Forum

One of our most spiritedly discussed posts in recent memory raised the issues of composition competitions and application fees.

While a wide range of opinions were expressed, one consistent issue raised was the necessity for composers to invest their resources wisely in profile-building activities. Here in the forum, let’s talk shop about this. Which activities are most important for composers to pursue: competitions, festivals, recordings, publications, etc.?

What are the trends you see in contemporary classical today that are most salutary, hopeful or, conversely, most in need of remediation? Are there ways in which the Sequenza 21 community can work to address them?

On Monday at Westminster, we have the final concert for the composition class. While we’ve studied a number of pieces this semester, I’d like to give the students a list of suggested further listening. What would you recommend as a list of 10-20 pieces for a student composer – to provoke, inspire, and enrich their knowledge of the repertory?

Kitty with 'table from openphoto.net

Accessible Contemporary Music is a non-profit group out of Chicago. Their goal?

It is our artistic mission to promote the performance and understanding of contemporary music, especially the music of living composers. We have as our target audience both those already acquainted with contemporary music and those who may not even realize that there are people still composing concert music today.

To that end they run a very nice concert series, all kinds of classes and workshops, and what I want to tell you about, namely the Weekly Reading series beginning again this November:

Weekly Readings was begun in the 2004-2005 season to address the growing number of composers who find themselves without available professionals to read and perform their music. Each week members of ACM and professional guest musicians from the Chicago area meet and conduct a prepared reading of a different new piece of music by a living composer who has submitted a piece to us specifically for this project.

Not only does the piece get read and performed at the series, each piece will also receive consideration for a future ACM concert. And for $10 they can get you a CD of the reading, too. Follow the link for the complete description and guidelines.

Seems to me that this is a great idea, and a real boon for a lot of composers out there without players at your beck & call. Writing music is fine, but the reality of what you’re writing doesn’t happen until you actually hear those dots, blobs and scratches in the hands of real performers. Kudos to ACM!

Jim Sector over at the Albany Symphony told me about competition kicking off just now, that some of you might be game for:

The Albany Symphony Orchestra (ASO) is proud to announce the orchestra’s first young composer competition: the “Composer to Center Stage” Reading Session. The ASO will hold an open call for scores starting on September 14th, 2009 and ending November 14th, 2009, available nationally to young and emerging composers looking to refine and develop their orchestral craft. From the pool of applicants, three composers will be selected to join the ASO in March 2010 to attend an open forum, hosted by nationally-acclaimed composer John Harbison, and to attend the ASO’s March 26th concert featuring Mr. Harbison’s music. In May, these finalists will be brought back during the orchestra’s annual American Music Festival, where they will have their pieces read by the symphony on May 22nd, meeting again with Mr. Harbison for feedback. An honorarium will be awarded to finalists, and both travel and housing will be provided for their trips to Albany.

A few of the more important rules for this one:

- Applicant must be either a US citizen or non-citizen lawfully and permanently residing, or studying full-time, in the United States.
- There are no age restrictions; however, applicants should be composers at the early stages of their professional careers.
- Each composer may submit only one composition for consideration.
- Only works that will not have been performed or read by a professional orchestra nor received a public performance prior to the reading date are eligible.
- Only works completed within the last five years will be considered.
- Works may be up to 15 minutes in length. Sections of longer works will be considered.
- Instrumentation should not exceed ASO’s standard symphonic complement. Works with instrumentation which exceed the above will be considered only with advance approval.
- Not eligible are concertos, choral works, works with excessive electronic elements.
- Works with Electronic elements are discouraged, but will be considered on a case-bycase basis. For works with electronics, MIDI, and/or digital technologies: include a one page statement describing the rationale for its use, as well as any pertinent production requirements and technical specifications.
- If selected, composers must provide professional, legible orchestral parts and scores prepared according to guidelines established by the Major Orchestral Librarians Association.
- The quality of the score submitted is the primary evaluation criteria. It is therefore in the applicant’s best interest that the score be clear, accurate, and the best representation of the composer’s work.

If you’re interested just contact Mr. Sector at jims@albanysymphony.com, and he can send you the complete application & guidelines.

It’s still the 200th anniversary of Franz Josef Haydn’s death, and in honor I thought I’d borrow a few words from Chris Wendt’s Haydn bio on Chris’ “Here of a Sunday Morning” website. But what I’d like you to do, is read it as if it’s being written about some “maverick” in the last 20 years — Picking up what you know outside academia, living on ramen in cheap apartments giving a couple lessons & freelance, a couple lucky connections, landing a sweet commercial gig but with a lot of dogwork, copyright violations  and pirated music that paradoxically work in your favor…

At St. Stephen’s Haydn received instruction in voice, violin, and keyboard, but little general education except for a smattering of Latin. In 1745 he was joined there by his younger brother Michael, and almost immediately the gifted younger sibling assumed the elder’s position as soloist. Passing out of the limelight probably encouraged Haydn in his natural bent for composition, but he received little help: Reutter, himself a professional composer, gave the youngster only two lessons. As Haydn’s voice changed, his position as a chorister became increasingly untenable. In late 1749 he was dismissed peremptorily over a practical joke.

Taking an attic room next door to St. Michael’s Church, he made ends meet by giving violin and keyboard lessons, working as a free-lance musician in churches, and performing in (and sometimes composing for) groups playing the open-air evening serenades so popular in Vienna. At the same time he began an intensive study of counterpoint (using the writings of Fux) and figured bass (using Mattheson). The results of his industry were clearly evident by 1751, when Pietro Metastasio, the renowned poet and architect of opera seria, engaged Haydn to tutor a gifted girl, Marianna Martines. [...In 1753] Martines began vocal studies with Nicola Porpora; through her and Metastasio, Haydn gained an entree to that famous opera composer.

