It is a testament to the indomitable spirit of art: In spite of a national climate of indifference (if not outright hostility) toward most of the more subtle or profound forms of artistic expression, so many intrepid artists persist. Performers and composers alike, in the face of ever-growing inclemency, continue to invent and reinvent American classical music wherever they are, reshaping the cultural landscape as they go. In researching this article, I was surprised (and gratified) to find how many American composers are still willing to undertake the relatively arcane and little-appreciated task of writing “art” music, especially new opera and song. Just like most of us singers, they fight an uphill battle, for venues, audiences, and funds.
Unless you’re a latter-day Giulio Caccini or Samuel Barber, each time you sing you rely upon another artist: the composer; in turn, you give flesh and blood to that artist’s ink. And together composer and performer seek the same audience upon whom to bestow their mutual gift. It’s a symbiosis that constitutes the very foundation of our musical tradition.
To some singers, commissioning a new work may seem like big game hunting, the sort of thing done by high-profile artists with unlimited resources, but it doesn’t need to be—not any more. In fact, it fits perfectly into the new culture of “grassroots musical activism” developing across the country, right alongside the rise of the small opera company, the do-it-yourself recording, and the co-operative music education program. In fact, I would wager that for every intrepid and informed singer who sets out to commission a new work for him or herself, there is a composer out there equally eager to write it.
What follows is an overview of the commissioning process, intended to bring the idea of commissioning new works down to earth for a broader population of the singing community. While nothing about the process is written in stone, a few guidelines may help to demystify the process. Keep in mind, however, that virtually every aspect of a commission is negotiable.
Preparation
First, you must decide exactly what you want from your commissioning project. Are you looking for a dramatic tour de force, a flashy showpiece, a comic encore? Or will it serve for a special occasion, such as a wedding or bat mitzvah? As long as you’re doing the commissioning, you should get exactly what you need, so put your ideas in order—but be flexible as you work with the composer, to get the best of her or his art while at the same time achieving your own goals. Remember, this is your opportunity to get yourself the perfect showpiece for your specific vocal strengths (and none of the weaknesses), so be sure the composer knows what you do best.
Do you have a specific text you want set to music? If not, try describing your other parameters and ask the composer to suggest a text. Many composers who write songs regularly have poems at the ready that they intend or hope to set as time, inspiration and opportunity allow. Based upon your other parameters—voice type, type of piece you need, your personality, etc.—the composer may be able to draw from his or her cache to choose, or at least suggest, a text that will inspire you both. Song composers are often, by necessity, broadly literate and familiar with a wide range of text sources.
In either case, understand that the choice of text may require a certain amount of dialogue between singer and composer. Your first choice may be one that a certain composer finds “anti-lyrical,” or you may not be able to procure the rights to the poem you want.
Regarding the rights to texts, most composers with whom I’ve spoken suggest using texts in the public domain, since no rights need be procured. This still leaves you many libraries’ worth of material to choose from. If, however, you are intent upon using a text that is still under copyright, you’ll have to contact the publisher to get permission, unless you happen to find yourself a composer willing to do this for you. If the author is no longer living, you may have to deal with an estate to obtain the rights.
Whether the author is dead or alive, getting the rights is far from a sure thing. If a composer of the stature of Lee Hoiby can be refused rights to a text slated to be sung by Leontyne Price, there are, indeed, no guarantees. This is a crucial point and can cause problems down the road if not handled correctly from the start. In the words of composer David Sisco, “There is nothing worse than pretending a piece of music wasn’t written because of a squabble over rights. There are a myriad of gorgeous poems that are in public domain, which remain untouched by composers.
“It just takes commitment on the part of both the singer and composer to find ones suitable for their project. It’s also helpful to have friends who are poets.” (Why not get yourself an original poem while you’re at it?)
Researching and Contact
Consider choosing a composer within your geographic area, and one at a similar level to yours, professionally. You really don’t need to set your sights on a world-famous artist (unless you’re one too), when you can probably find your heart’s desire in your own back yard. And, by choosing someone locally, you not only support your local community of artists, better positioning yourself for local funding sources, you also stand a good chance of getting the composer to your rehearsals and performance(s). When the time comes for the performance, the composer may even be willing to talk about the work with the audience.
