This is a piece written and dedicated to my roommate at the Oberlin Conservatory, Rick Pressley. Rick spent his professional career as the Seattle Symphony's co-principal trumpet. He did perform this piece and did a great job, but the performance was marred by a less than acceptable performance by the organist. For that reason, this computer generated performance is offered. Please listen at:
https://soundcloud.com/user-379760088/sets/sonata-for-trumpet-and-organ
Enjoy!
Ken
Replies
This, again, is one angle I struggle to understand.
The primary benefit lies in the increased control and customization you gain over the musical experience when hiring someone to record or perform your work. The exception to this is large scale orchestral works, in which case I agree with what you say very much so.
In terms of smaller works or chamber works however;
You gain the ability to carefully select performers based on their expertise and compatibility with the piece. There is an expectation of a higher level of professionalism and a better match for the intended style and emotion of the music. In a pro bono scenario, musicians might not be as motivated to invest the necessary time and effort to truly learn the piece, as their commitment is driven more by personal interest rather than a contractual obligation. Their time may be split between this commitment and paid endeavors, which ultimately will likely win out their time and effort investments as this typically means a contracted obligation.
There is a professional relationship where you can actively participate in the creative process. Revisions, feedback on execution, etc., allow you more flexibility to meet your vision. In pro bono situations, I feel this freedom is somewhat limited as the musician(s) are already doing you a significant favor by learning and potentially performing any of your work free of charge.
So if control and lack of execution have been concerns of live players failing to beat out a mock-up in pro bono performances, this is one angle to consider. We must remember these individuals, if true professional musicians, are likely trying to make a living out of their instrument. Most people do not enjoy working for free - their skill has value. Musicians are not puppets that migrate and move to an unknown piece of music, no matter how good it is. It's a 2 way relationship on both ends.
Of course, as you mention, it's not so straightforward as every situation is conditional and different. But in a broad sense I strongly feel the mindset of "I would not want my music performed by anyone who thought it was not worth performing unless I paid them to do it." is flawed. It's not so much that they may not think it's worth performing. It's more so that just like us as composers, they need to feel they're going to get something out of the music that is worth their time and personal value.
To be momentarily serious, you've admired my work Hiraeth. The musicians were paid by me, so clearly a composer-funded recording can produce good results (as has been the case for almost all my varied self-funded recordings).
The primary benefit lies in the increased control and customization you gain over the musical experience when hiring someone to record or perform your work
Well, I thought I'd just proved the exact opposite here unless I misunderstood the comparison. Only in a mock-up do you have full control -- when hiring live musicians, you can certainly give a certain amount of input as to what sort of performance is expected. How much depends entirely on how the musicians work -- some sort of collaboration might be expected but quite apart from anything else, time is often limited. Even top professionals can completely misinterpret a work as was proved by the example of my friend.
You gain the ability to carefully select performers based on their expertise and compatibility with the piece
Well of course this is true but I'm not sure how many people have time to do this in practice? How do you evaluate their compatibility with the piece, assuming that a number of people claim to understand and be willing to play it. Also, I don't necessarily accept the premise that someone who really loves the work but gets paid little or nothing will put less effort than a professional who is simply doing it for the money -- although naturally, if that professional persistently produces second rate performances, he/she will not get many contracts.
Another dimension entirely is the one Jon raised -- the Structuralist v the Platonic. In one sense, with my works, I have a clear concept as to how they should go. On the other hand, I'm far from being closed to alternative interpretations if they make sense (unfortunately very often they don't)
I often have my own, very specific, interpretations of my work in mind when I write them.
OTOH I always welcome different interpretations of them, even those that contradict my intentions. (When I was younger, the thought of this terrified me. Now it thrills me.)
I guess it leaves more musicians for the rest of us.
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