Mise-en Music Festival 2018

ensemble mise-en is thrilled to announce the call for scores for the MISE-EN MUSIC FESTIVAL 2018! The festival has featured more than 30 pieces each year since 2014.

In order to participate, all selected composers are required to attend the festival. Selected composers will have the chance to collaborate with ensemble mise-en as well as other guest ensembles. This is a unique opportunity to share your work with not only a New York City audience, but also with visiting musicians and composers from around the world.

In 2018, two of the selected composers will also receive a residency opportunity at MISE-EN_PLACE Bushwick during the festival (June 27-30).

Deadline: December 15, 2017 (EST 11:59PM)

Submission Fee: $25

The guidelines for the submissions:

1. Applicants may be of any nationality and age.
2. Selected composers must be present at the festival (June 27-30, 2018) in New York City.
3. You may only send one piece per category. Please note that multiple submissions are welcome, but each must be submitted as a separate entity.
4. Those composers chosen to write new works (CATEGORY #4) will be notified by January 1st, 2018. All other composers chosen to participate in the festival will be notified by February 28th, 2018.

CATEGORIES
1. Chamber Ensemble (2-8 musicians including a conductor) with/without electronics
2. Solo Instrument (any standard orchestral instruments) with/without electronics
3. Chamber Orchestra (up to 20-piece ensemble) with/without electronics
4. Proposal for a new piece (flute, clarinet, trombone, piano, percussion, violin and cello with/without electronics)*

*This category is for undeveloped works or works-in-progress. Selected works must be completed and submitted by mid-April 2018 for inclusion in the festival program.

For more information see https://festival.mise-en.org/submission/

ManiFeste Electroacoustic Music Workshops 2018

This workshop features intensive hands-on classes on performing electroacoustic music, sound diffusion, and controlling electronics. Intended for sound engineers and computer music designers who wish to acquire professional experience in preparing the musical and logistical aspects of electroacoustic concerts and rehearsals.

Interpretation Workshop: Electroacoustic Music

Monday, June 18 — Saturday, June 30, 2018
@Ircam & Centre Pompidou
Présentation publique: Saturday, June 30, 2018

Educational Advisors: Grégoire Lorieux, Mikhail Malt, IRCAM computer music designers
Instruction in English

The 2-week long workshop on electroacoustic music, taught by IRCAM professors, features classes in a Mac-equipped room, hands-on exercises in the studio, rehearsals with musicians for a mixed music concert during which each student is responsible for the performance of the electroacoustic elements of a work on the program. This concert is the final result of the collaborative “Mixed Music Program” implemented by the Pôle Sup’93 and IRCAM. This program is designed for young performers who want to learn to perform their instruments with electronics. These young musicians from the Pôle Sup’93 will work alongside workshop students.

No age requirements

Prerequisites:

  • Ability to analyze and work on a score
  • Familiarity with the aesthetics of contemporary music
  • Applicants must have intermediary-level knowledge of programming in Max or Live and use the software on a regular basis. For Max, applicants should have followed the beginner’s level Max course or provide proof of equivalent knowledge of the Max tutorials 1 -22, Data tutorials 1 – 5, MIDI tutorials 1 – 5, and MSP tutorials 1 – 31.

Applicants must download the questionnaire on their level of computer literacy and return it with their application online.

Online Applications: ULYSSES Platform 
Applications accepted from Monday, October 9 – Monday, November 6, 2017

For more info see https://www.ircam.fr/transmission/lacademie/manifeste-2018/musiques-electroacoustiques/

ManiFeste Chamber Music Workshops 2018/2019

This year, IRCAM would like a large number of young composers to take part in the exceptional environment offered by the ManiFeste academy in June (internationally renowned composers, exceptional musicians, scientists specialized in musical domains, etc.). The first year, students will follow individual and group classes, encounters, discussions, and work on compositional sketches. Certain composers will be selected at the end of the first year to return the following summer with their sketch finalized to be performed by the Ensemble intercontemporain.

