From Our Readers

A Life Filled With Music

April 19, 2022 by From Our Readers 2 Comments

By Robyn Hilger

All the best pieces of my life have been connected to music. Music class is where I discovered where I excelled, learned important skills like work ethic and collaboration, and where I first practiced being a leader. And, as a music teacher, I found that I had the opportunity to impact the journey of many lives so that they too could experience the joy of making music for what I hoped would be a lifetime. This really got me thinking about how every music educator along my musical journey was instrumental (pardon the pun) in creating the person you know today. It truly takes a village, which is why we must acknowledge and support music educators at every level along the pipeline of choral development to life-long music making.

The opportunity to develop a love of music can be a very early experience within our homes, communities, and places of worship. In many non-Western cultures, children participate with the adults in making music from very early in their lives. Children are encouraged to fully engage and contribute their own gifts and know that they belong in these musical settings without any kind of formal training or education. Making music is part of the community and family, not separated from other parts of life. These earliest teachers are family members, friends, and community leaders. What a terrific foundation for life-long music making!

For many children in the United States, one of the first experiences with formalized music education is in the school setting. The masterful teaching of the young child is something to behold. Within five minutes, it is not unusual to see these music educators teach a phrase, model matching pitch, remind a child to stop touching their neighbor, realize a student has just pulled out their tooth, correct rhythms, hear a story about someone’s dog, dry a tear, and still manage to play the accompaniment at the piano. And, the best of them do all of this with a bright smile, welcoming demeanor, and a driving passion for instilling a love for music in these early days. My family did not make music together. I had no way of knowing that this could be my life until I entered a music classroom in elementary school. There are teachers of young children and in elementary schools laying the foundation for lives filled with music every single day. Our profession is grateful for you!

To the middle school and high school teachers, we are indebted to you for the nurturing of technical skill, artistry, and character-building you do each day. While we know that many of our students are not going to become professional singers or choral directors, we do know that their lives will be enriched by the lessons learned in the choral ensemble. Not only the lessons of music, but the lessons in being unselfish, being on time, craftsmanship, worth ethic, empathy, compassion, and the list goes on and on. Lessons that transcend the rehearsal and build people who are ready to be contributors to their communities. And, hopefully, people who continue to sing in their homes, with their children, and in our worship and community ensembles. A constant reminder that music is with us at every juncture in our lives. The future of our communities is in your rehearsals today. We are fortunate to have you in this role!

As a middle school teacher, I was often asked when I was going to “move up” to the high school. “Moving up” was never something I wanted to pursue. My jam all day, every day was 7th grade. I have a high tolerance for pain! I know there is pressure at every level to “move up.” If moving from elementary to middle school to high school or beyond is your dream, by all means pursue it to your fullest potential and you will find many mentors in ACDA to help you along your journey. However, if you are loving your place in life, with no current desire to “move up,” know that the work you are doing every single day is invaluable to our profession’s need to ensure the highest quality experiences for people at every level in their choral journey. We don’t end up with collegiate level singers or adult community choirs without everyone doing their part along the way – a pipeline that often starts first in the home and then in your classrooms and rehearsals. The work you do every day, from the itty-bittys to the accomplished vocalists to the ensembles ensuring there are opportunities for aging voices, each of you ensures that choral music remains a pillar in our communities. American Choral Directors Association (ACDA) is here for each of you, wherever you are on your personal journey as a choral professional. We are #ONEACDA.

Robyn Hilger is the executive director of ACDA. She has a bachelor’s degree in music education from Oklahoma City University and a master’s degree in school administration from the University of Central Oklahoma. She spent ten years as a public school music educator before transitioning into nonprofit administration.

What’s Hot and What’s Not? Tell Us What YOU Think!

April 12, 2022 by From Our Readers Leave a Comment

By Rebecca Lord

What music is being programmed for our nation’s choirs and why? What issues or criteria weigh most heavily in the minds of those choosing repertoire and where are conductors turning for ideas and inspiration? Are there solid trends or are our choirs all over the map?

Become part of the answer to these questions by sharing your personal views and programming realities through this brief national choral programming survey. Anyone who has ever programmed for a choir (current or past) is encouraged to participate. No choir is too small, no conductor insignificant. Whether you have performed with the NY Philharmonic, led a graduate program, or served as an untrained conductor with a community or church group of 6-8 singers, we want to hear from you. Every voice is invaluable and greatly needed in this quest to see and understand the heartbeat of American choirs in our time.

The survey results will be a key component in my research on choral trends , which will also include in-depth analyses of the repertoire performed at ACDA national conferences since the first national conference in 1960. I am utilizing national conference programming in part because historical records exist, and in part because of the choral leaders involved in programming for those conferences. The aim is to assess and make widely available information on programming trends as seen over the last approximately 80 years of national conference performances, and to compare that information with what is gleaned from the survey results.

