Comments for Composers Forum http://www.sequenza21.com/forum Thu, 15 Dec 2011 17:09:43 +0000 hourly 1 http://wordpress.org/?v=3.3 Comment on Composing and Performing – What is the Best Balance? by Paul Muller http://www.sequenza21.com/forum/2011/11/composing-and-performing-%e2%80%93-what-is-the-best-balance/comment-page-1/#comment-23261 Paul Muller Thu, 15 Dec 2011 17:09:43 +0000 http://www.sequenza21.com/forum/?p=366#comment-23261 Gregory - As you point out, I think most composers of new music feel that the case for self-publishing has become conclusive. Many have .pdfs ready for download or purchase from their website and the advantages of selling direct are compelling. That said, I wonder if choral music may be an exception. The market for choral music is large, but very diffuse - the marketing effort to reach all those choir directors out there would be daunting for the individual. What has been your experience in this? There are some organizations out there - ALCM, etc - have you joined any of these and are they of help in getting your music out there? Sending CDs to main-line classical radio stations would seem to be a long shot - they are probably receiving dozens of new CDs a day. Some of us have had success getting airplay but only by researching stations that specialize in experimental or new music. Here again choral or church music may be a special niche that will require some digging. Probably the best way to get your music performed is the most obvious - direct or join a local choir and write music specifically for them. It was good enough for Bach - it can still work today. Gregory –

As you point out, I think most composers of new music feel that the case for self-publishing has become conclusive. Many have .pdfs ready for download or purchase from their website and the advantages of selling direct are compelling.

That said, I wonder if choral music may be an exception. The market for choral music is large, but very diffuse – the marketing effort to reach all those choir directors out there would be daunting for the individual. What has been your experience in this? There are some organizations out there – ALCM, etc – have you joined any of these and are they of help in getting your music out there?

Sending CDs to main-line classical radio stations would seem to be a long shot – they are probably receiving dozens of new CDs a day. Some of us have had success getting airplay but only by researching stations that specialize in experimental or new music. Here again choral or church music may be a special niche that will require some digging.

Probably the best way to get your music performed is the most obvious – direct or join a local choir and write music specifically for them. It was good enough for Bach – it can still work today.

]]> Comment on Composing and Performing – What is the Best Balance? by Gregory Hamilton http://www.sequenza21.com/forum/2011/11/composing-and-performing-%e2%80%93-what-is-the-best-balance/comment-page-1/#comment-23259 Gregory Hamilton Wed, 14 Dec 2011 22:26:18 +0000 http://www.sequenza21.com/forum/?p=366#comment-23259 I can certainly empathize with the thought expressed here. I have spent the last 15 years promoting my music. It seems to me, that if someone wants to make a living in the field, you have to be as multi-skilled as possible. Although I think of myself as a composer, I am an organist/choir director, teach theory, musicianship at a Catholic Seminary and College, work as an arranger for churches and ensembles, and publish liturgical music. My strategies (albeit haphazard) have included the following: 1. Sending out CD's to every public radio station in the country (about 200, Received no replies) 2. Entering competitions for new music. 3. Sending scores to groups that perform new music. 4. Personally giving CD's to performers. 5. I make a goal of sending out a piece a week to publishers. I suppose that this is what all composers do. I am widely published in the liturgical/choir field, but I find it very difficult to break into the classical music publishing field, however, I think that way of disseminating scores may be on the way out. Most scores are available from the composers themselves now, and publishers are going the way of record stores. I find it frustrating that there is no real way of advertising our music, without a major financial commitment. For example: To get mentioned or reviewed on any classical music blog, like this one, one must pay the fee. I welcome any comments I can certainly empathize with the thought expressed here. I have spent the last 15 years promoting my music. It seems to me, that if someone wants to make a living in the field, you have to be as multi-skilled as possible. Although I think of myself as a composer, I am an organist/choir director, teach theory, musicianship at a Catholic Seminary and College, work as an arranger for churches and ensembles, and publish liturgical music.
My strategies (albeit haphazard) have included the following:
1. Sending out CD’s to every public radio station in the country (about 200, Received no replies)
2. Entering competitions for new music.
3. Sending scores to groups that perform new music.
4. Personally giving CD’s to performers.
5. I make a goal of sending out a piece a week to publishers.
I suppose that this is what all composers do.
I am widely published in the liturgical/choir field, but I find it very difficult to break into the classical music publishing field, however, I think that way of disseminating scores may be on the way out. Most scores are available from the composers themselves now, and publishers are going the way of record stores.

