The SCI Newsletter society of composers;inc

Volume 18, Number 1 February, 1988

SOCIETY OF COMPOSERS 23RD ANNUAL CONFERENCE APRIL 27.:. MAY l, 1988

This spring, the Symposium of Contemp-orary Music at the Universfty of Kansas will host the 23rd annual ·meeting of the Society of Composers, formerly the Amer-ican Society of University Composers. The conference, scheduled for April 27 -May 1, 1988, will consist of four days of concerts and paper presentations. Featured guests will include John Cage, Jacob Druckman, pianist Yvar Mikhashoff, the Verdehr Trio, and the Kansas City Symphony. Society member guests wi 11 include Larry Austin, Barney Childs, Donald Erb, Jonathan Kramer and Eric

es.

The_tentative schedule is as follows:

Wednesday, Apri 1 '[!_ 1:30 - 5:00 pm Executive Committee

Meeting Haynes Conf. Room Adams Alumni Center

7:00 - 8:00 pm CONFERENCE REGISTRATION Murphy Hall Lobby

8:00 pm CONCERT: Musica Nova

Thursday, Apri 1 28 8:00 - 9:00 am ~CONFERENCE REGISTRATION

Murphy Hall Lobby COFFEE and ROLLS

9:00 am

9:30 am

11 :00 am 1:30 pm

3:40 pm

8:00 pm 9:30· pm

.. ,day,April 29 8:00 - 9:00 am

Skilton Lounge WELCOME from the Univ. of Kansas

Swarthout Recital Hall

CONCERT Swarthout RH

CONCERT PAPERS: L. Austin and

T. Clark PANEL CONCERT: KU Symphonic Band and Symphony Orchestra LECTURE: John Cage RECEPTION

Lawrence Arts Center

CONFERENCE REGISTRATION Murphy Hall Lounge

COFFEE and ROLLS Skilton Lounge

(Friday, cont'd) 9:00 am

10:00 am 12:00 noon

1:30 pm

2:30 pm

3:30 pm 4:45 pm

8:00 pm

PAPERS: J. Kramer and P. Child

CONCERT LUNCH: Executive

Committee CONCERT: KU Chamber

Choir CONCERT: pianist Yvar

Mikhashoff LECTURE: J. Druckman PERSICHETTI ME~ORIAL CARILLON CONCJRT CONCERT: Verdehr Trio

Saturday, April 30 8:00 - 9:00 am ~CONFERENCE REGISTRATION

Murphy Hall Lobby COFFEE and ROLLS

9:00 am

10:15 am 11 :30 am 1:30 pm

2:45 pm

4:30 pm 5:30 pm

6:00 pm 8:00 pm

10:00 pm

Sunday, t-1~~ .!_ 8:00 - 9:00 am

9:00 am 12 :00 noon

Skilton Lounge PAPERS: Winsor and

Beldon CONCERT PAPER: Barney Childs · CONCERT: University ·

Jazz Band CONCERT: University ~

Symphony and Choruses

ANNUAL BUSINESS MTG! RECEPTION with

Cash Bar BANQUET DINNER CONCERT: Kansas City

Symphony Orchestra POST-PERFORMANCE CELEBRATION

COFFEE and ROLLS Skilton Lounge

PAPERS CLOS I NG REMARKS

The conference registration fee of $55 per person ($60 at the door) includes all concerts and sessions, two receptions, conference materials and refreshments. Banquet tickets, sold in advance, will cost $16 per person. Registrati?n cancellations must be requested in writing and received no later than April 13, 1988.

Air commuter service between Kansas City and Lawrence is not currently available. Corporate Coach (914/841-5466) provides d~ily, scheduled van shuttle service between Kansas City

1985 ACA LAUREL LEAF AWARD

International Airport and Lawrence motels for $22 per person, one way. Reserv-ations must be made at least 24 hours in advance. The airport is approximately a one-hour drive from Lawrence.

Low registration fees have been made possible through the generosity of the Mid-America Arts Alliance, the Kansas Arts Commission, the Kansas Committee for the Humanities, Meet the Composer, BMI, the Lawrence Hallmark facility, the Society of Composers, Inc., the Symposium of Contemporary Music and academic and administrative offices at the University of Kansas.

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SOCIETY OF COMPOSERS ARCHIVES AT THE UNIVERSITY OF MARYLAND

It was with pleasure that the University of Maryland last April estab-1 ished an archives for the Society of Composers, Inc., then known as the Amer-ican Society of Composers. The archives will be part of the Special Collections in Music of the Music Library, curated by Mr. Bruce Wilson .