The choral programming survey is completely confidential and takes approximately five minutes to complete. You will check the type(s) of choir(s) you have led and the types of music you have programmed. You will be able to share your programming realities, as well as any ideals and philosophies, and if desired, favorite works or composers (which will be compiled and shared with the choral world). All questions/fields are optional, so any that you would prefer not to answer may be skipped.

Results of the survey and programming trends seen at ACDA national conferences will be shared in coming months. The information gleaned from this research will provide conductors with a comprehensive view of ACDA national convention programming trends since its inception, generate data of value for further research and conversation on programming trends, and most importantly, provide easily accessible inspiration and programming ideas from conductors around the nation. Please add your voice to this important record of our time!

Rebecca Lord has served on the choral/vocal faculty of Brigham Young University-Idaho and as Associate Director of Choral Activities at the University of California, Los Angeles, where she earned MM and DMA degrees under the tutelage of Donald Neuen. She also served as Chorus Master for Arizona Musicfest and Assistant Conductor for the Hour of Power choir. She has a background as a professional violinist, soprano, dancer, and actress.

Observing Ramadan in the Music Classroom

April 4, 2022 by From Our Readers Leave a Comment

By Bobbi Elkamely

Twenty years ago, I experienced my first Ramadan. It was one of the most difficult experiences in my life. I had only recently converted to Islam and was struggling to find the balance in my life as a new Muslim post 9/11. While the Muslim community was supportive, my friends and family simply didn’t understand what I was doing and because Ramadan was foreign to them, they couldn’t relate. This made fasting exponentially more difficult for me. My first Ramadan, I couldn’t tolerate being around anyone who was eating or drinking, and the thought of cooking was physically painful. Smelling the aroma of any foods was worse. I eagerly and impatiently looked forward to breaking my fast each night and I counted the days until it was over. I wasn’t sure I would have the strength to fast the month of Ramadan ever again, and I was so wrong.

What Is Ramadan?

Fasting is one of the five pillars of Islam. There are over 1.6 billion Muslims in the world who observe Ramadan, the holiest month of the year, and the ninth month in the Islamic calendar. Ramadan is a time for renewal, community, sacrifice, and generosity. During the month of Ramadan, Muslims are encouraged to give more in charity and to spend their free time in worship and remembrance of God. Muslims observe Ramadan by fasting from dawn until sunset, abstaining from food, water, sexual intercourse, and smoking, and avoiding gossiping and idle time. After sunset, families, and friends gather at their homes, or at the mosque to break their fast at a meal called iftar.

Every Muslim who has reached puberty and who is of sound mind and in good health is required to fast. People with chronic illnesses, pregnant women, women who are breastfeeding, and women who have recently given birth or who are on their menses are not required to fast.

Instead, they may feed a fasting person or make up the missed days at a later time. Some Muslims who are unable to fast pay about $12 a day for every day of fasting they miss to feed those living in poverty. Because the Islamic calendar is lunar based, over the course of 30 years, Ramadan will eventually fall during every season. It falls about 10-11 days sooner each year on the Gregorian calendar. This year, Ramadan will begin at sundown around April 1 or 2, and will last 29-30 days depending on the moon sighting (where scholars must view the new moon with the naked eye to determine if the month has ended). The end of the month of Ramadan is marked by a three-day celebration called Eid ul Fitr or Festival of Breaking the Fast.

The Holy Qur’an is broken into 30 parts and each night of Ramadan, Muslims are encouraged to attend special prayers at the mosque where one part of the Holy Qur’an is recited by memory. This means that the fasting person is staying up late each night and waking up early to ensure they have time to hydrate and eat a proper meal before the fast resumes at dawn.

Supporting Fasting Students and Colleagues in the Music Classroom

There are many ways music educators can support their colleagues and students who may be fasting. Modeling empathy is a key element. Ask yourself how you would feel if you woke up at 4:30 a.m. to eat and observe prayer, then go to school or work all day with no food or water throughout the entire day. How would you feel by noon? How would you feel by 3:30 p.m.? Then consider that the fast doesn’t end until nearly 8 p.m. (depending on the region and location). Do not ask a student to disclose their religious affiliation. Assume that there are Muslims in your classrooms and set expectations and boundaries for every one to adhere to. Some students may be fasting for the first time, and the first fast can be challenging for people of all ages. Please model empathy and compassion.

It is not uncommon for a fasting person to experience fatigue, dehydration, weakness, or to be easily irritated. Offer modifications for your fasting students. Singing, standing, talking, and playing instruments expend a lot of energy that a fasting person may not have. Allow students to sit if they need to sit. Allow students to take a break if they need a break. Consider offering a quiet place for the student to go during lunch. While most students may grow accustomed to being around someone who is eating, sometimes this can be overwhelming. Some students may also need a quiet place to pray or meditate.

