Transcript Classical Commissioning

Classical
Commissioning
Program
Application Deadline: April 6, 2012
Notification: May 2012
“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.”
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
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 applying.
An ensemble or presenter must apply
with a composer who has agreed to
write the new work, should a grant be
awarded.
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, 2012.
• 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
•
•
•
•
a previously written work
a work in progress
an arrangement of previously written works
a staged work, or incidental music for other
media.
• 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
• An audio work sample
• A written application
• Supplementary materials
The Audio Work Sample
Is the most important component of the
application.
It is the first component reviewed by the panel.
Only about 25 applicants advance beyond this
point.
The 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 with
orchestra.
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.
The Written Application
• Make sure you answer the questions that are
asked.
• Tell your story, but 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
• Describe how you intend to market the new
work to your audiences
How are Applications Reviewed?
Audio Work Sample 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.
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
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.)
Include Supplementary Materials
•
•
•
•
Audited financial statement OR
Form 990 or 990EZ (presenters)
Operating budget (ensembles)
U.S. citizenship verification OR 501(c)(3) status
for applicant
• U.S. citizenship verification for composer
• Letter of Intent from Composer
• Letter of Intent from Ensemble (for Presenter
Applicants)
• Letter of Intent from Guest Artist (if
applicable)
• Sample concert programs
• Composer résumé or bio
• Bio for each guest artist, if applicable
• Ensemble’s repertoire list (indicate
commissioned works)
• List of the composer’s complete works
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
• So Percussion – It Is Time, by Steven Mackey
• Da Camera of Houston with the Brentano
String Quartet – Live Oaks, by Tobias Picker
• Pittsburgh New Music Ensemble – L’oeil
écoute, by Pierre Jalbert
• Cantus – A Sound Like This, by Edie Hill
For More Information
• FAQs
• Guidelines
• Contact Susan Dadian, program director,
CMA Classical/Contemporary
(212) 242-2022, ext. 13
For membership information, contact
Adam Reifsteck, membership manager,
(212) 242-2022, ext. 28
Visit www.chamber-music.org