This is normally when I moan about December, the month without contemporary music. This year, however, there are quite a few things going on.
Chief amongst these is Spitalfields Music’s Winter Festival, which runs from 5th–16th December. Specifically contemporary music events can be viewed here. Highlights include a late-night performance of Tavener’s Lament for Jerusalem on 11th; a programme of new works by Jerzy Kornowicz, Carl Bergstrom-Nielsen, Regin Petersen and Aleksandra Gryka that all use visual scores on 12th; the London première of Gérard Pesson’s Bitume and world première of Sam Hayden’s Transience given by Quatuour Diotima on 14th; and a new work by Edward Wickham and Christopher Fox that also incorporates music by Isaac, JS Bach and Webern on 15th. Throughout the festival there is a sound installation by Gawain Hewitt that will be taking place simultaneously in London and Dhaka, Bangladesh, transforming the sounds of the cities into music.
Perhaps reflecting the time of year, there is also plenty of more accessible contemporary music on offer. On 11th December the LSO dedicates an evening to the music of film composer Alexandre Desplat, including from the films Harry Potter and the Deathly Hallows, The King's Speech, Girl with a Pearl Earring and The Grand Budapest Hotel. There are two adaptations of Lewis Carroll’s Alice’s Adventure’s in Wonderland on offer. Joby Talbot’s rather wonderful version at Covent Garden and a newer one by Helen Woods, which will run from 17th–20th, at St. David’s Hall, Cardiff. On 20th December in Brighton, pianist Johan de Cock, will present a recital of Christmas works by Bach, Mendelssohn, Bartók, Liszt and Tchaikovsky as well as original compositions by Frederick Stocken, Stephan Beneking, and Trevor du Buisson. The London Concert Orchestra will also be touring popular film music scores by John Williams, with venues including the Barbican on 27th and Symphony Hall, Birmingham on 28th.
There’s a good sprinkling of more challenging fare too. ENO’s staging of John Adams’ The Gospel According to the Other Mary, begins on 21st November but runs until 5th of the following month. At Wigmore Hall there are works by Michael Berkeley and Patrick John Jones; Mark-Anthony Turnage and Peter Maxwell Davies; and Pēteris Vasks on 3rd, 4th and 9th respectively. The UK première of James St. Luke Passion takes place at Birmingham Symphony Hall on 4th with the CBSO Symphony Orchestra, Choir and Youth Chorus, conducted by the composer. On 5th the London Sinfonietta celebrate the 80th birthday of Harrison Birtwistle with The Message for trumpet, clarinet and side drum and two new additions to his duet series (world premières). The composer will also be present to talk about his work. On 10th the London Sinfonietta also present five new film and music works by emerging composers at the British Film Institute.
Outside the UK, on 1st December Ensemble Kontrapunke will play perform works by Wolfgang Seierl, Tanja Brüggemann-Stepien, Ming Wang, Friedrich Cerha and Roman Pawollek at the Musikverein on 1st. At the Concertgebouw on 8th Twan Huys, Lavinia Meijer and Arthur Theunissen perform works by Philip Glass and Nico Muhly; on 12th there is music by Ives, Debussy, Dutilleux and Messiaen as well as the Netherlands première of Brewaeys’ Zesde Symphonie. In the States there is a once-only performance of Tobias Picker’s Fantastic Mr. Fox with Odyssey Opera, Boston Modern Orchestra Project and Boston Children's Chorus at Jordan Hall, Boston on 7th. Meanwhile Jessica Meyer’s 50 minute solo show Sounds of Being, which consists of her pieces for viola and electronics, comes to NYC’s Cell Theatre on 15th.
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This month marks the release of NMC’s Next Wave disk, now available for preorder. Next Wave is a joint project with Sound and Music that has commissioned new pieces from 12 young UK composers studying in higher education. The works will be performed at the Huddersfield Contemporary Music Festival on 27th November, where a panel chaired by SaM Chief Executive Susanna Eastburn will also discuss ways composers can record and distribute their work. You can learn more about each of the composers featured on the Next Wave disk at the NMC blog.
