Is it Spring Already?

Time to take inspiration from my wife and my cousin and come out of blog hibernation. It's been a wild few months, but I hope to get a week in April to record some new videos. Until then, let me sneak in a little celebration of a recent YouTube milestone. On March 29, I reached 20,000 views of my videos on YouTube. 10,000 in the last six months. Thanks to all the people who watched them, the 27 people who have subscribed, the 90 comments and the 119 thumbs up. Too bad about the one thumb down. :-(

Repertoire Redux

It's that time of year again. The ConcArt is behind us, holidays are over, cold weather has settled in. It's Repertoire Season!

I've wondered in the past in this blog whether I would be able to keep up old repertoire while adding new stuff. Well, I'm finally losing some of my old pieces. And it just doesn't really seem worth it to me to be spending more time on them when my new pieces are so demanding. I always thought it would be a good idea to keep the old ones to pull out in case people ask: "Do you play any Rachmaninoff?", or "Play that Beethoven I like". But let's face it. People aren't exactly stopping me on the street and demanding I play the third dance from Ginastera's Op.2. And now that I have (HD) videos of most of the pieces I've played in the last couple of years, I feel better about letting them go.

So what's this new stuff that's taking so much time? I have two new pieces in the can: Leopold Godowsky's Alt Wien ("Old Vienna") and George Gershwin's Prelude I. These two are memorized and up to speed. Maybe not quite ready for public performance, but close. A third piece is in the works, and I'm pretty sure I'll be able to get it down. It's Toccatina Op.36 by Nikolai Kapustin. I have half of it memorized and close to speed. It's a pretty insane piece, so it's taking a lot of work.

Beyond those three, I've been reading a lot. I'm trying to decide between two baroque pieces (Bach vs. Scarlatti). I have a classical piece I might do (Field). There's an Albéniz I'm considering, but I'm still hunting for this year's "gotta play" Spanish piece. Still on the lookout for a big, over-the-top romantic piece, too.

ConcART III Review

Another ConcART event is in the books. And I'm happy to report it continues to be a great success. The numbers were down a little this year: about 35 people made it to the recital with another dozen showing up during the art show. But it's still a thrill to pack that many people into your living room for a piano recital and party. We're thinking of expanding a little next year and coming up with some creative additions to the ConcART template.

The calm before the storm

As usual, I began the party with a welcome and introduction before launching into the recital. My little stories before each piece were once again very warmly received. And I think this year I was more prepared than ever before, so the performances went very well. I was most worried about the Brahms (Hungarian Dance No.2) being messy, but it came off very clean. I had no problems with the Handel (Harmonious Blacksmith), and several people commented later that they liked this one a lot. The Corelli/Godowsky (Pastorale) offered the only real flub of the day, but I recovered pretty seamlessly. Of course it was at a spot that usually gives me no trouble, but that's the way things go. The trickier spots that I was concerned about were fine, and the performance was good. So overall, I'm very happy with this one. The Nin-Culmell (Muiñeira) went great. I don't think I could have played it better, and I heard several joyful outbursts at the end. As expected, the Schumann/Liszt (Widmung) was a crowd favorite. This piece was very well prepared and I was really able to put myself into the performance. The final piece (Falla's Ritual Fire Dance) turned out to be the second crowd favorite, which surprised me a little. It's a great end-of-program piece. Johanne confirmed to me later that the performances were all comparable to my practice performances, and that the tempos were all dead on. (One of my biggest issues is playing too fast when I'm nervous, which then causes other performance problems).

The art show was also a big success. Johanne sold eleven paintings. And the sales seemed a little more intense to me than past years. Many people had strong favorites and went straight to the office to make sure they got their first choice. This year we also offered CDs and DVDs of the first two ConcART recital programs for sale. We sold 26 discs. I was a little surprised (but happy) that the CDs were more popular than the DVDs. The ConcART-II CD was the biggest seller (10) followed closely by the ConcART-I CD (9).

Bottom line: I declare ConcART-III the most successful ConcART yet. Even with fewer people, we sold almost as many paintings (in fact, more per-guest), and the desire to buy seemed much stronger to me. Add in the disc sales and it's undeniable that our guests were very generous to us this year. Most importantly for me, the more I think back on it, the recital really was the best so far.

On to ConcART-IV!

Get 'Em While They're Hot

Some time last year, Johanne and I got the idea that I should record video and audio for all of the pieces from ConcART and ConcART-II, and offer DVDs and CDs for sale at this year's show. After nine days of recording, six piano tunings, hundreds of hours of audio and video editing, hundreds of dollars in discs, cases, paper and ink, days of babysitting the disc burner and printer, 800 cuts and 150 folds, I finally finished them all.

And here they are: $10 apiece, buyer's choice, until I run out!

ConcART III

It's the most wonderful time of the year... ConcART time!

Our first art-show-slash-recital was in October, 2008. We followed that up with ConcART II in November, 2009. Both were more successful than we dared hope. Now we're just two weeks away from ConcART III, which will be held Sunday, November 14, 2010.

Johanne has been busy with pastels and oils (including some great explorations with the palette knife). I've been busy 'shedding for the recital part. There are some challenging bits, but I really, really like this program.

1. Hungarian Dance No.2 -- Johannes Brahms
2. Air and Variations (The Harmonious Blacksmith) -- George Frideric Handel
3. Pastorale/Renaissance No.8 -- Arcangelo Corelli/Leopold Godowsky
4. Tonadas No.24 - Muiñeira (Galicia) -- Joaquin Nin-Culmell
5. Myrthen Op.25 No.1/Widmung -- Robert Schumann/Franz Liszt
6. Danza Ritual del Fuego -- Manuel de Falla

Come to Austin, see the show!

