As a professional orchestral music librarian (also a composer and
copyist), I'm usually the first one to see poorly engraved and laid-out
orchestra materials sent from publishers and composers. As recent posts
lament, there are too many music copyists (including self-published
composers) who
And here is Daniel Spreadbury's latest diary entry:
http://blog.steinberg.net/2014/02/development-diary-part-the-fifth/
I really appreciate the things he is discussing. I play in a symphony
orchestra that does 5 subscription concerts a year. In 2 of the last 4
concerts we were given music
They also sell cars to anybody.and look at the drivers out there. They also
sell violins to anybody.
A tool is a tool. If a publishing house lets complete crap out, you should tell
them that by returning that crap. If a composer comes in with a piece, and
its totally NOT readable, then you
Craig, you make an excellent point. But as a composer, it is nearly impossible
to be confident that our manuscripts are what
musicians are comfortable with. There is lacking, imo, the interface between
the good composer, and the musicians, when it
comes to the manuscript.
It would be greatly
On 2/20/2014 3:21 PM, timothy.price wrote:
Craig, you make an excellent point. But as a composer, it is nearly
impossible to be confident that our manuscripts are what musicians
are comfortable with. There is lacking, imo, the interface between
the good composer, and the musicians, when it
In one of my examples, the composition was a major part of that concert
and had been announced. It came from a house in Germany and there was
no option not to program the piece. So I rewrote all the brass parts
between the first and second rehearsals. Our orchestra manager even
offered to
Amen, brother. My orchestra is paying almost twice per rental what we
paid just 5-6 years ago. That is WAY above the rate of inflation. It
is affecting what we can program.
When you pay $800 to rent a big work, it does seem reasonable to expect
that the parts are error free. Most of these
I didn't imagine the extent of the problem.
Like much of our society today, we are charged money for services of poor
value.
I don't believe that my work would get this sort of criticism.
Craig wrote:
You would think that if a publisher is renting a piece for $10,000
revenue a year (or
On 2/20/2014 6:18 PM, timothy.price wrote:
I didn't imagine the extent of the problem.
Like much of our society today, we are charged money for services of poor
value.
I don't believe that my work would get this sort of criticism.
Craig wrote:
You would think that if a publisher is
And you would probably never be able to rent anything from that
publisher again, or else they would establish a special price just for
you. For orchestras, there are only a few big houses that hold the
rights to most of the non-public-domain literature. And any given work
may be available
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