The Ironic Story of Alfonso Cavallaro’s Forthcoming Publications

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Here is that true story from the family saga.  In 1942, my father submitted his “Serenade, “Tango,” and Theme, Variations, and Finale for publication to Carl Fischer Music.  He was advised that the latter – a magnificent composition, in my opinion – could not be considered at the time, because it was too difficult and would probably not generate a reasonable number of sales.  The publishers did accept the two shorter works, although they also requested that he agree to accept responsibility for distributing a set number of them himself (not an uncommon practice in the industry).  My father, who had a good number of private students, was not upset about the latter clause, but he was furious about the rejection of his finest composition for violin, so he declined the offer. 

Please fast-forward seventy years.  In 2012, I submitted the same three works to Broadbent and Dunn.  I have, of course, been overjoyed by their acceptance of the “Serenade,” and “Tango,” and I was not surprised that they wish to hold the major work in abeyance – at least long enough to see whether there is any interest in the composer’s shorter pieces.  This is certainly quite reasonable, and I have not even been asked to purchase any copies.  

I suspect that if my father were alive, he would be quite satisfied with my decision.  I certainly hope so!

Music For Winds Under Editorial Revision

I was thrilled to receive a four-volume package from Forton Music this week.  The texts were "preview" copies of the music that will be released in early 2013, and I have eagerly begun to edit -- carefully!

This process has led to an interesting realization.  While readers routinely encounter -- and overlook or forgive -- a few "typos" in a published text, musicians simply cannot indulge in such a luxury.  Indeed, if a novelist writes about how a character  "had gone to Paris last spring" and misspells the verb (e.g., perhaps with an extra "n"), no one will misinterpret what the author intended.  In fact, many readers will be unaware of the error!  However, if music is published with a "sharp" where a "flat" was needed, or with a note misplaced on a given space or line, the sound will be completely different than what the composer wished to convey. 

Naturally, I shall endeavor to do as accurate a job as I possibly can.  [In truth, I'd rather spend my time creating more music!]

More Cavallaro Compositions Accepted for Publication

Blogging on this forum for the first time in over three months -- yes, it has been a beastly long semester at the college! -- I feel almost completely out of touch.  Nevertheless, there is good news to report!

I have recently signed contracts with Broadbent and Dunn for my other violin work, the "Raindrops" Fantasia for Violin and Piano.  This will apparently become my Opus 5!

In addition, I was thrilled to learn that the same publishers will also release Alfonso Cavallaro's charming "Serenade" and "Tango," a pair of concert pieces for violin and piano originally slated for publication in 1942!  [Now THAT is a long story, best left for another blog!]  These will become his second Op. Posth.

Meanwhile, I have digested some more sobering news about the music industry. Unless one's piano music is routinely performed by "big name" artists, and unless orchestral music is finding its way to the programs of leading orchestras, publishers simply cannot afford the financial risks involved.  Thus, while all of my music for winds and all of my violin music will be released, none of my piano music will see the light of day.  Similarly, my father's orchestral piece -- certainly a fine work -- will not get published.

That said, however, there may be more publications in the near future.  Stay tuned!