I find it frustrating that there is no real way of advertising our music, without a major financial commitment. For example: To get mentioned or reviewed on any classical music blog, like this one, one must pay the fee.
I welcome any comments

]]> Comment on Composing and Performing – What is the Best Balance? by J.C. Combs http://www.sequenza21.com/forum/2011/11/composing-and-performing-%e2%80%93-what-is-the-best-balance/comment-page-1/#comment-23258 J.C. Combs Thu, 01 Dec 2011 17:56:47 +0000 http://www.sequenza21.com/forum/?p=366#comment-23258 "Still another, more radical solution, is to bypass the need for performance altogether – and write electro-acoustic music. " - PM Actually, that is not a radical idea at all. In fact, I'm pretty sure its fairly common practice with sound installations, etc. Here in Seattle there are several very nice performance spaces, one of my favorites is located at an old chapel with great acoustics where performances are regularly held and, typically, an electroacoustic piece will be presented in the program. Sometimes the program will be totally void of performers and EA for the full concert. As with a performance via "performers," there is indeed a unique experience for the listener with a lavish stereophonic setup and nice acoustic space. And yes, we do present a playlist of a variety of contemporary stylings at IF which isn't that radical either. “Still another, more radical solution, is to bypass the need for performance altogether – and write electro-acoustic music. ” – PM

Actually, that is not a radical idea at all. In fact, I’m pretty sure its fairly common practice with sound installations, etc. Here in Seattle there are several very nice performance spaces, one of my favorites is located at an old chapel with great acoustics where performances are regularly held and, typically, an electroacoustic piece will be presented in the program. Sometimes the program will be totally void of performers and EA for the full concert. As with a performance via “performers,” there is indeed a unique experience for the listener with a lavish stereophonic setup and nice acoustic space. And yes, we do present a playlist of a variety of contemporary stylings at IF which isn’t that radical either.

