2016 NJSO Edward T. Cone Composition Institute Blog
Four emerging composers embarked on an immersive week of masterclasses, rehearsals and sessions with industry leaders at the NJSO Edward T. Cone Composition Institute at Princeton University. James Anderson, Matthew Browne, Will Stackpole and Jung Yoon Wie worked with Institute Director Steven Mackey, guest conductor David Robertson and the NJSO for a week that culminated with Scores: New Orchestral Works—a live performance of the composers’ music, plus a work by Mackey, at the Richardson Auditorium in Princeton.
View dispatches from the Institute!
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July 16, 2016
The 2016 NJSO Edward T. Cone Composition Institute closed with a wonderful performance of works by the four Institute composers—Matthew Browne, James Anderson, Jung Yoon Wie and Will Stackpole—and Institute Director Steven Mackey under the baton of conductor David Robertson at the Richardson Auditorium in Princeton.
The concert was the culmination of a week of masterclasses, rehearsals, feedback sessions and meetings with industry leaders, and the evening ended with a celebratory reception featuring delicious Cone Institute-inspired ice cream provided by the Bent Spoon.
Congratulations to the composers on an incredible week and powerful performance!
Special thanks to the Edward T. Cone Foundation and Princeton University for generously providing major underwriting support for the NJSO Edward T. Cone Composition Institute.
A photo posted by New Jersey Symphony (@njsymphony) on Jul 16, 2016 at 4:17pm PDT
Congratulations to the #ConeInstitute composers! pic.twitter.com/bVvv8tUPPq
— New Jersey Symphony (@NJSymphony) July 17, 2016
The #ConeInstitute composers & @mackeysteven pose after the post-concert reception—it's been a great week! pic.twitter.com/G5EXaokjbD
— New Jersey Symphony (@NJSymphony) July 17, 2016
Thank you @thebentspoon for creating another delicious Ice Cream #ConeInstitute flavor! The perfect concert coda! 🎼🍦 pic.twitter.com/jzrIWLjIbf
— New Jersey Symphony (@NJSymphony) July 17, 2016
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Earlier:
The day of the Institute concert—Scores: New Orchestral Works—has arrived!
Tonight! NJSO and David Robertson present works by #ConeInstitute composers and @mackeysteven @ 8 pm in Princeton! https://t.co/XaFVrPU7rJ
— New Jersey Symphony (@NJSymphony) July 16, 2016
The composers began the day with their final masterclass with Steven Mackey, then had lunch with trustees from the Edward T. Cone Foundation, which, along with Princeton University, has generously provided major underwriting support that has made the Institute possible.
A final NJSO rehearsal saw the composers’ visions realized.
Excited for tonight's concert with David Robertson and @NJSymphony! Join us at 8pm for music and iced cream! pic.twitter.com/W6YKbvnwkU
— Matthew Browne (@MatthewABrowne) July 16, 2016
Looking forward to an awesome concert tonight at @Princeton with @NJSymphony! #composers pic.twitter.com/EA1MUEWQLh
— Simon Boyar (@SimonBoyar) July 16, 2016
David Robertson conducts the @NJSymphony in new compositions for orchestra at Richardson Auditorium in Princeton pic.twitter.com/XzYCt06LcW
— Mike Baker (@Tpt2Cnt) July 16, 2016
Meanwhile, the Ice Cream Cone Institute continued at the Bent Spoon. Princeton’s legendary artisinal ice-cream shop served up a rich chocolate ice cream laced with chunks of chocolate-covered waffle cones ... and offered a 10% discount on all of its delicious flavors to NJSO ticketholders!
A photo posted by the bent spoon (@thebentspoon) on Jul 16, 2016 at 7:02am PDT
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July 15, 2016
Today, the Institute composers hear the NJSO rehearse their works for tomorrow’s concert after incorporating feedback they have received from Institute Director Steven Mackey, guest conductor David Robertson and NJSO musicians.
Robertson says the opportunity for composers to hear a professional orchestra rehearse their works and incorporate real-time feedback is important: “Composers try to imagine [how their work will sound] in their head, and then there’s this shock when you hear how different a physical orchestra actually sounds. It takes quite a long time and a lot of experience to really know how your music should sound; you’re trying to do something that is the unique sound that you hear, and that’s not always self evident. And so in a setting like [the Cone Institute], we can [suggest things they could try]. And I think that experimentation is the main thing that really helps them grow.
