Orchestras that call for submissions of new works?

[filmmusic 1,825]

Hello.

This question is addressed mostly to the composers of this forum.

I was wondering if you know any orchestras around the world that call for sumbissions of new works by new composers.

I have found some, but all of them call for composers who have a certain nationality.

Haven't found one that hasn't got these restrictions.

So, do you by any chance know one?

I'd like to submit a concert work (Adagio for strings).

I've never heard a piece of mine with orchestra, and this would be a dream come true.

[WilliamsStarShip2282 308]

look to smaller orchestras. the portland symphony in maine accepts them. if im correct, when i spoke to them they don't care where the composer is from. i was told just to send your work and a letter asking for consideration and the music director will look it over.

[filmmusic 1,825]

Thanks.

You mean this here?

http://www.portlandsymphony.org/content/tickets/browse-performances/pso-pops-2/

i don't see any call for sumbissions tab.

Or do I just contact them?

If anyone has other suggestions too, please feel free to contribute.

[WilliamsStarShip2282 308]

there isnt one. i contacted them about a year ago or more maybe. just send your score with a cover letter explaining your wish for the music director to consider it to be played by the orchestra or something along those lines. the women i talked to said it doesnt happen often, but he does look at them and occasional pick one. maybe one or two a year i think

[filmmusic 1,825]

ok, thanks..

Would like to find more orchestras too nonetheless, to raise my chances...

[Dixon Hill 4,234]

Yeah, definitely try the folks in Maine. With this sort of thing, you'll rarely see any ensemble advertising, "Hey! We'd like to play your music!" Even when the New York Philharmonic schedules a week of "new music," those pieces chosen are limited to works for soloists, most of which are written by people already associated with the NYP/Juilliard. There is an annoying lack of enthusiasm about this kind of thing. Your best bet is to just put yourself out there, even if it seems fruitless. Send scores/mockups/real recordings/whatever to any organization whose mailing or email address you can get your hands on. Be persistent about it.

[filmmusic 1,825]

well, it's just why i was asking.

Maybe some orchestras don't accept anything and have a standard repertoire.

I had found a site that listed all the orchestras that called for submissions of new works, but i can't find it anymore..

[Dixon Hill 4,234]

I think it's ridiculous that any of them would have requirements based on nationality. I can't even imagine what the point of that is. Like I said, just be persistent about it and send your stuff everywhere. That's all we can do, then the ball is in their court.

And hey, if any organization says yes... let me know! haha

[filmmusic 1,825]

well, i can understand it.

Every organization wants to bring forth (is this expression right?) and help its local composers first.

[Uni 306]

I think it's ridiculous that any of them would have requirements based on nationality. I can't even imagine what the point of that is.

That struck me as bizarre too. What difference would that make?

Getting into this industry is much, much more difficult than getting a book published—and that's no easy task, either. I would think orchestras would be more open to this sort of thing. I mean, isn't there really just so many times you can pull out the classics for another go-around?

- Uni

[Dixon Hill 4,234]

There is no end of opportunities to replace an old standard with something new on a program. The problem is, they don't want to. Overly-reverent of the past, and all that.

[Uni 306]

Absolutely. And not to say that those past works shouldn't be given their due reverence . . . but the modern orchestra could also maintain its relevance by featuring new and interesting works from contemporary composers. (Would it really be a bad thing for the orchestras in each city to feature one night a year with entirely new music? I think people would come out to see that kind of thing.)

- Uni

[Dixon Hill 4,234]

Unfortunately, this is not something only we at JWFan are noticing. It's probably the most fundamental problem with the world of art music today.

[Sharkissimo 1,973]

This is something Benny Herrmann ranted about, too. Let me find a quote... *reaches for the Steven C Smith biography*

[Dixon Hill 4,234]

Not surprising since he was such a champion of new music as a conductor.

