Commissions and Music History
Do commissions accomplish the same thing as the classical masterpieces of the past?
by Sara Laws
As a scholar of literature, I’m interested in how all works of art (not just the most famous ones) are part of social and cultural evolutions, shifts, or moments of rupture. Sometimes, art pushes the boundaries of form and content. At other times, artistic works seem to reflect what was going on in a given historical moment.
Do commissions do this?, I wondered. I spoke with Belvedere’s Founding Artistic Director about this and other questions on the relationship between commissions (new classical compositions) and “the rest” of music history.
Shoenberg and the “death” of classical
When it comes to the classical masterpieces of the past, it’s hard not to see them as part of the evolution of thought, culture, and politics.
One thinks of composers like Stravinsky, Beethoven, Bach. They reflected, commented upon, and/or actively pushed forward new cultural and artistic forms. Their compositions are part of the broader cultural shifts of the eras in which they were composing.
With The Belvedere Series’ new commissioning project, I wondered whether these new compositions are part of music history or more of an addendum—or something else altogether.
A commission is when a composer, the person who creates music, is requested by someone—such as a musician, an ensemble, or a concert series—to craft a new piece. The composer is compensated for their work and uses their imagination to compose something entirely original for others to enjoy.
I asked Ingrid: To what extent do commissions push forward ideas of what ‘classical music’ can do, or is doing? For example, to what extent do new commissions comment in a lasting way on what’s happening now culturally?
Ingrid’s response was enlightening. But to answer the above questions, she went back in time.
“The history of classical music as we knew it was thrown a large wrench when Arnold Shoenberg developed 12-tone music associated with the ‘Second Viennese School,” she said.
Schoenberg was an Austrian composer and one of the most influential figures in 20th-century music. He is best known for developing the twelve-tone technique, a radical departure from the traditional tonal system that had dominated Western music for centuries.
Ingrid explained: The classical tradition is rooted in tonal systems used for hundreds of years. This structure was the foundation of compositions by Mozart, Haydn, Beethoven, etc. Our familiarity with harmonic structure, the sense of tension and resolution, started to be challenged.
“Essentially, classical music as we knew it dies and takes a while to regenerate. And for decades, a lot of new music had been hard on the ear, and became more experimental in nature.”
Schoenberg, however, sought to break free from these conventions, believing that they were too restrictive for modern expression.
His twelve-tone method, also known as serialism, treats all twelve notes of the chromatic scale as equal, removing the hierarchy that had previously defined music composition.
The advent of 12-tone music marked a dramatic shift. Schoenberg created music that, to many, sounded jarring and dissonant—a reflection of the chaotic world emerging in the aftermath of World War I.
This rupture signaled the end of classical music as it was known, and the start of an era of experimentation.
The advent of experimentation and Ingrid’s musical education
For Ingrid and for many, this period is the turning point. “Classical music as we know it, starts to turn,” she says. "Some pretty wild things came out of the mid 20th century-think John Cage’s 4’33”,” she said.
Ingrid's own musical education was steeped in the classical tradition. When she played for a professor at the Hochschule für Musik in Vienna at the age of 16, he emphasized the importance of this classical lineage, asking, “How many Mozart sonatas have you played? How many Haydn sonatas?”
“But you can trace the European classical tradition from the tumultuous fin-de-siecle into the twentieth century. It’s a very strong tradition.”
With this educational grounding, Ingrid admits she initially resisted new music. “I avoided new music growing up (as did my teachers) because much of it sounded like chaos,” she recalls.
The new music that premiered during the period of Ingrid’s musical education often felt disjointed, lacking the familiar structures she had been trained to appreciate. To her, it also lacked meaning. And as a teenager trying to find her identity, it drove her away.
This aversion was shared by others. Audiences often struggled to connect with experimental works that were placed alongside well-known symphonies in concert programs. “Essentially, classical music dies and takes a while to regenerate or recover. In the meantime, a lot of new music has been hard on the ear, more experimental in nature,” Ingrid explained.