Consider your performance calendar and try to avoid scheduling any concerts during the month of Ramadan. Understand that if you must schedule a concert during Ramadan, especially in the evening, some Muslim students may not be able to attend due to the observance of nightly prayers. If this cannot be avoided, ensure that the student has ample time to break their fast properly, on time, with dates and water either before the concert begins, or during the concert. An extra step would be to ensure they have a proper meal to eat. Avoid hosting parties with food during the day. If you must have food, consider dietary restrictions, consider an alternative for the student who may be fasting. Reach out to the student’s adults and communicate what would be the best practice in this situation. Finally, understand that the spiritual benefits of fasting greatly outweigh any physical discomforts. This month is a time of renewal, hope, and mercy and while Ramadan can be emotionally and physically taxing, most Muslims welcome this time with joy and enthusiasm.

As I reflect on twenty years of observing Ramadan, I firmly believe in strongly advocating for the hidden groups of marginalized people in our classrooms. I believe that being cognizant that there are Muslims of all ages abstaining from food and drink during the daylight hours and knowing how to support them is one of many ways to create safe spaces for all people in our classrooms and performance spaces. Twenty years later, I welcome this blessed time with joy and eagerness, and I look forward to the sense of belonging and community that Muslims experience during Ramadan.

Bobbi Elkamely is the Director of Vocal Music and Piano at U.S. Grant High School in Oklahoma City. She is also pursuing a doctorate of music education at the University of Oklahoma. She earned a bachelor of music in violin performance and a master of music in violin performance with an emphasis in pedagogy at the University of Central Oklahoma.

Performing the Bach Passions as a Jew

March 30, 2022 by From Our Readers 5 Comments

By Ayana Haviv

Tomorrow I begin rehearsals on Bach’s St. Matthew Passion, as I have done with countless Passions over the years, and as always I am steeling myself for the isolation and alienation I feel as a Jew singing this intrinsically and unquestionably anti-Semitic text of an equally unquestionable masterpiece.

In the great classic Passions, there are always several anti-Semitic scenes, most obvious of which is the one where we, the chorus of Jews, sing of our blood lust and of how much we want Jesus killed. The sound of a noisy obstinate lynch mob, sometimes with caricatured witchy voices, are added by the composers and their interpreters, but the text is from the Gospels. Those were written in Greek, not Hebrew, for a reason: to try to persuade the Romans and other pagans, not fellow Jews, of the tenets of Christianity. It would never do to blame the Romans for Jesus’ death if they were trying to convert them; instead, the authors of the Gospels made the Jews the central villains of their story. It is the Gospels, not only Bach, who quote the murderous Jewish mob as cursing themselves: “his blood be upon us and on our children.” (See figure below.)

Note to figure: The contradiction at the crux, the most sublime & the ugliest: the congregation joins with the disciples in a gorgeous, heartfelt chorale taking collective responsibility for Christ’s death with “I am the one, I should pay for this;” a few pages later, the mob of Jews willfully curse themselves and their descendants with “His blood be upon us and on our children.” Johann Sebastian Bach, Matthäuspassion, BWV 244, images from Complete Score #569101, Staatsbibliothek zu Berlin, IMSLP

What many today do not know is what used to happen when these Passions were sung during Holy Week in Europe in the Middle Ages, Renaissance, and well beyond – they were sung in church, accompanied by fiery sermons also blaming the Jews for the murder of Jesus, and then the riled-up congregation would go out and murder a bunch of Jews. This was not at all rare – these Holy Week massacres happened so often that surviving records are often cursory and formulaic. Good Friday was especially notorious, and often priests/pastors themselves would lead their congregations in stoning Jewish houses, burning ghettos, and far worse. Christians of the era received the message on Good Friday that the Jews in their midst were their enemies, having killed their savior; only by converting to Christianity could they escape divine punishment. This did not go away with the Protestant Reformation – Martin Luther’s 1543 treatise “On the Jews and Their Lies” calls for the synagogues and Jewish homes to be burnt down by faithful Christians, even lamenting “We are even at fault for not striking them dead.” Catholics were just as bad. Even in Bach’s time, there were also those who argued for a more universal interpretation and less blaming of the Jews – yet the liturgy mainly stayed this way until after World War II, when some churches realized their own teachings’ contribution to the Nazi genocide. That was a welcome development, though not universal, and obviously not entirely successful in eradicating the myth that the Jews killed Jesus or its use as an excuse for violence.

To return to my experience singing these pieces – it is incredibly isolating knowing this bloody history in which many of my ancestors were murdered, and also knowing that my colleagues as well as the audience remain mainly blissfully ignorant of this context. In all my years of reading program notes, I have never once read anything of how Bach’s Passions affected the Jews who were his neighbors. I have seen passing mention of the anti-Semitism in the “kill Him” often with some boilerplate explanation/excuse – Bach was a product of his time, and so on. And indeed he was. But shouldn’t audiences and performers know a bit more about exactly how murderous these times actually were toward the Jews who are a central part of the story? Shouldn’t they know some of the consequences of the text and music that they are appreciating as art in the safe, elegant concert hall – let alone as part of a religious service?

Instead, both audiences and my colleagues shrug the words away. As singers as well as appreciators of Western art music, we are painfully accustomed to Christian liturgy and to compartmentalizing, after all, especially if we as individuals are not believers in the text.