Composition Workshops for Conducted Ensemble and Chamber Music

2018: Monday, June 18 — Saturday, June 30 @IRCAM
2019: Monday, June 17 — Saturday, June 29 for composers selected at the end of the 2018 academy

Ensemble intercontemporain. Direction Julien Leroy
Educational Advisors: Marko Nikodijevic / Conducted Ensemble, Stefano Gervasoni / Chamber Music (composers)

At the end of this two-week session, approximately 20 young composers will be selected to complete their score. The works will be rehearsed and performed in concert during the ManiFeste-2019 academy (Monday, June 24 – Saturday, June 29, 2019).

Applicants must be born after January 1, 1986

Composers cannot take part in the composition workshops more than two consecutive years. They can, however, take part in all the academy’s activities as auditors.

At the end of the 2018 academy, the educational team will make their selection. The team reserves the right to select none of the sketches submitted. The team’s decision is final. Only selected works will be rehearsed and premiered during a public presentation in June 2019 (the education team reserves the right to modify this decision at a later date). This presentation will be recorded. A studio mix of this recording will be given to the composers.

Online Applications : ULYSSES Platform
Applications accepted from Monday, October 9 – Monday, November 6, 2017

For more info see https://www.ircam.fr/transmission/lacademie/manifeste-2018/composition-20182019/

ManiFeste Grand Orchestre Workshops 2018

The ManiFeste academy continues its partnership with the Orchestre Philharmonique de Radio France, partner since the academy’s inception in 2012. Every year, the selected composers are able to take advantage of personalized advice from the teacher/composer, Franck Bedrossian, and the conductor Peter Rundel before—and during—work sessions with the musicians. In addition, the young composers selected to participate in this workshop will be able to hear their sketches for full orchestra performed during a concert open to the public.

Reading Sessions for Full Orchestra

Monday, June 18 — Saturday, June 23, 2018
Public concert: Saturday, June 23, 2018
IRCAM & CENTQUATRE-Paris

Orchestre Philharmonique de Radio France. Ensemble ULYSSES
Conductor: Peter Rundel
Pedagogical Advisor: Franck Bedrossian, composer

8 young composers are invited to write a short sketch for orchestra using non-traditional orchestral writing, seeking new concepts of orchestration. After a work session with the composer Franck Bedrossian, these sketches will be read for 50 minutes each by the Orchestre Philharmonique de Radio France and the young musicians from the ULYSSES Ensemble.

Applicants must be born after January 1, 1986

Composers cannot take part in the composition workshops more than two consecutive years. They can, however, take part in all the academy’s activities as auditors.

Online Applications: ULYSSES Platform
Applications accepted from Monday, October 9 – Monday, November 6, 2017

For more info see https://www.ircam.fr/transmission/lacademie/manifeste-2018/grand-orchestre/

Composing in the Wilderness 2018

Explore the Alaska’s inspiring backcountry, compose music about it, and have it premiered by top performers.

Now in its seventh year, this one-of-a-kind creative adventure for composers is offered by the Fairbanks Summer Arts Festival in collaboration with Alaska Geographic and the National Park Service of the USA.

This year we’ll be offering two field courses, both of which feature an immersive back-country experience in Alaska’s national parks, and a premiere of a new chamber piece you write.

Our long-standing program in Denali National Park and Yukon-Charly Rivers National Preserve will be offered once again; but we’re also adding a second, more immersive field course that will take participants above the arctic circle on a week-long river trip through the second-largest national park in the USA and culminate with a premiere performance in New York City! This high-end option is ideal for more experienced composers, faculty members, and professionals.

Since Composing in the Wilderness filled up last year in 48 hours, we’re instituting an easy new application process. To be considered, composers must submit their materials before November 1.

See the following website for further details: http://www.composinginthewilderness.com

Torre Della Quarda – 2018

The composition competition “Torre della Quarda” is an international event; it will be a key element of Festival Internazionale di Musica di Savona and it will contribute to enrich an artistic proposal which has reached in 2018 its sixth edition.

The principal objective of the competition is to give support to the composition of new musical pieces and to promote the creativity in the musical field. Our hope is to bring the best emerging talent of composition from all over the world to Savona.

