This is an updated list of apprentice programs that train pianists (and whatever else I can find that pays and gives performing experience). These are specifically not summer gigs, which I've listed here.
Des Moines Metro Opera - OPERA Iowa Touring Group goes from Jan-April
Friday, February 19, 2010
Tuesday, February 16, 2010
Clarification
Over the past few years, I have heard several people claim to attend concerts featuring 'Carmen Miranda'. I'm relatively certain they actually meant 'Carmina Burana', and would like to offer a brief example of the two for comparison.
Carmina Burana sounds like this.
This is Carmen Miranda.
Just sayin'.
*Additional Silliness:
Natalie Dee has several genius moments, including her recent impression of an American Carmen Miranda:
Friday, February 12, 2010
Two Collaborative Pianists Walk Into a Bar . . .
Among musicians, personality stereotyping is rampant. Whatever traits driving someone to choose say, the tuba, combined with quirks enabling excellence in the tuba, ultimately form a set of idiosyncrasies that are often, um, mocked. There aren't that many stereotypes about pianists, though, and I have yet to find anything for collaborative pianists/accompanists. After jotting down tendencies I've noticed, I realized they weren't really traits as much as weird learned behaviors, probably significant only to those familiar with the CP 'breed'. I've observed several pianists who tend to:
- Unconsciously cue entrances with a head gesture, sniff or deep breath
- Constantly rearrange sheet music to eliminate page turns
- Possess strong opinions on the 'use of plastic music protectors' debate
- (females) Often opt to yank one's hair back in an 'I-don't-have-time-for-this' ponytail
- Experience total glee upon discovering the IMSLP database
- Possess multiple music binders, toted in something the size of a suitcase with wheels
- Eat meals in bar form
- Wear engagement and wedding rings on a neck chain
- Maintain a strong affection for 44 oz caffeinated drinks
- Easily keep a straight face if a singer has forgotten their lyrics and begun scatting German
- Possess advanced photocopier skills
- Regularly agree to some piece or performance that is diabolically intricate or really inconvenient, then kick themself for saying yes
- Notice that 90% of male CPs specializing in vocal music are straight and married to a singer, or are gay
Sometimes I wonder about my own quirks, such as the tendency to:
- Keep a small, piano-friendly, crook-necked lamp (and extension cord) in my car
- Bring an empty 3-ring binder, 3-hole punch, scotch tape and highlighter to juries and auditions
- Keep a metronome in my purse at all times
- Suffer from recurring nightmares that I'm handed new music 20 minutes before a performance
Clearly, pianists just don't make good joke material. We'll probably never find out how many collaborative pianists it takes to screw in a light bulb. I did like this joke, however, which plays on the know-it-all nature of pianists:
A pianist and singer are rehearsing "Autumn Leaves" for a concert and the pianist says:
"OK. We will start in g minor and then on the third bar, modulate to B major and go into 5/4. When you get to the bridge, modulate back down to f# minor and alternate a 4/4 bar with a 7/4 bar. On the last A section go into double time and slowly modulate back to g minor."
The singer says: "Wow, I don't think I can remember all of that."
The pianist says: "Well, that's what you did last time."
Tuesday, February 2, 2010
Collaborative Piano Opportunities for High School
Credo Summer Program - string rep and piano
Interlochen High School Piano Summer Program - vocal rep, chamber music, piano
NYU Steinhardt The Art of Solo and Collaborative Piano - college prep, chamber music
Piano in the Pines at Stephen F. Austin State University
Green Lake Chamber Music Camp
Hartwick College Summer Music Festival
Madeline Island Music Camp - strings and piano
Midwest Young Artists Summer Music Festival - Chamber Music Workshop for Strings & Piano and Young Musicians Chamber Music Camp
Perlman Music Program Summer Music School
Piano in the Pines at Stephen F. Austin State University
Sierra Academy of Music Chamber Music Unbound
Tanglewood Young Artists Piano Program
University of Wisconsin, Whitewater Collaborative Piano Camp
Collaborative piano for high school students sounds a bit strange, but it is a great alternative to keep a talented (yet burnt out on solo rep) student from quitting altogether. A growing number of summer opportunities for young pianists are available. All of the following study collaborative piano to some degree:
Bravo! Institute - string rep and piano
Monday, February 1, 2010
Musical Theatre and Music Directing
Musician Wages.com is a great site in general, but I wanted to call attention to this article about musical theatre performing and music directing, Tips for the Piano-Conductor by Dave Hahn. It's rare to find actual written advice about the field, so I appreciate when professionals take the time to write about what they've learned through trial-and-error. Enjoy!
