woes

        Tue, October 11, 2005 - 11:27 AM
        Sorry things didn't go well, but at least you got to write the piece and rehearse with an option of future performances. Just remember all the great works that were given similar treatment and you will realize that these things do happen to the best.

        I remember playing lute once for people who insisted and then they turned to talk to each other once I began. I simply put the instrument back in the case ordered a drink and sat down. "Aren't you going to play?" I was asked. "I did" was all I replied, but inside I was fuming and just knew not to go further or I'd explode.

        Sometimes I think we just need shotguns on stage. : )
        • Re: Premiere woes

          Tue, October 11, 2005 - 10:52 PM
          > Sometimes I think we just need shotguns on stage. : )

          Shotguns? Hey, I'm all in favor of repurposing weaponry for musical purposes. We're going to need to do something with all of that junk when peace breaks out, so why not use it to make music? A flute quartet with shotguns does indeed sound appealing. But given the venue for this premiere, perhaps a concerto for flute quartet with B-1 bomber would have been more appropriate, eh?

          Actually, that reminds me of that story about George Antheil, where an audience was growing restless at one of his performances -- he pulled out a gun, and shouted "I'll kill the first person who tries to leave!" or something like that, and then put the revolver on top of his piano in full view. I'll bet that quieted them down.

          Or maybe what every composer needs is their own personal Josef Polnauer......someone not afraid to show his dueling scars, just to keep the rowdy audiences in line. Great idea for a business opportunity -- "Josef Polnauer Composer Services. We guarantee your audience will keep quiet, or your money back."

          Seriously, I'm sorry that your premiere was marred by such rudeness. Alas, it is all too common among many audiences these days. People seem to think that all music is background, and have no sense that they need to give it their undivided attention -- not just for comprehension, but also out of politeness, even among "sophisticated" audiences. Heck, I was just at the SF Symphony a couple of weeks ago, and Morton Feldman was on the program. Very well done, but the character of the work was completely obliterated by the audience's fidgeting, talking, coughing, program page-shuffling, etc. making it difficult to enjoy. A shame, indeed.

          Hopefully, you'll have better luck with the next one.
          • Re: Premiere woes

            Wed, October 12, 2005 - 1:53 AM
            Antheil was an egomaniac (though arguably quite talented). Just read his 'Bad Boy of Music' and you will tend to take that particular story with a grain of salt lick. Hell, he claimed he actually caused it to rain in LA for several days playing and Indian rain dance melody but unfortunately he forgot the tune after a while (yeah, uh-huh).

            But I totally agree that the modern audience has very little patience, and needs stimulation ad nauseum. Last time I went to a concert of Mahler, I was ready to take off my tie and strangle a couple sitting to the right of me, and who if I had a gun would have met an untimely end during the intermission due to their flapping jaws. I actually enjoy it when an artist will address an unruly audience and ask the culprit(s) to leave the hall or *shut the hell up.

            It seems we are at the crossroads of sensory bombardment. How to get the attention of an audience accustomed to gameboys, MTV and bass speaker from passing cars can keep half of LA awake at night? Shotguns would work for me, but barring the law, I play to friends and family and let the others enjoy the burnout into the mundane existence of half lived lives.

            *These words seem quite effective (though not quite welcome in general) if delivered directly to the offender.
            • Re: Premiere woes

              Wed, October 12, 2005 - 11:33 AM
              >Just read his 'Bad Boy of Music' and you will tend to take that particular story with a grain of salt lick.

              I have read "Bad Boy of Music", and yes, Antheil certainly was full of himself, a narcissist if there ever was one. But that story is apparently true. I have enountered confirmation from other non-Antheil sources, but as one of his students, Benjamin Lees relates:

              www.sequenza21.com/Lees.html

              S21: You studied with George Antheil, the self-styled "bad boy of music." What are some of your memories of that experience. Can you confirm or refute the story that he used to pull a gun out of his pocket and put it on top of the piano before beginning to play--just in case the audience didn't like his music?

