Leda Omran: What inspired you to compose?
Gary Robert Buchanan: I began composing when I was just a child, i.e., back in the 1950s. My family were very musical, but they played and sang mostly music of the Blue Ridge Mountains in North Carolina. However, we also listened to classical and pop music, such as was available to us "hillbillies." I joined the school band in fifth grade, studying trumpet and music theory, piano, etc. After a bit of training, things really began to pick up with small ensembles, jazz and combos, scholarships, travel, et al. I have since traveled, lived, performed and taught all around the globe. I also internalize all I experience - have good recall. From the beginning, I always "heard" the music within. It just came to me. My concern was in learning how to write it down, properly, to "transcribe" what I was hearing. Even now, at age 55, that's still how I compose. This got me into a lot of trouble with some teachers who wanted me to "invent" music, sometimes demanding that I make intellectual changes to the "pure" inspiration I was receiving. To some, the very thought of true " inspiration" is a joke. But, it is REAL; Mozart proved that. Studies of music theory, pedagogy, form, orchestration, fugue, mathematics, geometry, ad infinitum are all extremely important; but, in the final analysis it is what the composer "hears" and "conveys" to those around him that is of paramount importance. It is a matter of higher consciousness - shared, not one-upmanship and cleverness exhibited.

However, after several decades of teaching composition, music theory and musicology, here and abroad, getting all my degrees, etc., I no longer worry about what "intellectuals" may think of my music. I go by the reactions of the musicians themselves, the listeners (young and old), and now the rather widespread "world" audience afforded me by the Andean Explorers Foundation and The Foundation Orchestra & Association. To my delight, a great many people tell me they also "hear" the music I compose... regardless of the stylistic or cultural form it may take. I also compose with "images" that speak to many, e.g., archetypes and ursong. (I would refer people to Carl Jung, Joseph Campbell, Buckminster Fuller, cymatics, synesthesia, and similar schools of thought.)

LO: What pleasure and fulfilment do you gain about the position you are situated yourself at the moment? What are your intentions for the future?

GRB: For almost thirty years now I have been in Reno, Nevada. As may be found in my web site biography, I am associated with several institutions.

For example, I am a Right Reverend with the International Community of Christ, Secretary and VP Research for the Andean Explorers Foundation& Ocean Sailing Club, Director of The Music Guild, an organist of some merit, Founding Conductor & Music Director for The Foundation Orchestra & Association, etc. There is sooo much "pleasure and fulfilment" in my "Renaissance" lifestyle that I cannot possibly imagine ever permanently relocating or doing anything else. For example, one day I may compose and play music for a liturgical service, the next day rehearse the orchestra and/or bell choir, the next attend a meeting to determine scholarships for young people, the next leave for a new expedition in Peru, the next month begin work on a new documentary film of that expedition, the soundtrack – help edit the book, make the maps, analyse the music, epigraphy, architecture found in far flung jungles... well, you get the idea. In this situation I am able to meet with people from all parts of society at large, of different cultures, experience their "music," both on the human and spiritual levels. Plus, working with others, I am able to help many others find pleasure and fulfilment within themselves.

Right now, in compositional terms, I am working on my second symphony, additional selections for the liturgy, a few arrangements (Ravel, Faure, Grieg, etc.) for soprano saxophone & orchestra (for an upcoming album), and ongoing sketches of what I hear from time to time... remnants kept on file for upcoming works/commissions. My immediate and pressing work involves arrangements and scores for our next scheduled concert, April 12th, where we will feature Native American musicians along with a Balalaika Orchestra - in combination with The Foundation Orchestra and Choirs. In the fall we will be preparing to premiere new works from our International Composition Competition. My long-ranged plans for the future consist of remaining exactly where I am... working on new compositions, research, literature, education, and serving in my various church duties. I have been truly blessed to end up in such an inspirational and challenging environment with colleagues who support my visions and work.

LO: As you mentioned you have set up a composition competition. How did you work through this idea? What is to be gain from this competition for you and for those who apply?
GRB: The Foundation Orchestra has always performed music from around the world. The idea is that the modern orchestra with its unlimited potentials can best accompany, showcase and present all these diverse kinds of music. On our documentary soundtracks of expeditions we have always featured music found "on the trail," i.e., my musicological archives built-up over several decades. Two years ago we decided that it was not enough just to find local groups to perform with us the music of different cultures, or to find ethnic scores and do them, but that we needed to reach out and find composers from around the world - give them a chance to have their original music heard.. played by a full symphony orchestra, recorded, videotaped and made available to all others interested. (Composers can also use these materials to advance their outreach and careers.)