Video: Rachmaninoff--Prelude Op.23 No.5

After the first ConcART recital (in October, 2008), someone asked me if I had ever played any of the great Russian composers. I decided then and there that I'd answered "no" to that question for the last time. So I started hunting and in December, 2008 decided on this Prelude by Sergei Rachmaninoff. I figured "I've got ten months to learn it for the next ConcART... no problem".

Well, I may have underestimated the piece, or overestimated my skill, because I don't think ten months was quite enough, given my short, after-work practice schedule. I did play it at ConcART-II in November, 2009, and it went well enough. But I promised myself I'd work it a little harder for the video. So I gave it a half-year's rest and started over.

Overall, I'm happy I learned the piece, because it fills what was an obvious gap in my repertoire. It's a beautiful piece and it's fun to play, even if it serves up the occasional trainwreck. And I learned something else from this piece, too. Rachmaninoff had really big hands.

Rachmaninoff: Prelude Op.23 No.5 from Ken Barker on Vimeo.

Video: Albéniz--El Puerto (HD)

El Puerto was the first piece I recorded when I got my piano back in the summer of 2008. Two years later I finally got around to redoing it in HD with a good audio recording.

Isaac Albéniz wrote twelve pieces (four books of three) in his masterpiece, the Iberia suite. El Puerto is the second piece in book one. It's a very special piece for me, not just because I love it so much and I played it so much in my youth. Iberia was also a favorite of my teacher, Douglas Voice, who performed all twelve pieces in concert. Douglas passed away in 1998. I still think about him just about every time I play this piece.

I'm quite happy with the video. There's a lot that can go wrong in this piece. But this performance is pretty clean.

Albéniz: El Puerto from Ken Barker on Vimeo.

Video: Liszt--Sonetto 104 del Petrarca (HD)

Here is the latest installment in my series of HD remakes of SD videos. The old video of this piece is nearly two years old, and was only the second piano video I made. Definitely time for a makeover. Sonetto 104 will always be special for me, since it's one of the pieces I performed most towards the end of "the performing days of my youth". It's also one of the first I recovered when I started practicing again in 2007.

Liszt: Sonetto 104 del Petrarca from Ken Barker on Vimeo.

Coming Home Again

Various uninteresting events kept me from traveling home to Ottawa in 2009. But I made sure to hard-schedule a visit in 2010. As in 2008, I made sure to take advantage of Paulette's invitation to play her young Steinway B. My small audience was mom, dad, Johanne, Paulette, mom's friend Louise and my first piano teacher, Edith Orton. It was a very casual gathering and I made sure to play the pieces I'm working up for this year's ConcArt recital. I also played a couple of "oldies", a couple of "requests" and one piece on Paulette's Baldwin L1. Here's the list:

Friday, July 16, 2010:

• Quejas, ó La Maja y el Ruiseñor (Enrique Granados)
• Danza de la Pastora (Ernesto Halffter)
• Air and Variations: The Harmonious Blacksmith (George Handel)
• Widmung (Robert Schumann/Franz Liszt arr.)
• Muiñeira (Joaquin Nin-Culmell)
• Hungarian Dance #2 (Johannes Brahms)
• Ritual Fire Dance (Manuel de Falla)
• Danza del Gaucho Matrero (Alberto Ginastera)
• Impromptu Op.90 No.4 (Franz Schubert)
• Sonetto 104 del Petrarca (Franz Liszt)

I think everybody had a good time. I had two very nice comments and one good piece of constructive criticism. Paulette asked when I bought my piano because it sounded like my playing had matured and become much more expressive since 2008. She attributed it to having my own piano to play every day. Edith asked if I practiced technique (scales, etc.) regularly. I explained that with my limited practice time, I practice technique in service of the pieces I'm learning/playing only. But I do practice the runs, arpeggios, trills, etc. from the pieces as though they were technical exercises in order to get them as clean as possible. Her impression was that my technique and articulation were strong.

The constructive criticism came from my mother's friend Louise. She suggested (and everyone agreed) that it would be nice to have more tranquility in my repertoire, since most of the pieces I played were quick or fiery or energetic (or all three!). I do have slower, calmer material, but didn't play much of it. The comment reminded me that even in a casual gathering, you shouldn't ignore program-level considerations. It also convinced me that I really need to add one more piece to this year's planned ConcArt program. Now I just have to find a new piece that's a slow/tranquil foil for the rest of the program, something that's melodic and beautiful, something that's not too trivial, and that I can learn and get up to performance level for the Fall.

Having fun at Paulette's Steinway B

Video: Granados--Quejas ó la maja y el ruiseñor

This video is my HD remake of Enrique Granados' wonderful The Maiden and The Nightingale from Goyescas. That leaves just two more HD remakes to do: Liszt's Sonetto 104 del Petrarca and Albeniz' El Puerto. The Liszt is already filmed/recorded, but not edited. Look for it to appear around the end of July/beginning of August.

I feel like my performance of Maiden has really improved over time. But I just went back and watched the old, crappy SD video and the performance wasn't bad. There are definitely some things I prefer in the new one... and there are plenty of very subtle improvements. And of course, the video quality is a million times better. But my playing of the piece hasn't changed as much as I thought.

Granados: Quejas ó la maja y el ruiseñor from Ken Barker on Vimeo.