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somehow, so I did because I needed to have the copies to hear music that is here today and gone tomorrow,
ready before the rehearsals started. I think I was often attend concerts by New Music societies where the au-
helped, too, by the fact that most of my pieces were dience is largely composed of other composers who
written for my own choir and written to task. I think are also trying to reinvent the medium. Publishers usu-
of Bach, composing for the kids he was teaching Latin ally have a good idea of what is marketable. One of
to—pieces to be sung next Sunday! My situation was my publishers said, “We won’t publish anything unless
similar. I wasn’t usually inspired by the Muse. I was we are convinced that the piece will sell at least 5,000
filling particular spots in particular programs. Once copies.” Conversely, some publishers take a risk with

you know how the piece is supposed to function within music that has little lucrative potential. Good music
the structure of the program, you have some real clues never grows old, and we’ve seen “sleepers” awake with
as to the piece’s mood and shape. Another plus was a touch of serendipity.
that I, the composer, had a great relationship with a

conductor who would program lots of my music—that WASHBURN: Yes, finding performances and pub-
too, would be me. lishers are perennial—perhaps eternal—problems for
composers of all ages. Also, the challenge of earning
4) Composing music can be a very solitary enough to support oneself while leaving suffi cient time
profession unless you are actively collaborat- to pursue creative work is another.
ing with other musicians. Finding performers How do composers network? I’ve never been to
and publishers who are willing to take a risk a composer’s convention… Are there such things?
can be a challenge too. What are some other Choral composers are certainly welcomed at our
challenges that face composers today? grand choral conferences, but the focus on composi-
tion is usually secondary to the problems and activi-
NICKEL: Most composers who wait beside their ties of performers. These gatherings are expensive to

phones for a commission will become depressed, grow attend, but they do offer composers the opportunity
cobwebs, and eventually rigor mortis. Being assertive to meet their customers. Which brings us to commis-
is key to success. sions. Many conductors want the impossible: unique,
“I’ve written this composition with your choir in innovative, impressive works, which are short, sweet,
mind. Could you give it a try?” This is daring, risky, easy to sing and hear, inexpensive, and instantly avail-
and somewhat arrogant, right? After all, what makes able. But it seems that composers need longer-based
you think that a group of people will take the time relationships with conductors and employers, with ar-
and effort to try and realize something that came from rangements that allow for development through time.

your feeble mind? Do you have anything signifi cant to Universities offer such opportunities for a few modern
say? What makes you think that an audience will pay composers, but they still seem to end up composing in
money and then sit quietly while your music is being their spare time.
presented? In my observation, successful composers
develop social skills, are well connected with friends 5) Throughout your career, you have developed
and society, and are daring and forthright. I realize considerable knowledge and skills, establish-
that there are Van Goghs in the music world but, sadly, ing a solid reputation for your choral music. If
most are lost to obscurity. you gave a seminar to aspiring young compos-
I should say that the Internet and social media have ers, what key points would you emphasize?

made all the difference in recent years. In my view, a
smart composer will think over what needs to be said NICKEL: A key point to young composers: try to
and how to say it in a compelling way, considering the ensure that your music has something worthwhile to
proclivities and abilities of the commissioning choir convey. This can be an issue, considering that young
and the “ears” of the intended audience. If you want composers are still developing convictions and a phi-

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