The participation will be open to competitors from all countries, without limits of age, aesthetic trends and compositional styles. Our aim is to stimulate a dynamic relationship between an active audience and authors sensitive to creative innovation. The winners will receive their awards in a special ceremony during the Festival and their compositions will be played as concerts, parts of the Festival itself.

A further aim of the competition is to act as a significant occasion of cross interaction, overcoming generational and geographical divides. Different generations of composers will have the opportunity to meet and compare their various perspectives. The same will happen between musical schools of different origins, born from different cultures but sharing the universal language of sound.

The candidates for the participation in the competition must pay a fee, under title of a donation, as a reimbursement of expenses (not refundable) of:
Euros 15 for section 1 (chamber music)
Euros 35 for section 2 (orchestra)

Scores must be received no later than 15th April 2018

For instrumentation and further information see http://www.ensemblenuovemusiche.eu/en/composition-competition-2018/

2018 NZ Composer Sessions

in association with NZSO, RNZ Concert and SOUNZ

SOUNZ Centre for New Zealand Music is proud to announce the selection for the 2018 NZ Composer Sessions. Eight New Zealand composers’ works will be rehearsed and performed by the New Zealand Symphony Orchestra and recorded by RNZ Concert in January next year:

Chris Adams: Otira Gorge
Reuben Jelleyman: Hue Saturation and Brightness
Louisa Nicklin: One
Philip Norman: Two Fanfares
Andrew Perkins: Three Spanish Songs
Anthony Ritchie: Albatross in Flight
Patrick Shepherd: Lithosphere (3rd mvt)
Alex van den Broek: Barbour St. Late Evening

“NZ Composer Sessions is a quintessential SOUNZ project, bringing together our composers with the national orchestra to create high quality recordings of contemporary NZ music”, says SOUNZ Executive Director Diana Marsh. “Once again we are grateful for the support of our partners NZSO and RNZ Concert in helping to bring New Zealand composers’ music to a wider audience. The sessions also provide a valuable opportunity for other arts organisations to hear works by a range of New Zealand composers.”

A panel made up of representatives of the NZSO, RNZ Concert and the Composers Association of New Zealand (CANZ) selected the latest eight works to be recorded.

First-time participant Louisa Nicklin said, “I am so grateful to be selected for this amazing opportunity working with such talented musicians. This is my first year out of university and I couldn’t be happier with this outcome as it enables me to continue to develop as a composer.”

The 2018 recordings will take place in January at the Michael Fowler Centre in Wellington, including a concert for invited guests to promote the works to a range of orchestras and broadcasters.

The selected composers welcome the opportunity to work with the national orchestra. Andrew Perkins, who is taking part in the recordings for the third time, said, “The award provides me the welcome opportunity to work again with the NZSO, a world-class orchestra. I am also grateful of the acknowledgement of my work as a New Zealand composer.”

The project, previously known as NZSO-SOUNZ Readings (1998-2011) and NZSO-RNZ Concert-SOUNZ Recordings (2010-2016), was re-launched as NZ Composer Sessions this year. The collaboration offers composers an opportunity to have their orchestral compositions workshopped and performed by a professional orchestra, to be recorded in a professional setting and promoted to presenters. Throughout the years, over 130 works by 65 New Zealand composers have been recorded.

See the SOUNZ website for more information about the composers and the works.

Risingholme Orchestra Composition Competition

The Risingholme Orchestra is pleased to announce the Janet and John Emeleus Composition Prize for “Meaningful Musical Miniatures”.

Open to all Cantabrians, the competition encourages composers of all ages to hear their work performed in a concert scheduled for 1 July 2018 in The Piano: centre for music and the arts.

Cash prizes to a total value of $1,000 are available.

Finalist works will be given a performance in a concert by the Risingholme Orchestra.

For more information please see: https://www.risingholmeorchestra.co.nz/

2018 Barlow Prize – $12,000 Commission

New Work for Reed Quintet

The winning composer will receive a $12,000 commission from the Barlow Endowment to compose a major new work for Reed Quintet.  The winning composer’s work will be premiered in 2019 by a consortium of three quintets:  Akropolis (Michigan), BYU (Utah) and the Calefax (Netherlands).