“You’re so happy when you do something like [Jung Yoon Wie’s] Water Prism today and hear the difference, just on the straight run through. When an orchestra of this caliber can play through your piece and it already sounds good, then you’ve done a good job as a composer. Whereas, if you constantly have to stop because there’s stuff that sort of doesn’t work right, it’s probably not the actual orchestra—it’s probably that you’ve miscalculated tiny little things, which when you add the the cumulative result of many [musicians] doing those things, means that you have something that doesn’t flow as easily. I was pleased to see suggestions from both Steve [Mackey] and me were things that they took, and it really helped.”
Rehearsal kicks off with @mackeysteven's Turn the Key—hear it in concert tomorrow at 8 pm at @Princeton! https://t.co/XaFVrPU7rJ
— New Jersey Symphony (@NJSymphony) July 15, 2016
#ConeInstitute composers & @mackeysteven are hearing NJSO rehearse their works for tomorrow's concert @Princeton. pic.twitter.com/Vxjuk9uHW6
— New Jersey Symphony (@NJSymphony) July 15, 2016
The composers worked feedback from @mackeysteven, David Robertson & NJSO musicians into their scores—it's exciting to hear the effect!
— New Jersey Symphony (@NJSymphony) July 15, 2016
Some of the changes the composers incorporated came out of their Tuesday evening post-rehearsal discussion with NJSO musicians. Principal Tuba Derek Fenstermacher said he enjoyed the chance to give feedback and offer insight that could help the composers write for tuba. “A lot of times, composers don’t know what a tuba can do, so it’s nice to be able to show them. We talked about range-specific things, simple publishing things, things like mutes. And getting insight into the tuba solo in [Matthew Browne’s Farthest South], where the instrument gets to go higher, was great.
“I talked to Will Stackpole about a snare effect used in the low brass. The percussionists suggested using tinfoil [a 2015 Cone Institute work used the technique], which isn’t usually done in brass. I told Will it was possible to put tinfoil on the tuba, and he did.”
W/ feedback from Principal Tuba Derek Fenstermacher, Will Stackpole has low brass use tinfoil mute for snare effect. pic.twitter.com/YTbOMfz2XP
— New Jersey Symphony (@NJSymphony) July 15, 2016
A group of NJSO patrons attended the afternoon rehersal, taking in Matthew Browne’s Farthest South and James Anderson’s Places with Pillars. They then had a chance to chat with the composers, Mackey and Robertson on stage about music and the Institute process.
#ConeInstitute composers, @mackeysteven & David Robertson give a talkback for a group of patrons after rehearsal. pic.twitter.com/ufOGTEZFVq
— New Jersey Symphony (@NJSymphony) July 15, 2016
Robertson said, “The great thing about [the Institute] setting is that we met with the composers before and after rehearsals, and we let the composers have two days to digest and rewrite.”
Mackey said: “I would say 75% of the changes we suggested had to do with having faith in their material so they could comb out everything else so that the virtues could shine through. It’s about encouraging the composers to commit to the material they had and take away where they were hedging their bets.”
“With only subtle differences, players notice a change,” Robertson said. “What everybody wants is for the music to sound good and work right. It’s not that you have a lack of reverence for the piece. On the contrary, the job we have as interpreters is to try to fit what [a composer’s] vision is. So when you hear me suggest something, it’s not because I think it is better. It’s because I’ve ben trying to get into their minds and into what they’ve written, why they’ve written it, and find a way to make that come out more clearly. Everyone lines up behind that goal.”
Browne said: “We had a wonderful session after the first rehearsal with a few of the musicians, who basically told us if something was impossible or really hard [for their instrument], and then they gave us suggestions, as the top people in their field, how to get roughly the same sound but make it so much easier.”
It’s a process that continues through the life of a composer. Mackey said: “I was just on the phone with a cellist friend of mine, I sent him [a cello line] I thought was borderline [possible], and he played it for me over the phone. He said, ‘Yeah, it’s hard, you can’t get the bow back fast enough, but if you leave out this note …’ [musician feedback] is very helpful.
“This [Institute] is such a rare opportunity. This kind of community building, information building, skill building doesn’t happen [at a regular orchestral reading session].”
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The composers started the day with a roundable discussion with WWFM’s “A Tempo” host Rachel Katz, who will cover the Institute on her program next Saturday, July 23, at 7 pm.
Looking forward to airing that interview and other coverage of the Institute next Saturday at 7 pm. #NewMusicFriday https://t.co/cOiA1Wr1iI
— WWFM Classical (@WWFMClassical) July 15, 2016
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The composers reflect on the week so far:
Matthew Browne says: “This whole week has been really amazing. Every single thing that has been jam packed into this week is something very useful for us composers that we need more of, and you don’t get that everywhere.”
Will Stackpole says: “We didn’t come here and only hear things like, ‘the orchestration’s great here, but it could have used this.’ On top of that there was also a ton of time [being very practical], saying, ‘here’s [specifically] what you need for your percussion to succeed.’ It’s pretty awesome.”