Saturday, January 23, 2010
Paid to play - Summer Gigs and Opportunities, Updated
(Hey, I've updated this in 2015, check it out)
Here are some places for collaborative pianists to spend their summers getting experience and/or paid. Summer stuff only, in this list:
Here are some places for collaborative pianists to spend their summers getting experience and/or paid. Summer stuff only, in this list:
Chamber Music Northwest Young Artist Fellowship
Eastern Music Festival hires collaborative pianists for instrumental accompaniment, must be 21 to applyInterlochen Summer Arts Camp hires 4-5 Instrumental accompanists
Hot Springs Collaborative Piano Apprenticeships
Meadowmount hires string accompanists - send resume & repertoire list (violin-viola-cello only) to gagnona@uncsa.com
Music Academy of the West - Instrumental Fellowship
Summer Chamber Music Festival is a four-week chamber music program for string players and pianists aged 18-26
Tanglewood - Instrumental Pianist Fellowships
Texas Music Festival Fellowships
University of Nebraska-Lincoln - Chamber Music Institute Fellowships
Banff Centre - Assistant Coach/Repetiteur
The College Light Opera Company hires two rehearsal accompanists every summer
CoOPERAtive program at Rider University has a training program for singers and collaborative pianists
CoOPERAtive program at Rider University has a training program for singers and collaborative pianists
Crested Butte Music Festival - Assistant coaches
Merola Opera Program
Music Academy of the West - Vocal Fellowship
Opera in the Ozarks hires one or two rehearsal accompanists every summerOpera New Jersey - coach/accompanist apprentice
Opera North - hires pianists
Opera on the Avalon - art song and opera
Wolftrap Fellowships
Vocal - Art Song:
Asolo Song Festival & Institute for Song Interpretation (Italy)
Franz-Schubert-Institute - summer course for singers and pianists
Musical Theatre:
Bowling Green State U Huron Playhouse
Intermezzo has a 'Festival Orchestra Program'
Interlochen Summer Arts Camp hires 4-5 Musical Theatre accompanistsKalamazoo Civic Theatre hires accompanists
Surflight Theatre - Musical and Music Directing Internships
West Virginia Public Theatre occasionally hires summer rehearsal accompanists
Choral:
Dance:
Interlochen Summer Arts Camp hires 4-5 dance pianists each summer
Etc:
Valleyfair Amusement Park hires keyboardists for summer shows - the rep is R&B, rock and kid stuff (in other words, easy $$)
!!!*Fellowships are [mostly] free
Friday, January 1, 2010
Holidays and Musicians
I pried my fingers loose from the keyboard somewhere around 12:15 am, Christmas Day. My digits are not throbbing - my brain, however, is. The holiday season is great for musician's bank accounts: churches offer services practically 24 hrs a day, holiday parties need background noise and choral concerts all use pianists in their celebration of the season. The holiday season is not so great for musicians on a personal level, however, in the sense of actually enjoying the season. In regards to the actual repertoire, there are only so many times one can play Silent Night, Joy to the World and the Hallelujah Chorus without wanting to torch the music. Even listening to Christmas music becomes a chore when it is usually done out of necessity to learn certain arrangments, sometimes resulting in a strong aversion to hearing ANY Christmas music. Parties are attended so often as a working musician that attending an actual holiday party for pleasure becomes a foreign concept*. On the academic side of things, it is jury time (singers and instrumentalists use pianists to accompany these tests) as well as a popular recital month. Then there are the students recording CDs for colleges and festivals, as well as other odds and ends of non-stop fun and excitement. This is why many musicians celebrate 'the holidays' in January. By sleeping.
*I actually managed to attend a party this year - and upon entry, immediately recognized the song played by the pianist as Webber's 'Music of the Night'. I had a good sympathy chuckle, as Phantom (or Cats, or Evita, etc) is crowd-pleasing, easy to play, and fills time. A.L. Webber should be named the patron saint of cocktail music filler.
*I actually managed to attend a party this year - and upon entry, immediately recognized the song played by the pianist as Webber's 'Music of the Night'. I had a good sympathy chuckle, as Phantom (or Cats, or Evita, etc) is crowd-pleasing, easy to play, and fills time. A.L. Webber should be named the patron saint of cocktail music filler.
Wednesday, December 30, 2009
Careers for Pianists, Part III: Oh, the Places You Can Go!
