person writing on the sheet music

How to convince me not to play your newly-composed piece

ByBret Pimentel

My inbox runneth over with invitations to buy and perform composers’ new pieces. I’d like to play new works, but some composers make it harder for me to accept their invitations. Here’s how:

  • Failure of fit. If I’m clearly just on your email-blast list of 3,000 clarinetists, there’s a fair chance your new piece doesn’t have any special appeal for me. But if it scratches one of my particular performance itches (like pieces for multiple-woodwinds soloist, woodwind instrument with live electronics, or “world” woodwinds) then a more limited mailing or a brief personal note will definitely catch my eye.
  • No reference material. If I have to guess what the piece is like from a title or a description, I probably won’t invest the money or time to give it a closer look. Give me a perusal score or recording, and preferably both. Recordings that are mediocre or computer-generated are acceptable—I just need a strong hint about what the music is like, not your fully-realized vision. And watermarked or even partial scores work, too. If I can’t find the reference materials on your website, I’ll assume they are not available, and probably won’t email you to ask.
  • Too restrictive. These days my recital performances are for a relatively small in-person audience and a larger online audience. If you’re uncomfortable with me putting a video on YouTube, I’m less interested in putting time and effort into it.
  • Logistics too costly. Pieces with extreme difficulty, large or unusual ensembles, complicated staging, rare instruments, etc. present real, practical obstacles to performance. The piece has to be compelling enough for me to decide to spend limited resources (time, money, called-in favors) on it. Some flexibility, such as piano reductions, optional cuts, or adaptable instrumentation, can convince me to try the piece in a lower-cost situation first, and then maybe like it enough to keep it in mind for the rare concerto opportunity later.

Let’s work together and get some new works performed!

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    Photo, euthman
    Photo, euthman
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    • …you hate missing out on what your friends are up to, IRL or online? Would it help if you gave yourself permission to spend a few minutes now and then, within established limits, to catch up on what’s happening? Or what if you practiced first thing in the morning, before your social circle gets interesting?
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    • …you get hangry or tired? Could you schedule yourself some breaks to snack or nap or stretch? Or move your practicing to after a meal, instead of just before?

    Instead of beating yourself up about motivation or willpower, ask yourself how you can harness your natural inclinations and use them for productive practice.

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