Composition Matters

I wish I had some profound and pungent insights to summarize this discussion. Unfortunately, all I have is some random responses to the other panelists. Here goes.

Chris Woehr wrote :

“Robert Levine and I could probably get together and write a book on How To Write For Strings In Order To Save Rehearsal Time.”

Our second book will be “Bowing Protocols of the Elders of Altoidia; or, What Violinists Don’t Know about Bowings and Don’t Want You to Know Either.”

Lisa Bielawa wrote :

“Another parenthetical thought: Chris Theofanidis warms up to the idea of strictly social events with musicians and composers as scheduled components of residencies. Just as Robert has noted that not all composers take advantage of opportunities to interact with players, I have also noticed that there is a broad range of interest in such activities among musicians.”

Absolutely correct, and I didn’t mean to imply otherwise. I think the solution is not structured events so much as remembering the Woody Allen saying about how 80% of life is simply showing up. Hanging around backstage during breaks may not result in productive exchanges with musicians every break, but rushing to the conductor’s dressing room definitely won’t.

Molly Sheridan wrote :

“If you asked 200 composers Family Feud-style what they would like most to change about current circumstances, I’d bet at least 188 of them would say they want a recording to take home. I know there’s a lot of positive negotiation occurring in the recording agreement arena right now between musicians and management, but even more than the wonderful world of Internet sales and downloads, composers need to walk away from the performance with a sound recording that can be used for their own study and the promotion of the piece (i.e. to secure future live performances by other wage-earning musicians).”

I can understand the frustration that composers feel about this issue. But, in fairness, any composer who can’t get a tape out of a professional orchestra has already has his/her music played by a professional orchestra, thus putting them in pretty elite company. The last time I was involved in commissioning a new work (for viola and orchestra), I got a computer-generated tape to practice with. Certainly it was no substitute for a “real” performance, but it was a lot better than nothing.

Here in Milwaukee we’ve made a small dent in this problem by putting at least some of our performances of new music up on iTunes for sale. Oddly enough, not all composers have been enthusiastic about this, apparently preferring to hold out for a “real” recording – presumably by a “major” orchestra. Best o’ luck.