Of interest is a passage from a letter from Richmond Browne, concerning appro-priate materials for the archives:

"Without wishing to save every scrap of banquet napkins, one might note that the stuff which disappears most easily, yet may be the most informative later, is the non-letter-size stuff: conference programs, photos, records, cassettes, even TV tapes, abstract bookl ets, com-plete Newsletter files, handouts in non-traditional form, badges, awards, etc., etc.

"Even more ephemeral are regions and their activities. Again, national offices should institute standard pro-cedures for each region to coll ect con-ference and executive materials and periodically send them to a national archivist."

If you have such materials you feel appropriate for inclusion in the archives, notify the New York office before sending them.

LETTERS

To the Editor :

After concluding my reading of the justifiable, but somewha t sophomoric dia-t ribe printed in the December 1987 ASUC Newsletter by J . W. Struble ("Survival Strategies for the End of the Mil-lenium"), I was reminded of two earlier composer comments:

1) 'Professor' Arnold Schoenberg: "I believe that a real composer writes music for no other reasons that that it pleas es him/her. Those who compose because they want to please others are merely more or less skillful entertainers who would renounce composing if they could not find listeners."

2) 'Professor' Eric Stokes (said to me over a friendly beer in a Wisconsin bar) : "Now that I'm past 40, a wonderful re-velation came to me, Syd. It's this: "I can do whatever the hell I want to!'"

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now have a very successful performing career and after two symphonies of my own (one performed by a name conductor and one played by a major orch estra), I have almost entirely stopped composing. When I do write, it is mostly to please my-self. I call it "solipzistische Musik."

This subject, like most things, is a matter of polarity. On one side we have the grants, faculty positions, contests, prizes, and publishing, and on the other side there is the choice of not composing at all. Concerning the latter case, we can compose merely in our heads, without writing. And then we're back to Concept Music -- which to some may be just as valid as the Pulitzer.

Thanks,

Andrew Gelt

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REGION I CONFERENCE

GREG STEINKE NEW CHAIRMAN ~THE NATIONAL COUNCIL

Greg Steinke, chairman of the 1 • • cC department of Sa n Diego State University, has been elected by SCI's National Coun-cil as their new Chair. He replaces Elliott Schwartz, who will become Pres-iden t of the College Music Society. We offer our thanks to Elliott Schwartz for four years of service, and ·congratulation to Greg Steinke, who will take office at the 1988 Annual Conference at the Univer-sity of Kansas.

1988 STUDENT COMPOSITION CONTEST RESULTS

Perhaps by the time he matures to age Region I will be holding its 1988 con-55, giving him another 20 years of ference at Tufts University, Medford, MA, "worthwhile pieces to (his) credit," beginning Saturday, April 16, 1988. Six

We're pleased to announce the results of the 1988 SCI/SESAC Student Composition Contest. First prize was awarded to MARIAN MacLEOD (Central Michigan Univ., now of Univ. of Iowa) for her work The Stran~e Beauty ~ ~ for SATB chorus and piano . Second prize went to CYNTHIA VENEZUELA (Cal Arts) for her fantasia for harp, celesta and vibraphone. There were no honorable mentions this year.

Struble may even wish to review again the concerts and one paper session are Greg Steinke (San Diego State Univ.), first chapter of Ecclesiastes; and also planned. A special event will be the ·this year ' s contest coordinator, reported to realize that good work can be done by perfonnance of ROBERT COGAN's commis- that a rather small number of scores were good composers anywhere. In any event, sioned work Gulf Coast Bound (1987) by submitted this year, and that the member-better to try to continue "to please the New England Conservatory Jazz Orches- ship should do all it can to encourage (himself)" than to write bitter, puerile tra, before the work's official premiere entry into the contest by their students. negativistic papers, the content of which by George Russell's Living Time Orchestra Marshall Bialosky (California .e any- think ing - ar-tis-t-+ n Gt:Jr s·oe-i-e-ty--i· s -~a-t t.he-Wo cld-O ~ymp-i cs i-n-~:eoi:H-;--K-G-ieea.==,....~'l:Jn·i ., - -omingrrez- wnrsi- and- \, er thoroughly aware. Aschaffenburg (recently- -Y:etired from

Sincerely,

Sydney P. Hodkinson Professor of Music Eastman School of Music University of Rochester

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Solipzistische Musik

by Andrew G..: 1t

Thanks to Ting Ho for his excerpt of John Warthen Struble's "Survi.val Strat-egies for the End of the Millenium" (December, 1987). The paper intelli-gently outlines the composer·s rat race (both academic and professional ),its con-sequences.and the idea of writing to please only one's self.