Of course, I am not arguing that we stop performing these masterpieces. The Bach Passions are hardly the only canonical works whose artistic merits earn them a place in contemporary programs despite these issues. I also am extremely familiar with problematic source texts – the Hebrew Bible is certainly one, not just the Gospels – which require creative interpretation to clear away the centuries of bigotry and close-mindedness in order to get to the valuable nuggets underneath. This is a worthy endeavor in all religious traditions.

But some context can go a long way, and also make the Jews around you feel less alone. It’s not only that people don’t know; what hurts is that they don’t care.

Notes

Daniel Joslyn-Siemiatkoski, “Why Good Friday Was Dangerous for Jews in the Middle Ages and How That Changed,”The Conversation (April 15, 2019), accessed March 3, 2022, https://theconversation.com/why-good-friday-was-dangerous-for-jews-in-the-middle-ages-and-how-that-changed-114896
For more on the tension in Bach’s world on the theological question of the Jews see Alex Ross, “Holy Dread,” New Yorker, January 2, 2017.

Author’s note: A version of this article was originally published on social media on February 18, where the author’s chorusmaster at LA Opera, Grant Gershon, saw it, sent it to the author’s fellow choristers, and incorporated it into music preparatory rehearsals. Maestro James Conlon incorporated portions into the pre-performance lecture and program notes. The author is extremely gratified that in this case, her employers certainly did care.

Ayana Haviv is a chorister at LA Opera and Los Angeles Master Chorale, and sings on numerous film and television scores.

How to Commission a New Piece for Your Choir (It’s easier than you might think!) – Part 2

March 19, 2022 by From Our Readers Leave a Comment

By D. Geoffrey Bell

Today’s post is part 2 of a two-part post. Part 1 was published on Tuesday, March 15.

SUCCESSFUL COMMISSIONING EXPERIENCES

To broaden and deepen my understanding beyond my own personal experiences, I asked a selection of fellow composers and conductors to give me their thoughts about the key elements to successful commissioning.

Dr. Matthew Emery (Composer)

“Any commission of a new work of art is in itself successful; I encourage you to commission a composer, poet, collaborative artist, program cover art designer, etc., at every opportunity you can. Commissioning new creations supports the artistic community, engages with new artists (and audiences), and can also help give voice, awareness, and contribute to meaningful steps toward supporting others in artistic practices, experiences, and histories which differ from our own. Commissions offer the composer and commissioner a path to communicate and engage in/with something; that ‘something’ can be anything. I have had commissions that begin as wanting a new work that will function as a concert opener, closer, highlight an Alto soloist…works that set texts by newly settled members of the city, texts created in response to other pieces of artworks, and texts written in response to tragedy. ‘Successful’ commissions work to move beyond one immediate idea and build to something which transcends a single moment, one that will continue to reverberate long after the premiere.”

Dr. Tracy Wong (Composer; Assistant Professor of Choral Studies, University of Western Ontario)

“- clear communication of realistic expectations from both sides

– focus on how the music would serve the singers (this might mean usability, appropriateness, accessibility, and also tie into the above point about realistic expectations)

– identify what/how the music advocates for various communities (who does this benefit, how does this go beyond performative advocacy, how is the music impactful beyond the commission period)”

Jackie Hawley (Founding Artistic Director: Cantiamo Choirs of Ottawa)

“When I was a young conductor, it never occurred to me that I could ask a composer to write for my choir! When I learned more about it and considered it, I felt very intimidated to contact a composer because I was inexperienced and didn’t really know what to do.

Cantiamo Choirs of Ottawa is 19 years old this season and we have premiered one (or more) piece(s) every year of our existence. Even during this dreadful pandemic, we managed to maintain our budget line for commissions. Last year we participated in the Sonic Timelapse project and were thrilled to be able to support such a fantastic Canadian composition initiative! Commissioning has always been an exciting and positive experience for us.

The key component to a successful commission is clear communication.

It is valuable (and fun!) to have an honest, detailed conversation between the conductor and composer about all elements of the commission:

– who will be singing the piece? (level of experience, voicing, age – children/adults)

– what is the purpose of the piece? (anniversary, special dedication)

– what is the text? Will the conductor suggest a text(s) or ask the composer to find a text? Who is responsible for permission if the text is not public domain?

– what is the meaning/mood of the text? Do the conductor and composer interpret the text the same way?

– how many voice parts? What will the accompaniment be, if there is one?

– how long will the piece be?

– what is the cost and what will it include – e.g. printed copies or pdf, midi tracks, type of score (full for conductor, piano/choral for choristers)

– how does the composer expect to be paid – e.g. two installments,

– what is the timeline/due date? (be sure to leave time for edits)

– what is the exclusivity period/date of premier?

– what about recordings?

