While looking for new listening ideas earlier this summer, I found myself perusing the 2015-2016 programs of a few orchestras to see what composers and pieces were being played around the country this upcoming concert season. After reviewing a few season programs, I decided to do a more thorough study of a number of American orchestras examining their programming of music by living composers.
The following survey examines the programming of the 2015-2016 Classical/Masterpiece concert series of 21 prominent American orchestras. It’s important that I preface this by noting that this survey assesses only the full orchestra’s primary concert series and does not include chamber music concerts, pops concerts, special events (Ben Folds, Seth MacFarlane, etc.), programs by visiting orchestras, or dedicated new music series that most often utilize a subset of the full orchestra (such as LA Phil’s Green Umbrella series or NY Phil’s CONTACT series). The figures here reflect the season programs as published in each orchestra’s brochure or on their website as of mid-July 2015. A small percentage of surveyed programs are incomplete or still-to-be-announced.
I began by tallying and ranking the number of programmed works by living composers:
It’s not surprising to see Los Angeles Philharmonic top this list given their exemplary commitment to the music of our time in their recent season offerings. It’s worth noting that the Minnesota Orchestra’s numbers are elevated by its excellent Composer Institute, leading to the programming of seven works by young composers. Baltimore was also just awarded a project grant from NewMusicUSA to support ten centennial commissions to be premiered during their 2015-2016 and 2016-2017 seasons.
I then examined the number of living American composers programmed by each orchestra:
I also looked at the number of living female composers programmed by each orchestra:
Closer examination reveals that there’s little diversity in the already-limited programming of living female composers, as more than half of the data in the chart above can be attributed to just four composers: Jennifer Higdon, Anna Clyne, Gabriela Lena Frank, and Sarah Kirkland Snider.
Which composers are being programmed most widely? I compiled a tally of composers that are programmed by more than one of the 21 surveyed orchestras during the coming season:
Here’s the full list of living composers that are currently programmed by each orchestra:
Atlanta – Dorman, Higdon, Mustonen, Leshnoff (2), Lopez, Kurth, Grey, Singleton, Glass
Baltimore – Clyne, Rouse (2), Glass, MacMillan, Puts, Borisova-Ollas, Assad, Adams, Dun, Adès
Boston – Currier, Chin, Neuburger, Abrahamsen, Tsontakis, Higdon, Williams, Kancheli
Chicago – Glanert, Ogonek, Salonen, Dusapin, Adams, Clyne
Cleveland – Sortomme, Rands, Lindberg, Dalbavie, Kurtág, Adès, Cheung
Cincinnati – Currier, Wolfe, Escaich, Tian, Bailey Holland, Kuster, Cole
Detroit – Muhly, Bolcom, Machover, Slatkin, Fairouz, Williams, Kernis, Kirkland Snider, Lena Frank
Los Angeles – Andriessen (2), J.L. Adams, Salonen, Boulez (2), Tanguy, Williams, Norman, Adams (2), Pärt (4)
Houston – Corigliano, Huanzhi, Lena Frank (2), Jalbert, Horner* (included despite recent, tragic passing)
Indianapolis – Shaw, Kirkland Snider, Hakola
Kansas City – Knussen, Adams, Ludwig, Leshnoff
Minnesota – Kortekangas, Penderecki, Higdon, Puts, Broberg, Browne, Cerdenia, Cooley, DiBerardino, Gilbertson, Vine
Nashville – Adams, Leshnoff, Daugherty, Danielpour, Ticheli, Higdon (3)
National – Bates (2), Adams, Rouse, Picker, Jalbert, MacMillan, Shepherd
New York – Salonen, Niekrug, Glanert, Norman, Lindberg, Krawczyk, Williams, Dun
Philadelphia – Lokumbe, Gruber, Wright, Leshnoff, Williams (3)
Pittsburgh – Trifonov, Greenwood, Lobo, Tao, Glass, Copeland, Carpenter, Hartl, Adams
San Diego – Adams, Greenstein, Ortiz, Rouse, Lena Frank
San Francisco – Hearne, Tiensuu, Connesson, Bates, Adams, Widmann
Seattle – Kancheli, Adams, Sylvestrov, Clyne
St. Louis – Adams (2), Freund, Dun, Becker, Vasks, S. Adams, Dean, Kraft
How does the programming of music by living composers compare to that of the classical music greats? Here’s the breakdown, including combined statistics from all surveyed orchestras. It shows how the 20 most frequently programmed composers (blue) compare to the most frequently programmed living composers (red):
Lastly, I examined the number of works programmed by living composers as a percentage of overall programming for each orchestra. These percentages were calculated based on quantity of pieces; in each case, I divided the number of programmed works by living composers by the total number of programmed works. Duration isn’t factored in due to unavailability of data, but I suspect that if it was, it would result in significantly lower percentages across the board.
Overall, music by living composers makes up about 10.9% of the programming of all 21 orchestras combined (162 of 1,486 programmed works). Beethoven, Mozart, Brahms, Tchaikovsky, and Strauss collectively account for more than a quarter of all programming (387 of 1,486 pieces), while more than half of all programming is limited to the 20 most frequently programmed composers in the chart above (843 of 1,486 pieces). Overall, the study more or less confirms what most people in the classical world already knew: the music of our time occupies a relatively small portion of the music heard in America’s most prominent orchestral halls.
Of course, there are some great things happening with new music in the orchestral world, too. The American Composers Orchestra is providing more and more valuable opportunities and collaborations for emerging composers each year, the Cabrillo Festival is doing great work promoting orchestral music by living composers, and the New York Youth Symphony gives the Carnegie Hall premiere of a commissioned work by a young composer on every concert, just to name a few. Still, given that America’s most prominent orchestras are among the most widely visible classical music institutions in our country today, should we be asking more of them regarding music being written today? If so, what should we be asking? How should we be asking it?
What do you think? Feel free to share your thoughts and reactions in the comments below, and thanks for reading. We’ll will be back with fresh daily new music tomorrow!