How Can I Get My Music Peformed Live?

I was wondering what are the ways to get the music I compose performed live be small or large ensembles?

Are there places that do sight readings of new composers?

I was wondering what are the ways to get the music I compose performed live be small or large ensembles?

Are there places that do sight readings of new composers?

Some local orchestras have "reading sessions" ... but, whether it's official or not, it's still worth asking the conductor or artistic director if they'd consider sparing you half an hour of rehearsal. The less "serious" the ensemble, the more likely they will be open.

Try also university orchestras - or depending on the size of ensemble you want, approach individual teachers who likely coach a quartet or other smallish chamber group.

ALSO, it should be obvious, but no one seems to think of it: start your own damn band, and write music specifically for them. You'd be surprised at how easy it is to get small groups of musicians together...

:whistling:

Invest in a portable recorder (Zoom H2 is cheap and easy) so you can easily document any live reading you might get.

Thanks, great tips! anyone else have ideas?

Accessible Contemporary Music in Chicago does a new piece weekly, which it then puts up for streaming/downloading on the internet...

Weekly Readings

...but there aren't many places doing this, and there are a lot of composers submitting pieces, so you might have to wait.

Re: starting your own band, that's probably the best way: you know your performers and what they can do, and most every city has somewhere for them to play.

I plan to team up with an experienced singer/songwriter, which should open a lot more doors than instrumental 'art' music alone could.

Get to know musicians, befriend them, feed them, buy them drinks, and they'll play your music. I always buy drinks for anyone who plays my pieces after the performance (I still haven't had an orchestral piece performed - I guess that's when I'm going bankrupt..), so people keep asking me to write pieces for them or are more willing to perform them :)

Get to know musicians, befriend them, feed them, buy them drinks, and they'll play your music. I always buy drinks for anyone who plays my pieces after the performance (I still haven't had an orchestral piece performed - I guess that's when I'm going bankrupt..), so people keep asking me to write pieces for them or are more willing to perform them :)

That worked for me for a while, but not anymore.

These days, my feeling is that live musicians - and particularly conductors - are more trouble than they're worth.

I don't think I'm ever going to ask for a live performance of my music again myself, and I've decided to turn down an offer to perform my 3rd Symphony this spring. I'd rather hear a lifeless performance from a machine on command than go through all the requisite bullshit with live musicians, only to hear the same thing out of them - less the accuracy. If someone wants to perform my music once I publish it, fine, but I don't think I want to be involved.

I should have known the writing was on the wall a few years ago when the conductor of the orchestra performing my previous major work lost my score and directed the piece from a 1st Violin part. He couldn't have shown me less respect than if he'd wiped his arse with it. Don't do me any f*cking favours. And this wasn't an isolated instance. I've had to deal with everything from indifference to out-and-out hostility. Musicians are a pain.

But if you want to keep trying for live performances, egiordano, go right ahead. Sorry I can't be more encouraging. You might as well know that it isn't all bouquets of roses and bows in the footlights.

I am sorry to hear that J. Lee, but it seems you've had the wrong people around you. I think that if you get people who are genuinely interested in what you do and want to perform the work as much as you do, the result can be quite a thing. And I personally wouldn't be satisfied with a computer performance, first of all because most of the things I write require the input of a performer, and also because the sound the players produce gives me much pleasure, the actual physical sound. So I'm doing my best to make sure I get players who like the stuff I write, and who are interested in playing them. Otherwise I know they won't put much effort in doing so, and the result won't be interesting. Anyone can just take a page of Cardew's "Treatise" and perform Beethoven's 5th saying that that's what they feel like playing when seeing the score - but that wouldn't do justice to the composer; and it would require a lot more than just looking at the score to perform this piece, and probably hours of rehearsals and agreement between the performers (such as the performance of page 189 by Sonic Youth).

Their are TONS of competitions for composers out there... if you join an composer organization (such as NACUSA, SCI, and CPCC) they will send you a list of up coming opportunities and competitions that you can send your music to and possibly have them, not only performed live, but have them performed in front of a large influential audience...

This is a few I was emailed and found myself:

NEW YORK VIRTUOSO SINGERS CHORAL COMPOSITION COMPETITION (Posted: Nov. 08, 2008)

Deadline: Apr. 01, 2009

THE NEW YORK VIRTUOSO SINGERS

Leaders in Contemporary American Choral Music

CHORAL COMPOSITION COMPETITION.

This competition has been established to promote choral music by living American composers. It is not required that you send recordings. However, you may send one if you wish. Published works are acceptable. The winners will receive a public performance in New York City of their choral compositions by THE NEW YORK VIRTUOSO SINGERS.

Founded in 1988 by conductor Harold Rosenbaum (Harold Rosenbaum), The New York Virtuoso Singers has become this country's leading exponent of contemporary choral music. Although the chorus performs music of all periods, its emphasis is on commissioning, performing and recording the music of American composers.

