Composers Forum is a daily web log that allows invited contemporary composers to share their thoughts and ideas on any topic that interests them--from the ethereal, like how new music gets created, music history, theory, performance, other composers, alive or dead, to the mundane, like getting works played and recorded and the joys of teaching. If you're a professional composer and would like to participate, send us an e-mail.


Regular Contributors


Adrienne Albert
Beth Anderson
Larry Bell
Galen H. Brown
Cary Boyce
Roger Bourland
Corey Dargel
Lawrence Dillon
Daniel Gilliam
Peter Gordon
Rodney Lister
Ian Moss
Tom Myron
Frank J. Oteri
Carlos R. Rivera
David Salvage
Stefano Savi Scarponi
Alex Shapiro
Naomi Stephan
David Toub
Judith Lang Zaimont

Composer Blogs@ Sequenza21.com

Lawrence Dillon
Elodie Lauten
Anthony Cornicello
Everette Minchew
Tom Myron

Alan Theisen
Corey Dargel



Latest Posts


The Composer Next Door: April 15th - Bielawa, Moon...
Rob Deemer

James MacMillan Interview
Cary Boyce

Kyiv-Lavra Perchersk Monastery
Cary Boyce

Female Composer Commissions in the Chronicle of Hi...
Rob Deemer

A More Perfect Union
Galen H. Brown

'In C' Follow-Up
jodru

Text and Con-Text
Cary Boyce

Will choral music always be tonal?
Roger Bourland

Two Questions
jodru

New Music Clarification
Cary Boyce


Beepsnort Lisa Hirsch


Record companies, artists and publicists are invited to submit CDs to be considered for review. Send to: Jerry Bowles, Editor, Sequenza 21, 340 W. 57th Street, 12B, New York, NY 10019


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Friday, May 12, 2006
Amateur Ensembles

There are thousands upon thousands of church and community choir, orchestra, and ensemble opportunties for composers. And in the last couple decades or so, many art music composers have actually reengaged writing for the voice.

Of course we want the best performances (and performers) for our music, but some of the amateur groups around do amazing work. The Bloomington Chamber Singers, an amateur community chorus in Bloomington, Indiana (NOT associated with the music school, not directly anyway) commissioned, premiered, and recorded my oratorio for soprano, chorus, and orchestra in 2003. It was a remarkable achievement usually reserved for large market ensembles to the tune of hundreds of thousands of dollars and already known composers.

The community here really got behind the project, which then resulted in radio specials, interviews, national as well as local and state funding, business and individual donations and ultimately a packed house.

The local Unitarian Church has commissioned a number of pieces while I wait for my Pulitzer to come in. I love my professional ensemble -- but amateur ensembles make the world go around.

I believe a composer should be a voice for the community one lives in, and one of the best connections is through our local talent, some of which is world class even if the world doesn't know it. Is it an effort to go introduce yourself and your music? Sure. Does it pay well? Sometimes there are tens of dollars to be made. Is it worth the effort anyway? Oh yeah. Amateur ensembles of the world, I salute and thank you.



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