Work in Progress

How is the classical music field doing when it comes to women composers? To be sure, there is reason for optimism in the past few years, but what do the composers themselves think? We decided to go straight to the source by asking a small sampling of the many composers active in the field to share their personal perspectives and experiences.

hen New York classical music station WQXR hosted a 24-hour marathon of music by more than 60 women composers in celebration of International Women’s Day on March by Jennifer Gersten W 8, 2019, it was welcome news. Still, said the station’s creative director, Clemency Burton- Hill, “What I would love is to never hear the phrase ‘woman composer’ ever again. I’d love for us to just talk about composers, but we need to take the steps to get there by making a conscious decision to elevate accomplished composers who happen to be women.” We may not be at that point yet, but there is heightened attention being paid to the problem. And there’s no denying a sharp increase in announcements of upcoming programs featuring music by women composers at orchestras in the U.S. and internationally. Which is why we think it’s a good moment to ask a sampling of today’s composers to share their thoughts about their own experiences, and the context of these changes at orchestras and what they might mean more generally. We asked each composer a few questions:

• Do you feel optimistic about the amount of music being programmed at orchestras by women composers, and the pace of change? Why or why not?

• What programs or individuals or orchestras have been helpful to you as a composer? Has be- ing a woman composer positively or negatively affected your career so far? Have you had im- portant mentors?

Here are their responses.

42 symphony SUMMER 2019 KATHERINE BALCH women got jobs because they were a token, posers that are impossible I think a lot of orchestras or they slept with somebody. For my part, to ignore. It will not be are working really hard to I’m very glad that I was able to let negative possible to hold the dam bridge the gender equal- things roll off my back. My role model has because the flow of the ity gap. It’s attractive for always been Bugs Bunny. He doesn’t take water is by far too strong. orchestras to program authority that seriously. To people who But things will not hap- women right now, and it’s said you’ll never get into Juilliard, you’ll pen if we are not going to low-risk. I only see trends never be a conductor, I just said, “What’s speak about them and make them happen. towards greater inclusivity. For example, up, doc?” When, for example, we have a festival the Philadelphia Orchestra responded im- The teacher who really changed my dedicated all to women composers’ music, mediately to the criticism it received, in- mind [on going from singing to conduct- I think in a way that that is counterpro- tensely and rightly so. ing] was . He was a great ductive. I think we need to be accepted as I don’t advocate for tokenism. I advocate teacher, and after him I said, wow—a part of mainstream music—we shouldn’t for the music I love. If the music happens composer-conductor sounds even better make a parallel women composer genre. to be by a woman, that’s great! I’m about than a composer-singer. So I got switched There needs to be a normalization. There writing and hearing the best music, and around. I’m grateful to Juilliard, where I needs to be a situation where, when Kaija one way to get to know the best music did my master’s and my doctorate; I got Saariaho comes to have her music played today is to look and listen for voices who the best training I could have gotten any- by the Metropolitan Opera, she can talk have things to say other than the usual where. USC, where I did my undergrad, about her music and not have to answer suspects. Maybe that takes programmers gave me a great grounding. the 50 percent of questions that get asked and curators a little more time and ef- pertaining to her being a female composer. fort, but the reward is bringing art into VALERIE COLEMAN She shouldn’t have to pay for her gender the world that can offer new perspectives Women composers and by having to talk about it. and possibilities to their audiences. Isn’t their male allies are start- The LA Philharmonic is really trying that what art is supposed to do anyway? ing to become more vocal to open things up. I went to their Fluxus When I get asked to recommend music to than ever before, and also marathon in November, and I was actually orchestras and I make a list of composers, much more proactive in really taken and surprised