Transcript Classical Commissioning

Classical Commissioning
Program
Application Deadline: March 20, 2015
Notification: June 2015
The Classical Commissioning Program
provides support to U.S. based professional
classical, contemporary and world music
ensembles and presenters for the creation
and performance of new chamber works by
American composers.
This program is supported by
The Andrew W. Mellon Foundation,
The Aaron Copland Fund for Music, and the
Chamber Music America Endowment Fund.
Grants funds are designated for
• composer commissioning fees
• ensemble rehearsal honoraria
• copying costs
Composer Honorarium
Grants provide a composer’s fee (from $5,000 to
$20,000, depending upon instrumentation and
length of the work)
2 to 4
musicians
5 to 10
musicians
Up to 10
minutes
$5,000 to
$7,500
$7,500 to
$10,000
10 to 25
minutes
$7,500 to
$15,000
$10,000 to
$17,000
More than
25 minutes
$13,000 to
$18,000
$15,000 to
$20,000
An ensemble is eligible if
• it is based in the U.S. or its territories
• it is a professional group (amateur ensembles
are not eligible)
• it consists of "fixed" personnel and
instrumentation OR
• it is part of a flexible roster or a collective that
performs in varying configurations of no more
than 10
• in the case of a duo, it performs as equal partners
rather than as soloist and accompanist, and
consistently publicizes itself as a duo
• it has a commitment to contemporary classical or
world music
• it is a CMA Organization-level member
• it has no overdue reports or financial obligations
to CMA
• it has waited 12 months after completing any
previous CMA commissioning project before
re-applying.
A presenter is eligible if
• it is based in the U.S. or its territories
• it is a 501(c)(3) or other not-for-profit organization
• it presents classical, contemporary, other music genres,
and/or multi-disciplinary performing arts programs
• it is a CMA Organization-level member
• it has no overdue reports or financial obligations to
CMA
• it has waited 12 months after completing any previous
CMA commissioning project before re-applying.
An ensemble or presenter must apply with a
composer who has agreed to write the new
work, should a grant be awarded.
An ensemble may appear on one application.
A presenter may submit only one application;
however, a presenter’s venue may appear as a
performance site on any number of applications
submitted by ensembles.
The Composer
• must be a U.S. citizen or permanent resident
• may be a member of the applicant’s ensemble
• may not appear on more than one application
to a CMA commissioning program—including
New Jazz Works—for the period beginning
July 1, 2015.
• may not have outstanding commitments to
either CMA commissioning program
The New Work
• Must be written for a small ensemble (2 to 10
musicians)
• Must be written for one musician per part
• Must be in the form of a notated score
• May represent a diverse musical spectrum,
including contemporary art music, world
music, and electronics
The commission may not be
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a previously written work
a work in progress
an arrangement of previously written works
compositions that are soloistic in nature
music for dramatic works (staged or unstaged)
a staged work, chamber opera, or incidental
music for other media
• fees for non-musician participants
• If the work is to be written as part of a
collaborative project involving other artistic
disciplines, it must also be a stand-alone work
for concert performance.
The application is made up of
• Audio work samples
• A written application
• Supplementary materials
Ensemble Audio Work Sample
• is the most important component of the
application.
• is the first component reviewed by the panel.
• Only about 25 applicants advance beyond this
point.
Ensemble Audio Work Sample
• should demonstrate the highest quality of the
ensemble’s playing
• should demonstrate the ensemble’s ability to
perform contemporary music
• must be a single CD-R (mp3s, data discs and
DVDs are not accepted)
• must contain up to three tracks (contrasting
works are strongly recommended)
• must use separate tracks for each work or
movement (portions of movements and
excerpts from larger works are acceptable)
• must total no more than 20 minutes
• must include work(s) written in the last 25
years
The Audio Work Sample
• must include at least one unedited track from a live
concert performance (on either Track 1 or 2); the
remaining track(s) may be re-recorded from
commercially released or studio recordings
• must represent the group’s current personnel (if the
ensemble is a subset of a larger collective or roster, a
majority of the musicians that will perform the
commissioned work must appear on the work sample)
• must not include solo pieces, or works written with
orchestra, scored for more than 10 musicians or
performed by more than one musician per part.
Composer and Guest Artist Work
Samples
• must be submitted on separate, single CD-Rs
• must consist of three works (preferably
contrasting works of chamber music)
• must use separate tracks for each work or
movement (portions of movements and excerpts
from larger works are acceptable)
• must total no more than 20 minutes
• must include work(s) written in the last 25 years
• may be re-recorded tracks from a commercially
released studio recording.
Composer’s Audio Review
• Also “blind review” (composer’s identity is not
revealed to the panel)
• Evaluated for originality and ability to write a
compelling new work.
The Written Application
• Answer all the questions using only the
allotted space
• Be descriptive, specific, and concise.
• Provide the history of the ensemble.
• Describe its commitment to new music.
• If a presenter, provide information about the
organization.
• Explain why you want to commission the
particular composer
• Provide background about the composer
• Obtain a description of the new work from the
composer
• Explain the importance of this commission to
your organization or ensemble
How are Applications Reviewed?
Ensemble Audio Review
• Audio Review of Ensemble CD-R
• “Blind review” (applicants and performers are not
identified to the panel)
• The panelists listen to approximately two minutes of Tracks
1 and 2.
• Each panelist rates the audio sample based on the group’s
artistry, cohesiveness, sound, and ability to perform
contemporary music.
• CMA recommends that the applicant give cue times for
the strongest part of the tracks on the CD-R Work Sample
page to direct the panel’s listening.
• Approximately 25 applicants with high scores are advanced
for Written Application Review.
Composer Evaluation
The panel will evaluate the composer’s
• artistry as demonstrated on the work sample (e.g.,
musical ideas, his/her voice as a composer)
• ability to write the proposed new work for the
ensemble. (The panel will use the applicant’s
project description as a reference.)
Written Application Review
• Only the applicants who have been advanced
from the Audio Sample Review will be part of
the Written Application Review.
• At this point, the identities of the applicants
will be revealed to the panel.
Written Applications are scored
based on
• Applicant’s history of performing and/or
presenting contemporary music
• Quality of the proposed project—idea for the
commission and the applicant’s reason for
selecting the composer
• Capacity to carry out the project successfully
Include Supplementary Materials
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Audited financial statement OR
Form 990 or 990EZ (presenters)
Operating budget (ensembles)
Verification of U.S. citizenship, permanent
residence OR 501(c)(3) status for applicant
• Verification of U.S. citizenship or permanent
residence status for composer
• Letter of Intent from Composer
• Memorandum of Understanding from
Ensemble (for Presenter Applicants)
• Memorandum of Understanding from Guest
Artist (if applicable)
• Composer résumé or bio
• Bio for each guest artist, if applicable
A complete Application Includes
• CD-R Work Sample for Ensemble
• CD-R Work Sample for Composer
• CD-R Work Sample for Guest Artist (if
applicable)
• Completed written application
• Appropriate Supplementary Materials
Recent Commissioning Grant Recipients
• Cassatt Quartet – To Mourn, To Dance by
Dan Godfrey
• Music From China – Three Dances From China
South by Chen Yi
• Third Coast Percussion – Wild Sound by
Glenn Kotche
• Duo Scorpio – Fast Dances by Nico Muhly
For More Information
• FAQs
• Guidelines
• Contact Susan Dadian, program director,
CMA Classical/Contemporary
(212) 242-2022, ext. 102
For membership information, contact
Aryo Wicaksono, CMA Membership Manager
(212) 242-2022, ext. 114
Visit www.chamber-music.org