]]> Comment on Composing and Performing – What is the Best Balance? by Dennis Báthory-Kitsz http://www.sequenza21.com/forum/2011/11/composing-and-performing-%e2%80%93-what-is-the-best-balance/comment-page-1/#comment-23257 Dennis Báthory-Kitsz Wed, 30 Nov 2011 13:53:52 +0000 http://www.sequenza21.com/forum/?p=366#comment-23257 The composer-as-performer has always been difficult for me. I came to music late (at age 14) and had no skills and no particular interest in performing; I wanted to invent music. I had the imagination and developed the techniques to do it, yet really wanted the rest of the world (a small world then) to hear it. So I ended up organizing a performing group. Certainly I came of age as a composer during the height of the avant-garde, particularly the New York scene, where I performed at Charlotte Moorman's annual Avant-Garde Festivals of New York. The performance of the avant-garde was very much infused with the 'art is easy' notion -- so my group Dashuki Music Theatre had a few accomplished musicians but depended mostly on amateurs who weren't yet fixed in their notions of music. (My own strongest traditional performing skills were singing and playing early European and American music. My contemporary performing abilities were in extended voice -- but unfortunately, that doesn't last a lifetime.) My feeling is opposite of Christian's, who suggests there's a limitation in putting notes on paper/screen. First, it's not just notes on paper. It's a panoply of activities whose ultimate representation is symbolic and flexible, not hard-coded, and reaches well beyond the individual composer's performance and organizational skills. More important, though, is that composers who perform can be limited to their performing tools, sometimes seriously so, forced to think in terms of the instruments they use. It takes a really long time to shake that and become more expansive and imaginative. Most performing composers never do; the rare exceptions he mentions as performing composers did shake it. It wasn't the performing that helped them, I don't think, except as a combination of getting the music heard and for promotion. On the other hand, most notes-to-paper/screen composers have serious limitations as well, lacking the experience (and terror) of performing, of audience, and never shaking the poverty of expression that comes with working in two silent dimensions all day. The composer who works in electronics and performance and recording and digital distribution reaches many more people, but does it contribute to a richness of dialog -- or merely more stuff? Should it all be promoted and performed? I'm pretty easy going about it, to my detriment, or so I'm told. (But then I also committed the sin of moving from the city to Vermont.) So Paul's question about balance isn't easily answered ... especially because promotion is now a big part of where music has gone, even in nonpop. There are more performer (and performing group) gimmicks in new nonpop than I could have imagined when I was a smooth-faced, long-haired composer in the 1970s. It seems like everybody wants to be the rock star, but chose the wrong part of the musical spectrum to do it. Dennis PS: Thanks for the mention of the opera. A small point: I did not apply for state grants. The opera was my 'capitalist experiment' in acquiring only private funding. The performing group had on its own gotten some token arts council funding, which I've tried not to use. Hence the debt. The composer-as-performer has always been difficult for me. I came to music late (at age 14) and had no skills and no particular interest in performing; I wanted to invent music. I had the imagination and developed the techniques to do it, yet really wanted the rest of the world (a small world then) to hear it. So I ended up organizing a performing group.

Certainly I came of age as a composer during the height of the avant-garde, particularly the New York scene, where I performed at Charlotte Moorman’s annual Avant-Garde Festivals of New York. The performance of the avant-garde was very much infused with the ‘art is easy’ notion — so my group Dashuki Music Theatre had a few accomplished musicians but depended mostly on amateurs who weren’t yet fixed in their notions of music.

(My own strongest traditional performing skills were singing and playing early European and American music. My contemporary performing abilities were in extended voice — but unfortunately, that doesn’t last a lifetime.)

My feeling is opposite of Christian’s, who suggests there’s a limitation in putting notes on paper/screen. First, it’s not just notes on paper. It’s a panoply of activities whose ultimate representation is symbolic and flexible, not hard-coded, and reaches well beyond the individual composer’s performance and organizational skills. More important, though, is that composers who perform can be limited to their performing tools, sometimes seriously so, forced to think in terms of the instruments they use. It takes a really long time to shake that and become more expansive and imaginative. Most performing composers never do; the rare exceptions he mentions as performing composers did shake it. It wasn’t the performing that helped them, I don’t think, except as a combination of getting the music heard and for promotion. On the other hand, most notes-to-paper/screen composers have serious limitations as well, lacking the experience (and terror) of performing, of audience, and never shaking the poverty of expression that comes with working in two silent dimensions all day.

The composer who works in electronics and performance and recording and digital distribution reaches many more people, but does it contribute to a richness of dialog — or merely more stuff? Should it all be promoted and performed? I’m pretty easy going about it, to my detriment, or so I’m told. (But then I also committed the sin of moving from the city to Vermont.)

So Paul’s question about balance isn’t easily answered … especially because promotion is now a big part of where music has gone, even in nonpop. There are more performer (and performing group) gimmicks in new nonpop than I could have imagined when I was a smooth-faced, long-haired composer in the 1970s. It seems like everybody wants to be the rock star, but chose the wrong part of the musical spectrum to do it.

Dennis

PS: Thanks for the mention of the opera. A small point: I did not apply for state grants. The opera was my ‘capitalist experiment’ in acquiring only private funding. The performing group had on its own gotten some token arts council funding, which I’ve tried not to use. Hence the debt.