A previous blog named professional performing to be the 'least likely career path' - a hard fact facing the majority of classically trained pianists. Similar to the soprano and guitarist glut, the ratio of excellent pianists to performance opportunities is unfortunately lopsided. So those hell-bent on performing have to to think outside the box to get onstage. Here are several classical musicians who have come up with unique approaches to carving out their own opportunities.
Shaking up the Dead Composers (and a Few Live Ones)
Pianist Sarah Rothenberg, artistic director of Da Camera, has a series of chamber music and solo piano programs on fascinating subjects like the romantic spirit shared by Baudelaire and Chopin or the history and culture of St Petersburg. The Post-Classical Ensemble performs both new and old music, incorporating folk song, dance, film or commentary into their performances. Their recent festival, 'Interpreting Liszt' included an illustrated piano concert featuring Liszt piano solos, Petrarch and Dante poetry and art by Raphael and Michelangelo. The Ensemble for the Romantic Century, formed by pianist Eve Wolf, shows incredible creativity in its approach to giving chamber music concerts. Their website says it all, so I suggest perusing their archive of past programs.
Pour into a Mixer, Hit Blend
A lot of classical musicians have found a niche as contemporary music chamber artists. Excellent chamber groups like eighth blackbird, NOW Ensemble, Opus 21, Ahn Trio and Alarm Will Sound are of a new breed, skipping formalities, embracing theatricality and spontaneity. They avoid anything elitist or formal, intent on keeping an audience comfortable and entertained. Further oddities - chamber music tossed into bars, clubs and galleries by groups like the Chiara String Quartet, who perform modern and classical 'chamber music in any chamber'. One of their present projects: performing "Beethoven in Bars" in clubs across the country, featuring Beethoven quartets as well as new works. The Firebird ensemble performs regularly at a BBQ joint, and show a remarkable flexibility in their performance repertoire, including new composers, Schoenberg, jazz, Metallica and Jimi Hendrix. The Bang on a Can All-Stars embrace pop and jazz as well as modern classical - they have collaborated with artists like Steve Reich, Philip Glass and Sonic Youth. All of these groups regularly commission and premiere compositions, undertake residencies at Universities and perform programs of astounding eclecticism.
Unconventional, yet extraordinary
Taking the multiculturalism angle is the Silk Road Ensemble, presenting multimedia projects influenced by cultures from around the globe, and also including contemporary composers. They undertake residencies at Museums and Universities, hold workshops for students and teachers and hold cultural exchanges with musicians in areas like Baki, Azerbaijan. The eclectic group Time for Three - a self-described "classically trained garage band", is a violin-violin-bass trio that fuses bluegrass, classical, jazz and rock. And finally, check out classically trained players who have formed an electric cello band, Cello Chix, playing classic rock repertoire in bars (listen to them play Stevie Wonder on their website). Then there are the musicians who have jumped humanities' fence and joined the scientist's playground. They've combined classical or jazz repertoire with the sciences, taking their performance to the classroom, museum and concert hall.
Interdisciplinary, yet Extramusical
Biosphere 2 Institute fuses science with art and music with an Artist-In-Residence program. Present artist-pianist Simone Michado collaborates with ecologist Scott Saleska to present "Survival of the Sphere", a program about the Amazon rain forest that uses narrative, photography and Brazilian music. Further use of science as a springboard to perform: complement a solar energy event with music performed on solar-powered electric instruments. Performing at both Biosphere 2's Earth Day Festival and the U.S. Department of Energy's Solar Decathlon, musicians Dr. Paula Fan on keyboards, Garrick Woods on cello and Michael Fan on violin (and composer) presented a "A Bright New World or Dr. Solera and the Fossil Fools", an educational musical 'solar fable' about the importance of solar energy. They also enlisted a jazz keyboardist to play thematically relevant tunes (Blue Skies, Here's that Rainy Day, etc) in between sets. Another successful venture is the ingenious alliance of scientist Harold Varmus and a jazz quintet, creating "Genes and Jazz" - a presentation relating the evolutions of the musical art form to genetic mutations, enhanced with computer imagery by Drew Barry. And finally, an interesting (but piano-free) music and science joint effort, Perpetual Motion: Revolutions in 17th Century. The performance combines period music sung by Galileo's Daughters and film with narratives on scientific and musical discoveries made in the 17th century.
Unprepared for Prepared Piano (or Shall we Juggle, as well?)
