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Hmm, I quite disagree with you there. I think the composer's intentions are ALWAYS important, and should typically accompany a piece of work so that it can be played to the composer's wishes. Most especially with a work like this. If you are composing for a filmed scene, but the practicing orchestra has no way of seeing the scene you invisioned, than you should do your best to describe that scene to them. It helps to add that extra dimmension to the piece.
As regards to the selection process, I was under the impression that it would be the conductor and not Thomas who chooses the winning piece. Therefore, all biases and ill-feelings will be thrown out the window. I for one would like to hear all the pieces submitted, even the ones that did not qualify.
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Sean Christopher Stork
Nightingale Incorporated
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