Sixth World Symposium on Choral Music ... - NewMusicBox

NewMusicBox May 2003
12. Sage Advice for Emerging Commissioners
LINDA HOESCHLER: I would just like to tell a little story about my own commissioning to get
you thinking about how to become a commissioner. My husband and I did not start out thinking
we were going to commission a lot of music. We wanted to celebrate an anniversary and there
were a number of musicians around town, and we had been singing with the Bach Society, and we
thought it would be fun to have a piece written for the four instruments that our children played.
We had 2 children. It was amazing how many of our friends thought that our kids would play all
four instruments in the piece. They are talented, but not that talented! And we asked Steve
Paulus to write the piece. So I called Steve and I said, "Gee, I would like something for a 15th
anniversary." And he said, he got married this summer, so he talked about some texts that would
suggest summer love songs, and then he said, "How long?" And I said, "Well, how much to you
charge?" And he told me, and I said, "Well, it's for fifteen years, so how about fifteen minutes?"
But during the process of the commissioning, Steve involved us. He talked about the text. "How
would you like this ordered? Piece on the piano? Do you like this?" And he made us feel like
such a part of the process, that we became so enthusiastic about commissioning, that we wanted
to continue this. What we found, though, was after a number of years, a lot of our friends would
say, "Gee it's great that you commission works." We would commission chamber works mostly
because that was what we could afford. Some choral works, a few small orchestral pieces. And
we would tell people what fun it was, but nobody would ever do it. And so we started a
commissioning club, which all of you, of course, might think about. We have four other couples.
It has been going for about a dozen years now. We each throw in a sum of money every year, and
then we listen to tapes, and we talk about what music we think needs to be written. And we
select composers—and those of you with a chorus mentioned it is much easier because you have
the performers, and you might think about getting some individuals around you to commission.
But don't ask them just to write the check, because that makes a one-time commissioner. Involve
them in the process. Ask them to rehearsals. Have them meet the composers. We now, as a result
of the commissioning club, have people go on their own commissioning pieces, and we have new
members come in. And I think that's what we all want to accomplish. But if we try to keep
control of it, totally—like, I want this composer, I want this music, and not cue in the
commissioner—I don't think you'll necessarily get a repeat customer. And I think having a
commissioning club, has actually made us better commissioners too because we have more ideas
floating around. So I just urge that for all of you. Any of you commissioners like to share your
heart-felt stories?
AUDIENCE COMMENT: I have been fortunate enough to sing a piece for the first time with
Moses—Choral Arts Ensemble, Portland, Oregon. My question is, and I think we may have
some commissioners in the room here. Both of you speak to the issue that you have a text that
you are dying to set, or a tune that you're dying to arrange—you have just been waiting for your
own lifestyle or whatever is just right at the moment and if that is the case, let us know. I think
we have got some commissioners for you!
Composers’ Dialogue #1, 08/06/2002