Paul Aitkin (Composer)

“First, it’s important to understand your timeline. Commissioning a new piece of choral music is initiating the creation of a new work of art. For most composers, the process takes time to complete. For me, it sometimes takes months of sorting through hundreds of potential poems before making the final decision about text. After that, I will spend weeks (or sometimes months) generating melodic and harmonic ideas from the poetry itself. Then it will again take weeks or months to write those ideas down into an engraved format for the musical forces to use at the premiere. I recommend that the commissioner plan at least 9-12 months in advance of the anticipated premiere date in order to adequately provide enough time for the composer to sculpt their ideas into a finished work.

Second, begin with adequate funding. One of the most challenging, early, conversations composers must have with commissioners is the entire topic of “the fee.” It is important to realize that by reaching out to a composer, you are initiating the creation of a new work of art and, in some cases, this work is their livelihood. Most professional composers of choral music nowadays have fees that are a few thousand dollars for a standard a cappella or SATB & piano work (think of it as around $1000 per minute of music). Longer works and works requiring a larger complement of instruments will obviously incur larger fees. Your organization should also plan to host the composer for the premiere – so don’t forget to include this into your overall budget. The important thing is not to panic about the price tag because there are options.

Write a grant: Here in Canada, we are fortunate to have access to the Canada Council for the Arts. Take a little time to plan ahead as funds are frequently available to those groups and organizations that have a plan in place.
Visit https://canadacouncil.ca/funding/grants for more information.
Consider a Consortium: One of my favourite past projects was with a commissioning consortium in the States whose objective was to commission one new piece per year. Each participating choir paid $500 toward the fee and each wound up sponsoring a new choral/orchestral work that they likely could have not afforded on their own.
Ask your donors: most of us in the choral arts have a donor (or a list of donors) to their programs who would consider being financially involved in a commission.
Involve your singers: I encourage directors to create a series of teachable moments over the course of a school year to fully involve singers in the process. When a choir of fifty singers realizes that if each of them were to fundraise $70, they could underwrite the commission themselves.

And last, engage and interact with your composer. Every composer is different, but I truly enjoy engaging with students and singers while I’m in the process of creation. Writing is a lonely sport and having opportunities to attend classes or interact in a zoom call provides me with a lot of inspiration about the choir for whom I’m writing. Further, these interactions allow students and singers to become excited about the project as well as make them feel like they are part of the process. As mentioned above, your organization should plan to host the composer at the premiere so that your singers and audience have the opportunity to meet and interact with the composer. Personally, I love doing Q&A sessions with the singers in the final rehearsals before the premiere – because the more they understand the piece and the process, the better the performance will be. Similarly, you can present something similar for the audience just before the premiere because if they know what to listen for, they are more deeply engaged.

It is also critical to have a contract in place with all of the elements decided upon in writing. If I were to sum it up briefly, the key to a successful commission is clear communication and a detailed contract. This will help to avoid any misunderstandings and assumptions.”

Carol Beynon (Founding & Co-Artistic Director of Amabile Boys & Men’s Choirs)

“When deciding on a new commission, the key component is clear discussion with the prospective composer to develop a safe and trusting relationship.

Before commissioning, we consider the following:

The performance event for which we are commissioning as well as the rationale for commissioning a new work, such as commemorative (e.g., Remembrance Day), celebration such as choral anniversary, sacred or secular, or general.
The length of the piece
Accompaniment – from piano to solo instrument, small ensemble or orchestra – or acapella
Language
Required text or open text
The level of the choir – e.g., children, youth treble; youth TTBB, adult men’s choir, or adult symphonic choir.
Funding available to commission, such as a special donation for a commemorative commission, grant funds, etc.
List of composers who we feel write according to the criteria established above, usually giving preference to support Canadian composers, local and alumni musicians, and/or new composers who could use ‘a leg up’

We then develop a prioritized composer list and:

Invite the potential composer to consider writing a piece for x choir, provide the background and level of the ensemble, and discuss payment
Upon approval, we establish a timeline for completion and then set up a meeting with the composer to discuss various aspects including examination of various texts, optimal range/tessitura of voicing in the ensemble, style, length, accompaniment (which instruments) or acapella. We try to cover as many details as possible in order to set expectations going forward yet allowing composer creativity.
Once the text is decided on, the composer goes to work and communicates openly with the choir conductor – e.g., first draft, feedback from commissioner – and then finally a completed score. In this age of technology, the composer usually includes the pdf of the score as well as either an electronic mp3 or one they play in and record.
The composer continues to work alongside the conductor as the new work approaches its world premiere performance, and the composer advises the conductor on various aspects of performance style.

The process of creating is intensely personal and the onus is on both parties to work together so that the composer can create and share their vision with the commissioning person so they can feel/hear/see the composer’s vision throughout the process and take the work to fruition.

In summary, the key component to a successful commission is setting up a relationship in which the commissioner has a clear understanding of the piece required and conveys that to the composer so that both parties – the commissioning conductor and the composer – can have open, ongoing and above-all, safe/trusted dialogue from inception to 1^st performance.”

Sarah Quartel (Composer)

“Find the balance between direction and freedom – I do very well when a commissioner clearly communicates the desired specifications of a piece (voicing, length, difficulty level, concert theme) yet gives me the freedom to follow my instincts when writing for their ensemble.

