EARSHOT: (Re)Loading the Canon
Photo by Alfred Kan
EARSHOT: (Re)Loading the Canon
What is the Classical music canon? How do we define it? How does it define us?
American experiences are constantly evolving, and American conservatories are adding an influx of high powered, open-minded musicians to our ecosystem. Virtuosity, now more than ever, is a perpetually moving target.
The American Composers Orchestra, in partnership with institutions including the Juilliard School, the Northwestern University, the Eastman School of Music, and the Sphinx Organization, is initiating “(Re)loading the Canon,” a consortium commissioning initiative that speaks to this cultural and musical moment––reinvigorating the impact of the concerto on our American “Canon.”
“(Re)loading the Canon'' engages with conservatories, orchestras, and young artist competitions in a new wave of virtuosic, eight-minute concertos for violin, viola, cello, and bass by Black and Latine composers that embody the energy, excitement, and innovation that great competitions inspire. The project brings together leading organizations and artists in the field to understand and harness the nature of “Canonization,” identity, and vitality in Classical music––inviting orchestras, soloists, faculty, composers, administrators, and students to own, contribute to, and challenge their “canon.”
In the end, “(Re)loading the Canon” reframes American classical music as “of the now, made by us, for us.” The project posits that we all become the canon, by making a pathway for next generations to contribute to it in a consistent way.
- For Conservatories, the project provides an opportunity to participate in a national peer consortium, commission and workshop new concertos on campus, and foster student engagement with nationally-renowned composers and soloists.
- For Composers and Soloists, the project provides opportunities for paid commissions, performances, and visibility on a national level
- For Faculty, the project provides excellent options for new repertoire for auditions and study
- For Competitions, new exciting repertoire is created, having been workshopped, recorded, and road-tested through conservatory partnerships.
- For Orchestras, the consortium showcases exciting new compositional voices and soloists through a series of new concert works
Lead Consortium Member provides venue for rehearsals/workshops, musicians, conductor, a recording of the final session to be used as a reference for interested musicians/orchestras, soloist fees, and travel/lodging for on-the-ground participants.
ACO provides on-site facilitation of workshops, program logistical support, and guides the selection of composers, soloists, and other on-the-ground participants, including mentor composers, if requested.
TIMELINE
- January 2024: Lead commissioners and partners finalized
- March–May 2024: Composers selected (in collaboration with partners)
- November 2024: Concerto drafts/samples due
- March–May 2025: Final drafts of concertos due
- June–July 2025: Soloists for rehearsals/workshops identified (in collaboration with partners)
- August–November 2025: Concerto rehearsals/workshops (ACO staff + composer on site)
- December 2025: Reference recordings for Sphinx review due
- February 2026: Final decisions from Sphinx on inclusion in 2027 competition repertoire
- March 2026: Inclusion of concertos in Sphinx competition repertoire lists
- February 2027: Concertos performed at Sphinx competition
- March 2027 (and beyond): Building of professional orchestra consortia around each concerto for additional performances
LEAD CONSORTIUM MEMBER INVESTMENT
Note: fees/travel negotiable based on location of selected soloist/composer
- Commission Fee: $9,000 of $10,000 total fee
- Soloist Workshopping Fee: $2,000
- Travel/Lodging (Soloist, Composer, ACO Staff Member): $3,000 (estimated at $500 flight + $500 lodging per person)
SPHINX ORGANIZATION INVESTMENT
- Co-Commission Fee: $4,000 ($1,000 per commissioned concerto)
Corporate gifts to match employee contributions are made by Goldman Sachs, Deutsche Bank, Triton Container International Incorporated of North America, and Neiman Marcus.
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.
