A dynamic exchange of musical ideas has been underway since last fall when the National Association of Teachers of Singing paired 10 emerging composers with established art song composers for the 2025-26 NATS Mentoring Program for Composers.

Now in its sixth season, the program continues to encourage early-career composers through mentorship, the creation of new works, and growing artistic community. Running from November to June, each mentor-mentee pair meets online regularly, often focusing on text setting while also exploring topics such as publishing, the industry, and avenues for career development. Overall, the program strengthens the voice teaching field by providing connection points with living composers and supporting the creation of new art song.

Composers Lori Laitman and Tom Cipullo are serving as co-advisors and mentors again for the 2025-26 cycle. A central feature of the program is the NATS-commissioned song from each mentee premiered by the Cincinnati Song Initiative for the “Let It Be New” concert series. This year’s streaming concert is scheduled for Sunday, June 28, at 3 p.m. ET. Past mentees also have had opportunities to share their work at various NATS events at the chapter, regional, and national levels.

View past "Let It Be New" concerts

As the program moves into the second half, participants describe their experiences so far as artistically rewarding and meaningful in fostering a sense of community.

Antonio Sanz Escallón, paired with mentor Scott Wheeler, has appreciated the encouragement and the support to try different options.

“I’ve enjoyed and learned very much from our conversations about compositional challenges and more practical aspects of writing, including time management and overall well-being,” Sanz Escallón said.

He also reflected on the broader environment created by the program.

“The NATS Mentorship Program has allowed me to meet and learn from composers whose work I find inspiring and compelling,” he said. “Having finished my graduate studies, this program has helped me continue searching for the kind of music I find most worthwhile making and has given me a platform to share it with performers and listeners.”

He also emphasized the sense of openness within the cohort.

“There’s enough room for all kinds of composers to share the same space,” Sanz Escallón said. “I’m most excited to hear the performances of my colleagues’ music.”

For mentee Steven Ward, paired with another Steven — composer Steven Mark Kohn, the mentorship has been both affirming and instructive.

“Steven [Mark Kohn] was not only a voice of reassurance to me in my process of composing the song, but he also was so generous with his advice on being a composer, the business of music sharing, and just making sure I was having fun in the process,” Ward said. “I, of course, love that he has a deep appreciation for American folk music, which is similar to me and my appreciation for African American spirituals. It was a rewarding experience.”

Ward said the program supported his development in unexpected ways.

“With virtually no formal music training, I had been reticent to take on the mantle of composer,” he added. “However, this program showed me there’s a diverse community of composers who are supportive and encouraging, and I was able to learn so much from the folks who I engaged with.”

Looking ahead, Ward is focused on the performance opportunity.

“I am looking forward to the process of taking what I've conceptualized in my music, seeing and hearing it brought to life by two top-notch performers, and sharing it with the NATS community at the premiere,” he said. “It's always so surreal for me to experience this, and I can't wait to hear the other songs from the talented composers, too.”

Participant Clara Moniz, paired with mentor composer Juhi Bansal, is grateful to be part of the program and eager to make the most of the remainder.

“I have been working with Juhi Bansal, and what has stood out to me most is her ability to meet me where I am at across topics and provide me with a variety of resources to improve my work,” Moniz said. “I am always looking to get two things out of a mentorship: the knowledge and resources that the mentor has picked up in their own artistic journey, and their opinions that they developed as a result of that process.”

She added that this balance has been especially beneficial for her.

“I really appreciate how Juhi has been able to provide me with tools to draw my own conclusions, and suggest things based on her own artistry and opinions,” she explained. “With those two aspects of mentorship working together, I have noticed so much comfort in areas of my writing I was previously unsure about, and I have felt more freedom to experiment in the most comfortable aspects of my artistic practice.”

Moniz also praised the extended professional development aspects of the program.

“It is rare to have a successful professional so consistently accessible to you as a young artist, free of charge,” she said. “The long-term format helps to develop a relationship and understanding of career goals, musical tastes, and strengths and weaknesses over time, which only helps to make the mentor/mentee relationship more effective.”

Other mentees shared similar positive outcomes with their composition work.

“The meetings with my mentor went very well,” said mentee Lauren Biggs, paired with composer Jeffrey Mumford. “We were able to identify elements in my piece that were fleshed out in later drafts. We discussed the concepts in the poetry I chose and how my mentor would approach the text. Hearing a different perspective on the text and music was very helpful.”

Samuel Mason has embraced being more intentional with his approach after working with composer Tom Cipullo.

“Tom emphasizes keeping listeners on their toes and making sure every moment in a piece feels purposeful,” Mason said. “Before joining the mentorship program, I had reached the point where I could write fluently, but I wanted to take the next step in writing songs that remain engaging from beginning to end. Working with Tom has helped me become much more intentional about pacing, contrast, and dramatic momentum in my writing.”

For mentors, the experience continues to be equally engaging.

“This is my third round as a mentor,” said Scott Wheeler. “What I notice is that in all cases the mentee composers are self-starters. This year my composer is also a talented poet, setting his own text.”

He added that it’s fulfilling to be part of the exchange.

“In all cases they like getting an outside eye and ear, but they have so much musical energy that they don’t need much from us,” Wheeler said. “It’s a pleasure to see this, and inspiring to be a part of it.”

Jeffrey Mumford also emphasized the broader significance of the program.

“I think this is a very important project, keeping alive one of the most intimate of musical genres,” Mumford said. “I am honored to be a part of it.”

Steven Mark Kohn particularly enjoys the creative aspects of the mentorship.

“As an artist it is a lot of fun to experience another artist's original work,” Kohn said. “We have to approach things with a fresh eye and ear. As a mentor, my job is to respond to the composer’s work, offering honest reactions, while being respectful of their choices. It is a stimulating intellectual game, diving in, parsing through the material, discussing shaping, the type of language, dramatic concerns, talking about the creative process. It’s like a puzzle. I enjoy it.”

He also is looking forward to the culminating performances.

“The concert performance is, of course, the capstone moment,” he said. “Since they are all songs, there is a commonality, even a fellowship among the group. We are all telling stories, painting pictures, using the same sound palette of piano and voice. Even within that limitation, it is fascinating to see the wide range of style and contrast in the new works.”

As the cohort moves into the second half, all attention turns to collaboration with performers and the upcoming premiere of each new commission. The culminating performances will showcase the results of months of creative work and offer a glimpse into the next generation of art song composers.

2025-26 Mentee and Mentor Pairs:

Supporting the next generation of composers

NATS invites supporters to help fund the recording and production of these new works. A $600 contribution sponsors the commission of a song — allowing supporters to honor a loved one, friend, or mentee composer with a personal inscription. Sponsorships help defray recording and production costs for the “Let It Be New” concert where all mentee works will be premiered. Donors are recognized in the concert program and recording credits. This opportunity ensures that each new composition can be heard and enjoyed for years to come. To contribute, please visit our donation page.