young (or any) composers and how to work with others

Six guidelines for young composers regarding performances and working with performers and ensembles:

1. Always be gracious, even if you know that the performance is not going to transpire in the manner or to the level of perfection you desire for the piece. Graciousness ensures diplomacy; it also ensures that performers will want to work with you again, and that they will be more willing to perform another work of yours in the future.

2. Set reasonable expectations for what “perfection” is with a piece. I once had the pleasure of sitting next to Gerard Pape during a concert of his works where the Arditti Quartet was performing one of his pieces. A friend of mine asked him after the performance, “well, how close was that to what you wanted?” Pape responded: “about 50%, but I’m fine with that.” True enough, the piece was extremely difficult. Placing exacting standards onto performers or ensembles that inhabit a technical/musical ability echelon below what you want with a particular work will yield stress and irritability to you, and a resentment and recalcitrance from the performers. If the piece you composed is for a college-level orchestra and a high-school aged orchestra is performing it, adjust your expectations accordingly. By all means, challenge (younger) performers, but never berate them or condescend to them. (See point 1 for explanation.)

3. Always ask performers what they think of the work. Ask them what they like, what they don’t like; allow them to comment upon and be critical of aspects of your work that may indeed demonstrate a deficiency or area of improvement in your own writing; give them the agency over the piece, as an interpreter of the work, to understand your intentions, even if you yourself are uncertain of them.

4. Find a way to balance the performer’s agency with your own intent. Explaining why you chose particular pitches, rhythms, or techniques will yield much better results than merely telling the performer what you want. Help them understand what you want, and allow them to help you understand how they can accomplish that.

5. Never take a performer for granted. Compensate them, work with them, and be open to questions from them. I see no fault in asking them to comment or inviting discussion; I see fault in pestering them.

6. Never take a performance for granted, regardless of how hard you worked to secure it, or if it was selected for a performance where everything is out of your hands. It may be the only performance of that piece you ever have; it may be the last performance of that piece you ever have. Do everything in your power – if it’s logistically and financially feasible – to ensure that it is neither the only nor the last performance.