I hear many artists talking about the arts in Europe. From a North American’s perspective, appreciation for the arts and culture seem to be more prevalent. There are more gigs, more fans and more opportunities. Why?

I read this article and had some thoughts. Is it all about habit forming? Europeans have had a thousand years to develop habits that support the arts. Which means, unfortunately, that if this is a major issue for North Americans, there is no quick fix.

What will a North American do when they’re free on Friday night? How often will they go to the opera? My guess: Very rarely. If we took every North American child to the opera every Friday night for twenty years, and they were grew to appreciate it, discuss it and support it, what would the arts community look like after twenty years?

Some discussion points I’ll be considering for future posts:

How prevalent is the use of habit-forming marketing initiatives in the arts? How do arts groups address this issue?

From another perspective, artists now have the opportunity to use websites like Facebook and Twitter that are forming habits of a different kind. How does this trend affect the community?

Lastly, if habit-forming is a major issue, then does that mean government-sponsored arts-supporting initiatives that don’t take this into consideration should be scrutinized and reorganized to allow a shift in priorities?

I have posted some pictures from my recent performance at the Medicine Hat Jazz Festival on June 26/09 (Link). Thanks to Lyle Rebbeck for having me, and thanks to Roger Moses for the great pictures!

Before the story, a preface:

Cold calling is one of the most awkward things entrepreneurial artists (or entrepreneurs in general) have to do. You have to introduce yourself, be cordial, ask if it’s a convenient time to talk, explain why you’re calling and make a pitch all in twenty seconds! It’s a very humbling experience. Cold calling can shrink your ego to its smallest size, faster than anything.

Which is why this is a funny story:

Just when I thought my ego had been beaten enough from all my cold calling, I get an email. It’s a performance opportunity! This is exciting. It’s rare that performance opportunities come to me. I usually have to go to them!

He asks if I’m interested in putting on a performance with his orchestra. An orchestra?! Wow, yes, of course I’m interested! He contacted me through my website-form, and left his contact information.

After some bounced email messages, I call him and leave a message. He calls me back shortly after. The conversation goes something like this:

Me: Hello?

Him: Hello, it’s < > calling, you contacted me?

Me: Oh hi! Yes, it’s Chris Donnelly. I just left you a voice message. Thanks for calling me back!

Him: Hi Chris, how can I help you?

Me: I got your email message, but I was having problems with your email address. My messages kept on bouncing back! So I thought I should call….

Him: Oh…. but you contacted me first, so what can I do for you?

Me: Ummm, actually you contacted me first. It’s Chris Donnelly, pianist from Toronto. You sent me a message through my website?

Him: Oh…. Sorry…remind me who you are again?

There it is. My first ever ‘cold return.’ I never thought they could exist. But they do! A harsh reminder to artists that even when they’re thinking of you, they’re not! He remembered me eventually, after I re-introduced myself and explained why he first contacted me. We may even work together!

Back in Toronto!

In case you didn’t hear:

1st Prize (Shared) - Beka Gochiashvili (13 year old from Georgia)
1st Prize (Shared) - Isfar Sarabsky (Azerbaijan)
2nd Prize - Franz Von Chossy (Germany)
Encouragement Prize - Claude Diallo (Switzerland)
Encouragement Prize - Kuba Pluzek (Poland)
Public Prize - Isfar Sarabsky (Azerbaijan)

The judges:
Chucho Valdés (Cuba) - presiding judge
Al Copley (USA)
Moncef Genoud (Switzerland)
André Manoukian (France)
Denis Matsuev (Russia)
Aziza Mustafa Zadeh (Azerbaijan)
Leo Tardin (Switzerland)

I’ll be posting a blog about this in the next few weeks. In the meantime, I’ve posted my performance of Bill Evans’ Very Early on the post page (Link). Hope you enjoy, stay tuned!

Warning: Light blogging ahead. I’m off to Montreux tomorrow.

Here’s another one of the tracks I submitted as part of my Montreux application. It’s Herbie Hancock’s Chan’s Song. (Link)

Be back soon!

Here’s another excerpt from Kapustin:



I was working on this RH figure for a while (tempo is quarter = 60, so it goes by really fast). I decided that it’s easiest to play 1234, and then finger the chord 1345. It seems counter-intuitive doesn’t it?

I was originally playing the first four notes 2123 or 3123 which readies my pinky for the ‘C’ at the top of the chord, but the thumb cross is too slow for such a fast figure.

But strangely enough, when I use 1234, my hand is quicker at crossing my third finger over my fourth, and lifting up my fourth finger and playing ‘A’ (two notes away!) Maybe it’s momentum. I think it’s just deceptively simple!

Try it!

These three words are often used to describe the creative-music process. But doesn’t it also describe our learning process in general?

When I finished my formal music studies, I needed to formulate a business plan. So I researched a number of successful musicians, copied what they did and eventually found my own path.

If you want to study biology, (or any field for that matter) you would first study the science while reenacting experiments and observations. Aren’t all textbooks and curriculums just opportunities for assimilation and imitation? Eventually you develop interests with a particular focus and create your own experiments.

How do we learn how to speak? Same process.

(Side note: There’s an element of lineage here. It’s an evolving lineage. For future thoughts: Is there an aesthetic explanation (not just biological explanations) for why we evolve? Why do we innovate?)

It seems to me that everything we do first develops from copying something or somebody else. When we’re children, we act as sponges, soaking up and imitating every bit of experience around us. All of that experience adds up, mixes and merges to create individuality.

Lets say all of this is true. Then my logic tells me that either these three words are redundantly describing a process that is already encapsulated in the general learning process, and/or everybody in some form or another is inherently creative and artistic.

The second option is much more interesting!

I’m working on a piece by Nikolai Kapustin. The great thing about playing Kupustin’s music is that his pieces fit nicely under the fingers. So you usually don’t have to struggle with learning awkward fingering. Except for this passage:



I think I’ve figured out the best solution. But I’m curious to know what you would use!

Update: For anybody interested, I use 4, 2, 3, 1, 5, 1, 3, 4, 3, 2, 1, 2, 5, 1, 3, 2, 1. Although, looking at some of your solutions, I may have to adjust! Also, I should have mentioned that that last two notes are played in the right hand. Thanks for your comments!