Composing for Orchestra

Format

• An open seminar/atelier with individual consultations
• Open lectures, discussions, and sharing: three sessions of three hours each for all participants
• Individual consultations: two sessions of 45 minutes each for active participants

Topics

Composing for orchestra – composing for an institution

• Understanding the hierarchy around the orchestra (conductor, director, etc.) and within the orchestra (solo instruments, sections, instrument families)
• Orchestras in different cultures and at different levels: prestigious, professional, radio, student, festival, local
• Exploring the relationship between the orchestra and the composer: responsibilities and expectations
• Communication within the orchestra: whom to approach, when, how, and about what (e.g., intendant, chief conductor, concert conductor, program director)
• Preparing an orchestra project: writing premises, commissions, instrument choices, and additional requirements like electronics or media
• Managing writing time and communication with the orchestra or conductor
• Writing for ensembles and orchestras: exploring individual vs. group mechanisms, strategies, and possibilities
• Evaluating material for orchestral composition: what works, how much material to include, and why
• Technical requirements for scores and parts: working with apps, typesetters, layout, and explanatory notes

Rehearsing with an orchestra

• Understanding the psychology of rehearsal: building mutual respect between musicians and composers, and dealing with challenges like disrespect
• Preparing for rehearsal: what to do after completing the score and parts, and anticipating musicians’ questions
• Strategies for rehearsal communication: how to get what you need from your piece, and what to communicate to conductors and musicians
• Managing communication between rehearsals: keeping the process smooth and productive
• Using additional tools like electronics and media: technical and time considerations, preparation, and support
• Concert performance and aftermath
• Adapting your orchestra piece to the concert space: from rehearsal acoustics to performance venues like concert halls or industrial spaces
• Preparing for the concert: writing introductions, program notes, and engaging with interviews or press
• Understanding the concert as a cultural ritual: anticipating audience reactions and responses from musicians
• Post-concert considerations: securing recordings, revising scores, and exploring long-term collaborations with orchestras

Individual Consultations

• Addressing specific questions about composing for orchestra
• Discussing your ideas, visions, sketches, or plans
• Preparing for upcoming orchestra performances
• Reflecting on past experiences with orchestras

Application

Required documents for active participants:

• Current CV
• Concept, ideas, or vision for an orchestral piece/project (maximum ½ page), and an existing orchestra score (performed or unperformed, with a recording if available)
• A short statement (maximum ½ page) explaining why you want to take part in C4O
  3–4 links to examples of your recent work (audio, video, and scores, if applicable)

Required documents for passive participants:

• Current CV
• 3–4 links to examples of your recent work (audio, video, and scores, if applicable)

Please merge all documents into ONE SINGLE PDF file (LASTNAME_Firstname_C4O_2025.pdf) and e-mail it by 10 February 2025 to:

C4O@darmstaedter-ferienkurse.de

Please note that we cannot consider any remarks, links, or information outside the PDF! If you have additional files (audio, video, etc.), upload them to a cloud service and include the link in your PDF.

Applicants will be notified in March 2025. Online booking for composition will open for selected participants afterwards.

Important: Please take note of our data protection policy and the conditions for participation for the Darmstadt Summer Course before submitting your application.