by the vitality of I think about what the gender balance is. taking things into their that scene. They’ve done a lot for progres- I also think about who hasn’t yet gotten a own hands. These people sive causes, not just for women. The same chance to write for orchestras, as getting are gaining a voice in how major sym- goes for the Seattle Symphony, for which that first step is really important. phony orchestras handle programming, I’ll be writing a piece next year. The New David Alan Miller, the music director of and some orchestras are becoming really York Philharmonic is also really trying to the Albany Symphony, plus the Minnesota excited about the prospect of commission- move things along. Orchestra composer readings, the Ameri- ing women and people of color. I hate to can Composers Orchestra’s Underwood say that it’s a trend. I think it’s way deeper MELODY EÖTVÖS and Earshot readings, Young Concert Art- than that. It’s a recognition that music is There is a big absence of ists, the Symphony, every single being explored by all of these different orchestral music by wom- one of my teachers, and my colleagues. people, and that those people are going to en in global programming There are people who have helped me that inform the future of classical music in the by professional orchestras. I don’t even know about. That’s how this world. But we now have every- world keeps itself going—we help each One of my role models is Tania León, a one watching, and that is other. force of nature who has inspired not only largely keeping most or- me but so many women composers and ganizations accountable for that program- VICTORIA BOND composers of color. She’s charged me with ming. I feel very optimistic about the pace There’s such a glaring lack the responsibility of recognizing past com- of change. After my involvement in the of women and people of posers who have paved the way while pay- Philadelphia Orchestra readings through color in orchestras around ing it forward, and making sure that the the American Composers Orchestra last the country. That so much next generation of composers knows that year, I’m feeling more involved in that attention has been given their success comes from the support of change and very much look forward to to it this year has caused others. She’s really been this sage—kind of contributing more music to the repertoire. orchestras to really reeval- a Mr. Miyagi in a way. For the first decade I was completely uate the situation, but whether this is just oblivious to the fact that I was a female a blip on the screen remains to be seen. CHAYA CZERNOWIN composer. I was never treated any differ- Those who lived through women’s libera- We are in the middle of a sea change. It’s ently or made to feel that I was missing tion remember that this used to be a hot an evolution and a revolution, and it’s very out on opportunities. When I first received topic, but then it was back to business as important that it continues. Already now an award for women alone, the Toulmin usual. There were all these suspicions that there are so many amazing women com- Foundation commission*, I knew that it americanorchestras.org 43 was going to give my profile in the Ameri- Schirmer, and now currently by the equally but we will need to wait and see if orga- can music scene a huge boost, which it did. brilliant Rachel Sokolow. Currently, I’m nizations can effectively transform what is It led to further opportunities, including thankful to the last three orchestras where happening at this moment into long-term the one I now have with Philadelphia. So I served as composer-in-residence, because programming strategies. I’ve only ever experienced the positive in I grew enormously from those projects: Shulamit Ran was the first and only all of this. I haven’t actually had any female the Detroit Symphony, the Houston Sym- female composer I studied with through- mentors yet, but that is luckily getting phony, and now the Philadelphia Orches- out my college years. It was a rarity in the amended this year as I work with Austra- tra. I’m very blessed and grateful. 1980s and 1990s to find women serving lian composer Mary Finsterer while writ- on composition faculty. Having a female ing a piece for the Melbourne Symphony VIVIAN FUNG mentor during those years, particularly as Orchestra. And I think, without a doubt, This summer, I will be Shulamit was in residence with the Chi- that every single workshop, school, and speaking at a panel at the cago Symphony Orchestra and the Lyric festival has contributed to my knowledge Association of California Opera of Chicago during this time, helped and career as a composer. Symphony Orchestras me see a future that would hold more and Conference about mak- more possibilities for women composers in GABRIELA LENA FRANK

