2020 International Society for Contemporary Music (ISCM) World New Music Days in New Zealand


The official CANZ submission will comprise six works across at least four of the 15 different Score Categories identified in this Call for Works. For an official submission to be eligible each submitted work must be eligible, the durations specified for each work must be accurate, and the submitted works correctly aligned with the relevant category. Assuming the submission is eligible and the ISCM member is in good standing we guarantee that at least one of the submitted works will be presented during the 2020 ISCM World New Music Days.


Priority will be given to works shorter than 12 minutes in duration, except where specifically noted in a category description (see below). Furthermore, priority will be given to works written since 2012. Only one work per composer may be submitted, by either Individual submission or Official submission.

By submitting works to this Call, composers are agreeing that if their work is selected for performance/ presentation then they grant automatic permission for the ISCM performance/presentation of their work to be recorded, broadcast, and streamed from the website without additional financial liability to the ISCM or the Festival Organizers. 


Information required for each Work to be submitted is:

  1. The composer’s personal and contact information: Given names; Family name; Name as it should appear in the programme; Date of birth; full Mailing address; Gender; Phone no.; email address; website (if applicable).
  2. Work information: Title; Submission Category; Accurate duration; Year of composition; Statement of whether the work has been previously performed.
  3. The score (.pdf document preferred), or audio/video documentation if the work does not have a written score – as described in the Work Categories.
  4. An audio or video recording of the work (if available).
  5. Programme notes for the submitted work in English (maximum 100 words).
  6. Technical rider specifying all equipment necessary to perform the work.
  7. Short biography of the composer in English (maximum 100 words).
  8. High-resolution digital photograph of the composer.

Email all material to president@canz.net.nz by 11 July 2019.


1. Piano plus

1a) Solo piano

1b) Solo piano (prepared)

1c) Solo piano with fixed audio media

2. Violin plus

2a) Solo violin / viola

2b) Violin or viola, and piano

2c) Violin or viola, and percussion (1 player: glockenspiel, vibraphone, pr bongos, suspended cymbal, large tam-tam, kick drum, concert bass drum, triangle, woodblock, cowbell and auxiliary percussion or found objects that would fit on a trap table) 

3. Percussion plus

3a) Percussion (solo performer) – glockenspiel, vibraphone, pr bongos, suspended cymbal, large tam-tam, kick drum, concert bass drum, triangle, woodblock, cowbell and auxiliary percussion or found objects that would fit on a trap table.

3b) Percussion (solo performer) with electronics. Percussion instruments as above.  Electronics: Roland SPD-SX, Laptop with RME UFX interface, Ableton Live, Protools, Logic, Max, or other electronics if the composer supplies the necessary software/components. Ideally, the set-up will be relatively simple. Quad speaker arrangement is possible.

4. Taonga Puoro plus

Taonga puoro soloist, with/without flute/piccolo soloist (information sheet available)

5. Piano Trio

Violin, cello, piano

6. String Quartet

6a) String quartet

6b) String quartet with fixed audio media

6c) String quartet with percussion (1 player: glockenspiel, vibraphone, pr. bongos, suspended cymbal, large tam-tam, kick drum, concert bass drum, triangle, woodblock, cowbell and auxiliary percussion or found objects that would fit on a trap table)

7. Small Ensembles

Works for all or some of the following instruments:

7a) harp, percussion and double bass


7b) Saxophone, trombone, piano and double bass


7c) Clarinet, saxophone, trumpet, trombone and percussion(1)


7d) Flute/piccolo, oboe and violin

8. Medium Chamber Ensemble

Works for 3–8 players, instruments drawn from the following list: flute, oboe, clarinet, saxophone, trumpet, trombone, percussion(1), piano, violin, double bass

9. Youth Orchestra

5 – 7 minute works written for Youth Orchestra, players aged 14 – 24 years

3 fl (III=picc). 3 ob (III=corA).  3 cl (III=bcl). 3 bn (III=dbn) – 4 hn. 3tpt. 2 trbn. 1 btrbn. 1 tuba – 5 perc. 1 timp. pft. – full strings

10. Orchestra

3 fl (II=picc, III=picc,afl). 3ob (III=corA). 3cl (III=bcl). 3 bn (III=dbn). – 4hn. 3 tpt. 2trbn. 1 btrbn. 1 tuba – 3 perc. 1 timp. 1 hrp – full strings

11. Choir

A capella choir – SATB, SSATB, or SSA (no divisi) 

12. Electroacoustic

12a) Electroacoustic music for fixed media, with up to 8 channels

12b) Works involving live electronics, with up to 8 channels

Speakers are normally positioned as an 8.1 system in a semi-circular array. There is also the possibility of some upper reinforcement from a trio of hanging speakers.