Help the composer get to know you and your choir – When I prepare to write a commission, I study recordings, videos, organization mission statements, social media messaging, anything I can find to help me better understand the ensemble. I want to ensure that what I create is not only a great technical match but also an excellent fit for the spirit and character of the choir.”

Morna Edmundson (Artistic Director and Co-founder of Elektra Women’s Choir)

“We are very fortunate in the choral community to have inspired and engaged composers in our midst – they are truly part of our ecosystem. I’ve heard that the instrumental world is a bit jealous of the ease with which we include contemporary music on our programs, and how excited our audiences are to hear new works and meet their composers, With Elektra, I’ve commissioned over 100 original works and arrangements, and it is always exhilarating. If you are new to the process, I recommend talking with several colleagues who have commissioned, to get their perspectives and advice.

I believe the key component to a successful commission is clarity of intent. What kind of piece am I hoping to bring into being? Do I already have a text I want set? What should the voicing, duration, and instrumentation be? What is the occasion for which it’s being written? Has the composer heard recordings of my choir and do they understand what level of musical challenge will provide excitement without being impossible for this ensemble? Can I provide repertoire lists of what else my choir sings? Am I comfortable that the composer I am approaching can write the kind of piece my singers will want to and be able to learn? If you have solid answers for all of those, approaching the composer will always be a welcome conversation. A long timeline is an advantage, as some composers will have a stack of commissions ahead of yours. On the other hand, an emerging composer may be able to drop everything and pour their heart and soul into your piece. Look to the recommended rates on the Canadian League of Composers website, knowing that in-demand composers may ask for higher fees.

I would advise conductors to be sure to offer an open door for feedback if the composer wants it. You know your ensemble better than they do. If they do not have a large catalogue of choral works already, the process of writing for your choir may be a welcome learning experience for them, and it’s as important to them that it succeed as it is to you. Although I very infrequently see a draft of a work being written for my choir, a respectful, ongoing dialogue between the two of you is a true joy. Finally, I suggest setting the deadline at least a week earlier than you really want the piece in your hands. And tell the composer up front that you are going to want to have some back and forth with them in that week about any notational issues you may find. I have never had a composer say “no” to this. During that week, your critical role is as an advocate for all concerned: (1) for the composer so they look good in front of your ensemble by providing a clear score, (2) for the singers who need to make music from this score. Are they able to see which line to sing? Are the rhythms spaced clearly and consistently? Is the text underlay complete? What questions could you avoid in rehearsal with a few tweaks to the layout? and (3) for yourself as the person asking your choir to trust you in this process of the unknown. If you are not sure how to teach the piece because the composer’s intentions are not clear, or you are frustrated in rehearsal with something that doesn’t work that you might have been able to change, or uncomfortable putting your singers out on a limb with something that is too difficult for them, nobody will win. And it will erode the choir’s enthusiasm for embarking on another commission. All of those suggestions sound so negative! Let me put it in another light: when your singers have in their hands a piece they love and can rehearse and sing with joy and skill, and the piece is just right for the occasion and the audience responds enthusiastically, there is nothing like singing a work that was written just for you!”

Erick Lichte (Artistic Director – Chor Leoni)

“A successful commission starts with real belief in the composer’s perspective, vision and talent. It should include belief in the composer as a person as well an artist. The composer needs to be a voice and a person you desire to amplify.

The conductor needs to be a midwife and facilitator for the project. Ultimately the conductor knows his or her ensemble and audience. The conductor must help bring together the vision of the composer, the desires of the audience and the passions and talents of the singers.

It is the conductor’s job to find the right composer for the right project. Not every composer will be the best fit for a given project. A commission should stretch everyone involved a bit, but it should not feel like anyone is compromising themselves or shoehorning themselves in the piece. A good commission should have all of the dialog and give and take of a healthy relationship.

Everyone needs to be on the same page about the abilities of the artists. A good commission should always seem just a bit more difficult to the audience than it actually is for the performers, not the other way around. It is the conductor’s responsibility to teach the composer about the ins and outs of what is a good sing for your choir. The composer needs to be willing to learn.

A good commission needs real understanding of the collaborative nature of creating a new piece of music. A commission should feel like a workshop. The first draft of a composition is just that, a first draft. Everyone- the conductor, singers and composer need to commit to understanding the particular vision of a piece and then everyone must work together to flexibly experiment with the piece to make it communicate in the best ways possible. There is no need to commission a work if the composer doesn’t want to collaborate and edit to make a piece fit the ensemble. There is also no need for a composer to work with a choir that doesn’t want to put in the work of discovery in a new piece. The joy of new music comes from this work. This sort of work is exciting and builds beautiful relationships.

Last, a good commission needs to show its work to its audience. The composer and commissioner need to both be champions of the piece and be willing to tell the story of the work’s creation. The audience needs to feel a part of the process, since they, as the listeners, complete the project.”

