Earlier I wrote about Kenneth Fuchs, a modern classical music composer, and the struggles he has getting his music heard.
William Weir, of the Chicago Tribute has written about Mr Fuchs again, with more information on his struggles. Mr Weir mentions after writing a piece, there is a great deal more work to be done - so much so it's almost a full time job. A number of interesting ideas are presented on other avenues people use to get their works heard, but it all boils down to this - getting one's music played is the composer's responsibility.
That said, there are a dozen symphony orchestras currently looking at my first symphony and a half dozen quartets looking at my string quartet music. This doesn't mean I'll get played, but so far the responses have been mostly positive if not yet ready to make a commitment.
Steve Heitzeg, an Emmy Award winner, has composed a new piece, Songs without Borders. It will be performed by the Daedalus Quartet at the 19 August ceremony at UN Headquarters in New York. Writing music for a topical issues is another way to get new music performed.
Megan O'Neil of the Metro Times writes about New Music Detroit and their upcoming concert of Strange Beautiful Music II on September 6th. So, one suggestion is for composers to find a group or a festival dedicated to new works.
It's not necessarily a new piece, but Bernstein's Mass is going to be performed by Marin Alsop for Carnegie Hall's ninetieth-birthday tribute to the late master. Composer Nico Muhly has this to say about this piece. By posting this article I'm not sure whether I am suggesting that if you die a great composer your works will get played, or whether writing on a variety of topics relating to music (and getting those writings read) is another way to get your name (and potentially your music) known.