Single screen video is also possible in conjunction with the above.

Works of up to 20 minutes in duration may be considered in this category. 

13. Composer-Performer

Open to composer-performers who work with an expanded approach to composition, artists engaged with the practice of researching and developing new compositional and performative tools which may work in an intersection of the physical, theatrical and visual. This may include performers exploring creation, composer-performer collectives, non-Western instruments, found/built instruments, electronics and extra-musical elements. Composer-Performers are required to bring all necessary materials for the performance, including their own computer with all software and additional hardware as well as all props and any other necessary materials.

Please submit an artist CV in English (up to 2 pages), .pdf description of the work (500 word max), a video of the composer-performer’s work, and a technical rider for the performance.

Works of up to 20 minutes in duration may be considered in this category.

14. Improvising Ensemble

Open to composers-improvisers who may wish to perform with local improvisers (violin, saxophones, percussion and/or keyboards). Composers are requested to send some demo material.

15.  Audiovisual and Installation Works

For gallery/exhibition presentation (i.e. non-concert presentation). Some installations may be positioned in an outdoor environment. Preference will be given to works that bear some relationship to the theme of Music Ecosystems.

Please submit an artist CV in English (up to 2 pages), .pdf description of the work (500 word max), a list of equipment and installation materials, and online support material (2 examples of work). Short-listed applicants will be contacted for additional materials.

Works longer than 12 minutes will be considered in this category.


The Commonwealth International Composition Award

Forwarded document:
Full details are available in this PDF.

Around the world there are very few young people who are being taught how to write their own music as part of their education. However, New Zealand is one of the countries we believe may be leading the field in this respect.

Musical composition is as valuable a form of self-expression as drama, dance, visual art and creative writing, but surprisingly, is the one that is least frequently taught in schools.

The Commonwealth Resounds, The Associated Board of the Royal Schools of Music (ABRSM) and the Purcell School for Young Musicians in the UK are all very keen to try and change this. It is why we have created this new training award.

We are looking for:

  1. High-flying schools and musical organisations in New Zealand who are already teaching musical composition to their pupils successfully, and who would be willing to be promoted as models of excellence on our international website and enter their promising young composers for this special International Award.
  2. Enterprising schools who would like to teach their pupils how to compose music but need some teacher and pupil support to get started.
  3. New Zealand Composers who would like to join our programme as mentors or tutors.
  4. Enterprising partners in New Zealand who would like to sponsor or support young composers in their country and help them to achieve a high international profile via this exciting new training award.

The Commonwealth International Composition Award

For those who wish to know more, here is the link to the website: https://cicompositionaward.com/

Christchurch Symphony Orchestra CompositionLab

CSO are currently inviting original compositions for CompositionLab: a new music workshop with the Christchurch Symphony Orchestra led by composer-conductor Kenneth Young.

This is an invaluable opportunity for new, emerging and established composers to develop and further their knowledge and skills, and to hear their work performed by live professional musicians.

The workshop session is on:

Sunday 11 August, 2-5pm

CSO rehearsal rooms, Unit 2, 4 Klondyke Drive, Hornby

Length of work: Own choice, but for longer works we may opt to play an excerpt of it.

Orchestration: single instruments: 1/1/1/1/1 1111.1111 timp, perc, harp

To apply, please

Submissions may be subjected to a selection process, and priority will be given to those composers who will be attending the workshop.

Deadline Dates

Score (and MP3 optional) submitted by closing date: 5pm Monday 1 July (acceptable formats: PDF, MuseScore, Sibelius)

Successful applicants notified: Monday 15 July

Instrumental parts supplied to CSO before or by: Monday 29 July

ISCM Estonia – additional call for student works

Call for works for EAMT New Music Ensemble UMA

ISCM World Music Days, 2–10 May 2019 in Estonia, Tallinn

Additional Call for Works for composition students only!

