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“But people are at least willing to hear you talk about it...

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“Personally, those relationships are inextricable from the composition.

All of the projects that I do are for a specific performer,” he said.

That really helps.” In his own work, Charney said relationships are incredibly important.

He said that performers will come to him for a piece with a concert already in mind, and from there, they’ll work collaboratively to bring it to life.

“I think as composers we don't have the impulse to try and boil down what we do,” he said.

“Here though, the artifice of only having three minutes meant I had to talk to the next person no matter who they are.

They need that push.” Historically composers have had a pretty good idea what instruments they were writing for even if they didn’t have a particular ensemble lined up to premiere their work.

String quartets, symphony orchestras, choirs or wind bands have a standardized group of instruments and musicians to write for.

As a composer himself, he sympathizes with composers or performers (who are often introverts) being asked to convey who they are artistically to a stranger in only three minutes. “A lot of times people will ask me, ‘What's your music like?

’ That's a question that I've been asked since I started writing music, and it's a question that I still don't have an answer to.” Composer Jason Charney said that was hard for him at first, but he got better as the session went.

While there are still plenty of string quartets running around, there has been an explosion of new music chamber ensembles that feature historically unusual collections of instruments.

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