Those familiar with composition competitions in general know all too well how difficult it is to have a new score premiered. If it doesn't fit the politically correct expectations of a certain panel or Euro-centric audience, a new score stands little chance of ever winning such a competition, or even being taken seriously. Thus, we set up guidelines for works scored specifically for our standard orchestra (plus extra percussion and ethnic instruments), either arrangements of ethnic material or original scores of a multi-cultural nature, never before performed, and dedicated to our orchestra - so that we can keep them in our library, do them again in the future and/or make them available to other orchestras for future performances. This is a terrific way to bring people together - both for the composers and the appreciative listeners. Our audiences each Fall are for the Andean Explorers Foundation's annual get-together and are composed of members from countries around the world. Thus, the works chosen are premiered before an audience that is anxious to hear them and who, ultimately, are the best judges of the works' quality and impact.

LO: Why have you applied an entry fee for the competition? Is there a solution for musicians who want to apply but simply cannot because they might not be able to afford it?
GRB: Occasionally, I receive an email from some disgruntled composition teacher saying, "If there is an entry fee, then it is a lottery!" I always reply to such people, courteously and in detail. Here are some of the answers I give.

(a) We have to have some way of limiting the number of submissions, as the competition is quite literally open to every individual on the surface of the planet. We are not asking for songs, or some cleverly assembled studio mix, some new experimental invention of the avante garde, or even some quite good selection performed by an indigenous ensemble, e.g., aboriginal piece, etc. What we want is a composition that can be played by an orchestra, properly scored and which demonstrates a high level of understanding, expertise and creativity. Usually, one has to attend a very good school or have a private teacher to obtain such skills.

(b) No one in Foundation Orchestra Association, a non-profit 501(c) 3, receives a salary or any kind of remuneration whatsoever... including me. All money given to FOA for this competition goes directly towards the concert premiere of the compositions submitted. Even "runners-up" are kept on file with a view towards future performance. It is also pointed out that its costs a minimum of $15,000-$20,000 just to do such a concert. Add in the cost of recording, videotaping, programs, publicity, office, et al.well, you get the idea. It's very expensive... and time-consuming.

(c) The Entry Fee is $50.00. This is the minimum annual membership level in FOA for concertgoers. Each composer paying the fee is made an annual member of FOA, may attend one concert for free, and is listed in our programs as a member/supporter of what we are doing. In other words, " Support us and we will support what you are doing." At the very least, each score is reviewed by a panel of professionals and properly evaluated.

(d) But, just think what the winner gets! First, the knowledge that a panel of composers and musicians found his/her work "best in the world." Secondly, a $1,000 check with a Certificate from the Foundation. Thirdly, the work is premiered on a major concert at a great venue. Last year and this year, the hall is the Eldorado Showroom in Reno. Fourthly, a CD and DVD are produced. These, along with copies of the very nice bound program and all publicity, are made available to the composer on a permanent basis. Let's be totally honest and realistic here.

Simply to compose a score for orchestra takes money - usually quite a bit more than $50.00. I cannot imagine doing a full score and parts for less than a couple hundred dollars. That's what it takes for paper, printing, binding, copy work, duplicating, packaging, mailing and associated costs. Then, usually a recording is submitted, e.g., a midi-file off a computer, a piano realization, etc. This implies that one has a computer and/or piano. These things cost money. Any serious composer who wants to make it in the real world of music had better be prepared to spend some money to accomplish that goal. Teachers and competitions who tell kids just to send in scores "for free" are, in actuality, doing these young people a tremendous disservice. The idea is that someone is going to "be discovered." Such an attitude does not prepare would-be professional composers for anything other than failure.

We are trying to be realistic, competent and of assistance. Should some poor and disenfranchised individual living in a third world country wish to submit a score and does not have $50.00... well, we are not heartless. Certainly, we might make an exception, if the situation can be proven as true. But, the question does arise, "How is it he/she was able to compile the score and parts in the first place, and would winning our competition be of any true help to that individual imprisoned in such dire circumstances?" If we can answer such questions properly and positively, then by all means we would make an exception. Most importantly, we receive scores from composers all the time! We do premiere and/or perform many of these... for free. The Annual FOA Composition Competition is only one of our scheduled activities.

FOA is a small organization, in terms of funding. While we receive grants from Nevada Arts Council, City of Reno Arts & Culture Commission, NEA, and others, our annual budget is only around $50,000. Of course, in-kind sponsorships and such double and triple this figure. Only the orchestral musicians get paid, and properly so. In the present economic and political climate, they, the musicians, need all the work they can get! We hope to increase our budget and number of annual performances, and we are always delighted to accept non-profit contributions - should anyone like to help fund our work. I am online everyday... ready to discuss all possibilities and to brag about what we are doing. Know a down-and-out composer? Lend him $50.00!

Also read the ANNUAL FOA COMPOSITION COMPETITION article.

RELATED LINKS:

 ANNUAL FOA COMPOSITION COMPETITION
 The Andean Explorer Foundation's Home Page
  The Foundation Orchestra Association

© 2003, Artists Without Frontiers