In this final chapter, I will reflect on some of the audience engagement strategies I have learned since coming to study in The Hague. These insights serve as valuable tools for developing a pilot version of my performance featuring works by Eugenia Osterberger, helping me to answer my research question.

Interdisciplinary Approaches to Performance

One of the most inspiring aspects of my experience in the Netherlands, particularly at the Royal Conservatoire The Hague, has been the interdisciplinary approach to performance. The dynamic music scene in the country encourages artists to expand beyond traditional boundaries and incorporate diverse artistic elements into their presentations. Attending a variety of performances over the past two years—both within and outside the school—has broadened my perspective on what is possible as a classical musician. Additionally, participating in projects such as the Student Present Festival and courses like Performance and Communication has significantly influenced my approach to engaging audiences.

The impact of the Performance and Communication course

The Performance and Communication elective course, which I attended during the second semester of my first master's year, was an invaluable journey that has profoundly shaped my vision of concert-presentation and that inspired me to create my own performance planning. The lessons were a safe space for us, the students, to reflect on and experiment with different ways of engaging audiences.

The Performance and Communication elective course was an invaluable journey that has profoundly shaped my vision of concert-presentation and that inspired me to create my own performance planning. I took this course during the second semester of last year, and it provided a safe space for students to reflect on and experiment with different ways of engaging audiences. The course encouraged us to question the implicit rules and behaviors that define the structure of a traditional classical concert and to explore how we, as performers, could create more immersive and meaningful experiences. In each session, we observed and experimented with engaging audience strategies through practical exercises and live performances, aiming to develop a more personal and impactful performance style. The emphasis was on leveraging multiple disciplines and expressive tools—physical movement, storytelling, different set-ups (for both the performer and the audience), and non-verbal communication—to enhance the audience’s connection with the music. This approach aligns with Astrid Baumgardner’s assertion that she makes in her blog: “It is time for classical musicians to come out of hiding and share themselves with the public”1

We, as musicians, are not just interpreters but also communicators, and our role extends beyond merely playing notes. Our stage presence, speech, and expressive choices influence the audience’s perception of our performance.

Storytelling as a Key Element

One of the most powerful engagement techniques we explored in the elective was storytelling. Storytelling helps to establish an emotional bond between the performer, the music, and the audience.

“It’s about recognizing that each piece of music tells a story that can resonate on a deeply personal level with listeners, providing both an emotional catharsis and an opportunity for intellectual exploration”2

This statement aligns with the goal I aim to achieve with my performance of Eugenia’s music—to connect with her work, relate it to my own musical journey, and share that experience with the audience. A performance like this is more likely to leave a lasting impression, rather than simply presenting a concert program where I include a few words about Eugenia and then just play her pieces. Too often, even when a performance is musically and technically exceptional, it does not always resonate deeply with the audience. They might say, “Oh, it’s nice and beautiful music,” but I would like to go beyond that. Sharing a story always helps create a deeper and more meaningful experience, making the performance feel more complete and fulfilling. Of course, this approach requires extra effort from the performer, but it also enhances understanding and interpretation, giving greater meaning to the music and the act of performing it.

Understanding the Audience

Another essential aspect of engaging the audience is understanding the nature of the audience itself. Are they musicians or non-musicians? Are they young children, elderly individuals, or a diverse mix of backgrounds? Considering these factors will allow me to tailor my performance accordingly. This flexibility is why I plan to design a pilot version of my concert that can be adapted based on the audience’s composition.

Non-Verbal Communication and Stage Presence

Body language also plays a crucial role in the impression we make on the audience. The moment we step onto the stage, our presence sets the tone for the performance. If we appear tense or hesitant, the audience may sense that, affecting their level of engagement. One strategy I could employ is to move naturally on stage while delivering my speech, rather than remaining rigidly in one spot. Movement can create a sense of flow and dynamism, helping to maintain the audience’s attention. Additionally, Baumgardner3, like our teachers from Performance and Communication, suggests this simple advice: “Make eye contact with your audience. Smile. You are there to share something special with your audience, so let them know that they count!”

Incorporating New Formats and Technology

Finally, the use of technological tools can further enhance the audience’s experience. One idea I am considering is integrating projected images, text, or videos into the performance. These visual elements can provide additional context about Osterberger’s life and compositions, reinforcing the emotional and historical aspects of the music. Using such multimedia tools aligns with contemporary approaches to concert design, making classical performances more accessible and engaging to diverse audiences.