EMTA UMA (New Music Ensemble of Estonian Academy of Music and Theatre (EAMT))
fl, cl, trp, vl, vc, pf, sx (alto or baritone)

All possible combination from 4 to 7 instruments are welcome. With or without conductor.
Up to 10 min. Deadline: 29 Feb 2019, 12 PM GMT.

UMA is New Music Ensemble of EAMT. UMA has been part of playing G. Grisey Les espaces acoustiques and have working together with K. Penderecki and L. Andriessen.

Supervisors are Taavi Kerikmäe (head of CoPeCo program in EAMT, member of ensemble U:) and Tarmo Johannes (Tarmo: member of ensemble U:).

For any additional information, please contact
Call for works for EAMT New Music Ensemble UMA Coordinator
Karl Tipp

Call for Scores and Conference Papers: “Music as play – The toy piano takes the stage”

“Music as play – The toy piano takes the stage”, a two day festival with concerts and conference, is announcing a call for toy piano scores and a call for conference papers.

Full information can be found at the website:


Call for Scores: 

Composers of any nationality and age are invited to submit newly-composed works for toy piano. Selected works will be premiered during the festival in Como (Italy) by pianist Antonietta Loffredo and then on tour performances in other countries (Spain, Portugal and Australia).

Pieces for solo toy piano (37 key concert grand OR 25 key spinet OR 25 table top) or for toy piano and toy percussion. Up to 5 mins. Application fee of 30 Euros for up to two pieces. Closing date for submissions of scores: 9th December, 2018.

Call for Papers:

Proposals consisting of an abstract of not more than 300 words for spoken papers of 20 minutes. Abstracts are to be submitted in English and the conference language will be English. There is no fee to submit an abstract. Registration fee: 30 Euros. No additional fees for composers who have paid for score/s submission and wish to submit a paper as well.

ISCM World Music Days 2019 in Estonia

The official Call for Works is now released for ISCM’s World Music Days 2019 in Tallinn and Tartu, Estonia. The 2019 event will be held in collaboration with the Estonian Music Days’ 40th Anniversary, 2-10 May 2019.

Choral music is a particular strength of this festival (hence the multiple submission categories dedicated to it), as well as an interest in experiments between music and other artistic disciplines, including the intersections between music and architecture, theatre, audiovisual art, and literature. Also of note is the category for free improvisation, which may interest composer-performers active in this area.

Young composers are also encouraged to apply. Composers up to the age of 35 are eligible for the ISCM Young Composer’s Award, which includes a €5000 prize and a commission for a future ISCM event.

CANZ is the official NZ member (Section) of the ISCM, and will be selecting and submitting six works to the ISCM International Panel for consideration, from which at least one work will be selected for performance at the festival. We now invite members to submit works to CANZ for the initial selection. The deadline for submission to CANZ is Friday 14 September 2018. Please send all materials electronically to <president@canz.net.nz>. Receipt of your submission will be acknowledged.

You must be a current member of CANZ to make a submission to our official NZ entry (if you wish to join CANZ, please see http://canz.net.nz/join-canz/). Preference will be given to works composed after 2013, and to composers who are yet to experience an ISCM WMD festival. The Official Submission from CANZ will aim to include six works fitting at least four of the 14 submission categories. It is essential that you ensure your entry matches the specifications for one of the categories, described below:

Category 1 Orchestral works
Category 2 String orchestra
Category 3 Wind ensemble with conductor
Category 4 Ensemble with conductor
Category 5 Chamber music 1-6 players (“Pierrot Plus Percussion” etc. and subsets) Category 6 Chamber music 1-5 players (ensembles involving the traditional Estonian kannel)
Category 7 String quartet
Category 8 1-2 instruments
Category 9 Mixed choir
Category 10 Male choir
Category 11 Female choir
Category 12 Electronic pieces & Installations
Category 13 Jazz ensemble
Category 14 Free improvisation

World Music Days 2019 is jointly present with the annual contemporary music festival Estonian Music Days, organized by Estonian Composers’ Union.
The event takes place from 2-10 May in Tallinn and Tartu.

