David Dean Mendoza

As contemporary classical composers we are faced with thequestion of how best to present our music to the masses.  Usually this might happen after our bachelors or masters degree.  This presentation might take the form of recording, designing, and releasing a CD,creating a website where one could listen our music, or perhaps buy and/or download recordings or sheet music. To me this is all well and good. 

Then there are those brave souls who become their own artistic director or band leader, and manage an ensemble that tours around the country playing to anyone who might schedule them.  For musical styles that intersect the classification of the classical and commercial worlds this might be a great option.

I had not considered this path until a colleague of mine suggested that I become my own artistic director and plan such a tour.  He said to me, “ You know a lot of these bars have open mic nights where you can play and people will be so drunk that they will clap at anything.”  At first, I thought it was an interesting idea.  I actually know someone who does this sort of thing in New York City.  He continued stating the fact that at composer conferences (we happen to be at an SCI regional one) we only get an audience of fellow composers, and that we should try to reach the masses.  Again, I agreed and thought nothing of it. 

Then the next day I realized how much I disagreed withhim.  I thought to myself, why would I play for people who don’t appreciate or understand contemporary music.  Not to mention the fact of people getting drunk and clapping at my music.  Was I that desperate for an audience?  The answer was no, of course. 

So the question becomes, as contemporary composers, what kind of audience is best suited for our music.  Is it the educated few who have the knowledge to at least appreciate our art form, or is it the average person who might not understand us or at worst hate our music? 

Of course we open ourselves up to the average person who might walk into a music festival, or a university performance of something contemporary.  If a young person does not get exposure to contemporary music they probably will not have an appreciation for it.  Even when performers get exposure to contemporary music, many of them still do not preferit.  We work with a very esoteric art form that not many people are going to understand.  I have always accepted this fact, and I am surprised at how many of my colleagues setup their website expecting to sell lots of music, and suddenly realize that no one cares. 

In closing, I am reminded of these excerpts from RichardMaxfield’s article Composers, Performance and Publication.  I recommend every composer read this awesome article.  It may be rather negative, but I agree with it, and enjoy ita lot. 

….”The few pennies so patronizingly offered the composerfor his work amount to payment so meager as to be totally absurd; no saneperson would give his time for such a pittance.  And this in return for all rights and control over the fate of the music!  The publisher does not serve the composer by printing and disseminating his music:  it becomes the property of the publisher, and its use governed by big business not artists.  Serious art is hardly likely to thrive in such an impossible system……….”

“An audience is best served by presenting a challenging occasion suitable to the most sophisticated connoisseur.  The more special and atypical the farethe more it offers by virtue of being extraordinary.  Rather than popularizing such concerts, warn the audience away.  Then only those who are receptive to the extraordinary will come and the atmosphere will be alert and open.  The majority who mainly seek familiar entertainment will help by staying away until they become properly curious as to what the informed are talking about.  There is more satisfaction in the calmer atmosphere of an audience come prepared to listen than in the cool reception of a very much larger audience who aren’t really interested.  Never mind adverse press.  It is predominantly the voice of conventionality and exerts,if anything, a negative effect on thinking people.  And especially never mind how much applause.  It is not so much correlated with the quality of the music as it is a conditioned response elicited by the bravura of a strong personality on stage or the clangor of a loud and vigorous finale.”