A profile of the American Composers Orchestra, ACO, the only orchestra in the world dedicated to the creation, performance, and promotion of music by American composers.

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ON OUR PROGRAM TONIGHT, WE WILL GO BEHIND THE SCENES WITH THE AMERICAN COMPOSURE'S ORCHESTRA, THE ONLY OR CHESTRA IN THE WORL DEDICATED TO MUSIC BY AMERICAN COMPOSERS.

THE PHILOSOPHY IS TO ALLOW THE WORLD OF MUSIC INTO THE OR KES STRAL EXPERIENCE, GIVING VOICE TO COMPOSERS, ALAS VELOWING EXPERIENCE EXAUDIENCES TO EXPERIENCE HYBRIDS.

THEY COLLABORATED WITH MANY COMPOSURES.

THE ORCHESTRA OPENS ITS NEW SEASON AT CARNEGIE HALL ON FRIDAY, NOVEMBER 2.

THE PROGRAM FEATURES TWO WORLD PREMIERES.

ITS MUSIC DIRECTOR WILL CONDUCT.

WRITING FOR SYMPHONY IS AN OPPORTUNITY WORKING WITH AN ORCHESTRA IS RARE.

THIS YEAR SIX EMERGING COMPOSERS WERE CHOSEN TO PARTICIPATE IN THE NEW MUSIC READINGS.

FOR THREE DAYS IN JUNE, THE COMPOSERS RECEIVED MENTORING AND FEEDBACK FROM PROFESSIONAL COMPOSERS, CONDUCTORS AND THE ORCHESTRA PLAYERS THEMSELVES.

WHY WE CAPTURED THE FINAL READINGS OPEN TO THE PUBLIC AT NYU'S FREDERICK LOWE'S THEATER.

AT STAKE, 2$15,000 COMMISSIONS TO WRITE NEW WORKS.

[ APPLAUSE ]

MY NAME IS LILIA OGUY.

I'M FHALF RUSSIAN AND HALF KOREAN.

I LIVE IN THIS COUNTRY FOR EIGHT YEARS.

VERY OFTEN I WRITE MORE RUSSIAN STYLE, VERY DRAMATIC PIECES.

FOR THIS ONE, RHAPSODY IN COLOR, I DECIDED TO GO A DIFFERENT DIRECTION AND WRITE SOMETHING THAT IS LIGHT AND PLAYFUL.

AND IN A CERTAIN WAY REFLECT FROM ME THE INFLUENCE OF AMERICAN MUSIC.

♪ IT FEELS INCREDIBLE BECAUSE I LIKE PAINTERS, FOR EXAMPLE, WHO CAN JUST PAINT THE PICTURE WITH ALL THE COLORS.

WE AS COMPOSURES IMAGINE OUR SUN BUT CANNOT HEAR IT LIFE UNTIL WE ACTUALLY HEAR IT LIFE.

YOU ARE HEARING WHAT'S BEEN IN A COMPOSER'S MIND WHICH THEY PUT INTO A BIG SCORE.

THEY WROTE IT ALL DOWN.

NOW THEY HAVE PUT IN FRONT OF THE CONDUCTOR AND THE CONDUCTOR IS GOING TO BE CONDUCTING THIS IN FRONT OF 60 MUSICIANS WHO ARE MAKING THE MUSIC HAPPEN LIVE FOR THE VERY FIRST TIME.

IT CAN BE DIFFICULT NOT TO FEEL NERVOUS AND NOT TO NOTICE MISTAKES AND SMALL THINGS YOU WOULD LIKE TO BE BETTER AND JUST TO PERCEIVE IT THE WAY THE LISTENER WOULD.

I FEEL FOR EVERY COMPOSER WHO IS GETTING A FIRST PERFORMANCE.

BECAUSE I JUST KNOW HOW I FELT THE FIRST TIME I HAD AN ORCHESTRA PIECE PLAYED.

IT WAS SO INCREDIBLY FRIGHTENING AND YET EXHILARATING.

IT WAS LIKE THIS GREAT FREIGHT TRAIN RAN OVER YOU.

I THINK THIS PROGRAM IS JUST FANTASTIC BECAUSE A COMPOSER IS NOT ONLY GET FEEDBACK FROM THE COMPOSERS, BUT THEY HAVE FEEDBACK FROM THE PLAYERS.

I THINK THAT'S EXTREMELY IMPORTANT.

AS FAR AS THE READINGS GO, WE ARE ENCOURAGING THESE YOUNG, NEW COMPOSERS.

OFTEN THE MARKS THAT THEY DO PUT ON THE PAPER ARE NOT AS CLEAR AS THEY NEED TO BE.

SO IT'S A LITTLE BIT OF A TEACHING ROLE TO SAY, WELL IF THAT'S WHAT YOU WANT TO HEAR, THEN THIS IS WHAT WE NEED TO SEE.