The SCI Newsletter (formefTY The ASUC Newsletter)

Ting Ho, Editor Department of Music

Montclair State College Upper Montclair, NJ 07043

Other business: Martin Gonzalez, Executive Secretary

The Society of Composers, Inc. 250 West 54th Street, Room 300

New York , NY 10019

For further information, please contact Oberlin (OH)) also served as judges for conference coordinator, Professor T. the contest. We would like to express Lawrence McKinley, Music Department, our great thanks and appreciation to them Tufts University, Medford, MA 02155, or all. Pozzi Escot (co-chair of Region I), 24 Avon Hill, Cambridge, MA 02140. Dead'line for submission of scores has past .

REGION II CONFERENCE

The Region II conference was held last Included in two concerts were works by David MacBride, Edward Smaldone, Ronald Caltabiano, Jeanne Singer, Stefania de Kennesey, Jeremy Beck, Hilary Tann, Elizabeth Bell, Brian Fennelly, Patsy Rogers, Charles Bestor, Thomas Ross and Max Lifchitz.

Lecture/demonstrations were given by Daniel Goode ("Thoughts on Cultural Appropriations"), Brio Burgess ("Zen Meditations"), Michael Torello ("Cycles") and Eric Ross ("Rimn-Vornl"). Joel Chadabe offered computer software demon-strations.

Reaffirming the importance of SCI 's regional conference activities, Max Lifchitz, conference coordinator, com-mented in a printed interview, "The pur-pose of this conference from the com-poser's point of view is to hear what everybody is doing, and in terms of the audience it would be a way for them to have a chance to 1isten to what's being written today by live composers -- people that are making culture."

Special appreciation is extended to SESAC for making this contest possible.

SCI RECORD SERIES -------The Record Series now totals eight

available albums. Record No. 9 should be available by the time this article appears, and Record No. 10 wil 1 be released later this spring. Submitted works are reviewed by a rotating panel of judges chosen from the Regi ona 1 Co-Chai rs. By rotating the selection of

.j udges regionally each time, we ensure a high degree of variety in terms of style and compositional techniques as well as a healthy regional diversity. We feel this is appropriate for ~n organization which represents composers all over the country working in a wide variety of composi-tional approachesJ

The Record Series was originally pro-duced for us by Advance Records and appeared on their label. However, bft!l.i..n-ning with Record No. 7 we have pr( ~d each_album onourown label. I1 ...._,he trans i ti ona 1 process there were many delays caused by the need to relocate materials and the development of more efficient operating procedures. Other delays have been the result of financial difficulties caused by unrealistically

low production fee schedul es . We believe a~hese problems are now ironed out and ~ pect to release at least two records ea .... 1 year henceforth. The records are distributed primarily through European American Retail Music, Inc.

We encourage composers to send tapes and scores for consideration on an on-goi ng basis. After a sufficient quantity of works have been received a selection panel is assembled and the judging pro-cess begins. After the judges make their decisions known, we "map" each selected work into the series. We have attempted to produce a balanced series of albums which each have a particular focus . This avoids a "hodge-podge" series and pre-sents a more professional image as well. (There is evidence that such albums also sell better.) This approach does mean that there may be delays before a given work will appear on a recording, but we feel this is necessary to achi eve overall excellence. These delays should now be more reasonable due to the improved pro-ducti on/financial setup referred to earlier .

In order to be able to afford to pro-duce the series,the selected composers must provide a mastertape which meets our rigorous fidelity specifications, and contri bute a production fee of $85 per minute of music.

~e most recent selections process is 1. comp 1 ete, and the judges, Samue 1 Pellman , Thomas Wells and Herbert Bielawa, have made the following recom-mendations for recording:

K. Boelter Tempre R. Heifitz From That Outer Darkness K. Mill er MedTtat1on~ w. Kraft Double Concerto

-----rDOUb 1 e T r i o ) D. Thome Pianismus J. White Sonata for Cello

-----andPTano--G. Belden Gilgam~ L. Kraft Second Fantasy

for Flute and Piano J. Wa 11 ach Mourning Madnga_l _s _

We extend our congratulations to these composers and our appreciation to all those who submitted their scores for our consideration.

