'Oro's Preludes

Unfortunately for the NZSO, they didn't commission the piece, I'm not a professor, and therefore they have to pay a very hefty licencing fee and formally apologise to me for their tactics. The premiere must be done by another guitarist, as that is one of my stipulations regarding licencing the sheet music. All musician-politicians and administrators must accept that these stipulations aren't about a single pay day, but about creating a piece that will endure. That can only happen if the premiere demonstrates that my music isn't some special thing that only I can do, but that I've been playing guitar for 25 years, and hence I'm a world-class expert on guitar composition.

My name can be a draw, but my body and voice cannot be a draw. -

Otherwise, there won't be a performance, and they'll look like the dickheads that couldn't accept a basic fact. Guitar players in NZ need this piece, I don't. They need the pay day; they need pieces to play with the NZSO. I don't. I won international respect when I wrote it. I need fair licencing fees and commissions that pay my bills. -

Joel, Chris, Rameka and a half-dozen others of Jane's students are up to it.

The NZSO must begin to accept me as a great composer equivalent to John Psathas.

That starts by accepting that John was (and is) a concert-level pianist, yet he has never premiered a major piano concerto.

He's written some big pieces for piano and orchestra, though.

Premiered by other pianists that made performing their career, not composing.

View From Olympus is almost a concerto, like my preludes.

Did John premiere it? No, Michael Houston did.

John premiered Maitre's Dance. I premiered Vanya's Lament. Those were both student works that made us famous internationally. Chris Everest performed Vanya all over the place, including for David Russell. - As for the NZ School of Music: I've said no to the Lilburn fellowship, and I'm actually going to expect a full apology for how you treated me, both as an undergraduate, and the persistent harassment since 2019.

Dr. Fisher is going to have to apologise, Dr. Lisik is likely to be fired.

Sally Jane has to go: that's the beginning of the process. -

The NZSO behaving this way over a non-commissioned piece is unacceptable.

Sorry. You have to pay a very full licencing fee of $10,000 + a formal apology.

You're paying that fee because it's not a commission, I'm not affiliated with VUW and I'm backed by APRA. Hardly rocket science. I'm sure they offered Don at least $20,000 for his recent gig.

$5,000 performance fee, no licencing fee. that was the offer. Unacceptable.

The NZSO first tried to force me to do it with the NYO for free. Unacceptable. This is the rule, you shits: when a composer writes a spec piece, licencing fees go up. They go up to double or triple to pay for the time that the composer took to write it, and also for the oversight of not commissioning it. My voice memos made it very clear that I intended to write a big guitar piece in 2022. I even released draft movements. The NZSO could have stepped in after movement 1, and said that they were willing to fund me. They didn't, and now they have to pay through the nose and formally apologise for their behaviour in this protracted and highly illegal negotiation. - Honestly, I'm going to let the CSO premiere it thanks to this bullshit, and I'm merely warning them that there's no discount on the licencing fee. CSO and APO are the last groups remaining, largely thanks to their patience.