ELIGIBILITY

U.S. composers

Composers living in the U.S. for 5 years or more, whose musical activities take place primarily in the U.S. There are no age restrictions.

AWARDS

There will be approximately three winners who will be selected by a jury. The three winners will have their works performed in a public concert in New York City, and be given an archival tape. In addition, winning compositions will be considered for publication on the "Harold Rosenbaum Choral Series" published by G. Schirmer.

In addition -

1st Prize: $250

2nd Prize: $150

3rd Prize: $100

ELIGIBLE SUBMISSIONS

All a cappella works for 16-voice mixed chorus and those with piano accompaniment, may be submitted. If the text is not in the public domain, composers must submit a letter confirming that permission has been given from the author or poet to set the text to music.

JUDGING

The blind judging process will be used. Please remove your name and other identifying information from the score itself, replacing it with a code of some sort. Separately list that code along with your name and contact information. Please include your email address, if you have one.

APPLICATION FEE

None. There is no limit to the number of scores submitted.

APPLICATION DEADLINE

There is no formal application form required with the submission of scores. The deadline for the 2009 competition is April 1, 2009.

Winners will be selected by a jury, and will be posted here in May.

Scores should be sent to:

Canticorum Virtuosi, Inc.

2 Cove Road,

South Salem, New York 10590-1023.

Scores and CDs will not be returned.

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OBOE & STRING (VIOLIN, VIOLA, OR CELLO) (Posted: Dec. 12, 2008)

Deadline: Apr. 15, 2009

::: GreaterMusic Press Home :::

GreaterMusic Press Call For Scores Oboe & String Composers Competition -- Theme-"Heartfelt Tears" -- Grand Prize $250

Submitted composition must be a duet for Oboe and String, (Violin, Viola, or Cello) composed upon the theme "Heartfelt Tears". It must be at least four minutes duration. It must not be in publication and must have been composed after April 15 2008. Entry must be received via email on or before 15 March 2009.

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WHAT A NEIGHBORHOOD! CONCERT SERIES–CALL FOR SCORES (Posted: Jun. 04, 2008)

The Orfeo Duo - Musicians

What a Neighborhood!, a concert series which celebrates the human and cultural richness of Manhattan\'s West Harlem, Morningside Heights, Bloomingdale, and Manhattan Valley areas primarily through the music of living local composers, sends out a call for scores.

Submitted scores will be considered for performance and/or recording. Composers who live, have lived, or work in Manhattan between 145th Street and 92nd Street on the West Side, of any age (children as well as adults are eligible), working in any style (non-classical as well as classical styles are eligible) are welcome to submit scores. Works should be for small ensemble, choir (classical or gospel), or soloist. Works involving piano, violin, cello, soprano, mezzo soprano, tenor, and clarinet are preferred.

Submit scores along with a cover letter to:

What a Neighborhood!

The Orfeo Duo

Ishmael and Vita Wallace

615 West 113th Street, #46

New York, NY 10025

Phone: 212.222.2101

Email: theorfeoduo@hotmail.com

Web: The Orfeo Duo - Musicians

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FRESH MEAT: CALL FOR SCORES (Posted: Jun. 06, 2008)

FRESH MEAT: Call for Scores, Northern Ireland

No deadline

Belfast’s avant-garde open mic night (most Thursdays at the Black Box) is looking for miniatures for the following instrumentation: String quartet; Clarinet, viola, piano; Solo violin; Solo tenor sax; or Solo clarinet.

If your piece is 100 notes or less it will be included in the Irish Miniaturist Catalogue. A performance of collected miniatures will take place later in the year.

Email: Peter Rosser: Ireland@livemusicnow.org

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THINGNY (Posted: Mar. 13, 2008)

Ensemble thingNY

thingNY's call for scores

okay, so. we play a lot of different stuff. but what do we love? composers who write music that just doesn't fit the standard contemporary, we-wear-all-black ensemble repertoire. don't fit in? send us some of your music. although we don't like to give limitations, all we ask is that you listen to some of our myspace recordings and maybe check out some of the music by our members (after all, we do like our own stuff).

we like to premiere stuff. we like improvising. we like having a little freedom with the scores. we like dramatic. we like mellow. we like punishingly loud. we like ninjas and ice cream cake.

we like to switch instruments from time to time, but your can count on a core group of 3-6 of us spreading betwixt and between (note the plurals): vocalists, violin, ukelele, saxophones, piano, melodica, keyboard, guitar, found percussion, flutes, doublebass, drum set, clarinet, cello

we're not opposed to calling a friend or two to join us

email scores in PDF (preferably) or Sibelius or MSWord or even Excel, if you're one of those.

audio in any compact format is fine.

thingNY[at]gmail.com

alternatively, email us for a mailing address if you prefer to mail it.

gonna apologize now for what could be a wait for a response. but we'll try not to forget about you.

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Hope this helps