July 4, 2009
5 min read

Anticipation

Less than two weeks now until the CSO/EarShot readings, and I am admittedly having difficulty concentrating on anything else! I somehow managed to survive part extraction…is there anything more stressful, tedious and ultimately exhilarating than preparing orchestral parts? Even a week later, I still have irrational nightmares that a different measure was left out of every single part, and that somehow I failed to notice this in spite of multiple proof-readings! Alas, sometimes I have to open the files in Sibelius just to make sure…


My experiences with this piece are remarkably similar to what Jeremy Podgursky described in his post: it is my composition dissertation, which I worked on for about a year, and I have often wondered if it would ever receive a performance or reading. Though I have written other pieces for small orchestra, this was my first completed composition for full symphony orchestra, and though it was strenuous, I enjoyed working on it more than any other piece in recent memory.

I wasn’t required to write an orchestral work for my dissertation, and many people suggested that I write something more “practical.” While I understood the risks, I felt like it was necessary – I love orchestral music, and had an urge to write something big (relatively speaking, anyway). Upon completion, I dutifully submitted the piece to reading sessions and competitions, often with a MIDI recording (that I spent way too much time on considering how poorly it represents the piece!). After several rejections and a couple of honorable mentions, I figured the piece had just about run its course without a performance…and then the EarShot readings were announced!

I suppose at this point I am quite biased, but even back in November I thought the EarShot readings were a great idea. First off, I was amazed when I was told there was no need to send another score since I had already applied to the ACO Underwood readings – just fill out a brief online application, and voila, it’s done! In fact, it was so easy I completely forgot about it until I read about the Memphis readings after the fact! When John Glover called about the Colorado readings, I think my first reaction was something like a combination of disbelief (really?) and relief (I’m actually going to hear this piece?), and then as it settled in I started to get really excited. Like Jeremy said, I feel very fortunate to be selected.

Well, I better try to get back to work…looking forward to July 16-17!

-Tim Sullivan

American Composers Orchestra is grateful to the many organizations that make its programs possible, including the Aaron Copland Fund for Music, Alice M. Ditson Fund of Columbia University, Altman Foundation, Amphion Foundation, Arthur F. & Alice E. Adams Charitable Foundation, BMI Foundation, BMI, Inc., CANVAS, Cheswatyr Foundation, Cornelia T. Bailey Foundation, Edward T. Cone Foundation, Fan Fox and Leslie R. Samuels Foundation, Ford Foundation’s Good Neighbor Committee, Francis B. Goelet Charitable Trust, Frederick Loewe Foundation, Fromm Music Foundation, G. Schirmer/Wise Music Foundation, Give Lively Foundation, Gladys Krieble Delmas Foundation, the Hearst Foundation, Howard Gilman Foundation, Jephson Educational Trusts, Jerome Foundation, Koret Foundation, the League of American Orchestras, MacMillan Family Foundation, the Mayor’s Office of Media and Entertainment, Mellon Foundation, Neiman Marcus, New Music USA’s Organization Fund, the New York Community Trust (Musical Arts Fund, Clara Lewisohn Rossin Trust, and Edward and Sally Van Lier Fund), Pacific Harmony Foundation, PayPal Giving Fund, Sphinx Venture Fund, Steven R. Gerber Trust, TD Charitable Foundation, Turrell Fund, and the Virginia B. Toulmin Foundation.

Public funds are provided by the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature, Office of Brooklyn Borough President Reynoso, and the National Endowment for the Arts.

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