Well, it's another holiday season, and I'm back to square one.
I've come to the conclusion that the recording project is a non-starter. The contribution they want from me is eye-watering. If I'm going to spend that much, I want top billing and more control over the performing forces. FWIW, they wanted to record Inner Sanctum, which would have been nice. I haven't shut the door yet, but that kind of contribution is more for a twenty-something still trying to make their way and become known. For me, the optics of funding my own recording (one of several works on a compilation) don't work. I will never earn back the money invested. I would have to sell upwards of 2000 copies. That won't happen unless it wins a big award. (Possibly even if it does.)
On the other hand, the SNM will record Labyrinth in February on a bigger label, and without a financial investment on my part. It may take five years before it is released, but that is out of my hands.
That said, I'm still in touch with the other company and may consider a disc of only my music. That would be a considerable investment, however, they say that an orchestral recording might be a better value for me, since they would do it overseas. It could be two symphonies, or a symphony and a concerto. It would, however, allow me some time to raise the money, whereas they would want the initial payment for the other recording before I had a chance to begin raising the rest of the money. I wouldn't want to get locked into paying for something I can't afford.
As far as composing is concerned, I've given up on the bass trombone concerto. I may still finish it, but I don't like the proposed length (6-8 min), and I think I would rather write it for tenor trombone, ideally with orchestra, unless someone wants to pay a commission for it. I've got a good two minutes for bass trombone and trombone octet, but it really projects to a larger work.
I was also going to submit my Symphony No 3 for something, but I've decided that the intended orchestra probably wasn't up to it.
I'm also still considering a wind ensemble piece, but I'm not feeling very inspired about it. I've had a few spring performances of other things fall through, and I just wonder if I should write some chamber music instead, possible more of Temps.
A commission would focus the mind. Any takers?
Sunday, November 26, 2017
Monday, October 23, 2017
Kick-start revisited
I have been applying for a number of calls for scores, and one responded to me last week. I still haven't spoken to the project coordinator, but they want to record one or two of my pieces. The only catch is that I will have to contribute towards costs. They appear very interested, since their deadline isn't until November, but they were impressed enough that they contacted me right away (within two days of applying).
Saying that, they may treat all projects that way, putting out a call for scores and then telling everyone they like their work, until someone bites and plunks down the cash. I've looked for horror stories about them on the internet, but haven't found any, so they appear legit. They have over 300 records out, apparently, and record under 3 labels, all of which are distributed by Naxos.
I'm sure the cost will be huge, even if I am sharing it with other composers on the disc. What I don't know is if I'll be sharing it with the feature performers who were the originators of the call.
In any case, I'll need to apply for some grants, and then initiate a kick-starter (or equivalent) campaign, once I have an idea of the costs. Anyone have a preference? Kickstarter, GoFundMe, others? I've found a number of grant options. I just need to get some figures first.
Saying that, they may treat all projects that way, putting out a call for scores and then telling everyone they like their work, until someone bites and plunks down the cash. I've looked for horror stories about them on the internet, but haven't found any, so they appear legit. They have over 300 records out, apparently, and record under 3 labels, all of which are distributed by Naxos.
I'm sure the cost will be huge, even if I am sharing it with other composers on the disc. What I don't know is if I'll be sharing it with the feature performers who were the originators of the call.
In any case, I'll need to apply for some grants, and then initiate a kick-starter (or equivalent) campaign, once I have an idea of the costs. Anyone have a preference? Kickstarter, GoFundMe, others? I've found a number of grant options. I just need to get some figures first.
Friday, May 26, 2017
String Quartet No 4
I've sent the result to a quartet, as well as a competition. They wanted a recording, which isn't possible at this point, since I don't have a performance scheduled. I did, however, spend some time trying to make the audio file from Sibelius work. Until now, I haven't tried the quartertone playback plugin. I seems to work, except that sometimes the pitch bend doesn't turn off, and you get whole passages a quartertone out. I got around it by going back and inserting a lot of redundant OFF messages until it sounded right.