Jung Yoon Wie says: “It couldn’t be any better. All of the real-world experience has been awesome. The music editing, all the different sessions [with industry leaders], being interviewed [for radio broadcasts] … I’ve never done it before.”
James Anderson says: “It’s been great. We learned valuable lessons for our profession, and it’s been great to be taught by a lot of different people.”
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July 14, 2016
The Cone Institute headed to New York for a day of career-enriching sessions:
Boosey & Hawkes Senior Director of Promotion Steven Lankenau shared insight into the industry, discussing a host of topics: how emerging composers can build industry connections and get their work noticed, the orchestral programming planning process, the impact of digital technology on the publishing world, all the platforms for new music opportunities and more.
Frank J. Oteri, New Music USA composer advocate and New Music Box co-editor, gave the Institute participants a wealth of information about support systems for composers—from opportunities for grants and festivals to ways to maximize their contacts and organization memberships.
Then, the composers visited WQXR’s studios for a session with Q2 Music, WXQR’s online new-music station, which has broadcast each Cone Institute concert since the program’s inception in 2014. After learning about Q2’s offerings and projects and touring the studios, the composers each stepped into the recording booth for interviews about their Institute works.
A photo posted by New Jersey Symphony (@njsymphony) on Jul 14, 2016 at 1:57pm PDT
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Back in Princeton, the Ice Cream Cone Institute kicks off at the Bent Spoon! From today through Saturday, the Bent Spoon is serving special flavors inspired by the NJSO Edward T. Cone Composition Institute.
Today, the Bent Spoon reintroduced the original Ice Cream Cone Institute flavor—vanilla malt ice cream with chocolate-covered waffle cone—and tomorrow and Saturday, the legendary artisanal ice cream shop will serve a rich chocolate ice cream laced with chunks of chocolate-covered waffle cone alongside its other inventive flavors.
From today through Saturday, save 10% on any Bent Spoon purchase when you show your ticket stub for the July 16 NJSO Edward T. Cone Composition Institute concert, Scores: New Orchestral Works! Learn more.
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July 13, 2016
The Times of Trenton features the Cone Institute and previews Saturday’s concert in an interview with Institute Director Steven Mackey:
"There are three facets to the mentoring – artistic, practical, and career development," says composer Steven Mackey, director of the New Jersey Symphony Orchestra Edward T. Cone Composition Institute.
...
"David Robertson is really one of the world's great conductors, and we are very fortunate to have him on board this year," says Mackey, who is chair of the Princeton University Department of Music. "He's been a real champion of my music, and I'm really appreciative that he's going to share his expertise with these young composers."
...
What is especially valuable about the institute is that the lessons learned will extend far beyond advice on simple technique, delving into the actual business side of what it means to be a composer, including information on rehearsal protocol, publishing and promotion.
In addition to feedback from Robertson and Mackey, the Institute will include sessions with music-industry leaders, including Boosey & Hawkes, Inc., New Music USA, Subito Music Corporation and WQXR's online new-music station Q2 Music, as well as executive speech coach, author and inc.com columnist Sims Wyeth.
Read the full story at www.nj.com.
The Institute composers spent the day fine-tuning their scores, incorporating practical tips from yesterday’s NJSO rehearsal, masterclasses with Mackey and guest conductor David Robertson, and post-rehearsal session with NJSO Concertmaster Eric Wyrick, Principal Clarinet Karl Herman and Principal Tuba Derek Fenstermacher.
Tomorrow, the composers travel to New York for career-enriching sessions with Boosey & Hawkes, Inc., New Music USA and WQXR’s online new-music station Q2 Music.
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July 12, 2016
Today, the four composers of the Institute heard the NJSO rehearse their works for the first time and got real-time feedback from Institute Director Steven Mackey and guest conductor David Robertson on stage and in masterclasses. After rehearsal, three NJSO musicians shared practical advice about writing for their instruments in a special session with the composers.
Institute Director Steven Mackey says: “I think today was a terrific day. Conductor David Robertson is so creative and generous with his comments. I think the composers got a lot out of having his perspective on their scores, both in their meetings with him and in rehearsal. Composing for orchestra is a big battleship, and I think David’s expertise and my experience will help them learn to use the things an orchestra can do well. Nine times out of 10, that just means giving their music a ‘haircut,’ just combing through and picking out the things they don’t need so that what they do can really shine. That’s a recurring theme of the Cone Institute—it’s about polishing, heightening and highlighting the things that are important and really make the orchestra come alive.”
NJSO musicians praised the composers and felt the excitement of the weeklong Institute experience.
