Archive for the “Contests” Category

Jim Sector over at the Albany Symphony told me about competition kicking off just now, that some of you might be game for:

The Albany Symphony Orchestra (ASO) is proud to announce the orchestra’s first young composer competition: the “Composer to Center Stage” Reading Session. The ASO will hold an open call for scores starting on September 14th, 2009 and ending November 14th, 2009, available nationally to young and emerging composers looking to refine and develop their orchestral craft. From the pool of applicants, three composers will be selected to join the ASO in March 2010 to attend an open forum, hosted by nationally-acclaimed composer John Harbison, and to attend the ASO’s March 26th concert featuring Mr. Harbison’s music. In May, these finalists will be brought back during the orchestra’s annual American Music Festival, where they will have their pieces read by the symphony on May 22nd, meeting again with Mr. Harbison for feedback. An honorarium will be awarded to finalists, and both travel and housing will be provided for their trips to Albany.

A few of the more important rules for this one:

- Applicant must be either a US citizen or non-citizen lawfully and permanently residing, or studying full-time, in the United States.
- There are no age restrictions; however, applicants should be composers at the early stages of their professional careers.
- Each composer may submit only one composition for consideration.
- Only works that will not have been performed or read by a professional orchestra nor received a public performance prior to the reading date are eligible.
- Only works completed within the last five years will be considered.
- Works may be up to 15 minutes in length. Sections of longer works will be considered.
- Instrumentation should not exceed ASO’s standard symphonic complement. Works with instrumentation which exceed the above will be considered only with advance approval.
- Not eligible are concertos, choral works, works with excessive electronic elements.
- Works with Electronic elements are discouraged, but will be considered on a case-bycase basis. For works with electronics, MIDI, and/or digital technologies: include a one page statement describing the rationale for its use, as well as any pertinent production requirements and technical specifications.
- If selected, composers must provide professional, legible orchestral parts and scores prepared according to guidelines established by the Major Orchestral Librarians Association.
- The quality of the score submitted is the primary evaluation criteria. It is therefore in the applicant’s best interest that the score be clear, accurate, and the best representation of the composer’s work.

If you’re interested just contact Mr. Sector at jims@albanysymphony.com, and he can send you the complete application & guidelines.

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Having just viewed from only slightly afar (my television) the Latin Grammys held this year here in Houston, I thought I’d conterbalance the crushing Juanes domination by mentioning that there was also a Grammy for Best Classical Contemporary Composition buried down in there somewhere. For both sentimental and musical reasons I was rooting for Jorge Liderman’s Barcelonazo, but the awards held true to form and picked a tremendously “pleasant” piece by the Costa Rican composer Carlos José Castro. I’ve managed to dig up links to a snatch (or more) of all the nominated pieces, though how long the links keep working is anyone’s guess:

Barcelonazo – Jorge Liderman, composer (Jorge Liderman) / Track from: Barcelonazo

Concierto Del Sol (Winner)– Carlos José Castro, composer (Orquesta Filarmónica De Costa Rica) / Track from: Orquesta Filarmónica De Costa Rica

Non Divisi – Roberto Valera, composer (Camerata Romeu) / Track from: Non Divisi

Tahhiyya Li Ossoulina – Sérgio Assad, composer (Sérgio y Odair Assad) / Track from: Jardim Abandonado

Variación Del Recuerdo – Aurelio De La Vega, composer (The North/South Chamber Orchestra) / Track from: Remembrances-Recuerdos

So you all can be the judge…

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A few nicely surprising identifications, but if the combined brainpower of the S21 crowd only recognized two-thirds of the 36 faces, seems — what with the long, cold and snowy holidays coming up — a little catching up on any of these diverse and worthwhile composers would be time well-spent:

1. Maryanne Amacher  2. Gerald Barry  3. Dennis Báthory-Kitsz

4. David Behrman  5. Earle Brown  6. Allison Cameron

7. Maria de Alvear  8. Francis Dhomont  9. Allain Gaussin

10. Francisco Guerrero-Marin  11. Kamran Ince  12. Iván Naranjo

13. Alphonse Izzo  14. Monique Jean  15. Camille Kerger

16. Christina Kubisch  17. Paul Lansky  18. Mario Lavista

19. Daniel Lentz  20. Stanley Lunetta  21. Marc Mellits

22. Gilberto Mendes  23. John Howell Morrison  24. Gráinne Mulvey

25. Sarah Peebles  26. Christopher Penrose  27. Eliane Radigue

28. John Rea  29. Marga Richter  30. Linda Catlin Smith

31. Yasunao Tone  32. Lois V. Vierk  33. María Cecilia Villanueva

34. Claude Vivier  35. James Wood  36. Isang Yun

Why these, here and now? Just as with the monoliths, as soon as you dig them up and fly to Jupiter, they’re not nearly as exciting… I happen to have a folder with all kinds of composer portraits, that I attach to the I.D. tags of MP3s in my collection. I like to put a face on the person behind the piece, to take a little time to not just know the music but the living, breathing person as well. These were just a few, chosen almost at random, of the folks I listen to with some regularity, and don’t see why you shouldn’t too.

As to the fabulous 4-CD prize, technically Kyle Gann got the most, but that’s almost too easy for our resident vetran of the trenches. David Toub wins in the creatively weird category, hands down!… But the real award should end up with John “Sparky” Prokop, for getting almost as many as Mr. Gann, and showing a certain depth and breadth in who he was able to pick out. So Sparky, head to my website and find the email address at the bottom of most any page, send me a little note & I’ll be sending YOU a Cage-feast for your holiday repast.

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Like the Monoliths in 2001: A Space Odyssey, this link simply appears, unbidden… What does it mean? What purpose can there be?… WHO will discover the answer?… (and win my own copy of the Asphodel 4-CD John Cage Atlas Eclipticalis & Winter Music delivered to their door?…) All I know is the magic number seems to be 32…

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