Philip Rothman

Ford Made in America is a consortium of orchestras in all 50 states that will have originated more than 150 performances of works by leading composers Joan Tower and Joseph Schwantner from 2005 through 2010. Philip was the creative advisor and project director for a 100-page “tool kit” distributed to all participating orchestras, which contained fund raising, marketing, and promotion efforts that specifically address new music. Education lesson plans in the tool kit served as the basis for developing distinctive community-based programs.

Philip supervised the production of two documentary videos, created and edited material for the tool kit, developed the web-based portion of the project, and led program orientation workshops for participants in New York, Los Angeles, and Washington, DC. Through his company NYC Music Services, Philip created the orchestral realization of Chasing Light..., Joseph Schwantner's composition.

About Philip's work, composer Joseph Schwantner said: "As project director and creative advisor for both rounds of the Ford Made in America project, Philip's dynamic and innovative leadership has been critically important to the success of this major commissioning program.”

Founded in 1992 and created from the estate of the “dean of American composers,” Aaron Copland, the Fund’s purpose is to encourage and improve public knowledge and appreciation of contemporary American music. Philip has served as the Fund's program advisor since 2007. As program advisor, Philip is charged with administering programs that grant over $1 million annually in to performing ensembles, record companies, and other organizations in support of American music. He also led the Fund’s transition to a new online grant application system which debuted in summer 2010.

The League of American Orchestras is the national service organization for nearly 900 orchestras in the United States. As consultant to the League, Philip advised on its new music programs. Traveling to orchestras around the country, Philip performed site evaluations for the League’s composer residency programs, meeting with composers, orchestra administrators, and audience members to gauge the effectiveness of the programs. Philip also led a two-day intensive workshop in New York for orchestras and composers to prepare them for upcoming residency projects.

Meet The Composer supports the creation of new musical work and the engagement of new work with people and communities throughout the United States.

Philip advised Meet The Composer on its Magnum Opus commissioning initiative, which involved five internationally renowned composers creating new pieces for six different orchestras over a period of several years. Philip worked with composers, publishers, conductors, and orchestra administrators, negotiating all the contracts for these commissions and ensuring the fulfillment of the funding requirements.

The American Music Center is a national service organization for new American music, headquartered in New York. In 2005, AMC was host for the annual conference of the International Association of Music Information Centres (IAMIC). Philip was contracted to supervise logistics and planning for this five-day conference. As the on-site manager for all events, Philip coordinated personnel and operations among eight sites city-wide.

After the conference, IAMIC President Roland Sandberg said, "The American Music Center had prepared the conference extremely well. Everything went smoothly and without any problems, which means that the organisers had been thinking of everything in advance. Even our old “boat tradition” could be kept, since the perfectly organised opening reception was given on the old sailing ship ‘Peking’!”

Stanford Lively Arts is a curator and presenter of music, theater, dance, spoken word, and multi-media events. Based at Stanford University, Lively Arts presents an international roster of artists and caters to the greater Bay Area community. Philip served as grant consultant to Lively Arts during a period of organizational transition, traveling out to California to meet with the staff and advise on various funding approaches. Philip wrote two major grant proposals, both of which were successful. One of the proposals enabled Lively Arts to create a multi-year "creative campus" project that more fully integrated the university's academic departments into Lively Arts’ presenting activities.

Founded in 1996 by Philip Glass, Eleonor Sandresky, and Lisa Bielawa, MATA presents pieces by young composers on a 4-day festival, held each spring in New York City. Philip was brought in during a critical time in the organization’s development, as it transitioned from a festival led by its visionary founders to one managed by a new generation of people dedicated to its mission. Philip enacted a series of short-term moves to ensure the organization's stability, and led a series of roundtables with the board, staff, and external parties to gather the best ideas on how to move MATA through the transition. MATA emerged a stronger organization and was in 2010 awarded the ASCAP Aaron Copland Award in recognition of its services to young composers and the field at large.

Music-Theatre Group (MTG) is a New York-based company that generates original work by telling stories driven by music, in experimental forms and interdisciplinary combinations. Philip advised MTG on financial best practices and delved into the details of the company's books to help streamline its operations. Philip worked closely with MTG's staff and accountants, and ultimately presented the company's board with a series of recommendations designed to ensure long-term accuracy and accountability in its operations.

Tongue in Cheek Theater (TIC) is an Off-Off Broadway theater company dedicated to producing seriously funny theater. For all of the company’s productions since its founding in 2006, Philip has advised the company on marketing, fund raising, and technical matters. Philip works closely with the company’s staff and directors to help formulate policy and strategic growth.

Philip has also created sound design and original music for several of the company's productions, most recently Proof, which was hailed by TheaterOnline.com as having “clever music and sound design by Philip Rothman, who has fashioned some memorable audio transitions between scenes.”