So what is next? If there is any interest in the quartet, I might go back and typeset/revise my first three quartets and publish them as a set. No. 3 is "quartertone city." It's a protracted progression in C major with quartertones thrown in to obscure it. I initially wrote it for a competition that wanted pieces in sonata form in C major. I don't think they were expecting this. In any case, I lost the info about the competition and never sent it in. The Aureole Quartet premiered it, but no one ever sent me the recording. No. 2 was never performed. I started it as my first quartet, and it has loads of textural layers. The quartet that it was intended for was in the process of disbanding, and they didn't really spend much time on it when they "read it down." The first quartet has a lot of really cool effects in it, but I need to go back and revise the things that weren't cool.
That's something to think about, but I need to write something new, perhaps the wind ensemble piece or the songs. I'll have a better idea when I learn what my typesetting load will be this summer. I should find that out on Monday, when my main editor gets back from his holiday/study-leave.
I could, of course, write some fiction, which is something I do, when I don't have any pressing composing to do. Let's see where the inspiration comes from.
Monday, May 22, 2017
Kick-start
Considering the consequences of that horrible day last week, I've been thinking about what I need to do to move things along in my career, at least to a point that I can feel comfortably satisfied about where I'm going.
Yes, I need to write some music. In the short term, I'm looking at some of the projects from a previous blog. Since much of Labyrinth was conceived as a string quartet, I've been revisiting it. I've pared down most of the first movement and the last third of the finale movement. I will probably drop the interludes - the second one would work fine, but the first one would need to be either solo violin, or have the piano accompaniment scored. I could do that and make a real movement out of it. That would give the quartet the traditional 4 movements. I want to enter it in a competition, so whatever I do, it will have to happen quickly. The big question is how much different I want to make it from the other piece. At the moment, it is a straight reduction. I might make some changes in the first movement, but the middle movement and finale will probably be reductions. I wouldn't be the first person to rescore larger works for smaller forces.
Anyway, the real reason for this blog is a recording. I need to get my music out there, and I would like to do it in a quality way: a real orchestra, with multiple takes and well-edited. It's going to be a while before Labyrinth is committed to CD, but as I consider myself an orchestral composer, I should be looking in that direction.
The first thing I'll need to do before I apply for grants, etc., or set up a crowd-funding campaign will be estimating costs.
To do that, though, I need to decide repertoire, and that is where I'll need some input.
1. Should it be a CD solely of my music, or should I get other composers involved?
Option A: I do have some friends who are pretty major composers who could be the "name" on the CD to help sell it. If I stick with American, that would limit me a little, but it might help with grant applications. I could consider recording one of my arrangements of Nørgård that haven't been recorded, which brings me to the next issue: a soloist. Helle Nacht and Between have been recorded, the later of which will probably be released next year. A chamber version (I think) of Remembering Child was recorded this year, which was basically the original version with a one on a part strings, not my sinfonietta version. There is an orchestra that may be touring with it this year, but it is probably too close to the other recording, especially as it would probably be with the same soloist. Cantica Concertante hasn't been performed, so that is another possibility. Otherwise, there are a few British composers that I would consider including. Then it would be a matter of choosing one or two of my pieces.
Option B: This is where I need more input. Do I go with pieces that have been performed, which I am confident that would have some appeal, or do I record new pieces that have not yet been performed? New pieces would be Symphony No. 3, Chaos, and possibly the Labyrinth Concerto. I probably wouldn't want to go with two concertos because of the cost (three different soloists). Those three are about 65 minutes of music altogether. As I don't have a good full recording of my two old pieces and one new. I've got 3 people who know From Her Husband's Hand (17'), one of whom lives not too far away. Then add Symphony No 3 (25').
