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

ture, or is it more through-composed? What are some open to conductors’ suggestions. Oftentimes a conduc-
adjectives that describe the type of music you are hop- tor will have practical ideas for small improvements
ing to hear? Possible examples: jagged, sweet, raucous, that will ultimately make the composition stronger,
understated, dazzling, etc. more accessible, and more apt to receive repeat per-
formances. Everybody wins in this scenario. The better
• Influences: Are there other pieces by well-known I know a composer, both on a personal and a musical
composers that “sound like” the piece you are hoping level, the better I am able to navigate this balance.
to receive? Feel free to name those compositions. Not My best advice is to be transparent and open with
that you’re looking for a plagiarism of the other work, the composer at the time of commissioning. I learned
but this exercise can be helpful in giving the composer this lesson the hard way, when a composer delivered
an idea of the kind of piece that will speak to you and a brand-new piece to me which had some wonderful
your choir. moments but still needed a little tweaking. I asked if he
might consider a few specific changes, and the compos-
These are all things that I discuss with the composer er seemed quite offended and rejected my request out
before they start putting pencil to paper. After this intitial of hand. I fault myself for this; I had not discussed my
consultation, I tend to back off and give the composer hope for a collaborative approach with the composer
space to create without my interference. At some point beforehand. Had he known that, he would have had a
in the process, the composer will send me a sketch of chance to say, “No thanks, I don’t work that way,” and
early ideas, or maybe even a full first draft. I’ll make I would have been better prepared.
some comments and then we go back and forth a little
bit. Sometimes this takes one or two passes only, some-
times it’s more involved. This depends on the relation- Final Thoughts
ship that I have with the composer… which leads me It’s always rewarding to involve the composer in the
to my next point. rehearsal process as you approach the premiere. Zoom
calls, in-person visits, pre-recorded content created by
the composer—these are all great. Make sure you pay
The Composer’s Muse vs. the composer for this extra work, unless you’ve already
The Conductor’s Needs agreed to such “extras” in the commissioning contract.
I really don’t have any skills as a composer. I am a If you have the means to bring the composer out
decent “evaluator” of compositions, but I can’t actually to the premiere, do so. It’s such a fabulous experience
do the work. So I don’t understand what it’s like for a for composer, choir, audience, and conductor alike.
composer to receive artistic inspiration or how exactly There’s nothing like it. Take the composer out to din-
they come about their compositional ideas. I imagine ner, get to know them, let the choir members engage
the process is different for every composer. Still, there with them. This makes the experience all the richer.
is an alchemy there that must be respected and allowed Commissioning and premiering new choral music is
to flourish, so speaking into a composer’s process must worth it! It keeps composers working; and it stretches
be done carefully. The more a conductor comes with you as a musician and a conductor; and it keeps our art
musical “demands,” the less a composer may feel that form growing and thriving.
The Muse is able to effectively speak through them.
Some composers love clear parameters and limits, but
others may feel they lose a bit of artistic freedom and
space within which to create an original work of art
each time the commissioner adds a layer of specificity
to what they “want.”
On the other hand, I do think composers should be

CHORAL JOURNAL March/April 2023 Volume 63 Number 7 49