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FINE ARTS ORGANIZATIONS

Considering the number of opera companies, choral groups and symphony and chamber orchestras in the U.S. today, young composers of classical music face a bewildering set of choices when preparing to submit their material. There are literally thousands of organizations - professional and amateur from which to choose, which is the good news. The bad news is that not only do composers have to compete among one another for these opportunities, but also with composers who are no longer living. It makes for a pretty crowded field.
But composers should take heart across the country, interest in and appreciation for classical music is swelling again, and fine arts organizations are incorporating new works into their programming in increasing numbers.
So the opportunities exist. The trick is to target your submissions thoughtfully, present yourself professionally and follow up persistently but courteously. The first step will save you much wasted time, effort and money (to say nothing of the headaches you'll spare the recipients of inappropriate submissions). The second step, as basic as putting your best foot forward, earns you the credibility that will get your submission more than a perfunctory glance. The third step, which is in many ways the most critical, can win you allies in the industry.

TARGETING YOUR SUBMISSIONS
Keep in mind that just because you have chosen not to hire professional management, doesn't mean you should be less committed than a professional would be. If you're serious about getting performances for your compositions, you should apply the same standards to yourself as you would to a professional. Finding the best places to submit requires time and attention. If you treat this aspect of your career as an annoying distraction from the real business of composition, it can ultimately deprive you of opportunities.
There are myriad resources available to composers looking for the right place to send their submissions. Industry directories such as Musica America, Music Industry Directory, Stems Performing Arts Directory, Songwriter's Market and others list fine arts organizations throughout the country, including con- tact names, annual operating budgets, and in some cases specific information about what the organizations require in their submission packages. Professional service organizations such as the American Symphony Orchestra League, Opera America, Chamber Music America and Chorus America publish annual directories of members that can also be helpful in identifying who's out there.
Narrowing your options is the next step. This involves finding your level of entry. The natural inclination of any artist is to aim high. Having completed your first symphony, you're ready to pack it off to the New York Philharmonic for its U.S. premiere. It's very tempting to imagine that you'll be the composer whose raw talent is plucked from the pile, who doesn't have to engage in the laborious process of working your way up the ladder. But realistically, with limited or no prior performances to your credit, your chances for a performance even a reading with such a prestigious organization are next to nothing. As in any profession, you've got to build your experience by starting with the pack at the bottom. Award-winning composer John Corigliano spent more than thirty years working in the business and perfecting his art before reaching the height of his profession. And Verdi wrote other operas before composing La Traviata.
Start locally when seeking out early performance opportunities. Local sym- phony and chamber orchestras are much more inclined to experiment with new talent, in large part because they don't have to labor under the demands of a subscriber base resistant to new works. Your university or conservatory of music, where you probably already have many personal contacts, is an excellent place to start.
Many times, personal contacts will be the key to getting your work per- formed. Because of this, membership in professional organizations is important. Don't work in a vacuum. While composition is a solitary art, it's the community you eventually want to reach. Local, regional and national professional service groups will help you learn who's doing what in the field and will help you make contacts and generate interest in the community for your work. For example, say you've composed a string trio in G minor that would require Japanese hand bells. A piece with such specific requirements could take years to place with the right chamber orchestra. But through a professional organization, word-of-mouth may connect you with a musician who is interested in just such a work.
Many professional organizations also offer workshops and seminars, performance and recording opportunities, and opportunities to make demo tapes as services to their members. For example, the Minnesota Composers Forum offers reading services through which composers can pay professional musicians to review works in progress. Also, don't overlook membership in area musicians' groups, as they are also good sources for industry contacts.
You can make personal contacts with local orchestras and ensembles by going backstage after performances to greet the conductor and introduce yourself. This establishes an initial contact that can be followed up with a submission by mail. It is not a good idea to follow up by telephone, present the conductor with a submission package on first introduction or monopolize the conductor's time. Make the first contact cordial, but brief and informal. After identifying a group of local and regional organizations likely to program your work, research them to find out specifically what they program. If travel and budget permit, attend performances to pinpoint just what each conductor is programming and familiarize yourself with the capabilities of the organization. On a mechanical level, is the organization set up to perform the work you've composed? And on a more abstract level, is your work consistent with the type of music being programmed? If the organization is programming more traditional, tonal new works and your piece is stylistically akin to John Cage's 4'33' (no.2) (0'0') - in which the composer chopped vegetables in an electric blender and drank the juice for his audience you would do well to seek out a more progressive conductor. Logically, conductors and music directors are much more interested in giving their time and consideration to composers who've done their homework and are writing the kind of music the organization is interested in programming.
Choosing appropriate outlets for your work may sound exhausting, but consider the alternative. If you omit this step, you could spend a lot more time putting together submission packages that have precious little chance of getting a response. Investing the time and effort in the front end of your submission process saves time and money in the long run. Worse than wasting your time and money, submitting blindly doesn't reflect well on your professionalism. Sure you are hungry for a performance, but if you respect your work enough to make sure you find the right venue for it, you will be taken much more seriously.

