A partnership of music support organizations has created a network to support new orchestral works by American composers, especially "up-and-coming" ones. It's called EarShot and has the backing of American Composers Orchestra, American Music Center, American Composers Forum, Meet The Composer and the League of American Orchestras (the old ASOL).

Please let this something that really helps the promotion and support of new music and not just more empty "synergistic" bombast! Composers have such a hard time getting orchestral music performed that much of their music tends to be watered down. To me, the best music being written still consistently comes in the realms of chamber symphonies and new music groups. There, composers' voices and conceptions come out with more confidence. So many contemporary composers have done their best work IMO for smaller ensembles, and this needs to change if orchestras are to engage audiences in the future of this medium.

From the presser: "The program will identify emerging American orchestral composers, provide composers with professional-level working experience with orchestras from every region of the country and increase awareness of these composers and access to their music throughout the industry.

"A key priority of EarShot is to build partnerships with orchestras around the country to establish and promote a national network of New Music Readings that will introduce audiences to and provide professional advancement for American composers and their work. Other EarShot projects will include workshops, residency design, commissioning consortia, consulting, and related composer development programs."

But the best part may be the planning of score readings, an essential tool that helps composers who aren't used to writing for the large medium a chance to hear how their music sounds while they can still revise:

"In collaboration with partner orchestras around the country, EarShot will help plan, announce, and coordinate readings; handle the processing and adjudication of submissions; and make available mentor-composers, conductors, supplementary workshops and technical assistance. EarShot will provide production subsidies directly to participating orchestras to help cover direct production expenses."

The Pittsburgh Symphony Orchestra has done readings on a small scale that have really benefited local students, but a better example of the worthiness of this endeavor is the Minnesota Orchestra's Composer Institute and the ACO's Underwood New Music Readings, for young professionals. Either way, here is hoping that this really makes an impact and isn't just more talk about the problems.

In a related story:

Boosey & Hawkes is inaugurating a new sponsorship program, "Boosey & Hawkes Emerging Composers." According to its press release, the publishing company wants "to foster and develop the next generation of innovative composers." Boosey & Hawkes will "providing publishing, promotion, and career support to a select group of emerging composers for a specified cycle."

Obviously, the company is hoping to get in with promosing new composers on the ground floor. But this is a good idea and helpful to the field. The best part is how the company is showing confidence in the future of composing in a public way. Back in the day, music labels and publishers cultivated talent, and it is good that some groups are getting back to it.

The first composers Boosey & Hawkes are sponsoring are Oscar Bettison, Anna Clyne and Du Yun.