BBC commissions

[Hornspieler]

So far, we've had some interesting views regarding the survival of these commisions, but I would like to introduce another aspect by asking a few questions:

I have not composed any music since I left the Royal Academy of Music (Harmony and Composition - compulsory subject), but I have composed quite a lot of poetry and follow certain rules and constraints.

For instance:

What is the purpose of writing it?
Who might read it?
What format - Sonnet, Limerick, Lines per verse, Length, Humour, Love, Agony, Despair, Frustration, For a Greetings Card? ... and so on.

and most importantly, Am I writing it because it is the only way that I can express my emotional state of mind?

So moving back to this thread:

What constraints or requirements are imposed by the BBC on a composer who is commisioned to write a new work to be included in a broadcast concert performance?

Length (Maximum/Minimum)?
Size and composition of Orchestra?
The other items scheduled to be played in the concert?
Any particular Theme for that concert(eg centenary, memorial, venue [RAH, Wigmore Hall, Hyde Park etc.])
and finally:

Who in the BBC hierarchy has the responsibilty for selecting a composer and informing him/her of the BBC's requirements?

So, back to the thread. If you know the answers to any of the above , please enlighten your fellow message boarders.

Hornspieler

[Ian]

Are we talking here about the detaching of new commissions from TV broadcasts? If so, this could be a lot to do with performing fees, which are higher for broadcasts than if they are accessed from iPlayer; in the latter case, I'm informed that viewings can be counted and (the) pennies paid accordingly.

Dropping the new stuff from TV is but one manifestation... R3 certainly boasts about its new commissions - when talking the talk they are certainly happy to tell everybody about the ‘important role‘ they play. But if you can find any information about these commissions on their website let me know because I can’t find any. To what extent do they broadcast these commissions at prominent times in the schedule? To what extent do the five house orchestras play these commissions in concert? To the last two questions my impression is hardly at all.

BTW, performing fees can have nothing to do with it.

[teamsaint]

Who in the BBC hierarchy has the responsibilty for selecting a composer and informing him/her of the BBC's requirements?



Hornspieler

I have often wondered about the selection process for the New Generation Artists Scheme too.
Nothing very clear on the R3 website.

http://www.bbc.co.uk/programmes/articles/3jX17G12hFyt6l7WPThxKCx/about-the-ngas

[Ian]

What constraints or requirements are imposed by the BBC on a composer who is commisioned to write a new work to be included in a broadcast concert performance?

Length (Maximum/Minimum)?
Size and composition of Orchestra?
The other items scheduled to be played in the concert?
Any particular Theme for that concert(eg centenary, memorial, venue [RAH, Wigmore Hall, Hyde Park etc.])
and finally:


Hornspieler

I’m not sure any of those details are that important - I would say the ‘prestige’ and ‘worthiness’ of the composer is the main factor.

A BBC press release you are least likely to see might read something like this:

"Calling all composers - Urgently required - new music to help attract audiences to our specialist classical orchestral music concerts. Music with a wide enough general appeal to warrant televised broadcast particularly welcome."

[Quarky]

So far, we've had some interesting views regarding the survival of these commisions, but I would like to introduce another aspect by asking a few questions:

Size and composition of Orchestra?
The other items scheduled to be played in the concert?
Any particular Theme for that concert(eg centenary, memorial, venue [RAH, Wigmore Hall, Hyde Park etc.])
and finally:

Who in the BBC hierarchy has the responsibilty for selecting a composer and informing him/her of the BBC's requirements?

Hornspieler

As a mere listener, I have some views. There is a whole spectrum of possibilities of mixing a new commission with established works in a concert.

The common way of performing any contemporary music in a mixed programme is to keep it short - max 20 minutes - and play it at the beginning, when audience's ears are fresh. That formula seems to work very well and broadcasts the piece to a much larger audience than would a concert of wholly new music.

But we are in the Proms season, where strange things happen (e.g. prom 41), where a much-loved stock item of repertoire - Schubert, Tchaik, Mozart symphony, has equal billing with new music, which appears to have absolutely nothing in common with the symphony. The obvious reaction is that the audience will be composed of two halves, One half came for the symphony, and walked out when the new commission was played, and the other half suffered the boredom and lack of any intellectual interest in the symphony, while waiting for the main event of the new work.

However I don't think Proms audiences are like that. They are enthusiastic, willing to be surprised, and to discard their usual listening habits. New music aficionados may renew their interest in the classical music canon, and conservative listeners might find something to think about in the new commission.

I'm almost persuading myself to get out of my seat and get down to the RAH!

[Hornspieler]

As a mere listener, I have some views. There is a whole spectrum of possibilities of mixing a new commission with established works in a concert.

The common way of performing any contemporary music in a mixed programme is to keep it short - max 20 minutes - and play it at the beginning, when audience's ears are fresh. That formula seems to work very well and broadcasts the piece to a much larger audience than would a concert of wholly new music.

But we are in the Proms season, where strange things happen (e.g. prom 41), where a much-loved stock item of repertoire - Schubert, Tchaik, Mozart symphony, has equal billing with new music, which appears to have absolutely nothing in common with the symphony. The obvious reaction is that the audience will be composed of two halves, One half came for the symphony, and walked out when the new commission was played, and the other half suffered the boredom and lack of any intellectual interest in the symphony, while waiting for the main event of the new work.

However I don't think Proms audiences are like that. They are enthusiastic, willing to be surprised, and to discard their usual listening habits. New music aficionados may renew their interest in the classical music canon, and conservative listeners might find something to think about in the new commission.

I'm almost persuading myself to get out of my seat and get down to the RAH!

Hey! Steady on!

A very good post, Oddball.

To quote Somerset Maugham:

"Whenever I feel the need to take exercise, I go and lie down until the feeling goes away."

HS