2. That's all likely to be expensive. I could go smaller. My Dante Tryptich is about 30' long and while all three movements have been performed, none of the chamber orchestra versions have been, except for Paradiso, which has been done in a slightly altered sinfonietta version. Perhaps that, along with some of my other large chamber pieces (Chaos Theory, The Master's Hammer), and maybe Oyre's Garden. (Full orchestra with a small woodwind section.) A Point of Amber Light or From Her Husband's Hand could fit as the concerto. (Or Cantica Concertante.)
3. Forces. I think it would be a waste of money if there was no name recognition. I know someone in the Cincinnati Symphony, so I have a contact there. I have similar relationships with other orchestras here and in the UK, but the Cincinnati Symphony is local, and the recording engineer I have in mind has recorded them on several occasions. I know several people in Symphoria (formerly the Syracuse Symphony), but there wouldn't be much name recognition there. That might be the cheap option, though, unless I went overseas. If we did the Nørgård, I could probably use the New Music Orchestra of Poland, since the soloist is touring with them soon. They are a sinfonietta, so they would be suitable for the chamber orchestra disc, if that was the way I ultimately went. I don't really want to go with the Vienna Modern Masters or something like that, or with a university orchestra. (I know a couple of people who might read this have some experience with them.) Having an all-American cast would open up more grant money.
4. Conductor. Yes, I could do it, but I think having a full-time professional conductor would result in better use of rehearsal time. I have an idea whom I want, but he isn't American. I have to think about it. If we do Sym No. 3, maybe I could convince the dedicatee to come out of retirement for it. (He might even read this blog.) Soloists, I'm pretty set on.
5. Pipe dream. I would rather think of this as "Blue Sky" thinking. We are probably talking a 6-figure investment, and I probably won't achieve that much in a crowd-funding campaign. If I can get half of that, I might be able to get a grant body to match it.
OK, so I need your input at this point. Let me know your thoughts, either here or on Facebook, or by email.
Yes, I need to write some music. In the short term, I'm looking at some of the projects from a previous blog. Since much of Labyrinth was conceived as a string quartet, I've been revisiting it. I've pared down most of the first movement and the last third of the finale movement. I will probably drop the interludes - the second one would work fine, but the first one would need to be either solo violin, or have the piano accompaniment scored. I could do that and make a real movement out of it. That would give the quartet the traditional 4 movements. I want to enter it in a competition, so whatever I do, it will have to happen quickly. The big question is how much different I want to make it from the other piece. At the moment, it is a straight reduction. I might make some changes in the first movement, but the middle movement and finale will probably be reductions. I wouldn't be the first person to rescore larger works for smaller forces.
Anyway, the real reason for this blog is a recording. I need to get my music out there, and I would like to do it in a quality way: a real orchestra, with multiple takes and well-edited. It's going to be a while before Labyrinth is committed to CD, but as I consider myself an orchestral composer, I should be looking in that direction.
The first thing I'll need to do before I apply for grants, etc., or set up a crowd-funding campaign will be estimating costs.
To do that, though, I need to decide repertoire, and that is where I'll need some input.
1. Should it be a CD solely of my music, or should I get other composers involved?
Option A: I do have some friends who are pretty major composers who could be the "name" on the CD to help sell it. If I stick with American, that would limit me a little, but it might help with grant applications. I could consider recording one of my arrangements of Nørgård that haven't been recorded, which brings me to the next issue: a soloist. Helle Nacht and Between have been recorded, the later of which will probably be released next year. A chamber version (I think) of Remembering Child was recorded this year, which was basically the original version with a one on a part strings, not my sinfonietta version. There is an orchestra that may be touring with it this year, but it is probably too close to the other recording, especially as it would probably be with the same soloist. Cantica Concertante hasn't been performed, so that is another possibility. Otherwise, there are a few British composers that I would consider including. Then it would be a matter of choosing one or two of my pieces.
