Thursday, January 18, 2018

Part Two: On Composers Winning Commissions

This is the second in an ongoing series of articles I am writing about obtaining commissions to write, publish and perform your compositions.

Now, do not continue if you believe the only path to become a successful composer is to starve. If you believe that you are 'selling out' if you accept commissions from very large companies (who on the surface are seemingly counterintuitive to you beliefs), this is not the article for you.

For those of you who think it is impossible to get sponsorships or funding for your composition, performances or publications of you work, let's examine a few interesting options... just opening a door here.

For the last several years I have been providing private composition lessons for the son (8 years old and very intuitive) of the CEO of one of the largest pharmaceutical companies in the world.

This same pharmaceutical company has underwritten four of my compositions and three of the performances.  How did I find this opportunity?  Simple research.

Sign up for LinkedIn.

Be a professional about looking for underwriting opportunities.

We all know the brilliant HatHut label.  If it was not for Lufthansa, they may not have ever launched. I say that, but Werner is a fairly resourceful man.  He most likely would have found another sponsor.

Look at the sponsors for the Summer Courses at Darmstadt (Hello, and thank you Merck KGaA) and reach out to the individuals who have titles like External Community Affairs Director, and Community Relations Manager.

Now as I mentioned previously, create a value proposition for them.

Ask yourself "What can you bring to them?"  Imagine you are in their role, you have a certain dollar sum to expend, and you are screening all of the possible individuals, organizations, etc. that come looking for financial support.

Now be creative...

MerckKGaA.  Drug Company.  Global Headquarters: Darmstadt, Germany.

They are a sponsor of the Summer Music Classes.  Who is also headquartered in Darmstadt who is not a sponsor?


Look at the major contemporary music concerts and festivals around the world.  All have sponsors. Ask yourself, why do they sponsor contemporary new music?

As you look at the image at the beginning of this article you are looking at an ad which will run in the Donaeuschingen Music Days Program this October.  It's one of two placed by Laboratorie New Music in the program.

Guess who paid for those ads?

More to come on this subject...

Saturday, January 13, 2018

"Velocity Infuses Beryllium Plated Monsters Whose Rivets and Scales Shimmer". The Score

"Velocity Infuses Beryllium Plated Monsters Whose Rivets and Scales Shimmer"

For Septet.

Bil Smith Composer

2009, 2011, 2015

A Dedication to Renee Baker and Claes Oldenburg

Commissioned by Itochu.

Tuesday, January 9, 2018

Recording: The Extended Orchestra

On SoundCloud:

Extended Orchestra refers to an expansion of instrumentation beyond the traditional orchestral modicum. In this piece it involves adding a prescribed number (in this performance 18) of non-traditional orchestral instruments. While the score for the instruments is carefully notated, the instrument selection is left up to the key stakeholders of the performance.
“Form and referent coincide, and response rarely goes beyond the initial frisson. In creating a score of this magnitude, it is not the immediate, visceral reaction but the critical reception, the work’s potential to generate independent thinking, that matters.

Saturday, January 6, 2018

To Infinity and Beyond: A Reflection on Notation, 1980s Darmstadt, and Interpretational Approaches to the Music of New Complexity by Stuart Paul Duncan

Excerpt from Brian Ferneyhough

To Infinity and Beyond: A Reflection on Notation, 1980s Darmstadt, and Interpretational Approaches to the Music of New Complexity

by Stuart Paul Duncan