Buffalo Philharmonic EarShot New Music Readings: Composer Q&A - Scott Ordway
Scott Ordway is one of the composers selected to participate in ACO's Buffalo Philharmonic EarShot New Music Readings on February 10 and 11. Scott describes his Symphony No. 3 as "characterized by a sense of open space and gradual unfolding." Read his full program note here.
SoundAdvice is posting a running Q&A with Scott to share his EarShot experience.
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composer Scott OrdwayAmerican Composers Orchestra: What was your reaction to finding out your piece had been selected for the Buffalo Philharmonic EarShot New Music Readings?
Scott Ordway: When I first got the call from ACO, I was thrilled to have the opportunity to work with Stefan Sanders and the musicians of the Buffalo Philharmonic, as well as mentor composers Melinda Wagner, Rob Deemer, and Robert Beaser. And as I’ve learned more about the program in subsequent weeks, my appreciation for this opportunity has deepened even further.
In addition to sessions with the conductor and musicians, we’ll have meetings with representatives from many other areas of the orchestra: education, community engagement, marketing, development, and library, as well as patrons, volunteers, and members of the board of directors. We are also slated to meet representatives from national advocacy organizations who will discuss broader aspects of compositional careers and the resources that exist to support them.
What if every composition department in the country built a relationship with their local professional orchestra by regularly inviting orchestra representatives to visit campus and discuss the professional norms and expectations in their field? Bravo to ACO for leading the charge with this type of training.
ACO: What preparations are you making ahead of the readings with the Buffalo Philharmonic Orchestra?
SO: Most of the preparation for the sessions took place in December. I clarified some things in the score and parts and amended a few details that hadn’t worked well in previous performances. I’m looking forward to making further edits after working with the BPO musicians during the sessions.
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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.
