Writing music is relatively straightforward - definitely compared to securing a performance. Fortunately I am now in the unusual position of working with a pianist who is keen to meet up regularly and talk through the new pieces I'm working on almost as soon as I finish each section. Plus there is an actual concert looming that is incentive enough to keep the pencils sharpened.
Other routes through are less enjoyable. I am not one of the world's best networkers, which doesn't help, and quite often miss opportunities which others might snap up. Some time ago, while living in the West Midlands I was in a wine merchant in Malvern eying up some fine reds for the meal to come. Ahead of me in the queue was, of all people, Nigel Kennedy and my companion spotted this and urged me to step in, introduce myself and sell my wares. I had just completed, by chance, a large-scale work for violin and orchestra that had recently been performed in Poland but had not been played in the UK. My friend knew of this and could not understand my reluctance to seize the moment. But the idea of asking Mr Kennedy if he would also like a new violin concerto to go with his Barolo and Chablis went totally against the grain. I let the moment pass.
Another avenue to try to secure a performance or two is to explore the international competition circuit. A call for a particular type of work is issued via the internet or other means and a small army of composers, throughout the world, set about creating music for one concert in the distant future. The entries are all anonymous and, usually, a panel of experts (composers, academics, conductors) read through the scores, often in the hundreds, and choose an eventual winner. Considering you're fighting against what feels like the rest of the globe in this arena it's quite a tough call. I have been surprisingly successful here, but things are not always what they seem. I was lucky enough to win first prize in a competition in Girona in 2005 and received the accolades and a not insubstantial sum of money but I am still waiting for the first performance to take place. It seems even winning is no guarantee.
Worst of all is the compositional equivalent of the cold call, sending out your scores to all those who you think might be interested only to hear nothing back, ever. This can destroy the soul if you are not prepared for the silence that follows. It is a strange business that requires a thick skin and a willingness to "keep going" when all the rational signals are screaming at you to stop immediately. So, at the moment, I am relishing the writing process knowing the music I am working on will be looked at, rehearsed and performed in the near future and that at least one other person is intrigued. It's enough to keep me away from my inept attempts at networking for the time being at least. "Monster!" as the great violin virtuoso might have said.