DG’s Max Richter Berlin by Overnight with remixes by CFCF, Efdemin, Lorna Dune and Tom Adams is a sad sign of the label’s attitude to contemporary music. I’ve got nothing against Max Richter, having enjoyed, for example, his imaginative reinterpretation of Vivaldi’s The Four Seasons. The cynical side of me, however, can see how his music is attractive to such an profit-aware label as DG. It is stylistically unchallenging, easy listening contemporary music. In some ways, that’s fine by me – marketable music doesn’t make it bad music. I draw the line, however, at taking one of the slightest of Richter’s compositions, his one-and-a-half minute solo violin piece Berlin by Overnight, and making it the subject of four much longer reinterpretations, or, as we are forced to call them these days, ‘remixes’. You would barely be aware from listening to these reinterpretations that they are by four different people; we are treated to the same ragbag of effects in every one of them: an underlying perpetuum mobile drawn from the original piece, no harmonic movement whatever, piling on of futile counterpoints and the addition of dance beats. It is an exercise in pointlessness that left me depressed and angry.
On a more positive note, Bridge Records has just released Poul Ruders’ Nightshade Trilogy, a work that was written over 17 years and, in the composer’s words, ‘a collection of compositions that evoke for me an almost Gothic association with pale moonlight, tombstones [,] crypts and the elusive shadows deep inside an ancient forest at the deep of night’. Ruders is a composer of pluralistic range, quite capable of writing exuberantly accessible music, as, for example, in his Concerto in Pieces – a kind of homage to Britten’s Young Person’s Guide to the Orchestra. Here, however, there is little by way of stylistic compromise. The result is compellingly: there is an ever-present sense of structural integrity, harmonic connectedness and textural control, the music itself darkly and luxuriously broods or works its way into episodes of terrifying violence. The contrast with the aforementioned album is stark indeed.
There are three interesting new chamber music disks worth considering on Nimbus: John Psathas's Corybas and other works played by the New Zealand Chamber soloists; Christopher Wright’s Four String Quartets played by the Fejes Quartet; and Augusa Read Thomas’s Music for Strings, a selection of her works performed entirely by young musicians. There are two very welcome releases on their Lyrita label: the first consists of cello concertos by John Joubert, Robert Simpson and Christopher Wright played by the BBC National Orchestra of Wales; the second of seven works by Geoffrey Bush with the Northern Chamber Orchestra and cellist Raphael Wallfisch. There is also an album of twelve improvisations by pianist Geoff Eales.
Ukranian music features strongly on Naxos. There is the release, over three disks, of all five symphonies by Boris Lyatoshinsky, a figure often considered to be the father of contemporary Ukrainian music. There is also the opportunity to trace his influence on the subsequent generation in a new album of music by Yevehen Stankovych, consisting of symphonies 1, 2 and 4. From the US, finally, Can You Hear God Crying? by Hannibal Lukumbe is a ‘spritatorio’ that explores the themes surrounding African slavery through the combination of jazz, gospel and chamber music.
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Christian Morris talks to Marina Khorhova, an up-and-coming Russian composer known for her interest in advanced compositional techniques.
Tell us something about your background.
I was born in Russia but have been in Europe since 2008, first in Switzerland and from 2009 in Germany. In 2008 I received a scholarship from the Paul Sacher Foundation to work on Helmut Lachenman, hence my move to Switzerland. Then I won a DAAD scholarship and moved to Germany, where I studies in the MHS Stuttgart as a composer in the soloist class for 3½ years. It was an important change that had a strong impact on several aspects of my work.
How did you start composing?
When I was seven I started to compose some short songs, even attempting to write them down. While studying in college as a pianist (1996-2000) I often freely improvised at the piano, though often I found it difficult to crystalize my ideas in notation. At the Moscow Tchaikovsky Conservatory from 2000 to 2005 and later as an aspirant composer and doctoral candidate of music theory I began to work more professionally and regularly on my compositions.
What was your first success as a composer?
In 2002 I won a competition between composers from Moscow and Paris Conservatory. My piece Music for Seven Instruments was brilliantly performed in 2002 by Parisian musicians at the festival Quinte et Plus. It was led by Hadady Laszlo, a fantastic oboist from Ensemble Intercontemporain.
>>Click here to read the full interview
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I mentioned Wien Modern in my last concert roundup, though it barely qualified to be included, since most of its concerts fall in November. If you are lucky enough to be in Vienna from the end of October I urge you to take a look at the festival website. There’s much on offer: 12 concerts that include music from composer-in-residence Georg Friedrich Haas, world premières aplenty, symposiums and films. There are up to five events per day, so there is the opportunity to immerse yourself in the festivities or, alternatively, pick and choose.