More info: www.worldmusicdays2019.ee

Category 1 

Orchestral works
(Max: 4fl, 4ob, 3fag, 4cl, 4Hn, 4trpt, 4tbn, 1tb, 5perc, 1hp, Strings: 17, 14, 12, 10, 8)

For further reference please visit:

Estonian National Symphony Orchestra www.erso.ee

Soloists are possible, if the section covers the costs.

Category 2 

String orchestra

a) String orchestra 

55432 (players, not desks) 10′-15′
Tallinn Chamber Orchestra http://www.filharmoonia.ee/tko

b) String orchestra with mixed choir 

Tallinn Chamber Orchestra and Estonian Philharmonic Chamber Choir 6666

Category 3 

Wind ensemble with conductor *
2 fl, 1 ob, 3 cl, 1 fag, 2 alt-sax, 1 ten-sax, 1 bar-sax, 3 Corni, 4 trbe, 3 trni, 2 euf, 2 tb, 1 Cb, 4 perc, guit.

The event takes place in open air. Traditional brass band genres such as marches etc are welcome.


Category 4 

Ensemble with conductor

a) Large ensemble 6-8 players and mezzo soprano with conductor 

with optional electronics
fl, cl, 2 perc, pf, vln, vla, vc and mezzo-sopr
up to 15′
Norrbotten NEO (Sweden) http://norrbottensmusiken.se/ensembler/norrbotten-neo/

b) Ensemble works with audiovisuals 

fl, cl, e-guitar, perc, vno, vla, vc, electronics up to 20′
Tallinn New Music Ensemble – https://enmtallinn.com/

Category 5 

Chamber music 1-6 players

a) Ensemble with optional live electronics. Works will be staged in a theatrical context
Fl, Cl, Perc, Pf, Vno, Vc
up to 15′


By submitting to this category, the composers confirm to agree that their pieces will be performed in a theatrical context and setting.
All possible combinations of given instruments from solos to the full ensemble are welcome.

b) Ensemble 1-5 players with electronics 

Fl, Cl, Arpa, Pf, Vc
up to 15′
Defunensemble (Finland) http://www.defunensemble.fi/

All possible combinations of given instruments from solos to the full ensemble are welcome.

c) Ensemble of 4 players ob, perc, vc, cb
up to 20′
Copeco All stars http://www.copeco.net/

All possible combinations of given instruments from solos to the full ensemble are welcome.

Category 6 

Chamber music 1-5 players

a) Ensemble of 4 players with vocal soloist. 

Concert will have literary addition (in the format of Poetry slam). Composers are encouraged to offer a poem or literary excerpt, which is to be read before or after the performance of the piece
Fl, Kannel, Vc, alto

up to 10′
Ensemble Resonabilis
All possible combinations of given instruments from solos to the full ensemble are welcome.

Pieces originally conceived for other instruments that are similar to the Kannel (e.g. kantele, kokle, kankles, harp, guitar, koto, gayageum, qin etc) are welcome. If it is not possible to perform the part written for that instrument on a kannel, then the composer who is proposing the piece is expected to rework the part so that it is playable on the kannel .

b) Ensemble of 1-3 players 

harp, kannel, harpsichord up to 15′
Ensemble Una Corda http://unacorda.net/

All possible combinations of given instruments from solos to the full ensemble are welcome.

Scores featuring instruments similar to the kannel would also be considered if the part is playable on a kannel or could be adapted by the composer, as per Category 6a above.

Category 7 

String quartet
up to 10′
Ensemble Yxus http://www.yxusensemble.ee/

Category 8 

1-2 instruments

a) 2 pianos (solo or duo) + optional electronics (prerecorded material) 

Pieces up to 10′
Kadri-Ann Sumera / Talvi Hunt

b) 2 Double bases
Pieces up to 5’
Jaanus Siniväli / Kristin Kuldkepp

c) 2 percussionists (non pitched percussion instruments only)
Pieces up to 5’
Vambola Krigul / Madis Metsamart

d) 2 clarinetists (available instruments 2 Cl in B, 1 Cl in basso and 1 Cl in Es) Pieces up to 5’
Signe Sõmer / Helena Tuuling

e) Koto and Estonian chromatic Kannel (solo or duo)
Pieces up to 15’
Kristi Mühling / Naoko Kikuchi
http://kristimyhling.com/kannel/ http://www.resonabilis.com/index_eng.html

