Promoting a Composer

Last week I attended a concert by the Dilijan Chamber Orchestra in Los Angeles. The purpose was to connect with Mr. Pogosian, its director, and leave with him Sevanian’s memoir and some of his music. Such connections are always cordial. Like the recent connection I made with Maestro Dudamel of the Los Angeles Philharmonic, I was informed that the programming of music is limited by various requirements. Often, a new piece of music becomes part of an encore. Yet, how else does the music of a composer become accepted by the audience, any audience, from conductors, to musicians, to music lovers world wide.

I recall how, on several occasions when I attended concerts together with the composer, Ara Sevanian would make his way backstage to introduce himself and his music. Now it is left to me to carry on his work. Thus, I send copies of his memoir and some of his music to various orchestras, string quartets, pianists, and other musicians. After all, musicians often seek new sounds, new approaches to musical construction, new bridges between ancient motifs and modern styles.

Sevanian promotes hiimself

It appears that the American musical community is interested in the Armenian touch. It was conductors like James Domine, Robert E. Lawson, and Walter Moek who were intrigued with Ara’s work and conducted it. Among the symphony orchestras which have played Sevanian’s music were the Van Nuys Civic Orchestra, West Valley Symphony, The Symphony of the Canyons, and the Los Angeles Philharmonic and the Chattanooga Symphony.   

To these conductors and audiences I now dedicate my efforts to carry on the promotion of a composer's life work.