There always seems to be a music festival at Lucerne and in November it is the turn of Lucerne Festival at the Piano. Whilst there is a wide range of core repertoire on offer, especially Beethoven, contemporary music does not, sadly, get much of a look in. Two of the pianists play their own works: Vestard Shimkus his Dreamscapes Nine Etudes for Piano on 26th and Marc-André Hamelin his Variations on a Theme of Paganini on 30th. There is also an offstage Jazz festival at various hotels in Lucerne from 25th – 30th.
In the UK, the Huddersfield Contemporary Music Festival, runs from 21st – 30th November. This year’s composer in residence is James Dillon, with two major premières: Stabat Mater Dolorosa for the London Sinfonietta and BBC Singers and Physis I & II on Saturday 29 November played by the BBC Scottish Symphony Orchestra. There will be a 40th anniversary tribute to the Arditti Quartet, celebrated with the world première of a new work for them by Marco Stroppa, and the opening concert will mark the 80th birthday of Christian Wolff, which will include his works 37 Haiku, For Six or Seven Players and the UK première of Trust. There are also new works from Larry Goves, Alexander Schubert and Pedro Álvarez.
Away from the festival scene there are some noteworthy premières in November. Sally Beamish’s Equal Voices, based on poetry by Andrew Motion, receives its first performance at the Barbican on 2nd; there are world premières of four audio-visual collaborations given by Ensemble Matisse at Kings Place, Kings Cross on 3rd; the UK première of Alexander Goehr’s …between the Lines on 8th; Miriam Mackie’s new work reflecting life in the last war Still in this World on 9th; Michael Finnissy’s Remembrance Day, a major new work for baritone, choir and orchestra on wartime texts by Henry Lamont Simpson on 16th; and the chance to hear eight works for obbligato instrument and ensemble by talented teenage composers as part of a BBC SO Inspire project at Maida Vale on 23rd. Two opera events also not to be missed: the world stage première of John Adams’ The Gospel According to the Other Mary with performances from 21st November until 5th December; and Music Theatre Wales’s tour of Philip Glass’s The Trial, with performances in Oxford, Basingstoke, Cardiff, Mold and Birmingham.
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Quite a range – stylistically, I mean – in October’s CD offerings. On NMC there are new disks by Charlotte Bray and Helen Grime, among the most gifted younger-generation composers in the UK right now. I mentioned Grime’s disk in the last roundup, but it has now been fully released and is available on Spotify as well as all the normal places. Bray’s disk, which takes its name from her 2012 BBC Proms commission At the Speed of Stillness, will be released on 20th October. The sound worlds of the two composers are not dissimilar: modernist in outlook but with a nod to tonal procedures; bright, trebly textures.
For a complete contrast, head over to Signum Records and have a look at Will Todd’s new disk: Lux et Veritas. Todd’s music is unabashedly tonal, his most obvious model being that of John Rutter. Some will find it a little saccharine, but it is well-crafted and illustrates a more general point: that whatever ‘old’ classical music you are attracted to, there is a contemporary composer that you will probably enjoy too. There are 14 works in all, drawn together by the sentiments expressed in the disk’s title. Nigel Short conducts the English Chamber Orchestra and Tenebrae with James Sherlock on the organ and piano.
Two stalwarts whose styles need no introduction: Colin Matthews and Maxwell Davies. Matthews’ powerful work No Man’s Land, ‘a dialogue between two dead soldiers whose corpses are strung up on the barbed wire of no man’s land’ lends its name to the title of a new disk on Nimbus Records. It is accompanied by Aftertones (1999-2000), a half-hour setting for choir, soprano solo and orchestra of words by Edmund Blunden; and Crossing the Alps, an unpublished work for seven-part choir and organ. Maxwell Davies’s Symphony No. 10 Alla ricera Borromini, much of which was written whilst recovering in hospital from serious illness, is now available through Hyperion with the LSO conducted by Antonio Pappano.
On Naxos there are two new disks in the Canadian Classics series. The first consists of neglected works for cello and piano by Jean Coulthard, John Weinzweig, Alberto Guerrero, Violet Archer and Jean Coulthard; the second of chamber works for strings by Jacques Hetu. The Villiers Quartet have released the world première recording of Robert Still’s String Quartets 1–4. These works cover a wide range of his evolving composition style, including later dalliances with atonality, and would therefore be a good starting place to get to know this neglected British twentieth century figure. Also on Naxos is Portuguese composer Antonio Pinho Vargas’ Requiem paired with his 2002 choral-orchestral work Judas.