Option B: This is where I need more input. Do I go with pieces that have been performed, which I am confident that would have some appeal, or do I record new pieces that have not yet been performed? New pieces would be Symphony No. 3, Chaos, and possibly the Labyrinth Concerto. I probably wouldn't want to go with two concertos because of the cost (three different soloists). Those three are about 65 minutes of music altogether. As I don't have a good full recording of my two old pieces and one new. I've got 3 people who know From Her Husband's Hand (17'), one of whom lives not too far away. Then add Symphony No 3 (25').
2. That's all likely to be expensive. I could go smaller. My Dante Tryptich is about 30' long and while all three movements have been performed, none of the chamber orchestra versions have been, except for Paradiso, which has been done in a slightly altered sinfonietta version. Perhaps that, along with some of my other large chamber pieces (Chaos Theory, The Master's Hammer), and maybe Oyre's Garden. (Full orchestra with a small woodwind section.) A Point of Amber Light or From Her Husband's Hand could fit as the concerto. (Or Cantica Concertante.)
3. Forces. I think it would be a waste of money if there was no name recognition. I know someone in the Cincinnati Symphony, so I have a contact there. I have similar relationships with other orchestras here and in the UK, but the Cincinnati Symphony is local, and the recording engineer I have in mind has recorded them on several occasions. I know several people in Symphoria (formerly the Syracuse Symphony), but there wouldn't be much name recognition there. That might be the cheap option, though, unless I went overseas. If we did the Nørgård, I could probably use the New Music Orchestra of Poland, since the soloist is touring with them soon. They are a sinfonietta, so they would be suitable for the chamber orchestra disc, if that was the way I ultimately went. I don't really want to go with the Vienna Modern Masters or something like that, or with a university orchestra. (I know a couple of people who might read this have some experience with them.) Having an all-American cast would open up more grant money.
4. Conductor. Yes, I could do it, but I think having a full-time professional conductor would result in better use of rehearsal time. I have an idea whom I want, but he isn't American. I have to think about it. If we do Sym No. 3, maybe I could convince the dedicatee to come out of retirement for it. (He might even read this blog.) Soloists, I'm pretty set on.
5. Pipe dream. I would rather think of this as "Blue Sky" thinking. We are probably talking a 6-figure investment, and I probably won't achieve that much in a crowd-funding campaign. If I can get half of that, I might be able to get a grant body to match it.
OK, so I need your input at this point. Let me know your thoughts, either here or on Facebook, or by email.
Sunday, February 12, 2017
What next?
Well, Labyrinth and Dystopian Sunrise (with Clouds) have been premiered, although I haven't yet heard the latter. The arrangement of Inner Sanctum premieres on Friday.
What next? I have some long term projects on the back burner:
1. Temps - an extended work for Messiaen quartet. It will include some movements from Labyrinth and Time Knot, as well as a clarinet solo movement that was originally planned for Labyrinth, but was left out, since I planned to feature Violin and Cello (because I planned on turning it into a double concerto).
2. Labyrinth Concerto - this is the double concerto for sinfonietta/chamber orchestra based on Labyrinth. I have already created a straight transcription, but I'm trying to decide if I should expand it at all. It's very difficult to re-envision an already finished work, so I'm not sure if I want to go there. I might add some improvised cadenzas. I'm consulting with possible soloists, but it may be complete as it stands.
3. A Mighty Fortress - I have a re-harmonization of JS Bach's chorale ready, however, after the original modulates, my harmonic system doesn't work so well. I need to find a way to deal with modulation - or do I? Re-harmonizing someone else's 4-part harmony into my 6-part harmony seems like an academic exercise. Is it one worth doing? The piece is for wind ensemble, if I do it.
4. Song Cycle - I have someone who wants me to write a song cycle, possibly based on my own poetry. Dare I? I've tried to do it before, and never finished any of the songs I started.
... I take that back. I already have two songs out there based on original poetry - very early original poetry that is very embarrassing. One of the songs is decent, though.
