{"id":7362,"date":"2017-07-12T10:32:11","date_gmt":"2017-07-12T17:32:11","guid":{"rendered":"http:\/\/classicalguitarmagazine.com\/?p=7362"},"modified":"2022-12-14T12:40:52","modified_gmt":"2022-12-14T20:40:52","slug":"practical-matters-of-classical-guitar-composition-inspiration-commissions-publishing-and-more","status":"publish","type":"post","link":"https:\/\/classicalguitarmagazine.com\/practical-matters-of-classical-guitar-composition-inspiration-commissions-publishing-and-more\/","title":{"rendered":"Practical Matters of Classical Guitar Composition: Inspiration, Commissions, Publishing, and More"},"content":{"rendered":"
From the Summer 2017 issue of Classical Guitar\u00a0<\/em>| BY \u00a0JOHN W. WARREN<\/span><\/h6>\n

Above all, a composer creates<\/i>. But today\u2019s composers must nevertheless navigate many other issues, including commissions, licensing and copyright, distribution and digital streaming, and on and on. In Bach\u2019s day, it might have been easier: Toiling in obscurity and poverty, or gaining fame\u2014if not riches\u2014many composers labored under the patronage of wealthy and influential benefactors. Then again, Bach didn\u2019t have the option of sending a performer MIDI files via Dropbox. Composers in the 21st century have many options, although most of us will still be unlikely, except under near-miraculous circumstances, to receive rich recompense for our work. Composing can be rewarding and worthwhile in itself, of course, but whether you\u2019re an established or aspiring composer, attention to practical aspects and business details may have a great influence over your ultimate success.<\/p>\n

Composition is Not a Solo Sport<\/h5>\n

Commissions are central to both the creative output and the earnings of many composers. Paying composers to write a new piece for a specific purpose or event can be undertaken by anyone motivated to support a composer and champion a new piece of music. Stephen Goss, one of the most renowned composers for the contemporary classical guitar, emphasizes this point. \u201cAll my work is commissioned and has been for the last 25 years or so,\u201d says the Welsh composer. \u201cWould I write music if I had no commissions? Almost certainly not\u2014for me composing is a social process, not a private one. If I\u2019m not collaborating with someone on a project that has an endpoint\u2014performances and\/or a recording\u2014then I\u2019m not composing.\u201d<\/span><\/p>\n

Communication and give-and-take are essential. \u201cThe most important thing to remember is that commissioners are paying for something that they want,\u201d continues Goss. \u201cGetting as clear an idea of what that is might not always be easy, but it\u2019s central to success. Both sides need to manage each other\u2019s expectations. I\u2019ve learned that the challenge is to be as creative as possible while sticking closely to the brief.\u201d<\/span><\/p>\n

Obtaining commissions is a gradual process facilitated by awards, grants, and social endeavors. \u201cWinning composition prizes in Europe led to my first commissions,\u201d states Javier Farias, a Chilean composer currently based in the United States, who was first-place winner of the Andr\u00e9s Segovia (Spain) and the Michele Pittaluga and Concorso 2 de Agosto (both in Italy) composition competitions. \u201cRelocating to the U.S. allowed me to find more opportunities because of the great interest from both institutions and individuals to get involved commissioning new music. This is important because there must exist a close relationship and collaboration between the performer and the composer.\u201d In his case, recent commissions include the Fromm Music Foundation at Harvard University, Meet the Composer (New Music USA), San Francisco Conservatory Guitar Ensemble, Carnegie Hall, and Apollo Chamber Players.<\/span><\/p>\n

For Goss, conferences and festivals are critical, particularly the Guitar Foundation of America (GFA) convention. \u201cI think composers have to get out there\u2014to be seen, to meet people, to talk to people, and to share ideas in formal and informal social situations,\u201d he says. \u201cComposers have to be careful not to bombard people with self-promotion, however, and nothing is less appealing than a composer who drones on endlessly about their latest pet composition projects. Festivals have a two-fold function\u2014to meet, talk, and share ideas with people who might play or listen to my music, and to hear the music that other composers are writing. The GFA convention is always a fantastic event, with seemingly limitless networking opportunities, inspiring concerts, and thought-
\nprovoking lectures.\u201d<\/p>\n

For prominent Swiss composer J\u00fcrg Kindle, commissions have played a less central role, yet opportunities for collaboration are still beneficial. \u201cMany people think that as a well-known composer I get a lot of commissions; unfortunately, however, these are very few,\u201d admits Kindle. \u201cMy works have all come from my own initiative. Of course, it\u2019s something special when you can write for a specific\u00a0ensemble\u2014the motivation and inspiration is much higher. Instead, I receive inquiries for lectures, seminars, or workshops. These are always good opportunities to keep in touch with the guitar world.\u201d<\/span><\/p>\n