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For the French State, the process of music commissions is one of the principal means of supporting creative activity and of granting direct aid to composers. Its effect is to encourage new works, to improve the working conditions of the composer and to encourage encounters between the different actors involved in musical creation.
It also has the effect of bringing composers acknowledgement by the State of their craft and their work and it supports the efforts made by the various structures of creation, production and promotion that present the commissioned works to the public; in addition, it encourages a balanced distribution of resources on the ground for assisted projects.
Music commissions contribute to the existence of contemporary musical creation, for without direct or indirect financial support, the latter rarely finds the economic conditions for its existence.
Any composer may request a music commission from the services of the DGCA. There is no limit as to age, no minimum age, no condition concerning nationality as long as the work that is the object of the commission is performed by a French orchestra or ensemble and/or is premiered in France. It is not necessary to possess a musical diploma or to be well-known. No information as to the composer’s style will discriminate against acceptance of the candidature.
In the archives of the DGCA, the first documents concerning commissions for composers date from the Liberation. Throughout the 1950s, commissions were awarded by simple administrative decision and without consulting experts from outside the administration. It was from the 1960s that this process became institutionalised, with a growing and regular number of commissions granted each year, and with the setting up of a committee of professionals. In 1990, this process was opened out to a greater number of musical genres, in particular: jazz, traditional music, multidisciplinary productions (choreographic, cinematographic and dramatic), as well as music for amateurs, choral singing, pedagogy and, more recently, song and sound installations.
The process for State commissions is well accepted in its principle and in its operation by the very great majority of those involved. It has been subjected to a certain number of transformations over the years and was revised as to its modalities following discussion with professionals in 1992 and 2006. The principle has never been called into question and it remains the responsibility of a national committee organised by the DGCA.
So as to allow genuine debate, the members of the committee are both few in number and representative of the profession as a whole. The thirteen members, apart from the president, comprise six composers, two promoters, two performers and three music inspectors. They are chosen for their ability to appreciate, within a restricted time limit, the requests that are presented on the basis of written documents (scores) or sound documents (CD, DAT).
Because of the specificity of some dossiers (jazz, music for choreographic, dramatic, cinematographic productions, traditional music, etc.), the composition of the committee is in part modified in accordance with the requests under consideration, in order to ensure the particular competencies that are required.
Each member is responsible for a certain number of dossiers. The presentation of each project rests on a preliminary study of each of the requests for a commission; it is followed by informed discussion, by reading the scores and by listening to the audio material.
The president of the Committee leads the debates and ensures their smooth progress. He does not take part in the introductory reports, but participates in the discussion and in the vote on each dossier.
The members are renewed every year and their names are kept secret until the committee is in session; the vote takes place by secret ballot.
The expected features in a report concern the following points:
- the personal and professional itinerary of the composer.
- the circumstances of the performance of the work: organisation in charge of the premiere, performers, venue, date, planned further performances; work objectives (particularly in the case of pedagogical commissions).
- an indication of the scores or extracts of audio material that should be made known to the committee.
The principal instructions given to the committee members, other than the confidentiality of the debates, are the following:
For a detailed examination of the dossiers and to avoid a ‘guillotine’ vote, every member of the committee must, for each dossier, make an independent declaration following three criteria:
- 1/ the technique and craftsmanship of the composer
- 2/ the artistic interest and originality of the musical project
- 3/ the interest of the production and the outlook for the work’s future progress.
Information is given on the number of commissions previously obtained by the composer presenting the project.
The committee sits once a year, and comprises two colleges.
First college
Second college
This division aims at facilitating the application of sliding scales suitable for each of the categories. These are however, only advisory, as some pieces may belong to several different categories or, conversely, may not stricto sensu belong to any. As appropriate, the committee reserves the right to reclassify in another category a request for a commission which it thinks incorrectly attributed.
In order for a proposal to be examined by the committee, the project must fulfil the following conditions:
- obligation of promotion: the written commitment of a promoting body to have the work performed at least once in public
- a composer may not present more than one dossier per committee. Moreover, commissions may not be obtained two years running, with the exception of commissions concerning pedagogy and amateur performance, the objective being the encouragement of new works in these particular areas.
The application dossiers for musical commissions must be requested by post between 1 October and 30 November; the committee generally sits during the following spring.
They must be returned, accompanied with all complementary items (list attached), by post or delivered to the DGCA (Délégation à la musique) before 1 December of the year preceding the year of the committee, an obligatory deadline, the postmark being decisive.
The projects examined should not be presented to the public (in whole or in part) before 31 March of the year in which the committee sits that will examine the request.
In the interests of the composer and in order to facilitate the committee’s work, it is particularly important to address a complete dossier with the information card carefully completed and with all required documents.
The dossiers requesting musical commissions, accompanied by the complementary items, should be submitted or posted to:
- Letter from the composer asking for a State commission for the work he/she agrees to write.
- Letter addressed to the ‘Directeur de la Musique, de la Danse, du Théâtre et des Spectacles’ and signed by an official of the performing organisation agreeing to perform the work to be commissioned from the composer.