If a local composer is willing to come hear you perform at the outset, your commission is likely to be a better fit, after he/she has seen you in action. What’s more, the two of you might be able to develop a continued working relationship. The composer may recommend you to a conductor—for performances of the composer’s works, or other music—or may write other works with you in mind, if he or she feels you are truly invested in their art.
If, however, you wish to go farther afield, the Internet can put you just a click or two away from literally hundreds of composers (and, possibly, a source of funds—see below). You can find extensive lists of composers, with links to their individual websites, at: www.meetthecomposer.org/contacts.htm
www.amc.net/member/index.html and
www.composersforum.org/links/composerlinks.html
Peruse the websites of various composers, read their bios and check out their lists of works to see what sort of experience they have writing for the voice. Many sites even have recorded clips of the composer’s music that you can listen to, as well as details on obtaining commercial recordings. So search around. If you’ve found a composer you’re interested in, go ahead and make “first contact.” Usually, the website will include ane-mail address or other contact information. Outline your project in as much detail as possible.
Of course, not all composers have websites. Perhaps you have a score by a composer you especially admire. Contact the publisher and request contact information for that composer. (ASCAP can probably help you with contacting publishers, if needed—see “Additional Resources” below.)
Classical Vocal Reprints is another good resource. CVR is more than just reprints; it’s a full-fledged publishing house, representing some of today’s finest song composers, at various levels of renown. It’s a treasure trove of contemporary, small-press American vocal music (as well as standard rep, hard-to-find, and more). Contact CVR for information about the composers on its roster, which you can view at www.classicalvocalrep.com.
Fees
I’d hate to scare anyone off by listing “standard commissions” because there doesn’t really seem to be any such thing. Some composers have fixed commissions, often per minute of music based upon the number of instruments. A few will list their prices in detail at their websites. Otherwise, just contact your composer and ask for pricing, based upon the project you propose. For example, one veteran song composer with whom I spoke would, if he likes you and your ideas, give you a song (voice and piano) for from $300 to $500 dollars.
Unless you’re commissioning a piece for several instruments, you shouldn’t have to worry about copying fees, though these are usually separate. The standard payment schedule is 50 percent at the beginning, the other 50 percent upon delivery of the completed work, according to Meet the Composer.3 But this, like everything involved in the process, is negotiable.
Of course, if you have a high-profile recital coming up, or a recording contract, or some other “plum” engagement, there’s a very good chance you can find a composer eager to have his or her music included on your program, in which case, you may get your new song gratis, in the interest of publicity. Again, negotiate. Soprano Phyllis Curtin suggests that “… knowing composers and doing a lot of new music makes it possible to ask for it and perhaps for no money at all!”
Funding
If you already have the money, you can skip this section of the article. As mentioned above, price is negotiable, and many composers’ fees are extremely reasonable. Meet The Composer, the National Endowment for The Arts, the American Music Center, and others, award grants for projects such as the commissioning and performance of new works, although these tend toward works for groups larger than just singer and piano. Commissions by “consortium”—groups of musicians interested in the same commission—are popular and effective, since the cost can be spread among a greater number, with more chance for multiple performances. This arrangement may also have more allure for grant-granting organizations, since it gives a broader base of dissemination for the new work and supports a greater number of artists.
Local sources of funding are a more likely possibility, from state or regional councils on the arts, or other cultural organizations (see “Additional Resources” below); foundations established for promotion of the arts and humanities within a city, state or region (see below); colleges and universities; churches, temples or other religious organizations; music clubs, and such. Even corporate sponsorship is a possibility, if there’s an advertising potential attached (the printed program, radio ads, etc.). In fact, many large companies (banks, brokerage houses, law firms, manufacturers) have individuals whose role it is to serve as liaison for corporate sponsorship of the arts within the community.