The 15-20 minute work is expected to meet the highest artistic requirements for the medium.  Additional specifications for the work will be negotiated among the Barlow Endowment, the composer, and the performing consortium.

Applications and all materials must be RECEIVED before close of business on June 1st of each calendar year. 

For further info see http://barlow.byu.edu/prize-applications-guidelines/

[‘tactus] Young Composers’ Forum 2017

The seventh edition of [‘tactus] Young Composers’ Forum will take place in Brussels and Mons, Belgium from September 25th to 29th, 2017, under the presence of maestri Ann McKay, Jean-Paul Dessy, Kimmo Hakola, Claude Ledoux, and others to be confirmed.

The first session, held in Brussels, Belgium from September 25th to 27th and with the collaboration of the Brussels Philharmonic, will feature writing for orchestra. Candidates are asked to submit a piece or part of a piece (movement) for symphony orchestra approximately 10 minutes in duration.

Orchestral accompaniment cannot exceed the following instrumentation:

Woodwinds in groups of 3: 3 flutes [including piccolo] – 3 oboes [including English horn] – 3 clarinets [including bass clarinet or soprano clarinet] – 3 bassoons [including contrabassoon]

Brass: 4 horns – 3 trumpets – 3 trombones – 1 tuba

Percussion: 3 players [1 timpanist and 2 percussionists]

Harp: 1 player

Strings: 14 – 12 – 9 – 8 – 6

Piano

The second session, held in Mons, Belgium from September 27th to 29th, 2017 and with the collaboration of the ensemble Musiques Nouvelles, will feature writing for chamber ensemble. Candidates are asked to submit a piece for chamber ensemble approximately 10 minutes in duration. Applicants are encouraged to submit a work with particular emphasis on either the piano and / or marimba part/s.

Instrumentation for the chamber ensemble work should not exceed the following (9 musicians):

1 flute (including piccolo, alto flute and bass flute) – 1 clarinet (including bass clarinet and contrabass clarinet) – 1 trombone – 1 guitar (including electric guitar) – percussion* – 1 piano – 1 violin – 1 viola – 1 cello.

* Accepted percussion instruments:
• 1 * timpani 20 inches
• 1 * timpani 26 inches
• 1 * timpani 29 inches
• 1 * timpani 32 inches
• 1 * concert bass drum
• 1 * tubular bells
• 1 * concert tam tam
• 1 * gong tuned . C .
• 1 * gong tuned . B .
• 1 * marimba
• 1 * vibraphone
• 3 * conga
• 3 * bongo paired 7 inches . and 8 inches 5/8
• 1 * complete drum set with 2 snares
• 1 * glockenspiel
• 1 * octave of crotales C6 – C7
• 1 * xylophone
• 2 * bar chimes
• 5 * cow bell
• a set of suspended cymbals

Composers 35 years and younger are invited to apply for one or both sessions submitting work/s as indicated in the application requirements. Candidates interested in both sessions need to submit two works (one for each session).

Launched in 2003, this biannual event offers the opportunity for young composers to increase their understanding of what is involved in writing for a symphony orchestra and chamber ensemble. A maximum of six composers, to be selected on the basis of an online submission, will be given the privilege of workshopping a work or part of a work (a movement) of about 10 minutes in length with the Brussels Philharmonic and the ensemble Musiques Nouvelles.

The working sessions will be followed by discussions in the presence of internationally renowned composers. Lectures will also be given on various aspects of composing as well as other topics related to composers’ careers, etc.

At the end of the sessions an international reading panel will select one or more works that may be programmed by a professional orchestras. In the past these have included the Orchestre National de Lille, the National Orchestra of Belgium, the Flemish Radio Orchestra, the BBC Symphony Orchestra and the Brussels Philharmonic.

The forum will end with a closing concert given by the ensemble Musiques Nouvelles in Mons, Belgium on September 29th, 2017.

Applications can be submitted exclusively online via the Ulysses platform: http://ulysses-network.eu/web/competitions/.

The deadline for submission is June 1st, 2017.

For more information see www.tactus.be