]]> Comment on Composing and Performing – What is the Best Balance? by Christian Hertzog http://www.sequenza21.com/forum/2011/11/composing-and-performing-%e2%80%93-what-is-the-best-balance/comment-page-1/#comment-23256 Christian Hertzog Mon, 28 Nov 2011 08:28:09 +0000 http://www.sequenza21.com/forum/?p=366#comment-23256 The either/or dichotomy of composer or performer was an unhealthy (IMO) malady of the 20th century. Prior to then, composers always performed or conducted--their own music, and the music of their contemporaries. As someone who struggled through grad school trying to play piano AND be a composer at the same time (at one point, the Chair of the Music Dept. at U of Penn told me, "I think you need to quit playing the piano so much and focus on your studies here"), I think it's wonderful that so many 21st-century composers are also active as performers (and vice versa). When you perform/conduct, you can network (as Paul says) with other musicians, which can result in commissions or performances of your own music. The ability to perform your own compositions also increases the likelihood that your music will get put before audiences or on recordings. There are great 20th-century composers who limited themselves exclusively to putting notes on paper/computer screens, but the ability to perform/conduct definitely gives a composer a competitive edge. Stravinsky, Bartok, Hindemith, Copland, Prokofiev, Shostakovich, Milhaud, Britten, Reich, Glass, Barber, Poulenc, Boulez, Bernstein, Lindberg, Ades, Bolcom, Messiaen, Cage, Feldman--all performed (plus some conducted) and recorded their own music. The either/or dichotomy of composer or performer was an unhealthy (IMO) malady of the 20th century. Prior to then, composers always performed or conducted–their own music, and the music of their contemporaries. As someone who struggled through grad school trying to play piano AND be a composer at the same time (at one point, the Chair of the Music Dept. at U of Penn told me, “I think you need to quit playing the piano so much and focus on your studies here”), I think it’s wonderful that so many 21st-century composers are also active as performers (and vice versa). When you perform/conduct, you can network (as Paul says) with other musicians, which can result in commissions or performances of your own music. The ability to perform your own compositions also increases the likelihood that your music will get put before audiences or on recordings.

There are great 20th-century composers who limited themselves exclusively to putting notes on paper/computer screens, but the ability to perform/conduct definitely gives a composer a competitive edge. Stravinsky, Bartok, Hindemith, Copland, Prokofiev, Shostakovich, Milhaud, Britten, Reich, Glass, Barber, Poulenc, Boulez, Bernstein, Lindberg, Ades, Bolcom, Messiaen, Cage, Feldman–all performed (plus some conducted) and recorded their own music.

]]> Comment on Long Live the Struggle? by Christian Hertzog http://www.sequenza21.com/forum/2011/11/long-live-the-struggle/comment-page-1/#comment-23255 Christian Hertzog Mon, 28 Nov 2011 08:04:13 +0000 http://www.sequenza21.com/forum/?p=362#comment-23255 If you can write just ONE novel, play, poem, short story, paint one painting, compose one work that manages to be enjoyed by millions of people 100 years later--you have done something that puts you at the head of your class. Dvorak wrote his Symphonies no. 7 and 9, his Piano Quintet op. 81, his Cello Concerto, the Slavonic Dances, his String Quartets no. 12 and 13, and Songs My Mother Taught Me. That's just off the top of my head. 8 masterpieces there, the New World Symphony, Cello concerto, and Quintet among the finest examples of those particular genres ever written. I know what you're saying about his lesser works, there does seem to be a bit of routine note-spinning going on there, but do you really care about those lesser works when he wrote so many great pieces? Gotta respect the man for those masterpieces. I don't buy into the belief that the more effort one puts into a creative endeavor, the better it can be. Some creative people work best impulsively or naturally (Bach and Mozart, as have been cited). I've heard far too many works composed in a couple of days that are better than pieces composed over a period of months or even years to put much credibility into the theory that struggle and effort equals greatness. If you can write just ONE novel, play, poem, short story, paint one painting, compose one work that manages to be enjoyed by millions of people 100 years later–you have done something that puts you at the head of your class. Dvorak wrote his Symphonies no. 7 and 9, his Piano Quintet op. 81, his Cello Concerto, the Slavonic Dances, his String Quartets no. 12 and 13, and Songs My Mother Taught Me. That’s just off the top of my head. 8 masterpieces there, the New World Symphony, Cello concerto, and Quintet among the finest examples of those particular genres ever written.