ing programming more Charles Boudreau the field; this vision gave me lots of im- I am optimistic. Yet, I’m relevant. I’m also a board petus to keep going on my intended path. concerned that many member with the American Composers Two organizations that have been very women’s initiatives still fo- Forum, which is working hard to incor- beneficial for me and other female com- cus on the voices of white porate DEI (Diversity, Equity and Inclu- posers are the Detroit Symphony Orches- women, and not women sion) more fully into all its endeavors. In tra’s Elaine Lebenbom competition for of color. Gender and race December 2018, I wrote “Motherhood female composers, which gave me my first have a complicated history. and the Creative Process,” an article about orchestral commission in 2006, and the When women received the vote in my na- my experiences juggling parenthood with Virginia B. Toulmin Foundation*, which tive country of the U.S., for instance, this composing. Change can be healthy when gave me a commission with the St. Louis right was extended only to white women, we include as many different and talented Symphony Orchestra. separating people of color even more from voices as possible at the table and listen to opportunity. Progress shouldn’t be privi- what is possible. JENNIFER HIGDON leged, and I’d be happy to see orchestras I didn’t really have a lot of female men- It’s starting to change think generously on this point. tors. When I was a teenager in Canada, I and I feel hopeful that Fortunately, I have had wonderful com- studied with Violet Archer and then had a this change will become poser mentors even though none were few encounters with other female compos- permanent. It feels slow, women or people of color. This demo- ers. However, what really helped me was although I can see that graphic just wasn’t around, and I’m sure meeting musicians who were like-minded. some orchestras are mak- this fact was part of the motivation for me Violinist Kristin Lee was one of my stu- ing a serious attempt. to start [the Gabriela Lena Frank Acad- dents at Juilliard. I brought along Andrew Some orchestras are better than others— emy of Music], where I offer a readings- Cyr, director of Metropolis Ensemble in the LA Phil’s upcoming season has a lot to-premieres mentorship and residency New York, to one of her concerts, and we of women, as does the Philadelphia Or- program in both chamber and orchestra were blown away by her playing. I subse- chestra’s. Oftentimes I’m the only woman mediums, partnering with world-class quently wrote a violin concerto for her and on the program in an entire season, which performers and organizations. I’m happy Metropolis Ensemble that led to a Juno can be discouraging because there are a to say that the words of my mentors— Award, which really set my career in mo- lot of women composers out there. Audi- primarily [William] Bolcom and [Leslie] tion. Meeting those musicians was really ences notice when half the population isn’t Bassett—infuse everything I pass along. key. reflected. I received an email from a grade- David Alan Miller at the Albany Sym- school teacher who said her students are phony has long been a champion of emerg- STACY GARROP depressed because composers are always ing composers, and he commissioned my We are certainly living dead. They learned about me and were su- first professional symphonic work—which through an exciting time per excited. That shows young people that is still frequently performed, twenty within the music field, composing is a relevant, living art, and it years later. Frances Richard, formerly of with more and more focus can be their art too. ASCAP, has long been a fervent cham- being given to non-tradi- Joan Tower and Libby Larsen were be- pion of composers and she, along with Su- tional composers (women, ing recognized when I was coming up, san Feder, formerly of G. Schirmer, had a composers of color, LG- which made me hopeful that I might get significant impact on moving forward my BTQ+, and composers of different na- something on an orchestra concert. The symphonic life. I’ve also benefited from tionalities). I am cautiously optimistic that Philadelphia Orchestra and the Atlanta my symphonic career being stewarded by we have started a meaningful process of Symphony Orchestra both gave me com- Katy Tucker, a brilliant former agent at G. change within orchestral organizations, missions that helped to develop my voice.