Jeffrey Bernstein (Founding Artistic & Executive Director – Pasadena Chorale)

“It’s best if the choir and composer share some inherent artistic alignment. Ideally the composer should be interested in writing the sort of music the commissioning choir will sing well, and the choir should be interested in singing the sort of music the composer tends to write. This alignment implies mutual knowledge and understanding. The choir director should take time to become familiar with composer’s work, and the composer should be well acquainted with the choir’s sound. If the work of the other party is genuinely appealing and of interest, the collaboration will likely be fruitful. Another essential ingredient in successful commissioning is the set of shared agreements between the choir and the composer. These understandings must be realistic, clear and mutually agreed upon, and they range in scope across many aspects of the project including: the deadlines for composing and revising the score, the length and difficulty of the piece, the assignment of rights for performance and recording, and of course the amount and schedule of payments.”

SUMMARY

Although approaches and experiences vary, most of the composers and conductors interviewed share a few key ideas to creating a successful commissioning experience:

DETAILS: Set clearly defined goals; what do you want the finished product to look like and sound like? What are the steps from start to finish?
CHOOSE YOUR COMPOSER: Who writes the kind of music you want to commission? Think about composers you already know; also devote some time to listen to works by others who you may not know, but who may be good candidates.
TIMELINE: Plan ahead; set up a generous time frame with specific “check-in” points to allow the project to develop completely and on schedule.
BUDGET: Set up a clear budget plan to cover all foreseeable expenses.
CHOOSE A COMMISSIONING METHOD: there are many possibilities!
CONSIDER “TAKING IT TO THE NEXT LEVEL”: How can you elevate the experience for all participants?

Your commissioning project can be as simple or complex as you choose to make it. If this is your first foray into commissioning, it is worth starting at the simple end of the scale, allowing your choir to “get their feet wet.” As you commission more works, anything is possible!

ADDITIONAL RESOURCES

“A (Somewhat) Brief Guide to Commissioning New Music” by Dominick DiOrio, published in the November 2018 edition of Choral Journal

“How to Commission” article by Laura Hawley, published on her website:

https://www.laurahawley.ca/contact/how-to-commission/

D. Geoffrey Bell is a composer of choral and instrumental music. Learn more about his work at www.dgeoffreybell.com

How to Commission a New Piece for Your Choir (It’s easier than you might think!) – Part I

March 15, 2022 by From Our Readers Leave a Comment

By D. Geoffrey Bell

There are many reasons to commission a new composition for your choir. You may already be planning for an upcoming special occasion, anniversary or celebration. You may be thinking about raising your choir’s public profile, taking them to the next level. You may be looking for a new way to motivate and inspire your singers to get the best energy, commitment and sound from your ensemble. All of these are excellent reasons to commission a new piece of music written specifically for your choir.

Budget is an important consideration for most choirs, and may feel like a stumbling block to commissioning new music. A few different approaches are explored here, including budget-friendly options. I have interviewed a number of composers and choir directors to examine a variety of ways to make commissioning easy and affordable.

TRADITIONAL APPROACHES TO COMMISSIONING

Direct Contact with a Composer

Many contemporary composers have their own websites and profiles on social media. A quick Google search will help you determine whether a composer is open to being contacted directly. If the composer has a website, check for information about commissioning. Some composers post their commissioning policies, and provide a link to contact the composer directly. For example, Canadian choral composer Laura Hawley has a clear, detailed document on her website: https://www.laurahawley.ca/contact/how-to-commission/

Composers set their own rates and schedules. Check with your preferred composers first, but consider others whose work you don’t know as well; they might be quite capable of meeting your needs.

Call for Proposals

Some choirs post a Call for Proposals online as they plan for a future special event. This should include all relevant details, including:

timeline
voicing, accompanied/unaccompanied
desired length, topic or theme
remuneration for the winning proposal(s)
key contractual details

The Call for Proposals can be posted in a number of ways:

by your national choral association, (Choral Canada, ACDA, etc.)
national composer’s organizations, (Canadian League of Composers, Canadian Music Centre, American Composers Alliance, etc.)
performing rights organizations, (SOCAN, ASCAP, etc.)
on your organization’s website and social media
in Facebook groups that focus on choral music and choral composition (Composers of Choral Music Community, Canadian Choral Composers, etc.)

Composers then have the opportunity to submit their unique proposal to create a choral work tailored to meet your requirements. When the deadline arrives, you have the interesting challenge of reading through the submitted proposals to find the best match.

An excellent example of a Call for Proposals by Unison Choruses can be found at:

http://www.unisonfestivalunisson.ca/index.php/call-for-proposals-for-choral-compositions/?lang=en

Composition Competition

Some organizations have an annual or biannual composition competition. Similar to the Call for Proposals, all details are published online, but composers are asked to submit a finished work that meets your requirements. The downside for many composers is that they will spend countless hours writing a piece of music that may not be selected.

Some organizations charge an entry fee, but consider this carefully before making a decision. A small entry fee like $20 will raise a small amount of money to go toward the commission fee, but may exclude bright, talented composers who can’t afford to enter many competitions. The higher the fee, the more exclusion will occur, and the more the competition will look like a fundraiser for the choir. Many organizations choose not to charge an entry fee, making the competition accessible to all.

