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Commissions and Collaborations The experience of collaborating with other musicians as a composer or as a performer is one of the best parts of being a musician. This is especially true for a composer when the creation of a new piece of music answers a request by a fellow musician or ensemble. I think the most important thing to understand when considering the idea of commissioning a new piece is that all participants share some basic musical goals and values and have a real interest in the kinds of questions and possibilities that all are exploring. It may sound simplistic, but if composer and performer(s) enjoy and respect each other's work (both product and process), the chances for a very successful collaboration are extremely strong. It is also very important that everyone involved be clear about what each needs. Of course, the performing artists need the new piece. But they have many more practical concerns, as well, including, e.g., the time line for completion and delivery of the music in a way that suits their schedule and creative process. The composer needs lots of information, too; some of this is critical in obvious ways (exactly what instruments will be available for this performance, when must the piece be completed) but other kinds of information, especially about the particular musicians involved, the nature of the overall program/project, the venue/recording, audience, dates, etc., are also very important. If all parties can be thorough in thinking through these issues and clear about describing them, a document summing up all of these issues will be very helpful later on in the process. This document also needs to describe any financial commitments being made. Speaking for myself, a commission fee for a project that I really want to participate in for artistic reasons is necessary only to help carve out the time to actually work. Still, that is a very real need and one that all professional musicians intuitively understand. But many factors come into play that can impact commission fees when the new piece is guaranteed performances in specific venues and/or specific recording and/or broadcast commitments are made and/or if some kind of residency or other participation by the composer can be funded. Too often, concerns about the finances (who isn't short of money these days?) can get in the way of exploring the real possibilities of commissioning a new piece. In general, the essential issue is commitment to fully realizing the project, I think. If the commitment is strong enough, it's amazing how often some way can be found to make things happen. If you would like to communicate about the possibility of collaborating with me as the composer of a new piece of music, please just send me an email.
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Commissions and Collaborations

The experience of collaborating with other musicians as a composer or as a performer is one of the best parts of being a musician. This is especially true for a composer when the creation of a new piece of music answers a request by a fellow musician or ensemble.

I think the most important thing to understand when considering the idea of commissioning a new piece is that all participants share some basic musical goals and values and have a real interest in the kinds of questions and possibilities that all are exploring. It may sound simplistic, but if composer and performer(s) enjoy and respect each other's work (both product and process), the chances for a very successful collaboration are extremely strong.

It is also very important that everyone involved be clear about what each needs. Of course, the performing artists need the new piece. But they have many more practical concerns, as well, including, e.g., the time line for completion and delivery of the music in a way that suits their schedule and creative process. The composer needs lots of information, too; some of this is critical in obvious ways (exactly what instruments will be available for this performance, when must the piece be completed) but other kinds of information, especially about the particular musicians involved, the nature of the overall program/project, the venue/recording, audience, dates, etc., are also very important. If all parties can be thorough in thinking through these issues and clear about describing them, a document summing up all of these issues will be very helpful later on in the process.

This document also needs to describe any financial commitments being made. Speaking for myself, a commission fee for a project that I really want to participate in for artistic reasons is necessary only to help carve out the time to actually work. Still, that is a very real need and one that all professional musicians intuitively understand. But many factors come into play that can impact commission fees when the new piece is guaranteed performances in specific venues and/or specific recording and/or broadcast commitments are made and/or if some kind of residency or other participation by the composer can be funded. Too often, concerns about the finances (who isn't short of money these days?) can get in the way of exploring the real possibilities of commissioning a new piece. In general, the essential issue is commitment to fully realizing the project, I think. If the commitment is strong enough, it's amazing how often some way can be found to make things happen.

If you would like to communicate about the possibility of collaborating with me as the composer of a new piece of music, please just send me an email.

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