From: paul steenhuisen (firstname.lastname@example.org)
Date: Sat Sep 18 1999 - 00:20:13 EDT
>no participation...no funding from the
you need not answer this directly to the list, if at all, but i wonder why
there is such a stringent regulation on that? why is that ratio not
negotiable to 85 or 95% composer attendance, which would allow you to
program other good pieces by those who can't afford to pay for the trip,
pieces which can contribute something with their content alone? or,
perhaps more easily done, do you have a listening area where other pieces
that aren't performed in the concert can still be made available? or a
second, less formal stage where other works can be performed? i'm sure
this causes trouble each year (?) when a piece is chosen to be programmed
and has to be cancelled because the composer can't get the cash to attend.
when i was presenting ea concerts, maybe 10-20% of the pieces received
could be performed in concert, whereas 90-95% were broadcast on the
supporting radio show.
>Perhaps, with your connections to a major symphony orchestra and the
funding sources available though those connections, you could build this
perfect festival you envision. We could certainly use more performance
possibilities for electroacoustic music.
my aim with the orchestra is to keep the work the focal point, as free as
possible from the non-musical bureaucratic sludge, and to push for more and
greater musical exploration, more recent pieces, involving electroacoustics
or otherwise. with a board consisting of 75 people, that stance may result
in 2 percent improvement, we'll see. sometimes it's accupuncture with
finishing nails. there is a festival here, and composer attendance isn't
necessary to ensure performance, but as you say, it's an added bonus, and
certainly gives a face to the music and ideas. am trying to organize some
online discussions between festival composers and audience, as well as
coordinate audience development programs (something called the composer
companion program, where an audience member attends a concert with a
composer, who answers questions, introduces aspects of the music, etc.)
between the canadian music centre and the orchestra. i imagine that the
funding structures etc. are extremely different, and parallels are few.
incidentally, the musicians of the orchestra went on strike today, so all
is hardly well.
>miscommunication and ill feelings. With the
numerous obsticales we all face in the furtherance of ea/cm, the last thing
needed is to bad mouth each other.
no personal insult intended. though it's likely very clear by now, as a
composer i believe that the regulation, regardless of who made it, is
complete bunk. complaint is about that and nothing else, and apologies if
that was unclear. i trust that the festival is a large effort and that you
do your best. my mouthiness is only directed at that one aspect of it,
which excludes like minds without enough cash to get to the community.
i hope this clarifies. good luck,
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