Classical Commissioning Program Application Deadline: April 6, 2012 Notification: May 2012

“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.”

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

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

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

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 applying.

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 applying.

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

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, may not have outstanding commitments to either CMA commissioning program

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

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.

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.

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

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.

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)

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

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.

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.

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.

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

How are Applications Reviewed?

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.

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.

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

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.)

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

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

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

So Percussion – It Is Time, by Steven Mackey Da Camera of Houston with the Brentano String Quartet – Live Oaks, by Tobias Picker Pittsburgh New Music Ensemble – L’oeil écoute, by Pierre Jalbert Cantus – A Sound Like This, by Edie Hill Recent Commissioning Grant Recipients

For More Information FAQs Guidelines Contact Susan Dadian, program director, CMA Classical/Contemporary (212) , ext. 13 For membership information, contact Adam Reifsteck, membership manager, (212) , ext. 28 Visit