              BL: I worked with George Antheil for almost five years, and while certain details have become hazy with the passage of time I still recall many memorable incidents. George never considered himself a teacher per se. His role was one of analyst. He and I would go over a section of whatever I was writing and having trouble with, and he would then offer suggestions as to how the problem could be met. Never did he actually put his pencil to my manuscript. Never He would often begin by saying "Doctor Antheil senses that there is a weakness in your development," or "Your seams are showing."

              Our lessons could last an hour or ten hours. It could be once a week or three times a week, whatever the "patient" needed. My wife and I often had dinner at his home after I had experienced eight hours or so of an exhausting lesson. Not that he was at my side all that time. He would be answering correspondence or working on his own piece. It was a true master/apprentice relationship.

              The story of the pistol is true, but relates to only one particular concert in Berlin in the 1920s. George was a fine pianist and his programs mostly contained new works by Copland, Strawinsky, Antheil, etc. The audience at this particular event grew restless and George whipped out a revolver, shouted "I'll kill the first person who tries to leave!" and then placed the weapon on the piano in full view of a cowed audience .

              He could be kind, sarcastic, impossible and irrational. In the end he always remained faithful, and therein lay his strength as a person. He loved women -- all women. But that's another story.
  • Re: Premiere woes

    Wed, October 12, 2005 - 5:43 AM
    Context is so important. I firmly believe that as artists we should, where possible, take responsibility for the presentation, production and distribution of our work.

    As a promoter, this is something i am very conscious of, and this way of thinking is a driving force behind Project X - an ongoing artistic community in which we take 100% responsibility for the all aspects of each piece, thereby guranteeing ourselves total artistic freedom, and the most receptive audience we can hope to create.

    best of luck with all your future presentations

    Rich
    tribes.tribe.net/projectx
    • Re: Premiere woes

      Wed, October 12, 2005 - 6:47 AM
      Thanks for your post Michael. :) I love thinking about the planes providing air support for the premiere. They hung overhead looking so wonderful, and they were a very attentive audience. My favorite was in the gallery, too far away to look at while we were on stage -- the 1/6 model of an F-117.

      But anyway, there are other opportunities cropping up for the piece, based on the enthusiasm of the players. "Remove Before Flight" will be heard again! :)
      • Re: Premiere woes

        Wed, October 12, 2005 - 12:03 PM
        A Konzertstuck for F-117 and Flute quartet does conjure up an interesting sonic image.....

        I have to confess that I have actually composed a piece for A-10 Warthog Thunderbolt II 's and chamber ensemble. Entitled "Sonic Force", it was given its premiere by the Kansas City-based new music group newEar in 2003. My collaborator and I were initially interested in utilizing the B-1 bomber as the soloist for the work, but found B-1's sound to be rather boring. The A-10's, with their twin 9,000 lb. thrust turbofans are much more interesting -- they produce a full spectrum of frequencies, rich in harmonic content.

        If interested, you can read more about "Sonic Force" here:

        www.pleasewatch.com/sonicfor...bout.html

        (please note -- the audio clips, including the dance mix have nothing to do with the piece! The web site was created before the premiere.)

        We're currently attempting to get a performance in the bay area....stay tuned.
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    Re: Premiere woes

    Wed, October 12, 2005 - 10:45 AM
    man, that sounds totally obnoxious. you got paid tho, right? wasn't this a commission?
    • Re: Premiere woes

      Wed, October 12, 2005 - 10:48 AM
      > man, that sounds totally obnoxious. you got paid tho, right? wasn't this a commission?

      The grant from the ACF covered expenses.
      I got feedback from the DD who said that one board member was fascinated, was upset she couldn't hear the piece, and wants to hear it again. The rest apparently said that it was "inappropriate and they would have preferred background music".
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        Re: Premiere woes

        Wed, October 12, 2005 - 8:46 PM
        Officially ghetto. Reminds me of some of my stranger DJ'ing experiences (I have more than once found myself unwelcome as though drawn into a trap).