[WilliamsStarShip2282 308]

Im starting to notice that its its often a 50-50 situation. orchestras can be pretty snobby about new music, but also its much more expensive a Williams concerto than a Haydn. Also, there are a ton of modern compositions that can only be rented, whereas of course most orchestras just buy a beethoven symphony, ect, ect, and have their own libraries and repertoires. having to rent a piece makes it very hard to keep in a repertoire.

[nightscape94 965]

If you're American then I would try more local county or township orchestras. Around the Philly area where I'm from we have the Delaware County, Bucks County, Landsdowne Symphony Orchestras, etc. They're not exactly chumps, they would play pieces that any one of the big orchestras would play; Sibelius, Brahms, Bruckner, Dvorak, etc. It would be highly unlikely for the Philadelphia Orchestra to randomly request or accept non-established composers. If it's not a commissioned work, then forget it.

The downside is that smaller orchestras tend to have a very short season of about 4 concerts in the Spring, then maybe a fall season of another 4 concerts. They're usually pretty set, but you never know, you might be able to sneak a short one in there. Especially if the music director takes a shine to it.

[filmmusic 1,825]

I'm Greek, living in Greece.

[Henry B 50]

Google "orchestra composition competition." There are actually quite a few opportunities. A few even give cash prizes.

[filmmusic 1,825]

Well, I'd prefer it if it was not a competition, because those usually are for certain instrumentation, duration, date of composition, and i'm interested in promoting a very specific piece I've written some years ago.

I don't have the time now to write a new one..

[Dixon Hill 4,234]

Competitions can be worthwhile, if you win. But that whole world has a set of its own politics and problems, and everything I've ever heard from composers, teachers, and my own instincts tells me to stay away from them.

[WilliamsStarShip2282 308]

Competitions can be worthwhile, if you win. But that whole world has a set of its own politics and problems, and everything I've ever heard from composers, teachers, and my own instincts tells me to stay away from them.

heed the words of the great Bartok...

[chuck 154]

Competitions can be worthwhile, if you win. But that whole world has a set of its own politics and problems, and everything I've ever heard from composers, teachers, and my own instincts tells me to stay away from them.

heed the words of the great Bartok...

Competitions can be worthwhile, if you win. But that whole world has a set of its own politics and problems, and everything I've ever heard from composers, teachers, and my own instincts tells me to stay away from them.

heed the words of the great Bartok...

[Henry B 50]

Competitions can be worthwhile, if you win. But that whole world has a set of its own politics and problems, and everything I've ever heard from composers, teachers, and my own instincts tells me to stay away from them.

Maybe if there's an entry fee. If not, what have you really got to lose, aside from the nominal cost of printing and posting?

[Dixon Hill 4,234]

Nerve. A lot of the "critical response" you'll receive goes beyond anything relevant or useful and becomes verbal evisceration. In every case? Of course not. But it's rarely worthwhile from what I know. And it's even worse for performers. It's entirely unacceptable for judges with an axe to grind to tear people down. It happens, and I've seen it firsthand. Joyce DiDonato talks about the performance side of this quite profoundly.

Not to appear overdramatic. As I said, it's just that I've seen this happen to people I care about and it's infuriating.

[WilliamsStarShip2282 308]

Nerve. A lot of the "critical response" you'll receive goes beyond anything relevant or useful and becomes verbal evisceration. In every case? Of course not. But it's rarely worthwhile from what I know. And it's even worse for performers. It's entirely unacceptable for judges with an axe to grind to tear people down. It happens, and I've seen it firsthand. Joyce DiDonato talks about the performance side of this quite profoundly.

Not to appear overdramatic. As I said, it's just that I've seen this happen to people I care about and it's infuriating.

The judges can be pretty vicious and i think a lot of times its unwarranted. I personally think they should have more musicians on these review boards than "composers". Because these contests are usually for publicity, they obviously don't have a very big budget to give johnny williams or pierre boulez a call. I mean half the time the guys they pick are "composers" from teachers at universities that have barely had any music at all played. Tons of people submit to these competitions, i can only guess they do get jealous. I'm sure they see work thats better than their own.