Works originally scored for other instruments would also be considered if the composer is willing to adapt them so that they are playable as per Categories 6a and 6b above.

f) flute, soprano and electronics 

Pieces up to 15’
AFEKT Soloists: Monika Mattiesen
Sirje Aleksandra Viise, Tammo Sumera (electronics)

g) organ solo (with optional electronics)
Pieces up to 15’
Ulla Krigul

h) Violin and electronics (live electronics or Buchla) George Kentros / Mattias Petersson http://nomoremusic.se/
Pieces up to 5’

Category 9 : Mixed choir 5′-15′

a) a cappella
b) with electronics (pre-recorded only)
c) with solo instrument (Fl, Cl, Perc, Vno, Vc and C-b are possible) and optional electronics.
Please choose one solo instrument from the list above.
d) with 1 tenor soloist 

Estonian Philharmonic Chamber Choir 



A cappella, electronics, Solo instruments 

Vox clamantis 

4344 (2+2)


A cappella, electronics 

Latvian Radio Choir 



A cappella 

Collegium Musicale 



A cappella, Tenor Soloist 

Category 10 

Male choir
49 singers
up to 10′
a) a cappella
b) with 1-4 string instruments (2 Vno, Vla, Vc)
Estonian National Male Choir https://concert.ee/en/kollektiiv/eesti-rahvusmeeskoor/

Category 11 

Female choir
16, 12, 15, 9
up to 10′
a) a cappella
b) with early music instruments 



Hortus Musicus


1) discant and alto bombard (also recorders from soprano to bass)
2) recorders from sopranino to bass, dulcian, tenor bombard, rauschpfeiff 3) tenor and bass trombones
4) violin
5) g-violone (tuning from up c-g-d-a-e-b)
6) double bass
7) cembalo/organ
8) tenor voice, percussion*
9) baritone voice, percussion*
10) bass voice, percussion*

* renaissance drums, cymbals, tambourines etc.

Category 12 

Electronic pieces & Installations

Estonian Electronic Music Society ́s Ensemble 

live electronics (up to 6 players). Possible equipment: Max Msp, C-sound, DIY electronics, synthesizers (analog, digital, modular).

a) Electroacoustic pieces for tape (prerecorded MP3 file) only. 

up to 20′

b) Electroacoustic pieces for live electronics (up to 6 players. Max Msp, C-sound, DIY electronics)

c) Installations 

Sound installations of smaller size, which will be placed in the context of the concert venues

Category 13 

Jazz ensemble
up to 6-7 players, chosen from:
voice, saxophone, piano, guitar, bass, drums (additional instruments can be added). Different combinations are encouraged: 2 voices; 2 drums, etc.

The use of pre-recorded electronic sound is also welcome. Composers should submit stereo sound files along with their performance materials.
Priority given to works of 6′ or less. All combinations of saxophones is also suitable. It is possible to submit a piece that uses 2 drummers.

In collaboration with Estonian Jazz Union


Category 14 Free improvisation 

up to ca 15’-20’
Hosted by Improtest series

This category is open to composers-improvisers. It is possible to perform with the Improtest house band (1 keyboard player, 1 electric guitarist). The composers are requested to send some demo material.

International composition competition Città di Udine – 2018

The competition is divided in two sections:
– compositions for chamber instrumental group or solo instrument.
– electroacoustic music.

The competition will accept compositions by musicians of any nationality and of any age. Previously performed compositions will be

Chamber instrumental group or solo instruments:

Pieces should not exceed eight minutes in length, however consideration will be given to compositions which exceed this length if, in the opinion of the Jury, they are of particular artistic merit. The Jury’s decision on this matter is final.