A model example of a composition competition by Chronos Vocal Ensemble can be found at:

https://chronosvocalensemble.com/new-music/choral-composition-competition/

ALTERNATE APPROACHES TO COMMISSIONING

The “tried and true” approaches don’t work for every situation. You may encounter a sudden, unexpected need for new music, perhaps for a memorial service or celebration of life. You may have just started in a new music director role when an administrator casually drops a bombshell; “Oh, by the way, we’ll need an excellent new piece of music for . . .”

Whatever the case, I suggest you make quick contact with a composer whose music works well for your choir.

Co-Commissioning – We Just Don’t Have the Budget!

Some choirs have discovered that they can join forces, working together to commission one new work to be shared between them. This approach has been used successfully by a number of choirs! The “Commission Consortium” created by Choir Alberta is one excellent example: https://www.choiralberta.ca/2022-commission-consortium.html

Premier a Finished, Unpublished Work

This approach is not quite commissioning, but can have a positive end result. Start by making a list of the features you would like to have in the finished piece. Then contact your composer of choice to discuss possibilities. Composers often have finished works that have not yet been published or performed. (Think of all the works that were written for competitions, but didn’t win first place.) Many music publishers today will only consider scores for publication if they are submitted with a good recording! This can be a major stumbling block for composers who don’t have their own choir.

Conductors and composers can often work out a mutually beneficial arrangement: the composer provides an existing, finished work that matches the brief, charging only the current market value for published music rather than a commissioning fee. In exchange, the choir provides a good-quality, polished recording, giving the composer permission to use it to promote the work.

This arrangement benefits the composer by making it possible to submit the recorded work to publishers, allows the work to be heard by other choral directors, and potentially boosts sales of the music. It benefits the choir by providing a new piece of music at a very reasonable price; by providing excellent publicity for the choir when their recording is promoted on the composer’s website and social media; and potentially, on the publisher’s website if the piece is selected to be published. (The name of the choir and musical director should be included with all online postings.) In addition, many composers are happy to add a dedication to the choir that commissions or performs the premier of a work.

PLAN FOR SUCCESS

Budget

If your choir has a healthy budget, you may have the funds you need to commission any composer of your choice. If funds are limited, make a list of the key qualities you would like your new piece of music to have. Be reasonable with your expectations. Consider that a 5-minute piece of choral music with one or more instruments may require 50 to 100 hours of work for the composer. What fee would you charge for that amount of your own focused working time specifically for one client?

Special forces can be brought to bear to fund a special project, such as commissioning a new piece of music:

Find a patron or patrons willing to sponsor the commission. You have some dedicated supporters who attend your concerts. Make a heartfelt sales pitch!
Start a fund-raising project specifically to fund a new commission.
Combine forces with one or more other choirs to co-commission a work.

Timeline

Plan WELL in advance; a year or two ahead will give you time to do everything without being rushed. (Paul Aitkin provides a thorough explanation of this in the interview comments below.)

Details

A carefully planned process and contract will serve you well. Many helpful specifics can be gleaned by building on ideas used by other choirs, then tailoring them to suit your specific needs. Engage in thoughtful initial dialogue with composers to find the best fit for your project. Make a note of questions and ambiguities that occur during discussions, then follow up with answers and decisions in writing. Video chats can be very useful to “get a feel” for each other, to have questions answered quickly, to explore possibilities, and to build on each other’s ideas. Follow up with written summaries of decisions that have been made.

Take It to the Next Level

Having commissioned a special piece of music for your choir, why not elevate the experience, taking it well beyond the premiere performance? Consider these possibilities:

Hire a photographer or videographer for the premiere, then post the photos or video on your choir’s website and social media (your composer can provide a “synchronization licence” for a small fee to make the online video legal).
Hire an audio recording engineer to record the performance (your composer can provide a “mechanical licence” for a small fee if you plan to sell or distribute recordings).
Do a dress rehearsal recording or studio recording for a future album (see above).
Program more performances for different audiences or events.
Ask if your composer is interested in posting your recording on their own website and social media, or on their publisher’s website. (This provides free publicity for your choir to a much wider audience.)
Ask if your composer is open to doing a workshop with your choir, either in person or via video conferencing. This can be a very rewarding experience, giving more depth, substance and meaning to the new work. It’s also a great motivator for choir members, and can be a catalyst for outstanding performances!
Do you have a good relationship with a publisher of choral music? Ask if the publisher would be willing to consider the commissioned work for publication after the premier performance. (They don’t have to commit to publishing it unseen and unheard, but agree to consider it when it is finished.) The potential of publication adds to the excitement for all participants, and will add another positive element to entice composers to accept your commission.

The second and final part of this post will be published here on Saturday, Mar. 19. D. Geoffrey Bell is a composer of choral and instrumental music. Learn more about his work at www.dgeoffreybell.com