Haydn proposed to serve as Porpora’s factotum in return for instruction; although this arrangement was undertaken for no more than three months, Haydn later credited Porpora with teaching him “the true fundamentals of composition.” [....]

Haydn had worked scarcely a year when the prince died on March 18, 1762. If Haydn was once again plunged into uncertainty about his future, his fears would have been dispelled quickly, for Nikolaus, brother and successor to Paul Anton, possessed an appetite for music that was, if anything, even keener than his predecessor’s. Haydn’s original contract stipulated that he report to the prince in the morning and again in the afternoon to see if music making was wanted. This arrangement probably continued with Nikolaus, whose evenings were given over to theater and music theater. Daily music making often meant accompanying the prince in divertimentos for his favored instrument, the baryton, typically in concert with viola and cello (Haydn created a repertory of at least 126 such works in the years 1765-76); it sometimes meant playing solo keyboard works. Twice a week, orchestral “academies” were held; for these Haydn could probably count on assembling, before 1776, two oboes, two horns, one bassoon, and nine strings (disposed 3-3-1-1-1), with himself the leader; trumpets and drums were added on festive occasions. [....]

In his contract of 1761 it was stipulated that Haydn “neither communicate [his] compositions to any other person, nor allow them to be copied … and not compose for any other person without the knowledge and permission of His Highness.” This injunction did little to slow the dissemination of Haydn’s works abroad. Between 1764 and 1780, 51 authentic chamber works and 43 authentic symphonies had their first publications in unauthorized editions in Paris, Amsterdam, and London. These 94 works are but the tip of an iceberg that includes pirated republications, a large number of circulating manuscript copies, and many spurious works. The extent of Haydn’s complicity in this dissemination is not known, but he cannot have been pleased to go without recompense for his labors. From this flagrant piracy two results ensued. First, in 1779 Haydn obtained from Prince Nikolaus the freedom to write for and publish with whomever he pleased. Second, by the early 1780s Haydn had become one of the best-known and most sought after composers in Europe.

For all you composers big and small who still think that a big publisher contract is the bee’s knees: composer John Mackey blogs in a nicely lucid way about why the deal is nowhere near as good as the dream, and how you can and should be taking control of the full fruit of your labor. This is stuff that, to me, is every bit as fundamental to a young composer as learning I-IV-V-I (& maybe more, these days). Yet it’s rare that we ever see a “Basic Music Business 101″ course — not the first year, not the fourth, not even the sixth or eighth.

Or at least write the music for one?  Just a couple posts earlier we were talking about composer Chris Becker’s work with dancers. If this is always something you’ve thought about doing, and you happen to be in NYC, a fantastic opportunity is just waiting for you to respond:

Every year, the Joyce Theater Foundation presents “Free Advice”, a series of seminars for dance companies and choreographers spanning a wide range of management and presentation subjects. As part of their schedule this year, on Monday June 22nd at 6:15pm they’re hosting a Choreographer/Composer Meet and Greet, where they promise you can mingle with choreographers who are eager to work with composers, chat each other up, and trade work samples and contact information.

It doesn’t get any easier or better than this, y’all. But word from Joyce SoHo is that they’ve got way more choreograpers signed on than composers. So here’s your chance to take a chance, step up and represent our end of the artistic deal. It’s free, but you do need to RSVP with the little form on their webpage. Joyce SoHo is located at 155 Mercer Street, between Houston and Prince. So put on your walking shoes and pack along some CDRs; you might just find your next big work waiting to happen.

As artists in music, what are we worth? And I’m not talking about prize tagging. To put it in Frank Zappa’s words: “what can you do that’s fantastic?”

In one way or another most of us here make music, but it’s not like the only-plumber-in-town scenario. There’s an ungodly number of musicians out there (a lot of whom call themselves artists).

So what’s our worth? What is it that makes us truly stand out from each other? Is it a matter of business or a matter of art? Is it a matter of power? Are we expecting something from music or are we trying to give something to it? What should the question be, is it worth it or am I worth it?

Some of the reasons I pose these questions are:
- I try not to take art for granted.
- The evident standardization of people, even so-called artists.
- The current state of the world; a world degraded by overemphasizing economics, and which tries to heal itself exclusively through those same means.
- The current state of the place I live, the North of Mexico, where Culture (with a capital C) is literally being assassinated.
- Because I like teasing you.

With JiB’s annual weeklong festival about halfway through already, I thought I’d suggest the festival as a topic of conversation on the composer’s forum. Who’s been to June in Buffalo and would like to share some memorable experiences?

 Here’s one I posted on my blog (www.sequenza21.com/carey) earlier this week:

 

June in Buffalo Memory: Pinch hitter

 

In 1999, I was invited to June in Buffalo for a second time. My string quartet was slated for premiere by the Cassatt Quartet: an excellent opportunity for a composer at any age, but particularly exciting for a young pup still in grad school!

The piece mixed aspects of 12-tone writing with swing-era jazz, and finding the correct balance between these two different demeanors was a tricky compositional and interpretive challenge.

Fortunately, the Cassatt members were very generous with their time. I met with them in New York City to rehearse the quartet, and things went quite well.

But when I arrived in Buffalo, I learned that their cellist had fallen ill and wouldn’t be able to play on the concert; the festival’s opener. While having any ensemble member cancel is concerning, it was particularly worrisome that the cellist was unavailable. I’d written the quartet in such a way that the cello served as the de facto ‘rhythm section’ of the piece, frequently articulating the pulse with walking bass lines.

But into the breach stepped Christopher Finckel; an excellent new music player who was also playing at the festival. Chris learned, rehearsed, and performed the quartet in one day. His pinch-hitting rescued the concert and earned a young composer’s lasting gratitude.