David Ellis’ new album on Divine Arts, finally, contains his concert works Diversions, September Threnody, Celebration and Solus, recorded at different times by various Manchester orchestras. His music is described as ‘the best tradition of modern-approachable-impressionistic, post-Romantic if one needs a label’. There is a short extract on the website for you to make up your own mind.
Spotify Links (where available):
Hallé – Helen Grime: Night Songs
Tenebrae – Will Todd: Lux Et Veritas - Music for Peace and Reflection
London Symphony Orchestra – Sir Peter Maxwell Davies: Symphony No. 10
Halle Choir – Colin Matthews: No Man's Land
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For those in the UK, Sound and Music have just published a couple of Embedded opportunities, the deadlines for both being fairly close (15th and 21st October). Embedded is the organisation’s artist development programme and has, over the last few years, helped many composers to launch successful careers.
The first is an opportunity for two composers to spend a year in residence at club inégales with the Institute of Composing. A flavour of what the club is about can be found here.The chosen composers will contribute to the running of club inégales, curate their own events with the house ensemble and compose for and direct the ensemble in a work or works of their own.
The second is a c.18 month residency with Hampshire Music Service, again open to two composers. This will give the successful applicants the opportunity to devise and deliver creative music-making with schools and a range of groups within the remit of the service.
With both opportunities there will be expenses for travel and accommodation, a bursary of £2,000 and a budget for developing work.
For more than one hundred other opportunities from round the world, don’t forget to visit the Composition, Jobs and Opportunities page on C:T. Full access requires a subscription.
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Though especially associated with early music, I cannot let today pass without lamenting the loss of Christopher Hogwood, one of our finest conductors.
For me he was the man who taught me the difference between a good and a bad performance. Specifically, I remember, at a fairly tender age, returning a recording of Mozart’s C Minor Mass to a shop because the cassette had a nasty click on it. I had to stump up some extra cash for a different version, which, if I’m honest, I bought because I liked the cover. It was Hogwood’s electric performance with Winchester Cathedral Choir, a superlative cast of soloists and the Academy of Ancient Music. It didn’t sound to me like the same piece. It was so alive. This awoke in me both a sense of discernment between interpretations of the same work and also a passion for historically informed performance in general. In this passion, he was always the first conductor I sought out.
His association with early music wasn’t, however, the complete picture; he was a great supporter of contemporary music too. This extended both to commissions – by composers such as John Tavener, David Bedford and John Woolrich – and to innovative programming of more established twentieth century repertoire: Tippett with Corelli, Schoenberg and Handel, Webern with Bach. Not the tokenism which one too often feels when the obligatory modern work is sandwiched between Mozart and Beethoven, but a real passion to draw connections, to educate and demystify.
Bass and frequent collaborator David Thomas described his artistic philosophy yesterday: ‘He always said I want the music to speak for itself because it can, it’s good enough, it will’. None of the hubris of the conductor as interpreter, just an honest desire to reveal the composer’s deepest intentions. What composer, contemporary or otherwise, could want more?
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If you are in Scotland today and are suffering from post referendum exhaustion you can cheer yourself up with the thought of the imminent arrival of Sound, Scotland’s festival of new music, which this year celebrates its 10th anniversary. The festival theme – new approaches to traditional music – will look at new ways of writing for traditional instruments and new collaborative works. As well as music from Turkey, Argentina, Norway and France, there will be a commission from Scottish folk musician/composer Alasdair Roberts and electroacoustic composer Ross Whyte. There will also be a joint project between Sound and partner festival, Musiques Démesurées, from Aberdeen’s twinned city Clermont-Ferrand. Sound have jointly commissioned two new works from one Scottish and one French composer for the joint forces of Clermont-Ferrand’s Orchestre d’Auvergne and Scotland’s Red Note Ensemble. There will also be late night concerts, workshops, events aimed at families as well as a promenade discovery concert, the aim being to encourage the exporation of new works.