44 symphony SUMMER 2019 Robert Spano, whom I knew in undergrad, now that they can just write music and pendently of gender, race, also started putting my work on programs that’s okay. I think also as somebody who’s age, or nationality. I was when he was looking to do more Ameri- produces a lot of concerts that in the past born in Portugal during a can music. I was conscious of making them all-wom- dictatorship. Growing up en’s, but what’s happens now is that when after the revolution, dur- ROBIN HOLCOMB people program great music it will consist ing the transition from I am pleased that compos- of woman composers. fascism to democracy, ers who are women are People who have provided me with sup- there was hardly any contemporary music at long last getting their port and collegiality include composers performed. So, when I arrived in the U.S., works programmed and Tania León and Sheila Silver. I’ve also felt in my mid-twenties, this was the land of featured by orchestras. an enormous amount of support from Paul opportunity. Call me old-fashioned, but Dunkel—before him, I’d never written for I’ve lived through situations that were I will be very happy when orchestra before. Also, Ursula Oppens, for very uncomfortable—unfortunately, I we can get past the “women composers” whom I wrote my piano concerto, and the think this happens to a lot of women com- label and reinvigorate the job description members of the Cassatt Quartet. You don’t posers. My main concern has been always of “composer” to actually include the en- ever do any of this in isolation. to improve myself both as a composer and tire population and equal opportunities to a person, and to let my music speak for work. Orchestras are stepping up and pro- JESSIE MONTGOMERY itself. When I was a student, I was fortu- gramming works by a considerably wider I am noticing that there’s nate to have mentors as well as programs pool of composers of all sorts, which is much more awareness of that were crucial in molding my craft and long overdue. Doing right by women feels the need for female com- in making me a better musician. Among like a first step in a landscape where many posers. With all these them were composers Bob Brookmeyer, first steps are needed. articles that have come Michael Gandolfi, , and While I feel that my gender has rarely out outing major orches- Steven Stucky. Some programs were great if ever been a direct hindrance to me pro- tras for the lack of female stepping-stones—the EarShot program, fessionally, it has, by the same token, rarely composers in their seasons, it seems that ’s Composer Insti- felt particularly beneficial. I know that I there’s been a pretty thoughtful response tute, and the League of American Orches- am fortunate that this has been my experi- in some cases. Everyone’s trying to be tras—that led to major commissions with ence. The longer, larger history of inequity aware of the environment for the first time the Gulbenkian, Berkeley, São Paulo, and and inequality is another matter altogether. and how we can improve the future of or- Columbus symphony orchestras, and the The American Composers Orches- chestral life. There are so many obstacles American Composers Orchestra, among tra and League of American Orchestras facing orchestras, and balancing the scale others. continue to be enormously supportive, of female and male composers at a time remarkably so. Both focus not only on when they’re facing many other challenges AUGUSTA READ THOMAS extending and expanding professional op- is very bold and also visionary. I have to confess—I am portunities but also on building a commu- I was the American Composers Orches- not a sociologist nor a nity of composers. That my first piece for tra’s Van Lier Fellow in 2011, in which musicologist nor an eth- orchestra has led so quickly to two read- they gave me a small stipend and some nomusicologist, and have ings by major orchestras and two commis- staff support to put on my first concert not made surveys or stud- sions is crazy. I feel very fortunate. These of all of my music. From there, things re- ies. Rather, I spend every two organizations have everything to do ally started to open up for me. I really feel day at my desk writing or- with that. that that was kind of a shift and a turn- chestral music. I’m so engaged in creativ- ing point in my outlook as a composer in ity, composing extremely nuanced, clean, LAURA KAMINSKY terms of what I thought was possible. Mi- intentional scores, which require an enor- I was the dean of the mu- chael Geller, the ACO’s former executive mous amount of time and focus. I devote sic conservatory at SUNY director, and , who had just all my energy to the music itself, which is Purchase and resigned to begun his artistic partnership there, were what music demands and deserves. I’m an become the artistic direc- in particular very supportive in figuring extremely positive composer. I have noth- tor of Symphony Space out what would be the best thing for me ing negative to say—it’s just not my way. in New York City, but to present. I’m working 365 days a year, 16 hours a I remained head