When advised on where to study if she remained in the U.S., there was only one answer: Indiana University. That’s because in the 20th century, this university became a landing place for many pedagogues of that European classical tradition: Josef Gingold, János Starker, and Menahem Pressler to name a few. It has been the landing place for a very specific lineage.
“In no uncertain terms, Ingrid herself brings this hallowed tradition to Richmond. ”
This tradition is actually mappable from Haydn, Mozart, and Bach to Menahem Pressler, the world-famous pianist with whom Ingrid trained at Indiana University.
Bridging past, present, and future
It struck me: In no uncertain terms, Ingrid herself brings this hallowed tradition to Richmond.
And it’s not just about the programming or artistry of Belvedere concerts.
With her unique education and interest in new musical compositions, Ingrid is an interesting bridge between old and new: She can identify new commissions that build from and transform that classical tradition that Shoenberg appears to have broken.
In fact, Belvedere allows Ingrid (and all of us listening) to engage with music history by providing the resources and platform for new commissions—the present and future of classical music.
“What’s great about working with artists and composers now is that I have more time, freedom, and resources to explore new compositions and the work of living composers,” she explains.
This exploration has allowed her to discover pieces that resonate deeply, both with herself and with audiences.
Ingrid cites Gabriella Smith’s "Carrot Revolution," premiered by the Attacca Quartet, as an example of a commission that captivated her. “This piece embodies a freshness and a spirit-it melts many styles folk, Bach, bluegrass and it’s simply fun,” she says.
The piece, rich with extended techniques and diverse influences, is a testament to the vibrant possibilities of contemporary music. Its success suggests there is an appetite for innovative compositions, even in a landscape that can be challenging for new works to gain recognition.
Classical isn’t *really* dead
The significance of a commission, Ingrid reminded me, goes beyond the individual work. It’s about supporting the ongoing evolution of music, ensuring that new voices continue to emerge and contribute to the cultural landscape.
“People can’t stop creating music,” she observes.
Just as composers throughout history have responded to their times, so too do today’s composers, navigating a complex world with their art.
“Through its commissions, Belvedere allows us to engage with music history. It provides resources and a platform for the present and future of classical music.”
“It’s not just about bringing in world-class artists to play works from a hundred years ago (though we love this part),” Ingrid said. “It’s also about bringing in actual composers. They live among us! I’m not sure how many people realize that composers exist.”
And composers are also performers, like the members of the Attacca Quartet and OWLS, who are at the forefront of reimagining what classical music can be.
The Attacca Quartet (slated for a Belvedere event in June 2025), and OWLS (a quartet collective slated for a 2026 performance), “are the composers, the living virtuosos, and they’re the rebranding of this thing we call ‘classical music,’” Ingrid asserted.
Ingrid emphasizes the importance of context in her curation and commissioning work at Belvedere.
Just as she once did with her students, asking them to consider the life and times of great composers, Ingrid believes that understanding the context of a new commission is crucial for both performers and audiences.
“I hope those who love to learn, to think, and those who respect the work of artists might view commissions as texts—experiences—that connect you to something like the moment when Mozart wrote a sonata,” she says.
This emphasis on context and education is why Belvedere offers pre-concert talks and receptions, giving Richmond audiences the opportunity to engage with living composers and understand the stories behind their works.
In Spring 2024, guests were able to hear Belvedere’s first commission, Domenic Salerni’s “Seven Meditations” for piano trio. Salerni introduced the piece himself, sharing the personal and historical context in which it was written, including its reflections on the conflict in Ukraine.
This narrative not only enriched the audience’s understanding of the commission but also added depth to the Rachmaninoff piece that followed.
As Ingrid explains, “If handled with care, commissions comment upon and even transform the familiar older masterpieces.”
By juxtaposing new works with classical favorites, Belvedere helps audiences see the connections between past and present, offering a fresh perspective on both.
Explore Belvedere’s four commissioned works for the 2025-2026 season:
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