How does commissioning work?

If you've heard a radio broadcast or attended a concert during which you enjoyed my work, or if you've visited the WORKS page on this site, listened to some brief samples and would like to become a vital part of this artistic process, email me to discuss what kind of piece you would like to commission, what kind of timeline you envision, and what the costs of bringing such a project to life would be. Whether you're interested in an original piece of music for a private occasion or for a public concert, recording, or media project, the process is an enjoyable one. It is common to schedule the creation of a new work two or more years ahead.

Budgets can be creative and flexible and are often determined by the nature of the funding source, as well as the instrumentation and scope of the desired project. Payments can be made either at the beginning and the subsequent delivery of the score, or over a longer, predetermined time period. I believe in placing the commissioning process within easy reach of anyone interested; the rewards of such collaboration ring out long after the last note is played.

It's also possible to bring together a consortium of several musicians, ensembles or patrons to jointly co-commission a work. Each enjoys a dedicated premiere concert and published credit for sponsoring the new piece, while easing the finances of the venture. Consortium commissioning gives a new piece immediate, broad exposure through the performances of many ensembles playing for a wide range of audiences.

Costs vary, and an excellent resource to get a sense of the range can be found in a booklet titled, Commissioning Music: A Basic Guide, that you can download from New Music USA, which offers a helpful guideline here .

Additionally, composer/conductor Dominick DiOrio has written an excellent primer titled, A (Somewhat) Brief Guide To Commissioning New Music, the .pdf of which can be downloaded by clicking here .

If desired, I can also personally assist with securing a fiscal agent for tax purposes.

When a commission comes from a musician or ensemble, collaboration is a very important part of any project. I often include webhearsals into the package, to enjoy the process of connecting with the people bringing the new piece to life.

I often begin by asking what the musicians' needs are: what would contrast well with other pieces on their program?  What mood would they like to explore– slow and pensive, a virtuosic program closer, something unexpected and possibly bizarre, or something else entirely? Who's the audience that they're trying to reach? Most commissions leave these decisions up to the composer, but sometimes pieces are commissioned for specific purposes and occasions. My music may still take an unusual approach outside the norm, but it will be fitting. 

I also check with ensemble leaders before adding less common instruments, or deciding that their piece should run a little longer than contracted. I don't think surprises are helpful, and I definitely believe that a composer can take the needs of musicians and listeners into account without ever losing her own musical voice.  Respect for this vital triangular relationship is key.

What's Alex like to work with?

Knowing a bit about a composer as a person often adds to the perception of her music. If you're interested in reading some of my musings about music, nature and the humor of life in general, click here

And for even more context about where my music comes from, I invite you to spend a little time perusing my award-winning, often grin-inspiring blog, Notes from the Kelp, here