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RESULTS FROM THE FIRST INTERNATIONAL NEW MUSIC COMPOSERS COMPETITION

The International New Music Composers Competition Award Committee is pleased t o announce the winners of the 1987 contest. Although the works submitted were of very high quality, t he jury ~imously decided to award no first

:e prize, but to instead award two _ . ond place prizes.

The winning Second Place Prizes went to Roxanne Turcotte (Montreal, Canada) for a mixed-media work entitled Amore, and Violetta Dinescu (West Germany) for Silver Bird, a choir and orchestra piece .

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The committee also selected two Third Place Prize winners: Robert Carl (United States) for a string quartet entitled ~ Path Between Cloud and Ligh~, and Tamas Dusatko (Weston,- Cana a) for an orchestral work called Traces of Becoming.

Awards of Merit were extended to Juli an Yu (China, now living in Australia), Herschel Garfe in (US), Bozidar Kantuser (France, now living in the US), Elisabett a Brusa (Italy) , Eleanor Cory (US) and Sergio Lauricell a (Italy).

Honorable Mentions were given to Jerold James Gordon (Wales), Kao ru Wada (Japan, now living in the Netherlands), Karin Rehnqvist (Sweden), Marti Epstein (US), Zack Browning (US), Matthew Patton (Canada), Marta Ptaszynska (Poland, now living in the US), Annete Vande Gorne (Belgium), Rory Boule (England), Luca Francesconi (Italy), DON FREUND (US) , Frances Dhomont (Canada) and Giovanni Bonato (Italy).

Jury members were Mario di Bonaventura, conductor, Leighton Kerner, music critic, Joseph Kubera, pianist , William Hawley, composer and chairman Carson Kievman, composer/stage director.

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COMPETITIONS, GRANTS AND CALLS

The following listi ngs come from a variety of sources, so may not have com-plete information. You are encouraged t o contact the sponsoring organizati ans directly, before sending materials. "SASE" in a listing means that a· "self-addressed stamped envelope" should be inc luded for return of materials. Sub-missions that are to be "anonymous" implies that your name should not appear anywhe re on the score; an identi fying mark should be placed on the score in-stead, and a sealed envelope with this mark on the front should be attached and should encl ose at least your name, ad-dress , phone number and title of the piece. It's assumed that if you r work is chosen for a performance , you can supply parts on demand.

* * * * * * * * * *

SECOND INTERNATIONAL NEW MUSIC COMPOSERS COMPETITION

DEADLINE : June 1, 1988. AWARDS: 1st - $2500(US) and performance at Carnegie Recital Hall in NYC(US); other prizes will be awarded.

See el sewhere for results International New Music Competition .

of First Composers

CONTACT: INMCC, 7114 S.W. 114 Place, Suite E,. Miami, FL 33173.

MEET THE COMPOSER/READER'S DIGEST COMMISSIONING PROGRAM

DEADLINES: February 15 , 1988, organ-zations' intent to apply; April 1, 1988, grant deadline . AWARDS: cornmi ss i ans from $5000 to $25,000.

Meet the Composer and Reader's Digest, in partnership with the NEA, have just announced this new commissioning program for concert music, opera , music theater and jazz. The commiss ions include copying cos ts.

CONTACT: Meet the Composer, 2112 Broadway, Suite 505, New York, NY 10023, (212) 787-3601.

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UNIVERSITY OF MICHIGAN-FLINT FIRST COMPETIT ION FOR COMPOSERS

DEADLINE: July 15, 1988. ENSEMBLE: Chamber winds/percuss ion, a group of 10 - 20 players (with or without piano). TIME LIMIT : 8 - 15 min. AWARD : $1000 .

Submissions will be judged with recom-mendations made to the Director of Instrumental Organizations at UM-F. The d ght is reserved to make no recomio1end-ati on. Compositions cannot have been published. Send a complete score and cassette of the work submitted , al ong with a one-page resume and a one-page listing of previous works and perform-ances . A fee of $25 must accompany materials, checks made to Universi ty of Michigan-Flint. Include SASE for return of materials. Announcement of winning work will be made no later than September 1, 1988.

CONTACT: Garry W. Owens, Director of Instrumental Organ izati ons, University of Michigan-Flint, Flint, MI 48502-2186.

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UNIV ERS ITY OF IOWA FOUNDATI ON CONTEST FOR A COMPOSITION

DEADLINE: April 15, 1988. ENSEMBLE: Basset horn and piano. TIME LIMIT: 8 - 12 min. AWARD: $500 and premiere performance at the joint convention of t he International Clarinet Soc iety and Clari Network Inter-national i n Richmond, Virginia, in July 1988, by Thomas Ayres .