I know what you’re saying about his lesser works, there does seem to be a bit of routine note-spinning going on there, but do you really care about those lesser works when he wrote so many great pieces? Gotta respect the man for those masterpieces.

I don’t buy into the belief that the more effort one puts into a creative endeavor, the better it can be. Some creative people work best impulsively or naturally (Bach and Mozart, as have been cited). I’ve heard far too many works composed in a couple of days that are better than pieces composed over a period of months or even years to put much credibility into the theory that struggle and effort equals greatness.

]]> Comment on Composers With Full-Time Jobs – How Do You Make It Work? by JC Combs http://www.sequenza21.com/forum/2011/10/composers-with-full-time-jobs-%e2%80%93-how-do-you-make-it-work/comment-page-1/#comment-23249 JC Combs Sun, 20 Nov 2011 19:56:10 +0000 http://www.sequenza21.com/forum/?p=350#comment-23249 I have enough difficulty washing my clothes and doing the dishes on the weekend, let alone composing! I have enough difficulty washing my clothes and doing the dishes on the weekend, let alone composing!

]]> Comment on Long Live the Struggle? by Paul Muller http://www.sequenza21.com/forum/2011/11/long-live-the-struggle/comment-page-1/#comment-23173 Paul Muller Wed, 09 Nov 2011 20:32:14 +0000 http://www.sequenza21.com/forum/?p=362#comment-23173 I think Bach also supplies a counter-example to the Beethoven style of composition. Even a glance at a Bach manuscript reveals a man in a hurry to put down his ideas. His first 3 years in Leipzig saw Bach composing, notating, rehearsing and performing 20 minutes of new church music a week - and still we marvel at the consistency and quality of of his work. What we have received from him during this time seems like frozen improvisations - take a chorale tune, harmonize it and then weave a chorus and a few arias out of the same material - all brilliantly done, of course, but more instinctive than intellectual. I guess there will always be two models - are we composing monumentally - like a bridge builder, struggling with every detail and creating something for all time - or do we strive for consistent craftsmanship like the cabinet maker? I think Bach also supplies a counter-example to the Beethoven style of composition. Even a glance at a Bach manuscript reveals a man in a hurry to put down his ideas. His first 3 years in Leipzig saw Bach composing, notating, rehearsing and performing 20 minutes of new church music a week – and still we marvel at the consistency and quality of of his work. What we have received from him during this time seems like frozen improvisations – take a chorale tune, harmonize it and then weave a chorus and a few arias out of the same material – all brilliantly done, of course, but more instinctive than intellectual.

I guess there will always be two models – are we composing monumentally – like a bridge builder, struggling with every detail and creating something for all time – or do we strive for consistent craftsmanship like the cabinet maker?

]]> Comment on Composers With Full-Time Jobs – How Do You Make It Work? by Dennis Báthory-Kitsz http://www.sequenza21.com/forum/2011/10/composers-with-full-time-jobs-%e2%80%93-how-do-you-make-it-work/comment-page-1/#comment-23171 Dennis Báthory-Kitsz Wed, 09 Nov 2011 16:24:25 +0000 http://www.sequenza21.com/forum/?p=350#comment-23171 Yes, Chris, that was a heck of a year. http://maltedmedia.com/waam/ was the project. It didn't swallow up everything ... as the year went by, my composing became better AND faster. Each piece was practicing for the next. By year's end I was disappointed there were no more pieces to write (I actually wrote 110 pieces in 2007, some for 'regular' projects, including some for a month-long residency in Portugal). But prioritizing is important. It's a learned skill. I use lists... I'm on #239 for this year, for example ("re-edit Eleva recording") and I always give myself deadlines. And some things are untouchable -- breakfast and dinner with my wife, gardening whenever the weather allows, and home duties & repairs. I'm pretty much always tired, but then I've been working since I was 14 (that's 48 years' worth) and don't anticipate the time or economic wherewithal to retire. Dennis Yes, Chris, that was a heck of a year. http://maltedmedia.com/waam/ was the project. It didn’t swallow up everything … as the year went by, my composing became better AND faster. Each piece was practicing for the next. By year’s end I was disappointed there were no more pieces to write (I actually wrote 110 pieces in 2007, some for ‘regular’ projects, including some for a month-long residency in Portugal).