In London there will be a celebration of the life and work of John Tavener with a BBC SO Total Immersion Day at the Barbican on 5th. There are two films: at 11am the 1992 documentary Glimpses of Paradise includes footage of the young Tavener as pianist and organist, performances of his music, and contributions from those who knew him; at 15:00 there will be a showing of the 1997 Melvyn Bragg South Bank Show profile. The latter will be followed by a roundtable expert discussion on the impact and legacy of the composer’s music. There are three concerts that provide a good cross section of his output: chamber music at 13:00, consisting of works for solo piano, solo cello and The Last Sleep of the Virgin for string quartet and handbells; vocal music at 17:30, including The Lamb, Song for Athene and Missa Brevis; and larger-scale works, including The Protecting Veil and Akhmatova Requiem.
The Swansea Festival marks the Dylan Thomas 100th birthday celebrations with the Welsh première of New York composer John Corigliano’s A Dylan Thomas Trilogy on 11th. On the same night there will also be the rare chance to hear Richard Elfyn Jones’s Brangwyn Hall Festival Overture for organ and orchestra, which was originally commissioned by the festival in 1984. The final concert, on 18th, will also feature the world première of another another Dylan Thomas homage, Karl Jenkins’ Llareggub. There will be the chance to hear the composer in conversation an hour before the concert begins.
If your in or near Venice tomorrow the 58th Biennale runs for two days this month – 20th and 21st – and then from 3rd to 12th October. Highlights include a tribute to Steve Reich with the Orchestra del Teatro Petruzzelli of Bari directed by Jonathan Stockhammer on the two September dates. The October portion continues with the theme of music that is far removed in time and space: the Eco Ensemble of Berkeley with the music of the Bay Area; the Orquesta Sinfonica de Euskadi with Basque tradition and modernity; the Meitar Ensemble of Tel Aviv; the Violinat e Lapardhase polyphonic choir in the Albanian tradition; and Anatolian music reinterpreted in the ethno-cultural improvisations of the Galata Electroacoustic Orchestra. There will be 13 world premières, by composers Eduard Hamel, Amir Shpilman, Daniele Ghisi, Ondrej Adámek, Ofer Pelz, Silvia Borzelli, Aaron Einbond, Giovanni Dario Manzini, Yotam Haber, Dai Fujikura, John MacCallum, Oscar Bianchi, and Stefano Bulfon.
Wien Modern only just qualifies for this roundup, beginning on 29th October. George Friedrich Hass is this year’s guest composer. The opening concert will feature his Concerto Grosso No. 2 for chamber orchestra, forming the prelude to a series other events featuring his music. Also featuring during a number of concerts in the festival is the work of Reinhard Fuchs, this winner of the Erste Bank Composing Prize. The world premiere of his work «MANIA» by Klangforum Wien as part of the Erste Bank-Composing Prize also provides a link to the «on screen» series, a part of the festival that examines the interface between film and television and contemporary music.
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To the Sun and Stars is a new album on Bridge of vocal music by Louis Karchin. The works – American Visions, To the Sun, To the Stars, The Gods of Winter, and ‘A Way Separate…’ – were written between 1992 and 2012, so provide a good cross-section of his style: dissonant, rhythmic and angular. This might sound forbidding except that he also does not eschew overt, even lush, tonal references as, for example, at the arresting major-chord declamation of ‘Who are you, Grand Canyon?’ a third of the way through the first movement of American Visions. Karchin is normally labelled a modernist, but such gestures give his music more flexibility and variety than perhaps the term suggests. This disc also demonstrates a gift for vocal writing; the texts set with great clarity and expressivity, the unobtrusive accompaniment supporting, colouring and commenting. Performances are rock-solid under the direction of the composer, the cast of singers impressive. The album is available on Spotify. Worth exploring.
Extracts are now available for three imminently available disks on NMC: John Taverner’s Akhmatova Requiem, Gerald Barry’s The Importance of Being Earnest and Helen Grime’s Night Songs. The release date is slated for 22nd September. Nonesuch, meanwhile, are heavily trailing two of their own upcoming releases: Steve Reich’s Radiohead-inspired Radio Rewrite programmed with Electric Counterpoint and Piano Counterpoint; and Nico Muhly’s first large-scale opera Two Boys. Both are available for preorder, the Muhly also has a three-and-a-half minute preview video (follow my link).
