Commissioning and premiering a new work is an exciting experience for the ensemble and audience alike. The first step is to reach out to me and start a conversation about what you have in mind.
In the meantime, here are some answers to FAQs…
How much does it cost to commission a new work?
New Music USA’s Commissioning Fees Calculator is a good place to start becoming familiar with the going rates for different types of ensembles and durations. In practice, there are many factors that contribute to the price that I negotiate for a commission, including how busy I am that season, how excited I am about the commissioner’s idea, and the size of the commissioning organization’s budget.
For organizations that are worried that the cost of commissioning may be prohibitive, you may want to consider participating in a commissioning consortium. Members of a commissioning consortium pay a substantially lower fee than a sole commissioner, splitting the fee among multiple ensembles. Each ensemble gets to present their own regional premiere, and each ensemble gets the thrill of bringing new music to life and the opportunity to work directly with a living composer. You can either join a commissioning consortium that I am in the process of organizing, or you can ask me about a new idea for a commissioning consortium. Consortiums can be large or small, and if you have a specific idea in mind I can help you find one or more ensembles to join you in commissioning that project together.
Will you work with us on the piece?
Yes, I love interacting with a commissioning ensemble as much as possible. Typically, I will travel to attend a dress rehearsal and the premiere. When geography, I like to attend a rehearsal earlier in the process and workshop the piece, allowing for a more substantive exchange of ideas. When the ensemble is too far away for that, I can listen to recordings of rehearsals and give feedback, and arrange Zoom sessions with the ensemble.
Can you help us thank donors who sponsor the commission?
I understand well how important it is forge meaningful connections between donors to the arts and the artists they are supporting. So yes, I would be happy to meet your donors and go out to dinner with them. If they are sponsoring the commission in memory of or in honor of a loved one, I would like to learn about that individual. It can be meaningful for the donor to receive a framed, signed first page of the score. I enjoy getting to know new people, especially if doing so can help an organization I’m working with.
What is the commissioning process?
First, we discuss the artistic director’s ideas and time frame. In conversation with the artistic director and by listening to recordings, I gauge the appropriate difficulty level for the ensemble. I also listen for the specific strengths of the ensemble for which I’m composing, so that I can tailor the work to what they do well. At the end of this initial phase, we come to a specific agreement including texts (if applicable), voicing or instrumentation and duration, and sign a contract.
During the composing time, I like to communicate periodically to let the artistic director know about my progress. If they are interested, I sometimes send photos of the draft manuscript when it’s completed. I always meet my composing deadlines on time.
After I send the final score, I am available to answer questions and to make corrections if needed. I am happy to provide MIDI recordings to help musicians learn their parts. It’s my pleasure to work with the ensemble at a rehearsal and attend the premiere. If there is an opportunity to participate in a pre- or post-concert talk, I enjoy interacting with the audience as well.