Corporate member blog: Composers Edition

Dan Goren, founding director of Composers Edition, on how to overcome the barriers to programming contemporary music.

Who’s afraid of contemporary music? 

There is a common refrain to be heard about contemporary music - it is difficult to learn and to understand. But let us unpack this. 

Firstly, what do we mean when we talk about contemporary music? Let's take a couple of examples. Laurence Crane’s Natural World for voice and piano - what elements of this are difficult? How about Liz Dilnot-Johnson’s When a Child is a Witness, scored for mezzo-soprano solo, multiple choirs, community groups and ensemble? What here is unapproachable? These are open questions, and I am not trying to make anyone feel bad for not ‘getting’ a piece of new music. Indeed, there may well be tricky aspects for some. However, why (aside from technical difficulties, which should always be taken into practical consideration) might one start from a position of apprehension?

The answer to this comes down to something quite simple. As humans, approaching something new requires us to gather our energies and rely, in the moment, on our senses and our ability to process new information. This takes a special kind of effort. This is true to a significant extent when you are approaching a piece of standard repertoire for the first time, just as it is for something completely new to you (think of those times you have turned up for a first rehearsal and struggled to get started on a piece!)

'As humans approaching something new requires us to gather our energies and rely, in the moment, on our senses and our ability to process new information.'

Think about the kinds of music you do and don't like. Perhaps you are really into big-band or romantic symphonies. It is probably less likely that you are an avid fan of traditional Chinese music or perhaps heavy rock is just noise to you. There are those who might think just the opposite is true, in part because they were introduced to certain music at certain times and in certain circumstances, and by now they have grown familiar with the ‘language’ of such music. And when it comes to music you yourself will perform, then you are already part of the circumstances. Also consider the breadth of music we all listen to or hear incidentally, on the radio, TV or at the cinema. It is far wider (and weirder) than it was just a generation ago. 

Let us now consider learning new works…

Is there no difference in learning to perform Joseph Haydn compared to Laurence Crane or Liz Dilnot-Johnson? Of course, there are different aspects which need addressing in each case, as a director and as instrumentalists or singers. Different musical skills are required and acquired, and if you stick to the same kind of repertoire, you can build certain skills over time. But do we always want to do the same thing? And programming a range of work can be invigorating for all involved. What is more, whilst doing your best, you are not seeking to make world-leading performances. Getting together to perform is far more about your community than wowing your audience with your technical prowess (though you can do that too!). 

'The audience not knowing the piece actually made me more confident...'

How will your audience react to new music?

Finally, what about your audience? Are they going to be able to enjoy a new piece as they do something familiar? Will you be able to give a convincing performance that doesn't rely on that familiarity? Will your audience even bother to come out on a winter night for such a thing? Well, they often need some cajoling whatever the music, right? But more particularly with something new, they might need some encouragement. How does one do that?

Well, the most important thing is surely the enthusiasm of the performers. This means the performers need to feel comfortable with the music, which in turn means familiarity - with the score, yes, but also the story of the work and its composer - why it was composed and what it is about. And different works can support each other, so programming can play its part too. That done, it is a case of communicating your excitement to your public, through local papers, magazines, posters and flyers, mailing lists, radio and websites (both your own and others). Writing and documenting what you're doing as you go along is great for all your repertoire, so take those video clips, photos and write blogs. Enthusiasm is contagious! 

Recently, a local community orchestra player, on having just performed (with wonderful spirit) a new work, said to me ‘The audience not knowing the piece actually made me more confident as I didn't worry so much about them knowing whether I had got it right.' You can ‘own’ a new work in a way you just cannot with a classic. 

Finding inspiring repertoire

Of course, the first task is to find a piece of music or a composer that you would like and feel up to performing. This is where Composers Edition can help. We have over 80 composers, many of whom have already composed works performed by and composed for Making Music members. Whether you have a clear idea or not of what you are looking for, we are very happy to help you find that perfect piece - and at a reasonable cost too. 

*Both Natural World by Laurence Crane and When a Child is a Witness by Liz Dilnot-Johnson were winners at the 2022 Ivors Composer Awards, announced on 17 November 2022, broadcast on BBC Radio 3 and available via BBC Sounds.

For queries about contemporary music and commissioning email dan@composersedition.com 

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