- Letter addressed to the ‘Directeur de la Musique, de la Danse, du Théâtre et des Spectacles’ and signed by the director of the venue for the performance of the work if this body is different from that which will perform the work.
- Curriculum vitae of the composer and catalogue of works.
- Scores (maximum 3) and recordings (CD or DAT) of works already composed, the most representative of the composer’s approach and of the project being presented. Composers are requested not to include audio cassettes.
- The scores or recording material of the work that is the object of the request for a commission should not be included with the dossier.
- Composers must specifically indicate, among the items sent, the tracks of the pieces they wish the members of the committee to hear.
- For the music for shows (opera, dramatic, choreographic, cinematographic productions): libretto, synopsis or argument of the work.
- For musical shows (opera, music theatre, dramatic, choreographic, cinematographic productions): a detailed description indicating, in particular, the link between the musical part and the argument.
- For pedagogical works: include a detailed project (work relationship envisaged with the pupils/students…).
- Official details of the composer’s bank or post office account. For payments abroad: an official certificate of the bank where the composer holds an account.
The beneficiaries
The average age of composers at the time of the commission is 42.
Statistics compiled over recent years show a strong percentage of ‘primo-beneficiaries’ (composers who have never previously received a commission):
- 32 % for the period 1970-1979
- 27 % for the period 1980-1989 (the year 1989 brought down the average)
- 35.5 % for the period 1990-2000
- and nearly 35 % since 2001.
These figures show the marked renewal of composers who are beneficiaries of the procedure (more than a third each year).
Since the commissions have been in existence (more than 50 years), only 14 % of composers have received more than five commissions and 4.5 % more than ten.
The nature of the works commissioned
The requests for commissions are divided into various categories according to their objective. The creation of new categories has made it possible to take into account requests concerning amateur activities, pedagogy, choral singing and jazz, music for stage shows (choreographic, dramatic and cinematographic), song (‘chanson’), and, from 2007, ‘sound installations’.
|
Opera |
2,7 % |
The category of commissions in the domain of song (‘chanson’) was set up in 1999 and up to the present few requests have been presented to the committee. The setting up of ‘Chanson’ residencies brings added support to this sector.
Every year about 70 commissions are granted by the committee.
Commissions granted between 2000 and 2006
|
Year
|
2000
|
2001
|
2002
|
2003
|
2004
|
2005
|
2006
|
||||||||||||||||
|
Number of dossiers presented to the committee |
160
|
179
|
199
|
177
|
158
|
190
|
182
|
||||||||||||||||
|
Number of commissions granted by the committee |
68
|
65
|
64
|
67
|
61
|
66
|
61
|
||||||||||||||||
|
Commissions outside the committee
|
19
|
25
|
26
|
30
|
22
|
24
|
28
|
||||||||||||||||
|
Total number of commissions granted
|
87
|
90
|
90
|
97
|
83
|
90
|
89
|
Depending on the genre and the duration, a scale that is regularly updated gives the range of sums granted. An effort has been made since 1997 to make gradual increases, notably in 2003 and 2004.
The average annual budget allotted to the attribution of musical commissions is approximately 750,000 €
Indicative scale of State musical commissions in 2006
|
GENRE |
FORMATION |
DURATION |
FIGURES in € |
|
Opera |
Large form |
from 30 min to 2h30 |
17,000 € to 38,500 € |
|
Small form |
from 30 min to 2h30 |
13,500 € to 28,000 € |
|
|
Symphonic work |
Orchestra by 4 |
from 12 to 30 min |
17,000 € to 27,000 € |
|
Orchestra by 3 |
from 12 to 30 min |
14,000 € to 23,500 € |
|
|
Orchestra by 2 |
from 12 to 30 min |
12,500 € to 20,000 € |
|
|
* Instrumental ensemble |
15 to 25 musicians (with conductor) |
from 12 to 25 min |
9,000 € to 14,000 € |
|
|
8 to 14 musicians |
from 12 to 25 min |
8,000 € to 11,500 € |
|
* Vocal ensemble |
4 to 32 voices |
from 10 to 25 min |
7,000 € to 13,000 € |
|
* Solo, small formation, or constituted group and small ensemble up to 8 instruments |
1 to 8 musicians |
from 8 to 25 min |
6,500 € to 11,000 € |
|
Electro-acoustic work |
from 10 to 40 min |
7,000 € to 13,000 € |
In the case of mixed works with tape or audio-visual equipment, a re-evaluation of the scale from 1,500 to 6,000 €.
|
GENRE |
DURATION |
FIGURES in € |
|
Musical theatre |
from 20 min to 1h30 |
9,000 € to 17,000 € |
|
Dramatic // choreographic // cinematographic production |
from 15 min to 1h30 |
5,500 € to 14,500 € |
|
Sound installations |
as per the project |
5,500 € to 13,000 € |
|
Choral |
as per the project |
5,500 € to 11,500 € |
|
Pedagogic work |
as per the project |
5,500 € to 13,000 € |
|
Wind band |
from 10 to 30 min |
6,000 € to 13,000 € |
|
Projects for amateurs |
from 10 to 30 min |
6,000 € to 13,000 € |
|
Jazz |
as per the project |
5,500 € to 14,000 € |
|
Traditional music |
as per the project |
5,500 € to 14,000 € |
|
Chanson |
as per the project |
5,500 € to 13,000 € |
Members of the first college
Presidency
Bernard CAVANNA, David JISSE and Alain MOENE.
