Any organization, ensemble, performer, or person can commission a composer to write new music. The process of commissioning varies from composer to composer. But before we look at how one generally goes about commissioning a composer, perhaps we ought to consider why. Why would anyone want to pay a composer to write music?
Why not?
Some new musical works have been commissioned in memory of loved ones or on the occasion of an important event in the life of an individual or organization, such as a birthday, anniversary, dedication, expansion, or other significant milestone.
Musical performers and performing groups often commission new works to expand their repertoire or find new musical challenges. They may also commission and premiere new works to stimulate interest and draw audiences to their performances.
Others, such as music aficionados and patrons of the arts, commission new works in order to be involved in the production of music and beauty, a means by which the non-musical can make music.
And then there is always the insatiable desire for something new. The eye never has enough of seeing, nor the ear enough of listening. Composers love writing new music (or we would find something else to do) and new music is, well, cool because it’s new.
Now that we have looked at some of the reasons for commissioning composers to write new music, how is it done? Generally, the interested party contacts the composer and begins a process of negotiation. The commissioning party typically has an idea in mind for the duration and instrumentation of the piece, whether a vocal solo, choral work, symphony, etc., although this is by no means a rule. The composer may also suggest instrumentation and duration based upon the commissioning party’s goals and resources. After agreeing on the duration and instrumentation for the new piece, the two parties negotiate the composer’s fee. Some composers have set fees for works with given parameters while others are more flexible. Often on larger projects the composer will require half of the fee in advance to begin composing with the remainder of the fee due upon its completion. The composer may also charge a fee for the production of the score and parts (as for a large ensemble, such as symphony orchestra or chorus) but usually the cost for these is included in the composer’s fee.
Normally, the composer retains all rights of the composition. The commissioning party receives recognition for commissioning of the composition, including the date of commission and the occasion. This information is included at the top of the first page of every score and every part and will be included in the program of the performance. Typically, the commissioning party either is the performer or performing ensemble, or is already in contact with the performer(s) who will premiere the composition before commissioning the composer to write. In some instances the composer may also assist with arranging the premiere of the new piece, but this is decided on a case by case basis.
Why not?
Some new musical works have been commissioned in memory of loved ones or on the occasion of an important event in the life of an individual or organization, such as a birthday, anniversary, dedication, expansion, or other significant milestone.
Musical performers and performing groups often commission new works to expand their repertoire or find new musical challenges. They may also commission and premiere new works to stimulate interest and draw audiences to their performances.
Others, such as music aficionados and patrons of the arts, commission new works in order to be involved in the production of music and beauty, a means by which the non-musical can make music.
And then there is always the insatiable desire for something new. The eye never has enough of seeing, nor the ear enough of listening. Composers love writing new music (or we would find something else to do) and new music is, well, cool because it’s new.
Now that we have looked at some of the reasons for commissioning composers to write new music, how is it done? Generally, the interested party contacts the composer and begins a process of negotiation. The commissioning party typically has an idea in mind for the duration and instrumentation of the piece, whether a vocal solo, choral work, symphony, etc., although this is by no means a rule. The composer may also suggest instrumentation and duration based upon the commissioning party’s goals and resources. After agreeing on the duration and instrumentation for the new piece, the two parties negotiate the composer’s fee. Some composers have set fees for works with given parameters while others are more flexible. Often on larger projects the composer will require half of the fee in advance to begin composing with the remainder of the fee due upon its completion. The composer may also charge a fee for the production of the score and parts (as for a large ensemble, such as symphony orchestra or chorus) but usually the cost for these is included in the composer’s fee.
Normally, the composer retains all rights of the composition. The commissioning party receives recognition for commissioning of the composition, including the date of commission and the occasion. This information is included at the top of the first page of every score and every part and will be included in the program of the performance. Typically, the commissioning party either is the performer or performing ensemble, or is already in contact with the performer(s) who will premiere the composition before commissioning the composer to write. In some instances the composer may also assist with arranging the premiere of the new piece, but this is decided on a case by case basis.
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