David Dean Mendoza

We all agree that being a composer is very difficult.  First, you have to have the talent and early training as a musician. Second, you have to hone and practice your craft while continuing on into a university or conservatory setting.  Third, after schooling, whether that be a BM, MM, PhD, or DMA, a composer has to get known.  The best way of doing this is by making recordings, CDs, DVDs, getting a website, joining composer societies, attending festivals and conferences, creating your own opportunities by networking, and/or whatever else it takes to get your name out there. 

A serious problem arises when composers who are not affiliated with universities or conservatories have to find other paths towards employment.  For example, if a composer gets accepted into various festivals per year, but cannot rely on funding from a university, then that composer will have to come up with whatever they can for expenses. These include hotels, rental cars, registration fees, and air travel.  If the composer is very successful he/she will be burdened with even more expenses that could range in the thousands.  It’s almost like being punished for being successful in a way. Thinking back to how things used to be in Europe gives me some measure of hope.  I am sure there were many talented musicians and composers who never got to work in the royal courts, or for any well-to-do families.  So in some ways, composers today are better off because we at least we have the freedom to go into debt following our passions.   

The only hope is to make enough money doing something else (hopefully music related) that can pay the bills.  Yes, no doubt, it’s a very difficult profession.  I remember a professor who taught fine art who was asked about how he defines success (referring to his students) as an artist?  He replied, “ If my students don’t commit suicide.”  I think the same applies to composers.