Composers
Annette MENGEL, Bernard CAVANNA, Thierry ESCAICH, Pierre JODLOWSKI, Philippe LEROUX, Alain MOENE.
Promoters
David JISSE, Jean-Michel LEJEUNE.
Performers
Claire LOUWAGIE, Christophe ROY.
Inspection of Music
Sylvie PEBRIER, Gérard GARCIN, Fernand VANDENBOGAERDE.
Members of the second college
Presidency
Sophie MAREST, Paul KANITZER and Arnaud PETIT.
Composers
Annette MENGEL, François BOUSCH, Thierry ESCAICH, Bruno MANTOVANI, Arnaud PETIT, Gilles RACOT.
Promoters
Sophie MAREST, Paul KANITZER.
Performers
Jean-Luc CAPPOZZO, Mario CAROLI.
Inspection of Music
Mireille FAYE MORA, Fernand VANDENBOGAERDE, André CAYOT, Gérard GARCIN.
Presidency
Michel FANO.
Members of the first college
Composers
Edith CANAT DE CHIZY, Patrick BURGAN, Jérôme COMBIER, Bernard De VIENNE, Christophe MAUDOT, Gilles RACOT.
Promoters
Philippe ARRII-BLACHETTE, Bernard FORT.
Performers
Renaud FRANCOIS, Pierre–André VALADE.
Inspection of Music
Didier DENIS, Jean-Pierre TRONCHE, Fernand VANDENBOGERDE.
Members of the second college
Composers
Graciane FINZI, José-Manuel LOPEZ-LOPEZ, Philippe MION, Gilles RACOT, Jean-Marc SINGIER, Bernard STRUBER.
Promoters
Armand MEIGNAN, Michel ROSTAIN.
Performers
Sona KHOCHAFIAN, Renaud FRANCOIS.
Inspection of Music
Mireille FAYE-MORA, Jean-Pierre TRONCHE, André CAYOT, Fernand VANDENBOGAERDE.
Presidency
Francis MARECHAL.
Members of the first college
Composers
Annette MENGEL, Hugues DUFOURT, Allain GAUSSIN, Alain MOENE, Alain SAVOURET, Nicolas VERIN.
Promoters
Laurent SPIELMANN, Eric De VISCHER.
Performers
Sylvie BELTRANDO, Charles FREY.
Inspection of Music
Laurent CHASSAIN, Jean-Pierre TRONCHE, Fernand VANDENBOGAERDE.
Members of the second college
Composers
Annette MENGEL, Félix IBARRONDO, Philippe MION, Arnaud PETIT, Bernard STRUBER, Kasper TOEPLITZ.
Promoters
Patrice BOCQIUILLON, Rachid SAFIR.
Performers
Sylvie BELTRANDO, Patrice CARATINI.
Inspection of Music
Marie-Madeleine KRYNEN, Didier BRAEM, Fernand VANDENBOGAERDE.
Presidency
Betsy JOLAS.
Members of the first college
Composers
Florence BASCHET, Pascale CRITON, Rainer BOESCH, Bernard FORT, Philippe LERPOUX, Yves PRIN.
Promoters
Sophie MAREST, René BOSC.
Performers
Sophie DESHAYES, Véronique GHESQUIERE.
Inspection of Music
Didier BRAEM, Didier DENIS, Fernand VANDENBOGAERDE.
Members of the second college
Composers
Pascale CRITON, Bernard CAVANNA, Michel PASCAL, Dominique PIFARELY, Yves PRIN, Nicolas VERIN.
Promoters
Gérard AUTHELAIN, Jacques PANISSET.
Performers
Sophie DESHAYES, Jean Max DUSSERT.
Inspection of Music
Marie-Madeleine KRYNEN, Laurent CHASSAIN, Fernand VANDENBOGAERDE.
Presidency
François-Bernard MACHE.
Members of the first college
Composers
Edith CANAT DE CHIZY, Benjamin DE LA FUENTE, Patrick LENFANT, Alain MOENE, Gilles RACOT, Susumu YOSHIDA.
Promoters
Guy HUOT, président du conseil international de la musique à l’UNESCO,
Jean-Michel LEJEUNE, directeur du festival "Why Note" de Dijon.
Performers
Noémi SCHINDLER, Jean-Louis BERGERARD.
Inspection of Music
Didier BRAEM, Michel CUKIER, Fernand VANDENBOGERDE.
Members of the second college
Composers
Clara MAIDA, Claire RENARD, Jean-Yves BOSSEUR, Patrick LENFANT, Gilles RACOT, Michel ZBAR.
Promoters
Bernard AIME, Marc TEXIER.
Performers
Caroline DeLUME, Benoît DELBECQ.
Inspection of Music
Didier BRAEM / André CAYOT, Laurent CHASSAIN, Fernand VANDENBOGAERDE.