The latest disk in the Naxos rereleases of the Collins Classics’ Maxwell Davies back-catalogue contains two symphonic works from the seventies: Black Pentecost (1979) ‘a plead against environmental destruction’ and Stone Litany (1973), an evocation of a Neolithic burial site. Other Naxos releases include: Life Sketches—five piano works by Nils Vigeland played by Jenny Q Chai; Volume 2 of the Toshio Hosokawa series of orchestral works, containing Woven Dreams, Blossoming II and Circulating Ocean; and Lancino’s Violin Concerto and Prelude and Death of Virgil.
There are three new albums on Metier, all of which I’ve only been able to listen to the not-too-generous extracts on the website (though the complete recordings are likely soon to be released on Spotify). There is a disk of Christopher Wright's quirkily tonal chamber music; Eric Craven’s angular-sounding–the extract provided reminded me a great deal of Fém from Ligeti’s Etudes–Piano Sonatas 7, 8 and 9; and Michael Finnissy’s sardonically humorous Mississippi Hornpipes for Violin and Piano.
Two last recordings worth considering. In addition to the Karchin disk with which I started, Bridge records this have also released Stephen Douglas Burton’s Symphony No. 2 Ariel with mezzo-soprano Diane Curry, baritone Stephen Dickson and the Syracuse Symphony Orchestra conducted by Christopher Keene. On Signum Classics, finally, is a new album of choral music by Gabriel jackson performed by the BBC Singers with whom he is Associate Composer. The disc, available on Spotify, contains his seven movement Airplane Cantata and four movement Choral Symphony as well as three shorter (though not insubstantial) works The Voice of the Bard, Ruchill Linn and Winter Heavens.
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A few weeks ago Sound and Music released a report examining the current sate of composer commissioning. You can read the whole thing here, or take a look at this handy summary:
I suppose as a composer I should be filled with self-righteous anger after reading the report. The bottom line is that most composers receive very few commissions, get paid very little and feel that there is not sufficient time given to the preparation of their works. Why then do I find myself encouraged by it?
Composing is art, not a job in the normal sense. At the highest level it is the production of a thing of beauty that has something new and vital to say and is a true reflection of the person writing it. If you are going to submit yourself to these lofty ideals, you’re probably going to wind up poor. Let’s face it: most serious artists, sculptors, novelists and poets are in a similar position.
Given this, I find it gratifying that, for some composers, it is very lucrative indeed. At least one in the survey earned over £100,000 in commission fees. Another made £60,000 from a single commission. Let’s also not forget that this does not include money earned from performances, broadcast rights, sheet music and record sales. Composing can be a viable career, even if the sums at the top end do not rival those found in the world of, say, the visual arts.
Much of the commentary accompanying the survey outlined the difficulties composers encounter when learning their craft. SaM’s chief executive, Susanna Eastburn wrote in the Guardian, for example, about the ‘heroic commitment to become a composer if you’re from a working class background.’ I think she’s right about this, though not necessarily for the reasons she describes. The worst outrage inflicted upon music education has been the destruction of free instrumental tuition. This is a national scandal that affects all music making, not just composing.
In other respects our education system works rather well for composers. Foreign musicians I speak to are always astounded that our school music curriculum includes composing from an early age. It is now possible (though I would argue not ideal) for a pupil to become a composer only through study in the state-funded classroom. Higher education costs do seem prohibitive, but no more so than in other subjects. We also forget that degree fees only have to be paid back once a certain income level is attained, and then on a sliding scale. As for postgraduate level, for the talented there are sources of funding that can be accessed through individual institutions and AHRC.
Eastburn also observes that ‘Composers either need private or other sources of income – usually teaching, performing or conducting, all of which require a whole new set of skills, training, time and energy.’ As if composers have never done this before! Thinking back through the canon of music history’s most venerable composers it would probably be quicker to make a list of those who didn’t have a significant other job. Most composers played, conducted, taught or did a combination of the three. Some, such as Ives, did something entirely different. Perhaps, like the career politicians we love to criticize, composers should have other interests.
Of course I’d like composers to be paid more. I’d like there to be more commissions and more rehearsal time when a piece is played. I wish my every creative utterance were showered with gold. It’s a competitive world, however, and, beyond the ludicrous idea of composers receiving a salary, I can’t imagine easy solutions. There will always be composers struggling at the bottom, just as there are struggling sportsmen, writers, artists and actors. In common with all of those professions the cruel reality is that the act of merely doing the thing is worthless: kicking a football, writing a poem, painting a picture or composing music is of no intrinsic value in and of itself. For that reason the world is hard on us. We have to prove that what we do is worth it. Is that really so bad?
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