Classical Commissioning Program

1. Classical Commissioning Program Application Deadline: April 8, 2013 Notification: June 2013

2. The Classical Commissioning Program provides support to U.S. based professional classical, contemporary and world music ensembles and presenters for the creation and performance of new chamber works by American composers.

3. This program is supported by The Andrew W. Mellon Foundation,The Aaron Copland Fund for Music, and theChamber Music America Endowment Fund.

4. Grants funds are designated for • composer commissioning fees • ensemble rehearsal honoraria • copying costs

5. Composer Honorarium Grants provide a composer’s fee (from $5,000 to $20,000, depending upon instrumentation and length of the work)

6. An ensemble is eligible if • it is based in the U.S. or its territories • it is a professional group (amateur ensembles are not eligible) • it consists of "fixed" personnel and instrumentation OR • it is part of a flexible roster or a collective that performs in varying configurations of no more than 10

7. in the case of a duo, it performs as equal partners rather than as soloist and accompanist, and consistently publicizes itself as a duo • it has a commitment to contemporary classical or world music • it is a CMA Organization-level member • it has no overdue reports or financial obligations to CMA • it has waited 12 months after completing any previous CMA commissioning project before re-applying.

8. A presenter is eligible if • it is based in the U.S. or its territories • it is a 501(c)(3) or other not-for-profit organization • it presents classical, contemporary, other music genres, and/or multi-disciplinary performing arts programs • it is a CMA Organization-level member • it has no overdue reports or financial obligations to CMA • it has waited 12 months after completing any previous CMA commissioning project before re-applying.

9. An ensemble or presenter must apply with a composer who has agreed to write the new work, should a grant be awarded.

10. The Composer • must be a U.S. citizen or permanent resident • may be a member of the applicant’s ensemble • may not appear on more than one application to a CMA commissioning program—including New Jazz Works—for the period beginning July 1, 2013. • may not have outstanding commitments to either CMA commissioning program

11. The New Work • Must be written for a small ensemble (2 to 10 musicians) • Must be written for one musician per part • Must be in the form of a notated score • May represent a diverse musical spectrum, including contemporary art music, world music, and electronics

12. The commission may not be • a previously written work • a work in progress • an arrangement of previously written works • a staged work, or incidental music for other media.

13. If the work is to be written as part of a collaborative project involving other artistic disciplines, it must also be a stand-alone work for concert performance.

14. The application is made up of • An audio work sample • A written application • Supplementary materials

15. The Audio Work Sample Is the most important component of the application. It is the first component reviewed by the panel. Only about 25 applicants advance beyond this point.

16. The Audio Work Sample • should demonstrate the highest quality of the ensemble’s playing • should demonstrate the ensemble’s ability to perform contemporary music • must be a single CD-R (mp3s, data discs and DVDs are not accepted)

17. must contain up to three tracks (contrasting works are strongly recommended) • must use separate tracks for each work or movement (portions of movements and excerpts from larger works are acceptable) • must total no more than 20 minutes • must include work(s) written in the last 25 years

18. The Audio Work Sample • must include at least one unedited track from a live concert performance (on either Track 1 or 2); the remaining track(s)may be re-recorded from commercially released or studio recordings • must represent the group’s current personnel (if the ensemble is a subset of a larger collective or roster, a majority of the musicians that will perform the commissioned work must appear on the work sample) • must not include solo pieces or works with orchestra.

19. Composer and Guest Artist Work Samples • must be submitted on separate, single CD-Rs • must consist of three works (preferably contrasting works of chamber music) • must use separate tracks for each work or movement (portions of movements and excerpts from larger works are acceptable) • must total no more than 20 minutes • must include work(s)written in the last 25 years • may be re-recorded tracks from a commercially released studio recording.

20. The Written Application • Make sure you answer the questions that are asked. • Tell your story, but be descriptive, specific, and concise. • Provide the history of the ensemble. • Describe its commitment to new music. • If a presenter, provide information about the organization.

21. Explain why you want to commission the particular composer • Provide background about the composer • Obtain a description of the new work from the composer • Explain the importance of this commission to your organization or ensemble • Describe how you intend to market the new work to your audiences

22. How are Applications Reviewed?

23. Audio Work Sample Review • Audio Review of Ensemble CD-R • “Blind review” (applicants and performers are not identified to the panel) • The panelists listen to approximately two minutes of Tracks 1 and 2. • Each panelist rates the audio sample based on the group’s artistry, cohesiveness, sound, and ability to perform contemporary music. • CMA recommends that the applicant give cue times for the strongest part of the tracks on the CD-R Work Sample page to direct the panel’s listening.  • Approximately 25 applicants with high scores are advanced for Written Application Review.

24. Written Application Review • Only the applicants who have been advanced from the Audio Sample Review will be part of the Written Application Review. • At this point, the identities of the applicants will be revealed to the panel.

25. Written Applications are scored based on • Applicant’s history of performing and/or presenting contemporary music • Quality of the proposed project—idea for the commission and the applicant’s reason for selecting the composer • Capacity to carry out the project successfully

26. Composer Evaluation The panel will evaluate the composer’s • artistry as demonstrated on the work sample (e.g., musical ideas, his/her voice as a composer) • ability to write the proposed new work for the ensemble. (The panel will use the applicant’s project description as a reference.)

27. Include Supplementary Materials • Audited financial statement OR • Form 990 or 990EZ (presenters) • Operating budget (ensembles) • U.S. citizenship verification OR 501(c)(3) status for applicant • U.S. citizenship verification for composer • Letter of Intent from Composer

28. Letter of Intent from Ensemble (for Presenter Applicants) • Letter of Intent from Guest Artist (if applicable) • Sample concert programs • Composer résumé or bio • Bio for each guest artist, if applicable • Ensemble’s repertoire list (indicate commissioned works) • List of the composer’s complete works

29. A complete Application Includes • CD-R Work Sample for Ensemble • CD-R Work Sample for Composer • CD-R Work Sample for Guest Artist (if applicable) • Completed written application • Appropriate Supplementary Materials

30. Recent Commissioning Grant Recipients • Third Coast Percussion – Resounding Earth, by Augusta Read Thomas • Gramercy Trio – Piano Trio No. 3, by Gunther Schuller • Brooklyn Rider – Culai, by Lev “Ljova” Zhurbin • Musiqa – Deep-Sky Objects, by Sebastian Currier

31. For More Information • FAQs • Guidelines • Contact Susan Dadian, program director, CMA Classical/Contemporary (212) 242-2022, ext. 5082 For membership information, contact CMA Membership Department (212) 242-2022, ext. 5293 Visit www.chamber-music.org