Composition Matters

I think the person who has noted the overarching theme of communication has hit it on the head, and I would like to dedicate a little time to that issue.

Let’s start with a biggie. “Would or does the presence of a full-time composer-in-residence with an orchestra have a positive affect on the attitudes of performers towards composers and new music?” asks Hausorob. I think the answer is clearly yes, but maybe not in the traditional way. Most of the orchestra residency programs developed in the 1980’s were meant to be a three year program in which the composer might have written a piece a year for the ensemble and had that piece performed at some auspicious (or inauspicious!) moment in the season. That gave the composer exactly one real, sanctioned opportunity to interact in a musical way with the players- once per year, that is- not really enough time to develop a meaningful relationship, much less a dialogue.

I like some of the newer models out there today. Jennifer Higdon mentioned Pittsburgh, which throughout the course of one year, brings a composer in 5-6 times to have 4-5 works performed, with one premiere. This is a great model for many reasons- for one germain to our discussion here, it allows the players to get to know a composer a year quite well and allows the composer to really listen to the players. And the audience comes along with it all- having a point of reference in understanding a composer in a larger context.

Seattle, with Sam Jones, is another interesting example. He is a long-term fixture there- someone in whom both the conductor and the players trust enormously. There is, I think, a real dialogue, and as I understand it, Sam is actually on the board! What a concept!

And of course, Robert mentioned Roberto’s involvement with Milwaukee, and with all of the innovative things happening out there with recordings and the internet, etc., we are all grateful for that.

Barbara asks, “Should the composers throw into their contracts specific guidelines for spending creative personal time with the orchestra during rehearsals, such as: question and answer, human interaction, etc?” I think this is a great idea, but most composers are terrified to ask for anything until they get to a certain stature, and in my opinion this should come either as a suggestion from the composer, or better yet, as an offer from the players/administration directly.

And by the way, I think real social interaction would be great, too. We usually go to several social functions related to patrons, etc. How about getting to know some of the players on a personal level?
That has got to help the sense of goodwill. Would that be something that could come from the players?