Articles by Kate Soper
The new music world needs disinterested supporters in order to survive—fans who aren’t themselves composers or players—and maybe we can win people over by showing them what kind of inspired work goes into a premiere, how rigorously focused and attentive all involved need to be in order to make the music happen.
At first hearing it’s impossible to accurately gauge whether some moment or other isn’t working because it needs more rehearsal, because it needs a compositional tweak, or because it doesn’t work. Add to that the fifty-plus moving parts factor of the orchestra and the stressful intensity of a readings session, where hearing anything more than three times total is an improbable luxury, and you’ve got a set-up for some serious composer anxiety.
I’ve scoffed at the idea that orchestra experience is required for Serious Composer status and had conversations with friends about the possible irrelevance of writing orchestra music in today’s downsized scene, but secretly, writing for orchestra has always been a fantasy of mine.