THE SUBMISSION PACKAGE
So you've isolated the most probable outlets for your work through research, networking and more research. Next you will need to find out exactly what the organizations you've targeted require in their submission packages. To whom should the package be sent? Because the structure of each organization will be different, it could be the music director, the artistic director, the conductor, a general manager or, in the case of a chamber orchestra, a specific member of the ensemble. What should it include? If a taped performance of the work is required, does the music director want a representative sampling of the work or the whole piece? If a score is required, do they want a conductor's score and parts, or is a reduction preferred? Should program notes be included? If you don't have a performance on tape of the work you want to submit, should you include a tape representative of your ability and style? If you've composed an opera, do you have to have the libretto in hand, or does the company prefer to work with you on its development?
Unfortunately, there are as many different submission package requirements as there are organizations to receive them. It's a dizzying prospect and not very helpful to the composer striving to accommodate all of these preferences. You can find direction by referring to your industry directories, which in most cases list contact names and in some cases list specific submission package requirements. If you can't find details of submission requirements, place a call to your target organization and ask. Sending blind submissions that don't follow procedure put your package at risk of becoming junk mail.
The submission requirements depend a great deal on the composer's individual circumstances, such as experience level, the musical genre of the work to be submitted (symphony, chamber orchestra, opera or choral piece), and the type of organization to which the work is being submitted. In many cases, decisions about submissions are up to the discretion of the composer. But because each package will include four basic elements-cover letter, tape, score and biographical information (or some variation on that theme) - there are some general guidelines that can be useful.

The Cover Letter In terms of the mechanics of the cover letter (see sample, page 123), the rules of professionalism apply. Use a typeset personal letterhead with a clean but distinctive typeface - Garamond and Helvetica, for example. It's usually a good idea to stick with a simple layout for your letterhead. Trying to distinguish yourself with a flashy layout can distract from the message of the letter itself. If you have a computer with the type font you want and a laser-quality printer (or access to one), go ahead and generate the letterhead and body of the letter on your computer. But if your printer is dot matrix, use a typewriter for the body of the letter. A local quick printer can set up your letterhead at a relatively low cost. Remember, legibility is the most important consideration for both the letterhead and the body of the letter.
Brevity and clarity are essential in your cover letter. State your business up front: You are sending a composition to be considered for performance. If you have been regularly attending performances of the orchestra or opera company, mention it, including the reason you believe your composition is appropriate for the organization - but tread carefully here. It can be a misstep to compare your ability to that of the composers currently programmed, particularly if you're talking about the likes of Strauss and Mozart.
Briefly include specifics about the composition you're submitting: How long is the piece, what is it scored for, special requirements of the piece, whether or not it's been performed before and by whom.
Because composers typically submit the same composition to two or more performing organizations at the same time, it is not necessary to make note of simultaneous submissions in the cover letter. But if the performance of a piece you were submitting would be a premiere, point this out in the cover letter. Also, when the composition is accepted for a premiere, be sure to notify organizations considering it that it has been accepted for performance. Simultaneous submissions are okay, but simultaneous premieres are not. Also, although you should mention if you are submitting for a premiere performance, don't try to sell your piece on this information. Bear in mind that if you're Philip Glass a premiere is a plus, but for most beginning composers it's not a selling point.
If you're submitting your work to a chamber orchestra, alterations to the instrumentation may be necessary. Mention that you are willing to change the piece to fit the structure of that organization. Also, if parts were prepared and available, it would be helpful to include this information.
Conclude your letter by stating you'll follow up within two weeks to make sure the package arrived (see "Follow-Up Procedure" for more information) and sign off. Adding a list of enclosures at the bottom of the letter is also helpful.