Performing avant-garde contemporary music, giving lecture recitals, dressing up music with eyecandy visuals or dragging a quartet into a bar may strike you as gimmicky. And you're probably right. But practically speaking - hey, they're employed. They are utilizing their years of training, engaging and retaining audiences, and performing repertoire that highlights their strengths. They've carved out their opportunities with talent, willpower, creativity and, of course, luck. So what do you think is your niche?
Next up: Careers for Pianists, Part IV: Living the Dream and Supporting it
Bonus info: more classically trained musicians, thinking in the present: Great Noise Ensemble, Kronos Quartet, VERGE Ensemble, ECCO, Matt Haimovitz, Maya Beiser and Christopher O'Riley, newEAR contemporary chamber ensemble, Ljova, Prism Quartet, Ethel
Shaking up the Dead Composers (and a Few Live Ones)
Pianist Sarah Rothenberg, artistic director of Da Camera, has a series of chamber music and solo piano programs on fascinating subjects like the romantic spirit shared by Baudelaire and Chopin or the history and culture of St Petersburg. The Post-Classical Ensemble performs both new and old music, incorporating folk song, dance, film or commentary into their performances. Their recent festival, 'Interpreting Liszt' included an illustrated piano concert featuring Liszt piano solos, Petrarch and Dante poetry and art by Raphael and Michelangelo. The Ensemble for the Romantic Century, formed by pianist Eve Wolf, shows incredible creativity in its approach to giving chamber music concerts. Their website says it all, so I suggest perusing their archive of past programs.
Pour into a Mixer, Hit Blend
A lot of classical musicians have found a niche as contemporary music chamber artists. Excellent chamber groups like eighth blackbird, NOW Ensemble, Opus 21, Ahn Trio and Alarm Will Sound are of a new breed, skipping formalities, embracing theatricality and spontaneity. They avoid anything elitist or formal, intent on keeping an audience comfortable and entertained. Further oddities - chamber music tossed into bars, clubs and galleries by groups like the Chiara String Quartet, who perform modern and classical 'chamber music in any chamber'. One of their present projects: performing "Beethoven in Bars" in clubs across the country, featuring Beethoven quartets as well as new works. The Firebird ensemble performs regularly at a BBQ joint, and show a remarkable flexibility in their performance repertoire, including new composers, Schoenberg, jazz, Metallica and Jimi Hendrix. The Bang on a Can All-Stars embrace pop and jazz as well as modern classical - they have collaborated with artists like Steve Reich, Philip Glass and Sonic Youth. All of these groups regularly commission and premiere compositions, undertake residencies at Universities and perform programs of astounding eclecticism.
Unconventional, yet extraordinary
Taking the multiculturalism angle is the Silk Road Ensemble, presenting multimedia projects influenced by cultures from around the globe, and also including contemporary composers. They undertake residencies at Museums and Universities, hold workshops for students and teachers and hold cultural exchanges with musicians in areas like Baki, Azerbaijan. The eclectic group Time for Three - a self-described "classically trained garage band", is a violin-violin-bass trio that fuses bluegrass, classical, jazz and rock. And finally, check out classically trained players who have formed an electric cello band, Cello Chix, playing classic rock repertoire in bars (listen to them play Stevie Wonder on their website). Then there are the musicians who have jumped humanities' fence and joined the scientist's playground. They've combined classical or jazz repertoire with the sciences, taking their performance to the classroom, museum and concert hall.
Interdisciplinary, yet Extramusical
Biosphere 2 Institute fuses science with art and music with an Artist-In-Residence program. Present artist-pianist Simone Michado collaborates with ecologist Scott Saleska to present "Survival of the Sphere", a program about the Amazon rain forest that uses narrative, photography and Brazilian music. Further use of science as a springboard to perform: complement a solar energy event with music performed on solar-powered electric instruments. Performing at both Biosphere 2's Earth Day Festival and the U.S. Department of Energy's Solar Decathlon, musicians Dr. Paula Fan on keyboards, Garrick Woods on cello and Michael Fan on violin (and composer) presented a "A Bright New World or Dr. Solera and the Fossil Fools", an educational musical 'solar fable' about the importance of solar energy. They also enlisted a jazz keyboardist to play thematically relevant tunes (Blue Skies, Here's that Rainy Day, etc) in between sets. Another successful venture is the ingenious alliance of scientist Harold Varmus and a jazz quintet, creating "Genes and Jazz" - a presentation relating the evolutions of the musical art form to genetic mutations, enhanced with computer imagery by Drew Barry. And finally, an interesting (but piano-free) music and science joint effort, Perpetual Motion: Revolutions in 17th Century. The performance combines period music sung by Galileo's Daughters and film with narratives on scientific and musical discoveries made in the 17th century.
