Last Updated on 2022-11-27 | Originally Posted on 2022-01-01
On the last day of 2021, I had the time to take a look at what went wrong with my social media strategy. I’m all for being active on social media, but I need to find out how to be more efficient or I’ll just abandon it for weeks at a time. What I discovered is that I wasn’t delineating between the two separate things I do, teaching and performing. Each needs to have its own strategy, and from there I need to develop easier tactics to manage content for each audience.
Listening to music in the online era seems a bit more like just another computer task, whether it be shopping online or even writing an email. The only difference is that it’s served via a music platform, like YouTube or Facebook Live, instead of some other computer, tablet, or cell phone app. So why not Schumann and Beethoven To Go, since that is how it is likely to be consumed?!
As I just hinted above, my virtual audience is much larger than my physical one. I’m not going to rehash my thoughts of my last blog post, but instead, continue to focus more on my online audience. The move to thinking about an online audience has been quite a challenge. I allow extra time to get my live stream ready before each performance. I post to both Facebook and Instagram both before and after events, in order to entice and provide listening links, respectively. After each Facebook Live event, I edit the recording to eliminate dead space, give program information, plus provide launch points for each piece and movement.
So what inspired me to put together works by Schumann and Beethoven? Before I explore that, here is a link to the concert program itself. I first heard Schumann’s Papillons in a recital given by Vladimir Ashkenazy. I remember sitting on stage in Symphony Hall in Boston as he thundered those octaves at the beginning of the second episode. That immediately dismissed any notion that this was a lesser work. It may not be as virtuosic as some of Schumann’s later and longer works, but it provides many challenges – including those very octaves!
Beethoven’s Second Piano Sonata, Op. 2, No. 2, is brand new to me. I selected it since I already played the first sonata in college, as well as several others sprinkled through the entire catalog. I don’t have a goal to learn all 32 sonatas, but I figured that with the first two sonatas learned, I might want to learn a few more eventually. It’s humbling to realize that a lifetime of piano playing hasn’t made learning anything by Beethoven any easier!
Now that I’ve offered Schumann and Beethoven To Go, I’m wondering whether I should have offered any food or beverage pairings. Okay, I’ll leave it right there, because I really now have to go practice!