During the performance, I would like to compare Eugenia’s pieces with elements of folklore, highlighting my own musical roots. This approach often engages audiences, whether by introducing them to a new musical culture or by allowing them to resonate with their own. Music becomes especially moving when it connects to something familiar, evoking emotions through associations with what we already know and love. One example of this will be incorporating a traditional instrument and playing it myself or demonstrating melodic similarities while performing, making these connections more tangible for the audience.

Reflecting on these engagement strategies has given me a clearer vision of how to shape my performance of Eugenia Osterberger’s works. By integrating storytelling, adapting to different audience types, enhancing stage presence, and incorporating multimedia elements, I aim to create a performance that goes beyond mere technical execution—one that resonates deeply with listeners and leaves a lasting impact. As the renowned musician and conductor Nikolaus Harnoncourt insightfully stated in one of his books:

The more we delve deeper and the more intensely we strive to understand that music, the more we can see what that music is, far beyond beauty, how it captivates and unsettles us with the variety of its language4

This principle applies not only to me as a performer but also to my audience. My goal is to help them connect with Eugenia Osterberger’s music on a deeper level, just as I do when I perform it.

My PIA Pilot, conducted in November, involved recording and arranging four pieces by Eugenia Osterberger (Adios Lolita Mia, Mélodie Espagnole, Neve and Au fil de l’eau) to test their effectiveness in performance. This step was essential to be able to prepare my final PIA, which aims to create a professional video recording—a promotional trailer showcasing excerpts of Osterberger’s works. The video will not only highlight her music but also include my reflections on her connection to Galician and Spanish traditions within her composing style. That is why completing this research has been such a crucial part of the entire process. Gaining a deep understanding of her music and life adds value and quality to the final projects I aim to complete: my PIA video and, in the future, the concert I will design. With the video, my goal is to create a lasting resource that can be widely shared and used for promotion. Through the concert, I aim to disseminate the findings of this research while expressing the meaning of her music to me through my performance.

I find it interesting to share some insights I gained from my Pilot. My goal was to assess how Eugenia’s music resonated with an audience by gathering first impressions without providing extensive background information beforehand.

To gather feedback this, I conducted a Google Forms questionnaire, that had 15 respondents, including musicians, audience members, and my main-subject teacher. One of the questions focused on general impressions of the music, its familiarity, and elements that stood out. Key observations included:

• 19th Century Imagery: Some listeners imagined bourgeois gatherings, peaceful village life, and chamber music settings.
• Cultural Identity and Tradition: Several respondents associated the music with Spanish and Galician folklore, mentioning zarzuela, traditional melodies, and regional rhythms.
• Nature and Pastoral Themes: Many described scenes of nature, countryside landscapes, and tranquility.
• Childlike Innocence: Words like naïve, tender, simple, and graceful were frequently used.
• Romantic and Emotional Qualities: Descriptions such as melancholic, dreamy, and peaceful reinforced the expressive nature of the music.

Other comments highlighted the variety of instruments in the arrangements and the music’s flexibility for adaptation. Notably, almost all respondents expressed a strong interest in hearing more of Osterberger’s music. One participant remarked: “The first thing I thought was the talent of this Spanish composer. I didn't know her music, and it has been inspiring for me.” This aligns with my main goal: to give voice to an underrepresented woman composer and introduce her music to a broader audience.

Reflections and next steps for my final PIA

The questionnaire responses provided valuable insights into how Eugenia Osterberger’s music and my performance were perceived. I found it fascinating that, even without much context about the composer, listeners naturally associated the music with the 19th-century aesthetic, its emotional qualities, and its cultural influences. However, I also realized that most of the respondents were Spanish, meaning they may have subconsciously recognized familiar musical elements. For a non-Spanish audience, additional context might be necessary to help them fully appreciate the music.

This realization reinforced my decision to make my final performance more than just a traditionally structured concert. Instead of simply playing the pieces, I want to actively engage the audience through storytelling, explanations, and possibly multimedia elements. By introducing Eugenia Osterberger’s life and work through spoken narration, I can create a deeper and more meaningful connection between the audience and the music.

Moving forward, one of my main goals is to further develop my PIA by experimenting with new arrangements and pieces that have not yet been performed. By refining my approach to repertoire selection and audience engagement, I hope to present a performance that is not only musically compelling but also immersive, informative, and inspiring.

This pilot concert-program aims to serve as a blueprint for what could become a performance-presentation dedicated to Eugenia Osterberger. In this section, I will outline the key ideas behind the concept. The performance will need to be adapted depending on the venue and audience, which is why this initial version is considered a pilot.