The Score Once again, there are more exceptions than rules that apply to submitting your score. Each organization may have different requirements, and some may not want the score at all. Obviously, you must include the score if you've had no prior performance of the work (and therefore don't have a tape to include). But in some cases, particularly if you're submitting an opera or a very long composition, it is acceptable to include only a tape and indicate in the cover letter that you will forward the score upon request. Also, if you are submitting a vocal work and do not intend to send the score, include a text, lyric sheet or piano reduction. It's another case where the composer is called upon to make a judgment, and having done your homework will help a great deal.
If a score is called for, the conductor's score is most commonly included in submission packages. Never send your original score -remember, much of the material you send out may never come back, and replacing the original is an expensive proposition. A clean, legible copy of the conductor's score reduced to an 8V2' x I l' photocopy is pretty much industry standard. The legibility rule applies to the score as well as the cover letter. If you've made revisions or other notes on your original score, have a new, final score prepared before photocopying it and sending it out.
If autography isn't your strong suit, either hire a copyist or get a computer generated final score. There are certain benefits to hiring a copyist for your score. Because they are usually also composers or musicians and they can spot mistakes in the score and work with the composer to help him. This prevents the errors from being sent on to a music director and becoming production problems. Copyists usually charge by the page, and while there are set union scales, prices can vary. To find a copyist, contact a professional organization or conservatory of music. The American Federation of Musicians (with local chapters across the country) can also connect composers with copyists.
Composers who are serious about integrating computers into the composition process have much research ahead of them. It is an expensive endeavor in terms of time as well as money. For our purposes, it's sufficient to say that music-engraving software programs are available for both IBM and Macintosh applications. Of course, while the cash outlay up front for both hardware and software is considerable, composers who intend to make a profession of writing music will save a great deal on copying expenses in the long run. And in terms of quality, no other method of music notation comes as close to the fineness of traditional plate engraving (which even most publishers have given up due to expense and lack of trained personnel). Lastly, the time invested in learning the software can be recouped later as revisions, which often come before, during and after a first performance, are incorporated into the score in much the same way corrections are made with word processing software. Correcting mistakes line by line as they are discovered saves time and money.
For purposes of the submission package, though, composers should realize that neither computer-generated nor hand-copied scores have a distinct advantage. The greatest advantage a composer can give himself with the score - other than the quality of the music itself is neatness, cleanliness and legibility. And no matter how you prepare it, proofread your score carefully before mailing it off.
The score should be labeled clearly with the following information on the title page: title of the piece; composer's name; duration of the piece; year it was composed; copyright notice; and, in the case of some vocal works, notice of permission from the copyright holder for use of lyrics or libretto. You should also note who the piece was commissioned by or written for.
Legally, you may include a copyright notice whether or not the copyright has been registered with the Library of Congress. The copyright notice should appear this way: Copyright (or symbol) 1993 by John Q. Composer. The law states that as soon as a composer commits his work to paper, it is copyrighted. However, it is a very good idea to pay the $20 fee and send your score or tape to the Library of Congress to register it. Should a dispute ever arise about the authorship of the work, it falls on the composer to prove he or she wrote the work first. A date of registration with the Library of Congress is the best way to protect yourself.
Some composers send a copy of the score to themselves by registered mail and leave the document unopened, establishing the date of composition with the postmark. Others sell a copy of the score for a token amount to a friend or associate and obtain a dated receipt. These methods may establish proof of ownership, but the best way to protect the long-term rights to your work is by going through the registration procedure. For more information, refer to chapter three. Remember, the date that appears with the copyright notice is the year of registration, not necessarily the year of composition, so if you wrote your work in 1987 and registered it 1990, the latter date will need to appear in the copyright when it is registered.
Composers of opera and vocal works should be aware that if they wish to incorporate lyrics into their work that were not written in collaboration (such as an opera based on J.R.R. Tolkien's Lord of the Rings trilogy, or a choral piece set to the poetry of Edna St. Vincent Millay), permission must be granted by the copyright holder before it can be performed. Check the copy- right notice in the publication to find out who holds the copyright. Whether the author is living or dead, the publishing company should be able to help you track down the copyright holder for permission. It is wise to determine whether the rights are available before you begin work on the piece - it would be devastating to complete years of work on an opera only to find it cannot be professionally performed, and it has happened.

7he Demo Tape whether you send a complete piece or a segment of your composition on tape will depend on the specifications of the individual organization. Most prefer to review the work in its entirety, but some may prefer a sample and reserve the right to request more if their interest is piqued by what they hear in the first tape. In any case, you should keep it to one piece per side of a cassette tape if you're submitting more than one work at a time.
Cassette tapes are industry standard for submission of fine arts compositions. Use a high-quality tape (high bias, metal) and cut comers in your budget elsewhere. If the tape breaks or distorts the sound, not only do you undercut your professionalism but your music doesn't get heard.
Ideally, the demo tape serves, as an audio introduction to your work and abilities, so make sure the performance is top-notch. If you're submitting only a movement or segment of a piece, choose the portion of the work that best demonstrates your ability. If the only performance tape you have of the work you're submitting is of marginal quality, it's usually better to omit the tape altogether than to send a poor-quality performance in your demo and explain it in the cover letter. It doesn't reflect well on your professionalism to denigrate the performance of others in the business.
If the composition you're submitting has yet to be performed, consider whether it would be appropriate to send a tape of another piece as an example of your work. Once again, it depends on the organization to which you are submitting. If you are submitting to a professional organization-be it an orchestra, opera company or choral group-you can safely assume that the conductor can get from the score everything he needs to know about your piece. To assume otherwise is insulting. You can always indicate in your cover letter that you are willing to forward tapes of other works if the conductor is interested. On the other hand, smaller ensembles and local amateur symphonies may consider it helpful to review other samples of your work. Again, this is a judgment call that depends largely on the level of organization you're submitting to. The better you know the people and organization, the easier it will be to call them. Note: If you do choose to submit a sample tape that is different from the piece you're submitting, clearly indicate this in your cover letter to avoid any confusion.
Your tape should be clearly labeled with the following information: title of the piece; composer's name; the year the composition was written; duration; performers and conductor (e.g., Cincinnati Symphony Orchestra, Jesus lopez Cobos, conductor); and copyright notice. Don't forget that, in the case of a taped professional performance, you're also dealing with the rights of the performance organization. Mark your tape "For Perusal Only" to indicate that it is not for broadcast use, unless you have permission to submit it as such. It's also important to remember to credit the performers and conductor on your tape.