Unprepared for Prepared Piano (or Shall we Juggle, as well?)
Performing avant-garde contemporary music, giving lecture recitals, dressing up music with eyecandy visuals or dragging a quartet into a bar may strike you as gimmicky. And you're probably right. But practically speaking - hey, they're employed. They are utilizing their years of training, engaging and retaining audiences, and performing repertoire that highlights their strengths. They've carved out their opportunities with talent, willpower, creativity and, of course, luck. So what do you think is your niche?
Next up: Careers for Pianists, Part IV: Living the Dream and Supporting it
Bonus info: more classically trained musicians, thinking in the present: Great Noise Ensemble, Kronos Quartet, VERGE Ensemble, ECCO, Matt Haimovitz, Maya Beiser and Christopher O'Riley, newEAR contemporary chamber ensemble, Ljova, Prism Quartet, Ethel
Tuesday, December 29, 2009
Dear 1999 . . .
This is my response to a Musicianwages.com group blogging event, written on the topic "If you could go back to 1999 and give yourself one piece of advice, what would it be?"
Dear 1999 self,
Right now you are 2.5 years into your undergrad collaborative piano program, and the skills you are gaining will mainly be useful for employment in academic circles. 'Great', you say, 'I want to stay in academia'. True for now, but in a few years you will realize that you have no interest in teaching, which in turn makes a professor position undesired, and a doctorate unnecessary. You will also realize that living in Nowhere, USA is the only way for you to occupy a full-time (yet untenured) Staff Accompanist position. Short answer to the above: no.
Now that I've wiped out your present career plans, here's the good news: opera, vocal and instrumental repertoire are only one aspect of an enormous range of possibilities in collaborative piano. Your future work ideal will be variety: variety in workplaces, in collaborative partners and in repertoire - so do yourself a favor and switch back to piano performance (or to the B of Arts track, if necessary). Continue to develop your solo classical chops, and also continue to work with classical singers and instrumentalists, but spend the rest of your time looking into these areas:
Doing any of this will expand the venues you (we) can work in the future, and will be more satisfying for you in the short run as well. Last tidbit - for gradschools, focus on teachers and performance opportunities within the school over the actual names of schools.
Sincerely,
Me
Dear 1999 self,
Right now you are 2.5 years into your undergrad collaborative piano program, and the skills you are gaining will mainly be useful for employment in academic circles. 'Great', you say, 'I want to stay in academia'. True for now, but in a few years you will realize that you have no interest in teaching, which in turn makes a professor position undesired, and a doctorate unnecessary. You will also realize that living in Nowhere, USA is the only way for you to occupy a full-time (yet untenured) Staff Accompanist position. Short answer to the above: no.
Now that I've wiped out your present career plans, here's the good news: opera, vocal and instrumental repertoire are only one aspect of an enormous range of possibilities in collaborative piano. Your future work ideal will be variety: variety in workplaces, in collaborative partners and in repertoire - so do yourself a favor and switch back to piano performance (or to the B of Arts track, if necessary). Continue to develop your solo classical chops, and also continue to work with classical singers and instrumentalists, but spend the rest of your time looking into these areas:
- Go to the dance department: they have excellent pianists you can observe (study with them if you can) in the area of providing accompaniment for ballet and modern dance classes
- Go to the musical theatre department: offer to be a substitute pianist for rehearsals, offer to turn pages for the audition pianists, learn the standard repertoire, listen to CDs of shows - get involved
- Look into Community theater: offer to be a substitute pianist for rehearsals, for shows, etc - learn by doing
- Sit in on vocal coachings of all kinds, write down their tricks, their warmups, try them out yourself
- Learn Finale (or equivalent programs of the time) and transcribe things - look into arranging if possible
- Study improvisation and/or jazz - get to where reading a chart is a simple exercise
- Take voice lessons - singers will make a lot more sense when you do
- Practice jazz scales in addition to your other warm-ups - it will set you up for the future in several ways (learning contemporary music, studying jazz in-depth, etc)
- Finagle as much private study as possible with people who do things you wish you could do (look inside and outside the university)
- Look for opportunities to perform, anywhere and everywhere
Doing any of this will expand the venues you (we) can work in the future, and will be more satisfying for you in the short run as well. Last tidbit - for gradschools, focus on teachers and performance opportunities within the school over the actual names of schools.
Sincerely,
Me
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