of the day writing music and significantly sup- composition department. In the almost ANDREIA PINTO CORREIA porting other composers with their life’s fifteen years I’ve been at Purchase, there I am delighted that more women have the works—and couldn’t possibly be working were from zero to two women at most out opportunity to get their pieces performed harder. I have created a large body of pub- of about fifteen to eighteen composers in by orchestras, and I hope this will be lished compositions that are recorded and the program. This year, over 50 percent of even more common in the years to come. performed regularly. the applicants were women. There’s a sense When I hear a great work, I hear it inde- For ten years I was the composer-in- americanorchestras.org 45 residence with the Chicago Symphony while to see the history, Wernick, Jay Reise). And I am forever Orchestra, which is the longest residency a and what a weak history it indebted to Daniel Barenboim and the composer has held with the CSO to date. was. That awareness made Chicago Symphony Orchestra for giving I worked very closely with Daniel Baren- me more confident and me my first big “break,” and for continu- boim and Pierre Boulez, symphony musi- willing to be an advocate ing to support my music by commission- cians and staff, philanthropists, and I was for my peers. Music is al- ing me twice more. I am so very grateful to instrumental in creating the MusicNow ways the last art to come the New York Philharmonic, not only for series, which I programmed, curated, and along. It’s very stubborn. I’ve been think- this recent commission, but also for giving emceed from the stage for nine years. It ing that for a long time. People hold onto me the opportunity to compose for Princi- was a terrific decade. I’m indebted to the dead European males like their treasures. pal Trombone Joseph Alessi and the entire Chicago Symphony for including so much I get that—they are treasures. I’ve even orchestra some years ago. This was among of my music and me in a meaningful, in- been influenced by one of them all my the most thrilling experiences of my life as spired, collaborative, and eloquent manner. life: Beethoven, you might of heard of a composer. him. What I don’t get is why is there so ANNA THORVALDSDOTTIR much resistance to newer music and liv- CHEN YI I definitely feel that things ing composers, who have so much to of- I’m optimistic on this sub- are getting better, and I fer. But things have improved, and living ject. Nowadays, there’s so am really hopeful that it composers—including many outstanding much more freedom and will continue to improve. women—are coming forward now. many more voices out We are already continu- Leonard Slatkin was my biggest cham- there, and more and more ously getting more visibil- pion in the orchestral world. When he women composers are ity for women composers, asked me to be a composer-in-residence standing up in the field. and programming of music by women [with the Orchestra of St. Luke’s], I said, I belong to many organizations, some will become more frequent still. We are of I don’t think that’s a good idea—I feel very of which I work for, that I think are re- course not able to change history, which inadequate. And he said, well, we’re go- ally helping to support women in the long has been very male-dominated when it ing to help you feel more adequate. That run. I think helping others is all of our re- comes to celebrating and encouraging was a risk. He has been like that all his sponsibility. With the Women’s Philhar- composers, so we will probably never be life, actively seeking composers he liked monic, I entered data on work by women able to even things out with older music. and standing by them. David Alan Miller composers, and I offered that information But as we look to more recent history and of the Albany Symphony is like that too. to organizations that came to ask for rec- to the future, I’m optimistic that there will There are others who have been doing ommendations for programming women’s very soon be equal programming of men it more and more: Esa-Pekka Salonen, work. This is not just one person’s task— and women in contemporary orchestral Giancarlo Guerrero in Nashville, Marin it’s our whole culture’s. Until we bring out music for orchestra. This may seem rather Alsop, Ludovic Morlot in Seattle, and Jaap many, many voices, we are not there. optimistic, but I sincerely believe that we van Zweden in New York. I’ve had so much support from several are heading there. major orchestras in the States, including I might mention the Iceland Symphony MELINDA WAGNER the Cleveland Orchestra, Pacific Sym- Orchestra, the New York Philharmonic, I am optimistic, although I phony, Seattle Symphony, and many uni- the International Contemporary Ensem- suspect that the practice of versity and youth orchestras. I’m also so ble, Esa-Pekka Salonen, and Collin Rae commissioning/present- grateful for Meet the Composer, ASCAP, [CEO of the record label Sono Luminus]. ing the music of groups and JoAnn Falletta, who conducted my I could mention many more, but I wouldn’t