Musical America Blogs

by Edna Landau

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Dear Edna:

I am a young violinist who has been blessed to have solo opportunities. I was wondering if you think I should also consider competing in more public competitions, such as the Yehudi Menuhin Competition, to further my career goals.

Thank you so much for all you do!     —Eager to Know

Dear Eager to Know:

Your question is an excellent one, and one that doesn’t have a clear-cut answer. I would like to say from the start that this is something you should definitely discuss with your teacher, who knows your playing better than anybody and can give you the most informed opinion.

Competitions come in many shapes and sizes. Whether they might further your career goals depends on what your particular goals are. Every competition provides an opportunity to prepare certain repertoire to a high level and to perform before a jury of established artists and educators, as well as an audience that might contain individuals who some day may be of help to you. What it might offer beyond that depends on the individual competition.

There are many competitions that take place around the world whose winners walk away with a cash prize and perhaps a handful of local engagements, but the news of their accomplishment never radiates beyond that particular area. This could be because the competition doesn’t have a public relations mechanism set up to disseminate the news, or because the prestige of the jury or quality of the prizes is not of sufficient significance to make the results of the competition noteworthy on an international level. Such competitions may nevertheless prove valuable to a soloist or ensemble who wants to have a “competition experience” in order to see how their nerves hold up and to decide whether they want to participate in a more prominent one.

No one should enter a competition seeking greater exposure unless they feel comfortable with the process and motivated by the potential for artistic growth and for gaining valuable performing experience, regardless of the outcome. If that is a description of you, your next step should be to look at the time of the competition vis-à-vis your personal schedule, the required repertoire, the composition and geographical distribution of the jury, and the nature of the prizes. The first two must feel totally comfortable to you. An internationally renowned jury lends a competition greater prestige, which you benefit from if you win a top prize. It is particularly valuable if the top prizes include concert engagements and possibly a recording. Often the Finals afford a welcome opportunity to perform with a first-class orchestra and conductor. The larger competitions make several rounds available to the public on the Internet, thereby providing an excellent opportunity for you to be seen and heard by countless new potential fans.

There is no question that the Yehudi Menuhin Competition is recognized as one of the world’s premier music competitions. If you win a top prize, your public profile will be enhanced by the publicity generated by the competition and you will gain a vehicle for international exposure that you may not have had previously. If you do not win a top prize, there is not likely to be any damage to your career. Everyone knows that a competition performance represents how you played at one moment in time and that such a performance can be influenced by numerous factors.

In my view, competitions are a useful vehicle for getting an artist’s name out to a broader public and a top prize may play a role in helping the artist obtain management. However, that will only be the case if the artist possesses the musical maturity, technical accomplishment, communication skills and individuality that make them compelling, apart from having won the prize. Many such artists have never entered competitions and have built major careers via word of mouth. The wide reach of social media makes it easier today, than ever, to accomplish. Fortunately, the next Menuhin Competition is not until April 2012, so you have some time to sort this out!   

To ask a question please write Ask Edna.

© Edna Landau 2011

by Edna Landau

The following column was prepared with the kind and generous help of a few wonderful friends and colleagues whom I would like to thank and acknowledge: composers Derek Bermel, Jennifer Higdon and Alex Shapiro; Kristin Lancino, Vice President, G. Schirmer, Inc., and Mary Madigan, President, Madigan New Music.

The excellent question below was submitted by Steve Danyew, an accomplished and entrepreneurial composer, as well as the editor of the new Polyphonic on Campus section of Eastman School of Music’s widely read Polyphonic.org.

Dear Edna:

As a young composer, I’m wrestling with the decision of whether to pursue publication of my works through a reputable publisher or to continue to self publish. I’m leaning towards pursuing a publisher because of the distribution and marketing reach that many publishers have. As a self-published composer, it seems difficult to reach all the ensemble directors and musicians who may be interested in my music. At the same time, I’m not entirely sure where to start when thinking about publishers – which organizations would be the right fit, if this is the right point in my career, etc.     –Steve Danyew

Dear Steve:

I understand from the composers I have been speaking to that hardly a day goes by that they are not asked the very question you have posed. Not unlike young performers hoping to attract a manager, chances are that a composer in the early stages of their career will find it difficult to attract interest from a “reputable publisher.” Much will depend on the quality and volume of their work, record of past performances, and opportunities to hear their music in concert. Recommendations to the publisher from respected colleagues can also have great impact. Until such a time is reached, composers are advised to learn all the skills of self-publishing, as you seem to have ably done.

The next big question is, if you can succeed in attracting a reputable publisher, can you agree to the terms of the proposed agreement which typically include ceding control of your copyright and sharing revenues from sales, rentals, performances, and other uses of your music? Presumably you would only want to do this if you felt that you got a great deal in return. In addition to editing and preparation of score and parts, managing and negotiating agreements relating to the copyright and processing all orders, this could include substantial marketing and promotion and a targeted strategy to introduce your music to a well-established (possibly international) network of contacts, potentially enhancing your chances for new commissions. There is no doubt than an association with a major music publisher also carries with it a certain amount of prestige that can have incalculable effects on your career.

Do bear in mind that as with almost everything in life, nothing is absolutely black and white. Most deals have the potential for negotiation, especially if you are at a point in your career where you have some leverage. Some composers have succeeded in working out co-publishing agreements where the publisher may assume only some of the responsibilities mentioned above and the composer may retain partial ownership of (and greater revenue from) the copyright. Others have retained ownership of their copyright and passed along some activities to an independent entity such as Bill Holab Music, “publishing agents” for an impressive group of composers.

In choosing the right fit, it makes sense to study the catalogues of individual publishers to see if they include the type of music you compose and whether you admire, and maybe even know, the composers who are represented. This allows you to inquire what type of experience they have had. You might also want to get a feeling for whether the focus of the publisher’s activity is domestic or international. You will certainly want to research the level of music organizations with whom they regularly do business; check whether they are staffed adequately to provide the marketing and promotional support, as well as individual attention, you are seeking; find out whether they meet regularly with their clients and travel to key performances and premieres, and who would be your primary and regular contact. It is important to feel a good chemistry with that person and to sense that you would be a priority for them, not unlike a good artist/manager relationship.

In making a final decision, you need to weigh the benefits and financial realities of a publishing relationship against the time spent on maintaining total control of your business and growing it to higher levels. I suggest you speak to as many composers as possible about their personal experiences. In the end, the answer may lie somewhere in the middle.

© Edna Landau 2011