The chamber instrumental group is made up of:
– a string quartet (two violins, viola and cello)
– piano / one performer
– flute (piccolo, alto flute, and bass flute) / one performer
– clarinet (clarinet in E flat, clarinet in B flat, clarinet in A and bass clarinet)/ one performer
– percussion instruments from the following list: vibraphone, glockenspiel, tom toms (max 5 pieces), suspended cymbals, tam tam, templeblocks, small percussion instruments such as triangle, wood blocks, maracas etc… / one performer
– instruments listed above may be used in any combination
– if desired, just one instrument may be used
– it is possible to use a stereo audio track on CD or digital file
of similar quality (or better), to accompany the performance of the chamber instrumental group or solo instrument.

Electroacoustic Music

Electroacoustic musical compositions must have a duration of less than ten minutes and must be presented with CD digital file quality (or

Recording formats:
Stereo format
Quadraphonic format
5+1 format
Octophonic format

Any multi-channel versions of the composition must be sent along with the stereo version with CD digital file quality (or better).

For further information including application form and fees see http://www.taukay.it/pdf/2017_2018_bando_eng_ita.pdf

International Composition Competition Harelbeke

For the seventh time, the International Composition Competition Harelbeke will be organized in Harelbeke (Belgium). The aim of this competition is to encourage talented composers to integrate the achievements of contemporary music and current composition techniques into wind orchestra compositions.

Contemporary music, more specifically in the sector of music for wind and percussion instruments, deserves permanent backing. As town council, our aim is to motivate composers and performers and to provide a window onto the world. Building a musical bridge between international communities is essential for the future of mankind. This competition contributes to this goal.

A unique feature of this competition is that the works of the three finalists will be performed live by the wind orchestra Koninklijk Harmonieorkest Vooruit Harelbeke.

General provisions

1.            The competition is open to composers of all ages and from all countries.

2.            Each composer can enter only two works.

3.            The duration of the work must be between 15 and 25 minutes (to be stated on the score).

4.            The submitted works must be original in every respect: only unpublished works that have  never been performed in public nor broadcast on radio or television and that have never won a prize at any national or international competition will be accepted. Adaptations of existing compositions or rearrangements or re-orchestrations of known tunes or folk songs will be rejected.

5.            Only music compositions for wind orchestra will be accepted. Works for brass band or chamber music groups will not be accepted.

6.            Compositions using electronics will not be accepted.

7.            As the three shortlisted compositions will be performed live during the final, the  orchestration of the work must not exceed the following instrumentation:

Piccolo; Flute 1&2; Oboe 1&2; English horn; Clarinet Eb; Clarinet Bb 1,2&3; Bass Clarinet Bb; Contra-Alto Clarinet Eb; Contrabass Clarinet Bb; Soprano Saxophone; Alto Saxophone 1&2; Tenor Saxophone; Baritone Saxophone; Bassoon 1&2; Contrabassoon; Cornet Bb 1&2; Trumpet Bb 1,2&3; French Horn F 1&2, 3&4; Tenor Trombone 1&2; Bass Trombone; Euphonium Bb; Tuba C; Double bass; Timpani; Percussion (max. 6 parts); Piano; Harp

The works will be performed by an orchestra from Harelbeke with this instrumentation.

8.            The score must bear a title and a pseudonym instead of the composer’s name.  The submitted score must be accompanied by a scanned application form and a signed declaration of authenticity.  The application form can be downloaded from the competition’s website: www.icch.be

9.            The name of the composer must not appear anywhere on the score. Nor may the score contain any details that might lead to the identification of the composer.

10.          The score should meet the following requirements: (1) realized in digital format (music notation software) and (2) submitted in PDF-format by uploading it onto the website www.icch.be

11.          The composer must also include a short written preface to explain the work. If the composer has used an alternative music notation system, it must also be explained.

12.          The jury reserves the right not to award all three prizes if the desired level is not reached.

13.          The organization will preserve two copies of the score: (1) to be kept in the archive of the competition in Harelbeke, (2) to be kept in the music library of MATRIX in Leuven (http://www.matrix-new-music.be/).

14.          The jury will announce the finalists on Monday 16 April 2018.

15.          The finalists will be asked to attend a rehearsal with the orchestra on the day before the final. This rehearsal will take place in the presence of the jury members. Each finalist will have one hour to work with the orchestra. Travel expenses will be reimbursed by the organization. Hotel and subsistence expenses however must be borne by the composer.