of women will settle down first work in the States with the Women’s know where to stop. I want to mention with the passage of time. Philharmonic. (With that group, I wrote that I am currently composer-in-residence I think it’s important for my second symphony—and Symphony with the Iceland Symphony Orchestra, programmers to look deeply into the work Magazine reported on it!). We have to where we have an absolutely fantastic pro- of all composers before choosing one over work harder for more and more people to gram, Yrkja, geared towards young com- the other. be included so that our society’s diversity posers who have recently graduated. They The only experience I know is that of can be seen. can apply to write a piece for the orchestra being a female, and of being a composer. under my guidance and have their pieces Who knows what my professional life NINA C. YOUNG performed. It’s really encouraging the cre- would have been like had I been born a It appears that there are ation of new orchestral repertoire. male? I’d like to think that it doesn’t mat- more orchestral opportu- ter. Certainly it is true that I’ve always nities afforded to compos- JOAN TOWER been outnumbered, and that has made me ers of my generation than When I started out—I’m 80 now—all pretty tough! there were to those even I cared about was whether my piece was I’ve had important mentors for whom a decade older. My peers strong enough to survive. It took me a I am grateful (Shulamit Ran, Richard have had the opportunity

46 symphony SUMMER 2019 to experiment with the orchestra in a way me, and together we make something big- that was previously off limits to most. But ger. I’ve also had very nice relationships * The League of American Orchestras’ if you look at the demographics, until only with universities and conservatories, in- Women Composers Readings and Com- very recently these opportunities were cluding the and Florida missions program is administered with awarded to predominantly white male State University. American Composers Orchestra and sup- voices. Given our socio-political climate, a ported by the Virginia B. Toulmin Foun- conscious effort to diversify is happening JENNIFER GERSTEN is a writer and violinist dation. across many fields. Institutions are feeling from Queens, New York. the pressure that is duly awarded, and the orchestra is following suit. The American Composers Orches- tra has really helped give me a voice. Ed Yim is just fantastic—he really wants to empower artists. Because of that institu- tion and his efforts, I received a commis- sion for the Philadelphia Orchestra, and I also have a commission for the New York Philharmonic’s Project 19, which I don’t think would have been possible without Conductors Concerto Soloists exposure from this institution. Another in- David CHO Cello dividual is my dear childhood friend Tito Music Director, Denise Djokic Muñoz, the director of the Phoenix Sym- Lubbock Symphony Orchestra phony. He took a bold risk in the last two Guitar seasons and put my work on subscription Martin MAJKUT Celil Refik Kaya concerts. This was an incredible opportu- Music Director, Ana Vidovic nity and learning experience, and now he Queens Symphony Orchestra (NY) Fabio Zanon has even taken my orchestra music abroad. Music Director, Rogue Valley Symphony Orchestra Harmonica Conductor Jeffrey Milarsky has been an- (OR) Robert Bonfiglio other strong advocate of my work, and I consider myself very fortunate to have the Raffaele PONTI Harp opportunity to work with him regularly. Music Director, Nancy Allen Charlotte Symphony Orchestra (FL) ELLEN TAAFFE ZWILICH Artistic Director & Conductor, Paducah Symphony Orchestra Native American Flute I think the door is open- R. Carlos Nakai ing ever wider, and that’s andré RAPHEL very good. I have not felt Conductor Laureate, Piano in any way that I was ex- Wheeling Symphony Orchestra William Chapman-Nyaho cluded from something John O’Conor because I was female. Andrew SEWELL Antonio Pompa-Baldi Nobody ever told me that Music Director, girls can’t do this. There’s always somebody San Luis Obispo Symphony Trumpet Ryan Anthony who’s going to say—you want to be a com- Music Director, Wisconsin Chamber Orchestra poser? But for every one of those, there Violin were many others who were very support- Matthew TROY Ilya Kaler ive. My feeling is this: I don’t want to be Music Director Designate, left out of something because I’m female. Western Piedmont Symphony (NC) On the other hand, I don’t want to be in- Principal Conductor, cluded because I’m female. I want it to be Piedmont Wind Symphony (NC) about the music. All I want is for the door Education Conductor, Oklahoma City Philharmonic to be open. My relationships with the soloists I’ve written for have been illuminating to me—I always learn enormous things from 225 E. 36th Street New York, NY 10016 them—and I’ve had very good relation- Tel: (212) 213-3430 Web: DIANESALDICK.COM ships with conductors. I have this idea that the whole world ought to work like cham- Email: [email protected] ber music. I listen to you and you listen to americanorchestras.org 47