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Reflections on Conductors, Composers, and Commiss ions
Reflections on Conductors, Composers, and Commissions

folder specifically for these submissions. Sometimes it learned that I like to engage with composers who are
takes me a full calendar year before I get around to open to collaboration. The simple truth is that com-
perusing them, but I always do. NOTE: Since opinions missions are expensive and can stretch the budgets of
can vary regarding these kinds of solicitations, compos- most choral programs. Because of this, I feel it’s a con-
ers would do well to first request a conductor’s permis- ductor’s responsibility to collaborate with the composer
sion to send new works. in order to ensure a successful experience and a solid
To the composers, here are a few bits of advice. 1) return on investment. Here are some ways that I have
Please send these submissions over email (preferred) consulted with composers in the past when it comes to
or snail mail, not direct messages over social media. 2) commissions:
Please do not get angry or frustrated if we don’t re-
spond immediately or don’t program your work; there • Length of work.
are so many great pieces out there, and it’s not reason-
able to expect that we can give voice to everything that • Key center(s) of work: I have certain keys that really
comes across our desks. 3) Sometimes composers will “sing” well with my choirs, particularly in unaccompa-
send me a score out of the blue and ask me for “my nied music.
honest opinion” about it, on the premise of wanting to
improve their skills; but after I take the time to give my • Repetitions of thematic material: For example, in
constructive feedback, I don’t hear from that composer an ABA’ work, I’m always thinking about how differ-
again, which makes me wonder why they asked for sug- ent the A’ section is when compared to the A section.
gestions in the first place. NOTE: this is certainly not I’ve found that “very different” and “nearly identical”
an open invitation for composers to seek “free composi- are ideal scenarios. A repeat of the original thematic
tion lessons” from their conductor colleagues; compos- material that is “only slightly different” can be difficult
ers can ask for input but should not expect or demand for the choir, especially if the piece will be sung from
it. memory.

• Works in foreign languages: In the case of an unfa-
Form Relationships miliar (to the choir) foreign language, can the text be
When I find a piece that I really believe in and love, I somehow passed around in the individual voice parts,
almost always reach out to the composer, even if I don’t such that the entire choir doesn’t have to learn the
know them at all. Composers can offer great insights entirety of the foreign text? This will save time in the
into their own music. Also, if your “taste” in repertoire learning process.
seems to resonate with the writing style of a particu-
lar composer, it’s likely that that composer has written • Range, tessitura, divisi: What will be appropriate for
other pieces that you and your choir will enjoy. I have this particular choir, in this particular year?
formed wonderful relationships with composers over
the years, both in the United States and abroad, simply • The ending of the piece: Never underestimate the im-
by championing their music. portance of the last several measures of a choral work.
I make sure I tell the composer how I’d like the end-
ing to sound, whether a “button,” a “slow burnout,”
The Commissioning Process “epic,” etc.
As the conductor of the choir for whom the com-
mission is being written, I personally want to be quite • Style/form: If the commission is for an original work
involved in the work’s creation, and I’m up front about and not an arrangement, how important is melody to
this with the composer from the beginning. Having you as a conductor? Or are you looking for more of an
gone through this process a number of times now, I’ve atmospheric soundscape? Is there a clear formal struc-

48 CHORAL JOURNAL March/April 2023 Volume 63 Number 7