Editions Orphée, a publisher of music and books for the classical guitar and lute, is always interested in finding new and exciting music to publish. Should I come upon a worthwhile project, I will certainly give it my utmost attention and consideration. Composers and arrangers who wish to consider Editions Orphée as the link between them and those who would perform their music, would save me and themselves a great deal of aggravation and disappointment by first considering some fairly simple guide lines.
My publishing program is spoken for the next 6-7 years. If I accept a new project at this time, I will judge its importance and marketability before deciding whether to place it in the pipeline in the order in which it was received, i.e., to be published 6-7 years from now, or give it a better priority. There is no way I can foresee what might be the circumstances which will determine my decision one way or the other.
However, I will certainly give preference and expedited treatment to those composers who are personally known to me, or who have already established a name for themselves.
Yes, I realize it’s an unfair catch-22. How can you possibly make yourself known and share your genius with the world if you are not already well-known? On the other hand, consider my predicament. Publishing a piece of new music by an unknown, is an expensive gamble, one which I have lost too many times in the past. I simply can’t afford it.
If you are still with me, please consider the following: a) Any edition I might consider for publication, must conform to the Editions Orphée house style of notation. Because we do not have a published style sheet, I would strongly advise you to first acquaint yourself with some of my editions which are similar to what you wish to propose, and the way they are notated. b) I greatly frown upon notation which includes non-musical graphic elements. This is not a value judgment, but simply a recognition that such notation is expensive to engrave, in both money and time. Editions Orphée is a one-man operation and I do not have the time nor the energy to deal with such notation. If it cannot be expressed in standard musical notation, I am the wrong publisher for it. c) I am not interested in publishing transcriptions. Not that I am against transcriptions. Far from it. I have published many transcriptions in the past, and have a fair number of them already in the pipe line. I am simply aware, painfully so, that if your transcription of whatever is good, it will be ripped-off in no time at all. It is almost impossible to protect transcriptions by copyright, or to generate any mechanical income from them. d) If your work contains any elements that are protected by copyright, such as lyrics, extensive quotations of tunes, or it is an arrangement based on a copyrighted work, you must secure permission from the copyright holder, before submitting the work to me. I do not have the time and legal help needed to secure such permissions. e) Of course I would prefer that your submission was made electronically. I can read musical files created with Finale, Sibelius and Score. However, this is not entirely necessary. If you are not computer savvy, I can still read a manuscript made with pen and ink, provided of course it is legible. The important thing for me is the music, not the format of the manuscript. At the same time, consider that computer generated files do save me a great deal of time and money, and will facilitate my examination of your work.
If you are a US citizen or resident, you must be a member of ASCAP. Editions Orphée is an ASCAP publisher and I cannot accept composers who are affiliated with BMI. If you are not a US citizen or resident, you must belong to a local PRS agency which is affiliated with ASCAP.
One more thing you must consider: if I decide to publish your work, it is most unlikely that you will earn much money from royalties on paper sales of the printed edition of you work. The only way to see some monetary benefit is to hope for the work becoming a standard and performed and recorded by many. I do whatever I can to promote the music of the composers I represent. But unless the composer assumes a direct role in promoting his/hers own creation, chances are it will not reach as wide a public as it deserves.
Are you still with me? good. Now if you still insist on sending me stuff, consider it gone. I do not return unsolicited submissions, even if you provide a stamped and address envelope.
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