July 3, 2009
5 min read

First thoughts

Being chosen for the Earshot/CSO readings has already provided enough excitement for me that I might be too tired to actually go to Colorado. The piece that I submitted was my masters thesis, finished in 2007 and cleared of two years worth of dust before being stuffed in an envelope. I figured before I received the call that I would probably never get to hear the piece, so I guess that my internal naysayer doesn't believe in the concept of delayed returns. Needless to say, I feel incredibly lucky to have been chosen to participate.


And I surely could not ask for a better potential learning experience with regards to composing for the orchestra. To work alongside experienced composers, conductors, and a seasoned, professional orchestra will help me understand the mistakes I undoubtedly made when I composed the piece (I have spent the last two years looking for someone else to blame, but no one ever came to mind). All of this mixed with an altitude of 5000 feet will surely leave permanent imprints, so I have ordered a crash helmet with a built-in powdered wig.

Part of my own personal whirlwind surrounding this opportunity has been the preparation of the parts for performance. There was something strange about going through the score and the parts again, a re-connection to what I was experiencing when I was actually writing the piece. I made a promise to myself that I would not edit any of the content of the piece while extracting the parts, and I am glad that I stuck to it. Maybe I am getting a little too mystical or indirectly acknowledging the existence of elves, but I feel like I would have tainted something by altering what I composed back then (kind of like revving up the DeLorean to try and create a slightly less frustrating Senior Prom memory). I am certainly not the only composer that has experienced such a connection whilst editing, so share and share alike (c'mon folks: we're bloggin' here).

Anyway, mine computer arm tireth. T-minus fifteen days. Thanks so much to John Glover, ACO, the CSO, and everyone else that made this possible. More to come.

by Jeremy Podgursky


American Composers Orchestra is grateful to the many organizations that make its programs possible including Arthur F. & Alice E. Adams Charitable Fund, Altman Foundation, Amphion Foundation, Benevity, Aaron Copland Fund for Music, BMI Foundation, BMI, Inc., Charity Navigator's Giving Basket, Cheswatyr Foundation, Edward T. Cone Foundation, Communities Foundation of Texas, The Gladys Krieble Delmas Foundation, Alice M. Ditson Fund of Columbia University, Fan Fox and Leslie R. Samuels Foundation, Ford Foundation’s Good Neighbor Committee, Give Lively, Francis B. Goelet Charitable Trust, Fromm Music Foundation, Steven R. Gerber Trust, G. Schirmer/Wise Music Foundation, The Hearst Foundation, Howard Gilman Foundation, The Adele and John Gray Endowment Fund, Jephson Educational Trusts, Jerome Foundation, MacMillan Family Foundation, Mellon Foundation, 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, Rexford Fund, Sphinx Venture Fund, TD Charitable Foundation, Turrell Fund, UKOGF Foundation, Virginia B. Toulmin Foundation.

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.

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