[ APPLAUSE ]

HELLO, EVERYONE.

MY NAME IS LILY CHEN.

MY PIECE IS INSPIRED BY BEAUTIFUL SOUNDS, BEAUTIFUL AND TERRIFYING MOMENTS.

LILY CHEN IS A WONDERFULLY CREATIVE COMPOSURE FROM TAIWAN WHO NOW LIVES IN THE BAY AREA AND IS ATTENDING UNIVERSITY OF CALIFORNIA AT BERKELEY.

HER MUSIC USES MANY, MANY EXTENDED TECHNIQUES.

SO YOU WILL SEE THE STRING PLAYERS TAPPING.

YOU WILL SEE SOME STYROFOAM CUPS BEING USED.

SHE'S EXTREMELY CREATIVE, AND SHE HAS THE SENSIBILITY OF AN EXPERIMENTAL COMPOSER.

SHE'S TRYING TO SQUARE THAT WITH WRITING FOR A LARGE ORCHESTRA.

GOOD EVENING, EVERYONE.

MY NAME IS RYAN LINVITE.

I'M EXCITED FOR YOU TO HEAR MY PIECE.

RYRYAN'S PIECE IS BEAUTIFULL ORCHESTRATED AND IS A PIECE ABOUT ROBOTS.

YOU WILL HEAR A MECHANICAL QUALITY ABOUT THIS PIECE.

WHAT'S GREAT ABOUT THIS ORCHESTRA IS THAT THESE PLAYERS, THESE MUSICIANS ARE QUICK TO CATCH THE TRICKY RHYTHMS.

THEY EAT IT UP.

THAT'S ONE OF THE REASONS THE ORCHESTRA IS UNIQUE AND SPECIAL WITH THIS PARTICULAR THING THAT WE DO WITH EMERGING COMPOSERS.

OUR FIRST PIECE -- YOU CAN TELL THEM THE TITLE.

EDUCATION IS A VERY IMPORTANT PART OF WHAT WE DO AT ACO.

WE LIKE TO THINK THAT WE'RE ALL ABOUT GIVING COMPOSERS ACCESS AT DIFFERENT PHASES.

AT THE YOUNGEST PHASE WHEN THEY ARE STILL IN JUNIOR HIGH SCHOOL, HIGH SCHOOL, WHEN THEY ARE JUST STARTING TO WRITE MOUSIC.

THAT'S WHEN WE HAVE OUR EDUCATIONAL PROGRAMS LIKE COMPOSE YOURSELF.

REVISE THE PIECE.

I WOULD CONSIDER MAYBE PUTTING --

AT THE PHASE WHEN COMPOSERS ARE JUST ABOUT TO EMBARK ON THEIR PROFESSIONAL CAREERS, WE HAVE THE UNDERWOOD READINGS.

THE PEACE IS INTENSELY --

THAT'S A GREAT SUGGESTION.

THAT'S ONE OF THE PARTICULARLY GRATIFYING THINGS ABOUT THE UNDERWOOD READINGS.

IT'S YOUNG COMPOSERS WHO ARE HERE TO LEARN AND THAT WE GIVE THEM THIS POSITIVE FEEDBACK, HOPEFULLY POSITIVE.

BUT CRITICISMS.

WE CAN CERTAINLY BE FRANK ABOUT WHAT'S WORKING.

CARLOS HAS BEEN REALLY INTERESTED IN DIVIDING THE ORCHESTRA INTO A THIN CURTAIN OF SOUND.

HE COMES FROM AN INTERESTING MUSICAL BACKGROUND, BECAUSE HE WAS INTO HEAVY METAL WHEN HE WAS YOUNGER.

SO HE DRAWS FROM A VERY WIDE RANGE OF SOUND.

CARLOS, YOU WIN THE PRIZE FOR THE LARGEST SCORE.

I'M GOING TO TURN AROUND ONCE WE START AND SEE IF THE TEMPO IS WHERE YOU WANT IT TO BE.

RIGHT AT LETTER C.

TOMAS WANTED THIS PIECE TO BE A BIG RUSH OF SOUND.

AND HE WANTS TO SEE THE ORCHESTRA FUNCTIONING AT THEIR MOST -- YOU HEAR THAT IN HIS PIECE.

THE CLARINET TOO LOUD?

PERFECT.

BRAVO.

THE REAL QUESTION IS, WHY WRITE FOR ORCHESTRA?

WHAT CAN YOU SAY UNIQUELY, WHAT CAN YOU BRING AS AN ARTIST?

ONE OF THE COMPOSERS WILL GET A COMMISSION.

BUT I DON'T LIKE TO THINK OF THIS AS A COMPETITION.

BECAUSE WHEN THERE ARE SIX A UN ONCE IN A LIFETIME EXPERIENCE.

THAT'S WHAT MATTERS FOR US AND THAT'S WHAT ACO IS ALL ABOUT.