Biographical Information Each submission package should include biographical information about the composer as a personal introduction to the music director. For beginning composers, it is best to use the simple, no ostentatious approach. Summarize your background briefly one page, double-spaced- including your name, place of birth, where and with whom you studied, degree(s) you received and where you currently live. Mention any awards or recognitions relevant to your career as a composer that you received while studying.
Also briefly sketch the history of your body of work, listing performances either by college ensembles, local orchestras or professional organizations. It's best to work from the top down in this summary. If you've had a performance by the St. Paul Chamber Orchestra, that should appear before the first performance of your work by a smaller organization. You can also list your work chronologically, beginning with the most recent composition and working backward.
If you have media reviews of performances, choose the best and pull a quote or two to highlight the reception of the performance. It is not a good idea to include photocopies of entire reviews in your submission package - remember, brief is best. Also, if you have never had a performance of your work, it is perfectly acceptable to say so.

FOLLOW-UP PROCEDURE To refer to the process of following up on your submission as a "procedure" is a bit misleading. It implies that composers who follow a prescribed set of steps will achieve a certain result, and there are two problems with that implication: One, there is no prescribed set of steps; and two, there is no guaranteed outcome.
At this time -when your submission package is in the hands of your target performing organization-more than any other, you must depend on your instincts to guide you. Negotiating this phase is tricky because you need to be both persistent and courteous, which can be quite a balancing act.
Your personal contacts in the industry whether you're in contact with the second violin at your local symphony or acquainted with a baritone in a regional choral group will help you immeasurably at this stage. They can tip you off to what's happening within the organization in terms of programming, season schedule and future plans.
Personal contacts can also give you the most accurate reading possible on the status of your submission: Has the music director reviewed it? Is he interested? Is he out of town and holding submissions for a few months? Access to this kind of inside information can help you gauge when a phone call might be unwelcome, for example, or when it might be very effective.
To a great extent, your success in following up will depend not only on the "tent of your personal contacts but your own sense of diplomacy, tact and timing. Remember, in all likelihood, the music director has heaps of submissions to review. With larger orchestras and opera companies, it can take years to place a composition, so patience is critical. And the worst thing you can do
From a public relations standpoint is get yourself labeled a nuisance. There are ways to tactfully open the door to follow-up contacts. Some composers include self-addressed, stamped reply postcards in their submission packages. These cards can require as little as a checkmark inside a box indicating that the music director has seen the package. They can be useful in the event that the composer does not have a personal contact at the organization.
Placing a phone call to find out whether the package arrived can be effective if the composer has a personal contact in the organization. This call can also open the door for the composer to inquire about when a second follow- up call or letter might be appropriate.
Keeping up-to-date files on your submissions and follow-up contacts is a good way to keep track of multiple and simultaneous submissions. If, for example, you've submitted a piano sonata to three or four area colleges, create a file for the piece and include in it the date of submission and thorough notes dating and detailing each follow-up contact. Two or three weeks later, if you receive your reply postcard back, note it and date it. A month after that, if you place a call to inquire about the status of the submission and the conductor tells you he'll look at it in two weeks and get back to you, do the same. If your sonata is accepted for premiere, refer to your file and notify the other organizations to which you submitted.
Because placing a composition can take a year or more, these files will be your guide to where each submission is within each organization. They will also keep you from following up too frequently, or offending your contact by following up inappropriately. Again, organization in this stage is a reflection of your professionalism.
Many exciting performance opportunities exist for composers today in the world of classical music composition. In this industry, like any other, networking is a critical key. Presenting yourself, as a professional will help you become one, and the closer you are to the nucleus of the organization in which you want to perform your work, the better your chances of success.