5. Orchestra piece. I have some sketches for an orchestra piece, but I left the orchestra for which I was writing it, and shelved it. I want to write more for orchestra, but I don't want to spend that much time on it, if I don't have a destination for it, especially since Symphony No 3 and Chaos, still haven't been performed, not to mention the chamber orchestra versions of my Dante tryptich (3 Pieces for Chamber Orchestra). This is where my compositional heart is, but why should I spend my time on something that may never get performed?
6. There are also fragments of a piano concerto - or two? I have the beginning of one with chamber orchestra, and fragments of one with full orchestra. I wanted to start a concerto from scratch when I was working on my commission, only to struggle for inspiration. Chaos was more piano concerto than wind ensemble piece, so I re-scored it for orchestra and finished it as a concerto, leaving the other concerto materials on the cutting room floor.
7. Piano piece(s) - It's probably time for me to write one. I have a couple of former students as well as a few other friends who might be willing to play it.
8. String Quartet (No. 4) - I was really thinking string quartet in the 3rd and 5th movements of Labyrinth. I could easily arrange them for quartet, and provide a couple of more movements.
The only problem with all this is that there are no commissions there - or even promises of performances (except maybe the songs). Having just completed an extended period of commissions, I find myself hitting a wall. Until I become better known at UC, I won't have anyone here asking me for music.
So is there anyone out there who wants a piece, either one of the above or something else? All offers considered.
What next? I have some long term projects on the back burner:
1. Temps - an extended work for Messiaen quartet. It will include some movements from Labyrinth and Time Knot, as well as a clarinet solo movement that was originally planned for Labyrinth, but was left out, since I planned to feature Violin and Cello (because I planned on turning it into a double concerto).
2. Labyrinth Concerto - this is the double concerto for sinfonietta/chamber orchestra based on Labyrinth. I have already created a straight transcription, but I'm trying to decide if I should expand it at all. It's very difficult to re-envision an already finished work, so I'm not sure if I want to go there. I might add some improvised cadenzas. I'm consulting with possible soloists, but it may be complete as it stands.
3. A Mighty Fortress - I have a re-harmonization of JS Bach's chorale ready, however, after the original modulates, my harmonic system doesn't work so well. I need to find a way to deal with modulation - or do I? Re-harmonizing someone else's 4-part harmony into my 6-part harmony seems like an academic exercise. Is it one worth doing? The piece is for wind ensemble, if I do it.
4. Song Cycle - I have someone who wants me to write a song cycle, possibly based on my own poetry. Dare I? I've tried to do it before, and never finished any of the songs I started.
... I take that back. I already have two songs out there based on original poetry - very early original poetry that is very embarrassing. One of the songs is decent, though.
5. Orchestra piece. I have some sketches for an orchestra piece, but I left the orchestra for which I was writing it, and shelved it. I want to write more for orchestra, but I don't want to spend that much time on it, if I don't have a destination for it, especially since Symphony No 3 and Chaos, still haven't been performed, not to mention the chamber orchestra versions of my Dante tryptich (3 Pieces for Chamber Orchestra). This is where my compositional heart is, but why should I spend my time on something that may never get performed?
6. There are also fragments of a piano concerto - or two? I have the beginning of one with chamber orchestra, and fragments of one with full orchestra. I wanted to start a concerto from scratch when I was working on my commission, only to struggle for inspiration. Chaos was more piano concerto than wind ensemble piece, so I re-scored it for orchestra and finished it as a concerto, leaving the other concerto materials on the cutting room floor.
7. Piano piece(s) - It's probably time for me to write one. I have a couple of former students as well as a few other friends who might be willing to play it.
8. String Quartet (No. 4) - I was really thinking string quartet in the 3rd and 5th movements of Labyrinth. I could easily arrange them for quartet, and provide a couple of more movements.
The only problem with all this is that there are no commissions there - or even promises of performances (except maybe the songs). Having just completed an extended period of commissions, I find myself hitting a wall. Until I become better known at UC, I won't have anyone here asking me for music.
So is there anyone out there who wants a piece, either one of the above or something else? All offers considered.
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