I’m not a huge fan of the complementary (comp) tickets in the classical music industry. Handing out comps tells an audience that the years of work I put into my craft is essentially value-less. Being a professional musician means fighting that stigma and protecting worth, constantly. Comp tickets are a bad habit! They are continually justified by people in the orchestra industry because: We want a full hall, no matter how. If people like this concert, surely they will pay for the next. Comps are basically like a musician’s privilege or benefit; … Continue Reading

When one thinks of violin concertos, it is easy to summon up the typical formulas and expectations. The concerto I will premiere next spring in Chattanooga is not going to be one of those. Last summer I mentioned to Hollywood film composer, George S. Clinton, that an Epic Western kind of violin concerto would be fun. He agreed and began formulating ideas. We chatted on the phone, brainstormed, shared what we liked and didn’t like about the typical concertos and were very much on the same page. The Rose of Sonora: A … Continue Reading

There are many initiatives in the classical music industry to promote living, woman, and minority composers. You will see numerous festivals and special concert series devoted to supporting and promoting these composers. That is exactly what should be done. Upon talking with many colleagues about their upcoming auditions, there is a noticeable trend that needs to stop. The music required for the orchestras’ upcoming auditions was written by composers who were long gone: long gone white male composers. While these audition repertoire requirements have been considered “standard” for the last 25+ years, … Continue Reading