“From the very first phrase of the very first piece, I was locked in,” clarinetist Andrew Lamy said. “[The composers] may feel honored to have been chosen for this Institute, but we [the NJSO] also get to be in the room with some of the crème de la crème talents of the next generation. I think investing time and energy into that is very important.
“There’s no substitute for having your music really heard and performed in three dimensions, and [conductor David Robertson] has been taking time to discuss orchestration with the composers. The composers come here with a very long, deep history; they’ve already had things inspiring them for 25, 30 years before they get here. But getting tips for how to place their music in front of an orchestra so it’s as easily executed as possible gets them the effect or musical statements that they want. And you can’t fake that—you can’t do that with a MIDI machine, you can’t do that in a classroom.”
View scenes from today's rehearsal, and watch the composers share the inspiration behind their Institute works:
A photo posted by New Jersey Symphony (@njsymphony) on Jul 12, 2016 at 7:54am PDT
Guest conductor David Robertson is here to lead the NJSO at @Princeton—first up is Matthew Browne's Farthest South. pic.twitter.com/iZX7p4Pntk
— New Jersey Symphony (@NJSymphony) July 12, 2016
A photo posted by New Jersey Symphony (@njsymphony) on Jul 12, 2016 at 8:43am PDT
Hear from Browne on the inspiration for Farthest South:
Next up is James Anderson's Places with Pillars:
A photo posted by New Jersey Symphony (@njsymphony) on Jul 12, 2016 at 9:25am PDT
Hear Anderson tell the story that inspired Places with Pillars:
Jung Yoon Wie's Water Prism for Orchestra:
A photo posted by New Jersey Symphony (@njsymphony) on Jul 12, 2016 at 10:30am PDT
Hear Wie describe her piece:
Will Stackpole's ... Ask Questions Later:
A photo posted by New Jersey Symphony (@njsymphony) on Jul 12, 2016 at 12:05pm PDT
Watch Stackpole describe the emotion that went into his work:
Rehearsal ends with @mackeysteven's Turn the Key—the final work on Saturday's Scores: New Orchestral Works program https://t.co/XaFVrPCw39
— New Jersey Symphony (@NJSymphony) July 12, 2016
#ConeInstitute composers get feedback from musicians on practical details of writing for their instruments. pic.twitter.com/NXrmCtBZts
— New Jersey Symphony (@NJSymphony) July 12, 2016
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July 11, 2016
The third-annual Cone Institute kicked off with individual masterclasses—each of the four composers met with Institute Director Steven Mackey to talk through their scores.
A photo posted by New Jersey Symphony (@njsymphony) on Jul 11, 2016 at 8:48am PDT
“[Mackey] really knows exactly what to hone in on when he’s looking at a score,” composer Matthew Browne says. “It was a great primer for the first rehearsal [with the NJSO]—I have a whole laundry list of things to listen for tomorrow.”
Jung Yoon Wie says: “What was really great was that he understood my questions [and had suggestions] about parts I thought could be better. He was very direct with what he thought of my piece, and I always think that direct feedback is really helpful.”
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In the first afternoon session, the composers shared the stories behind their works, rehearsing the stage speeches they will give at Saturday’s performance with executive speech coach, author and Inc.com columnist Sims Wyeth.
The four composers found inspiration from different sources. Anderson’s Places with Pillars is about the extraordinary events that people place meaning on in their lives; Browne’s Farthest South imagines an unusual encounter on Ernest Shackleton’s “Nimrod Expedition” to Antarctica. Stackpole was moved to write ... Ask Questions Later as a reaction to gun violence headlines, and Wie’s Water Prism for Orchestra illustrates the phenomenon of light passing through a prism and forming a rainbow.
Matthew Browne and James Anderson share story of their works in #ConeInstitute session preparing stage speeches. pic.twitter.com/Dw3tTOQ42V
— New Jersey Symphony (@NJSymphony) July 11, 2016
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In the second afternoon session, the composers met with David Murray of music publisher, printer and distributor Subito Music. Murray discussed the intricacies of proper notation in the Sibelius program and said the composers took away valuable knowledge that isn’t taught in school. “They asked great questions about notations and editorial style. Any time you take young aspiring professionals and put them in a situation where they can learn from each other and learn from people established in their profession, it’s a good thing.”
David Murray of @SubitoMusic chats with #ConeInstitute composers about practicalities of creating scores & parts. pic.twitter.com/rxAxQTAdBm
— New Jersey Symphony (@NJSymphony) July 11, 2016
"I like that it’s been so practical and hands on so far,” Wie says.
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» RELATED: Meet the 2016 Cone Institute composers
Major underwriting support for The NJSO Edward T. Cone Composition Institute is generously provided by The Edward T. Cone Foundation and Princeton University.