But prioritizing is important. It’s a learned skill. I use lists… I’m on #239 for this year, for example (“re-edit Eleva recording”) and I always give myself deadlines. And some things are untouchable — breakfast and dinner with my wife, gardening whenever the weather allows, and home duties & repairs.

I’m pretty much always tired, but then I’ve been working since I was 14 (that’s 48 years’ worth) and don’t anticipate the time or economic wherewithal to retire.

Dennis

]]> Comment on Composers With Full-Time Jobs – How Do You Make It Work? by chris sahar http://www.sequenza21.com/forum/2011/10/composers-with-full-time-jobs-%e2%80%93-how-do-you-make-it-work/comment-page-1/#comment-23169 chris sahar Wed, 09 Nov 2011 15:02:08 +0000 http://www.sequenza21.com/forum/?p=350#comment-23169 Yeah I second the fact that being at home you are busier. And it is for a very simple reason. At work when there is downtime and you have used a little time for composition, you have periods to just rest rather unsettledly. Or you get mindless distraction such as chitchat. In a way these can help with composition - but being home is more advantageous as when you have a good idea you have the freedom to work it out without being as concerned about fulfilling other people's needs. Also, working at home you work more because there is no one there shutting off the lights, air-conditioning, heating and restaurants closing. Why do you think Google offers their employees free breakfast and lunches? You take care of people's basic needs and they will be inclined to work longer. Now add in you are doing something you love and it is obvious how one can be busier at home. A few tips - 1) Always ask yourself, am I receiving some significant, tangible compensation for my musiucal activities? 2) How close is the deadline? 3) Why am I doing projects that offer neigther 1 or 2? 4) What daily non-music activites do I ensure I do to clear my head? And for my initial entry pardon any typos and a few rambling sentences - there was so much to relate. Dennis did a great personal project that may have seemed not productive - write a certain amount of music per day (Everybody is Mozart project I believe Dennis?) and he posted it on his website. Composers could see the rewrd and Dennis set up a time limiot - one year. However, he had top prioritise his tasks and not let this project swallow up everything else. Yeah I second the fact that being at home you are busier. And it is for a very simple reason.

At work when there is downtime and you have used a little time for composition, you have periods to just rest rather unsettledly. Or you get mindless distraction such as chitchat. In a way these can help with composition – but being home is more advantageous as when you have a good idea you have the freedom to work it out without being as concerned about fulfilling other people’s needs.

Also, working at home you work more because there is no one there shutting off the lights, air-conditioning, heating and restaurants closing. Why do you think Google offers their employees free breakfast and lunches? You take care of people’s basic needs and they will be inclined to work longer. Now add in you are doing something you love and it is obvious how one can be busier at home.

A few tips – 1) Always ask yourself, am I receiving some significant, tangible compensation for my musiucal activities? 2) How close is the deadline? 3) Why am I doing projects that offer neigther 1 or 2? 4) What daily non-music activites do I ensure I do to clear my head?

And for my initial entry pardon any typos and a few rambling sentences – there was so much to relate.

Dennis did a great personal project that may have seemed not productive – write a certain amount of music per day (Everybody is Mozart project I believe Dennis?) and he posted it on his website. Composers could see the rewrd and Dennis set up a time limiot – one year. However, he had top prioritise his tasks and not let this project swallow up everything else.

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