“ … Approaching a corporation for a donation is not as daunting a task as one might think,” writes Dr. Cynthia Green Libby. “First, every major company has a hired public relations person who is paid not only to listen to proposals but to be personable to the donation seeker as well. Just be certain that, in addition to a written proposal, you have two things: an ‘angle’ (i.e., What is in this for the company?) and a publicity opportunity.”
The best approach is to discuss your project with your chosen composer, including your intentions for funding. Then you can present the outline of a well-defined project to your potential funders to discover if it may be tenable within the parameters of their giving.
Rights and Legal Issues
Agents, lawyers, and contracts may or may not be necessary, depending upon the specifics of your project, and the desires of those involved. Several composers I’ve spoken with would not necessarily require a contract for a single song and, in fact, might not write your song if you ask them to sign one. Phyllis Curtin, who commissioned new works from early on in her career, says, “I asked composers I knew [to write new works] and who knew me. No other people were involved.”
If you choose someone locally, someone you can meet in person and get to know to some extent, chances are the whole thing can be negotiated and accomplished minus the complication and possible expense of any third-party involvement, with a very basic written contract, if any. If you have a deadline or a definite time frame, be sure to include that in any contract.
When you commission a new work, you are initiating and facilitating the creation of a new piece of art. However, you do not own the music or any rights to it. All of that remains the composer’s, absolutely (and rightly so). The composer must grant you any and all rights specifically. In other words, assume nothing—not even that you have the right to the first performance. Some composers will want you to perform their music wherever, whenever you can—look for this kind of composer. Others will grant you certain rights and not others at the time of your agreement, whatever form that takes. For example, you may get the rights to the premiere only. Or exclusive rights to the work for a specific period of time, after which the composer is free to let anyone use it.6
If you wish to negotiate for very specific rights, involving specific time periods, locations, or figures, put it in writing. Otherwise, be sure to check with the composer each time you perform his or her work. You should, however, insist that you be credited as the commissioner in any publication or recording—that seems only fair.
Additional Resources
In addition to recapping those mentioned above, the following list contains websites with additional information that may be useful in the commissioning process (Do not type the final : in the web address):
www.ascap.com: The American Society of Composers, Authors and Publishers (ASCAP)—a good source for legal information and advice.
www.johncarbon.com: Composer John Carbon has the best site I’ve found for an outline of the commissioning process from the composer’s perspective. Carbon’s prices are listed (very reasonable), as well as information regarding the JC Collections Commissioning Contest, which helps subsidize a commission for the winner.
www.composersforum.org: American Composers Forum—lots of composer links, as well as some funding information.
www.meetthecomposer.org: Meet The Composer—an invaluable resource for all things “composer.”
www.amc.net: The American Music Center—another great resource, especially the Member websites list.
www.nasaa-arts.org/aoa/saadir.shtml,
www.nasaa-arts.org/aoa/saaweb.shtml: National Assembly of State Art Agencies (NASAA)—information regarding funding sources at the state level.
www.arts.gov/grants/index.html: National Endowment for the Arts (NEA).
www.davidsisco.com: David Sisco, composer.
www.classicalvocalrep.com: Classical Vocal Reprints.
Commissioning a new song can be a win-win proposition for both you and your composer, and we singers have a pretty great reputation for finding ways to ply our wares wherever, whenever, however we can. What composer could resist? Of course, one here or there may say “no” for whatever reason, but many more will be duly gratified (i.e. overjoyed) that, even in these artistic “hard times,” someone actually wants a new song, and has taken the time to seek them out.
“I do my best work when I’m writing for a particular singer,” writes composer David Sisco. “Most composers, however, don’t know to whom they can turn to find a performer willing to premiere a new work, nor do they have the resources to directly work with a singer as they’re writing.” What singer can resist?
The bottom line: don’t be afraid to seek out composers—they’re a performer’s best friend and indispensable partner, the source of our art. Without Pears, think how much of Britten’s music might not have been written; or Poulenc’s without Bernac! Not to mention the feeling you get—I can’t quite explain it, but I can say from experience that it’s a singular thrill, not quite like any other—when you tell an audience that they’re the first to hear a new work written at your initiation, specifically for you. You get a tangible sense of the past: the tradition—and the future: the hope— converging there on the stage as you sing.