One of the main objectives is to present this project in Spain, particularly in Galicia, where it could spark the interest of concert programmers and local municipalities that organize music events. Since a significant portion of Osterberger’s compositions contain elements of traditional Galician music, audiences in Galicia might feel a deeper connection with her work. In a Spanish or Galician version, more details could be included, but the version I am developing here is designed to be performed in English and adaptable to different settings.

The idea for this pilot emerged from the concept of creating a narrative that links Eugenia’s life (her most significant events, inspirations, and compositional process) with my own journey as a classical musician, all while highlighting our shared Galician roots. The pieces themselves will act as connectors between these different aspects.

In a structured format, I will outline the core ideas, selected pieces, and a prototype program for the concert. Naturally, as this is a pilot, everything remains subject to change, from the title of the program/performance to the pieces performed and the depth of content explored. To ensure a natural flow, my musical discourse will be interwoven with the performances, rather than playing all the pieces consecutively and then speaking. This balanced format will enhance engagement and continuity throughout the concert.

CONCERT-DESING PILOT

TITLE

Lembranzas5. My musical journey through the life and voice of Eugenia Osterber.

STORYLINE AND STRUCTURE OF THE CONCERT

The concert will be divided into three parts, all of which will be interconnected through my narration and the performance of Eugenia’s pieces.

1st part. Santiago de Compostela, the city where it all began

Santiago de Compostela is the city where both Eugenia Osterberger and I were born. In this section, I will emphasize our connection by performing lighter, more cheerful pieces, such as those originally written for harpsichord, arranged for oboe and bassoon. I will also share the story of how Eugenia received her first piano and began discovering her passion for music, at almost the same age I started playing the oboe—while also reflecting on the differences shaped by our historical contexts. Additionally, I will draw personal connections between moments from my childhood and the music of Eugenia, highlighting how her compositions resonate with my own experiences.

Pieces performed:

-Dance Jaquelinette! (1,5 minutes) // introduction theme

-Farfadets (3 minutes) // child memories and fun

-En Avant…la musique!.. (3 minutes) // Playing with my friends in wind bands, where I started to play oboe. I will explain the pasacalle and pasodoble styles as well.

-Falas de nai (2 minutes) // Words of a mother about his/her son, when he or she is away. Linked to my family missing me but supporting me on my journey (Studying in France (Eugenia) VS me doing my Bachelor in Zaragoza, away from home)

2nd part. A Coruña, where our love for music and art grew

This was the stage in which I deepened my connection with music, having the opportunity to play in various orchestras, collaborate with many musicians, perform with different ensembles, and take part in concerts. Here, we find a parallel with Eugenia’s years in A Coruña, where she composed many of her works—particularly those inspired by Galician music—and engaged with artistic circles and influential figures who shaped her style and creativity. This section will also highlight connections to Galicia and references to traditional music, further emphasizing the influence of folk elements in Eugenia’s compositions.

Pieces performed:

-Petits Papillons Blancs (1 minute) // introduction theme of the second part

-Casamiento from Cantigas y Melodías Gallegas (1,5 minutes) / relates to Eugenia’s marriage.

-Adios Lolita Mia (2 minutes) // relates to my experience playing with wind instruments and larger ensembles, as my first orchestral experiences of my life —both in youth and professional orchestras—took place in A Coruña.

-Au fil de l’eau (2 minutes)

-Neve and Despedidas (5 minutes) // Uncertain about my next steps in life, with snow as a symbol and the farewell feeling because of the departure and the necessity of leaving home once again to continue my professional journey.

3rd part. Niza-Netherlands: where our path continues

Here, I will share how Eugenia moved to France, where she developed her compositional career as much as she could—with many of her pieces dating from her time there. In my case, this transition connects to where I am now, on the verge of starting my professional career after completing my studies. I will also reflect on my experiences so far and how this journey has shaped me.

-Musettes (1 minute) // introduction theme of the third part.

-Ausencia (4 minutes) / It represents my feeling of missing my land and home sometimes when it has been a long time since returning.

-Viens (3 minutes) / I continue along the way making chamber music and enjoying it.

-Melodie espagnole sentimentale (2,5 minutes) / One of my favorite pieces, written for English horn, an instrument with which I have been deepening my playing and performing skills during my master's studies.

Technical requirements

Piano, 5 stands, projector and connections needed and microphone to speak without forcing.

Estimated length of the concert: 60 minutes