Quote:As long as you're slightly vague about the details that it was performed by the Shawdale String-And-Barbershop Quartet And Variety Show, you then have automatic credibility.

What's the saying, you don't sell the "steak" but the "sizzle"

Quote:It's one of the most amazing experiences; even if you're not that happy with the piece, the bassoonist hates his part, and the ensemble is a little under-rehearsed, it's still YOURS.

I have to add one caveat, while I'm sure nothing compares to the sense of fulfillment a good performance of your music can bring, I don't know that anything equals the disappointment of having a piece that you slaved over butchered by a poor performance.

When I was at Berklee, in one of my first Film Scoring classes I had to compose a short intro for some nature show and then go to the studio to conduct and record it to picture with live players. I wrote pretty simple music and used a small ensemble of maybe 7 or 8 players thinking that would give me the best shot at a good performance. I booked all the musicians from the session call list they kept in the department, most of whoms listing was mandatory due to scholarship obligations, and despite being nervous about my conducting abilites, I was pretty excited about getting a solid recording of some of my music.

Most of the players were late and all looked like they'de rather be anywhere than reading through parts with a novice conductor with his grade on the line (in their defense, it was finals week). Then when my first violinist, who had most of the melodic material, showed up almost 15 minutes into my 55 minute session, she was empty-handed. She explained that her violin had been taken to the wrong luthier by her roomate or something and she couldn't get it in time for the session, but she wanted to tell me in person. That really meant the world to me with a ticking clock and a ragtag group of players who could barely stay awake.

Needless to say, the session was nightmare and I disposed of the recording as soon as left the mixing room. I don't blame the players, I was in the same boat being obligated to perform on sessions as a bassist for the Jazz Comp department despite the fact I could barely read nursery rhymes in whole notes with no metronome. Luckily the only sessions I got roped into were more chart reading and improvisation, but I still hated the idea of being the guy that ruined someone else's piece.

I did learn one valuable lesson though, having players who care about the music and the performance, whether it's because they like your music, you agreed to pay them scale or a 12-pack, or because they owed you, is more important than whatever ink you put on the pages. If you're the only one in the room who gives a shit, you maybe better off deferring to VSL or EWQLSO and a good deal of programming.

Man John,

That is rough! I'm sorry that happened to you. I've been in the same boat myself actually- and you're completely right: it is so important that you select the right musicians and try and give them as much incentive as possible to do a great job. I, for one, have been asked to play student compositions often and always strive to do my absolute best because not only is the composer's music being judged---- my playing and musical abilities are as well! I would never do a half a$$ed job of reading someone's score because I always want to be viewed as a serious, talented and dedicated musician. I'm really sorry you had such a sucky experience. What did your professor say?

Quote:I'm really sorry you had such a sucky experience. What did your professor say?

I'm actually not, it gave me an appreciation of how hard it is to get a really good performance of even simple film music.

That professor was pretty sympathetic, I'm sure i wasn't the first or the last student to bring in a poor performance. He looked over the score and listened to the synthesized version of what I wrote and understood what I was looking for. At the time I was there, this was 7-8 years ago, Berklee just really didn't have a good solution for getting more traditional works performed. Most of these players weren't bad, they just weren't session players. Most of them were more like me, they got into Berklee with some chops and some performance skills, but they were there to study music business or production or whatever, if they really wanted to be elite session players or performers, they would have been across the street studying at the conservatory.

Nice Stenny :) We sure should get in touch then :D

Your story sounds familiar John. I think me and a lot of my fellow students suffered the same experiences in the first years. We had ensemble weeks where people had to form an ensemble and perform some modern pieces. Pfff very hard somethimes and people were so demotived. In the end it was mostly rewarding because hopefully for both parties it ended ok. But I had and my best composing friend even worse some experiences that people ran away, refused guidance etc etc.

Maybe nice to tell also a succesfull and in my eyes quite an extrordinary thing to do for a musician.

In my third year of my study I had an performance with a piece for trumpet, harp, celesta and contrabass. The trumpet had to start high and I asked the player already before if it was not too high to start. "No worries", he said.

On the first rehearsal I gave him the score and I was quite unsure about the start since in my opinion it would never go ok with the high start, but since he was confident about it I decided to give it try.

He took out the score and looked at me and said to me again no problem at all! (it started with b2 written).
He grabbed a basket of pure lemon juice out of his jacket, drank a ferm amount of it. Made one of the nastiest faces imaginable and said to me: well this for sure gives you a tight embrouchure. He took his trumpet and *pew* straight on the spot he hit the clear note.
I could have nothing then deep deep respect for this guy :)