Settling the score: The case for underrepresented composers in classical music

In a fascinating article recently published in Classical Music, Elena Urioste and Tom Poster highlighted the issue of inaccuracy among published scores by composers from underrepresented communities. Frustratingly, some of these works are available to buy or hire with known errors, meaning musicians hiring these works will make the appropriate corrections for performance, then have to erase said corrections at the end of the hire – only to have to repeat the process of correction when they hire the work again later down the line. I was keen to explore why, in an age when so many musicians are looking to champion neglected voices, it sometimes feels as if certain publishers are not on our side.

A representative from one publishing company suggested a lack of desire to invest in such works predicated on a concern around return on investment. Without an appetite from the publishing world to satisfy growing demand it’s difficult to understand how these works will ever be played more widely, but investment is needed for these works to become more visible and accessible. The African Suite, for example, is a wonderful work for strings by Fela Sowande. I was quoted £420 for to hire it on an ‘amateur’ basis (£330 for an ‘educational workshop’), but sadly, the current edition of this work is, frustratingly, in much need of attention along the lines suggested by Urioste and Poster in their article. Its ‘hire-only’ status is also a pertinent consideration around return on investment for performer as well as the publisher, when works by the ‘great composers’ may be readily available out of copyright and available for purchase or free download by cash-strapped ensembles.

The issue of accuracy in publishing these works is just one aspect of the challenge facing musicians looking to level the playing field in their programming. The costs of music by copyrighted contemporary composers as opposed to those whose works are in the public domain will continue to cause some tension: it will always be easier on the budget (and take less energy) to simply download older, known works from dedicated websites like IMSLP rather than to explore works by underrepresented composers. Access to scores, particularly when the music is held outside of the UK has also been cited as a challenge for musicians and programmers wishing to peruse new music. Costs in this respect can be prohibitive for students, educational institutions and ensembles with limited resources.

A developing narrative, particularly amongst educational institutions and youth orchestras, is the cost of extended hires. Educational organisations are keen to explore works by underrepresented composers, but the more challenging require appropriate amounts of additional rehearsal time and costs for extended hire can be off-putting.

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Making works available solely on a for-hire basis effectively puts them out of reach for so many of the individuals and organisations dedicated to championing music by underrepresented composers. Caroline Ferry, head of music programming at Trinity Laban Conservatoire of Music and Dance told me, ‘In non-professional and professional situations, programming works by underrepresented composers becomes a financial decision, however committed the ensemble is to expanding the repertoire performed.’

Stimulating demand seems to me to be fundamental to the success of any commercial model. Aleksander Szram, the conservatoire’s director of music had this to say: 'At Trinity Laban, we have many students committed to unearthing previously neglected repertoire: what prevents their efforts is finding that the scores are either prohibitively expensive or available for hire only. I can buy scores for the library, but how can a student group undertake a series of performances to publicise the piece without an affordable copy? It seems short-sighted not to invest in those willing to bring works to a wider audience when this would stimulate demand for the music.' Of course, once demand is made clear, it is equally as important to ensure access and affordability for the product.

I recently attended a meeting with representatives from ABRSM, Schott Music, Boosey & Hawkes, Wise Music, and Oxford University Press alongside key stakeholders from the sector including professional orchestras, National Youth Music Orchestras, County Youth Orchestras, and conservatoires. It was clear from the heartfelt perspective of the stakeholders that there was a compelling and very important case to be better understood by the publishing sector. This boiled down to three key challenges: composer representation; the surfacing and promotion of new works; and pricing for hire and purchase. It was heartening to speak with this group, and after the group agreed on some very positive actions to address it made a commitment to further meetings.

Schott Music has led project to spotlight music by Black and global majority composers in its own catalogue, and a shared resource of this type could be helpful in surfacing these works for wider stakeholders. Ian Mylett, Schott’s head of contemporary music, said: ‘We made the decision to put resources behind the issue of access to music of underrepresented composers in a few different ways. Our first dedicated focus was through BBC Radio 3’s “Forgotten Female Composers” project in 2017 and the follow up “Rediscovered Composers” project in 2022. Between these we published previously unavailable works by Florence Price, Isaac Hirshow, Nathaniel Dett and Augusta Holmès, and made connections with individuals such as Shirley Thompson, Anastasia Belina, Michael Harper, Philip Alexander and Dwight Pile-Gray who have influenced our work and outlook ever since. Delving into our own history and back catalogue has been rewarding too and led to new editions of works by Samuel Coleridge-Taylor, Lawrence B. Brown and John Mayer – and there is far more to be done! The work hasn’t happened in isolation and the most rewarding results are when publishers, rights holders, estates, champions and, of course, performers have been able to work collaboratively.’

Mylett’s comments reflect not only sentiments of acknowledgement about the considerable work still needed to be done, but also the need for collaboration and resources to support a strategically positioned and impactful approach to better support underrepresented composers. There can be no reason why the wider publishing sector shouldn’t share the determination of the six publishers named in this article and work together in a collegiate way to help address the existing issues.

In the conversations I’ve had with the wider publishing sector there is a clear understanding of some of the issues, but there is not necessarily a consensus on the need for a joined-up approach. Many are already supporting underrepresented composers directly, and/or supporting programmes that are developing composing talent, but until we’re able to see a level playing field for all composers there can be no argument that more needs to be done.

The work of Black Lives in Music and other like-minded organisations in the sector has shown clearly how working together is more impactful in expediting transformational change. Composing talent from underrepresented communities can only stand on the shoulders of giants like Sowande, Price, Grant-Still and Bologne (Chevalier de Saint George) if we know of their existence. I look forward to seeing how the collaboration of the publishers and stakeholders I met with will bear fruit. Hopefully, the conversation will grow to reflect the sector-wide approach that is much needed.