16.          If a prize-winning composer decides to have his work published by a music score publisher, the score must carry the words: with this work the composer was a finalist at the 6th International Composition Competition Harelbeke (Belgium).

17.          If one of the finalists is disqualified, another candidate will be selected to take his or her place.

18.          The jury’s decisions are final.

19.          Entries submitted after the deadline will not be accepted

20.          By entering the competition the candidate accepts the competition rules.

For more info see http://www.icch.be/

Synthetis International Summer Course for Composers

The Music Gardens Foundation is pleased to invite young composers (no age limit!), from the world over, to participate in the 2018 edition of the International Summer Course for Composers SYNTHETIS, which will take place in Radziejowice (near Warsaw, Poland) between July 29 and August 10, 2018.

The participants of this year’s edition of the Course will have an opportunity to attend lectures and individual meetings with such renowned composers as Chen Yi (China/USA), Brigitte Muntendorf
(Austria), Ondřej Adámek (Czech Republic) and Johannes Kreidler (Germany), as well as the
Course’s artists-in-residence: members of the E-MEX Ensemble (Germany). At the SYNTHETIS
2018 final concert, these talented artists will perform some of the works composed during the

Traditionally, the SYNTHETIS events will be held at the Radziejowice Palace – a beautiful complex situated 50 km from Warsaw. The venue, surrounded by a picturesque landscape and originally
dating back to the 17th century, thanks to its unique atmosphere has become a work facility for artists, writers, musicians and painters. Its intimate character provides excellent conditions to create both highly cooperative environment and creativity-enhancing atmosphere.

SYNTHETIS, created and directed by Zygmunt Krauze, is a successful reactivation of the le-
gendary composition courses initiated in 1980 by the Polish Society for Contemporary Music. The key objective of the Course is to allow each and every participant not only to develop his or her
artistic skills, but also to work in an environment where exchange of experience is essential.
Deadline for application is May 31.
More information and on-line application form available at: http://www.synthetis.pl

5th Antonio Smareglia International Composition Competition

The Competition is divided into two sections as follows:

Section A: compositions for solo piano of between 5 and 10 minutes.

Section B: compositions for solo voice and piano of between 3 and 6 minutes.

For section B, the choice of text is at the discretion of the composer, provided that:
– the text has been published (or translated) in one of the following languages: Italian, French, English, Spanish or German;
– the text is in the public domain, or the composer has requested and obtained the author’s and/or translator’s explicit permission to use the text (or the permission of his/her legal heirs and/or legal representatives, see § 7)

In the 5th edition of the competition, there is a special prize, that will be awarded to composition for solo voice and piano of between 3 and 6 minutes, with a text in the Friulian language. The choice of
text is at the discretion of the composer, provided that the text is in the public domain, or the composer has requested and obtained the author’s explicit permission to use the text (or the permission of his/her legal heirs and/or legal representatives, see § 7).
The Società Filologica Friulana, patronage of the competition, can provide a selection of texts in Friulian language with a possible translation in Italian, German or English, and also audio files with
reading of the texts themselves (contact to biblioteca@filologicafriulana.it).

3. The competition is open to participants of every nationality and there are no age restrictions applied. The works presented may have been performed previously but must be unpublished and not have been awarded prizes, awards or special mentions in previous competitions.

4. The Jury Commission (five members) will consist of eminent musicians of international acclaim and a representative of the Casa Musicale Sonzogno of Milan.

5. Competition entries, with all files specified in point 7, must be delivered no later than 31 May 2018, only by electronic means and in PDF format, to: concorsosmareglia@libero.it

6. No entry fee is required.

7. The title and the name and the surname of the author must be evident on the frontispiece of each composition.

Every e-mail must have in attachments the following documentation in PDF format:
– the particulars and contact details of the composer (including telephone number and e-mail address);
– a ID cart copy;
– a written statement, signed by the composer, affirming that the composition has not been previously published or received prior awards, prizes or special mentions in previous competitions;
– written authorization signed by the author (or his/her legal heirs and/or legal representatives) permitting the use of the literary text selected, where said text is not already in the public domain;
– proof of copyright clearance to publish the work in cases where the composer is contractually bound by an exclusivity agreement to a particular publisher.