Basset horn in F is written to sound a perfect 5th lower i n treble clef or a perfect 4th higher in bass clef. Basset horn part in score to be in transpos ed key.

CONTACT: Professor Thomas Ayres, Schoo 1 of Music, The Universi ty of Iowa, Iowa City, IA 52242.

NACUSA/DEBUSSY TRIO 1988 COMPOSITION CONTEST

DEADLINE: April 15, 1988. ENSEMBLE: Composition should be one of the following --(1) Sonata for harp , viola and flute; (2) Trio of 3/4 movements for harp, viola and flute; (3) Triple Concerto for harp, viola and flute with small orchestra not to exceed strings, one perc. and 2 - 4 winds. No tape accompaniment in any category. TIME LIMIT: 15 - 25 mi n. AWARD: $750 and guaranteed performance of the chamber music work at the Los Angeles NACUSA concert. Performance of Triple Concerto will depend on budget and orch-estra availability. Winning entry will be published in the NACUSA-GRAPHICS series, provided music copy is of high quality.

Competition is open in all NACUSA members 18 and over. (To join NACUSA, send $10 dues to Los Angeles address. For local chapter membership, additional dues are required.) Works submitted must not have been previously published,. pro-fessionally premiered nor won any other competition. Winning composer must guarantee all performance and recording rights to The Debussy Trio for two years after date of winning. Composers may submit two compositions. Scores should be submitted anonymously with SASE.

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CONTACT: Jonathan Kramer, Music Hall 1241 Elm Street, Cincinnati, OH 45210, 513/984-6474.

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ASCAP FOUNDATION GRANTS TO YOUNG COMPOSERS

DEADLINE: March 15, 1988 .

Open to citizens or permanen t residents of the US, who have not reached age 30 by March 15, 1988. Submit only one entry.

CONTACT: Frances Richard, Director, ASCAP Foundation Grants to Young Composers, ASCAP Building , One Lincoln Plaza , New York, NY 10023.

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INDIANA STATE UNIVERSITY 22nd ANNUAL CONTEMPORARY MUSIC FESTIV AL ------WCTOBER 17 - 20,19B8)

DEADLINE: March l, 1988. ENSEMBLE: Standard orchestra or less (3-3-3-3, 4-3-3-1, timp & 3 perc, piano, harp, strings). AWARD: Performance by the Louisvill e Orchestra in residence during this festival.

Winners of this competition within the CONTACT: The National Association of last five years are fl O.l_ elj_gibl~- _ Submit

_ Composers;- PO Box 49652, - ·sa-r-r-i ngtorf -- score and tape oT piece (if available). station, Los Angeles, CA 90049. Include $20 entry fee per composer, and

· self-addressed envelope for return of * * * * * * * * * * materials -- no return postage is

CINCINNATI SYMPHONY ORCHESTRA/ CINCINNATI COMPOSERS GUILD

READINGS AND PERFORMANCES OF NEW ORCHESTRAL WORKS - -in honor of --

THE BICENTENNTfir-OfO"THE CITY OF CINCINNAT-I - --

DEADLINE: September 15, 1988. ENSEMBLE: 4 fl (1 doubles picc, 1 doubles alto fl), 4 ob (1 doubles E hn), 4 cl (1 doubles Bel, 1 doubles Eb ell, 4 bsn (1 doubles cbsn), 5 F hn, 4 tpt, 3 trbn, 1 tuba, 1 timp, 3 perc, 1 pno/cel, 2 harps, strings 18-16-12-10-8. Works for smaller ensembles are acceptable. AWARDS: Six semi-finalists will be chosen for open reading which will be taped. A seminar will be held to discuss the works, and three finalists will be chosen to be rehearsed during the week. These works will be performed on the following Friday and Saturday, and tapes of the performances wil 1 be made by radio station WGUC.

· Thi s competition is open to composers age 40 or less by September 15, 1988, who have lived within a 150-mile radius of Cincinnati's Music Hall for at least two of the three years preceding September 15, 1988. Submit only one legible score copy, tape of the work (cassette or reel if available), professional biography or vita. Supply SASE, program note, and statemen·t of Cincinnati region residency.

necessary.

CONTACT: Louisville Orchestra, Leighton Smith, Conductor, c/o Composition, 609 West Majn Louisville, KY 40202.

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LQwrence New Music

Street,

OMAHA SYMPHONY GUILD 1988 NEW MUSIC COMPETITION

DEADLINE : May 15, 1988. ENSEMBLE : Chamber arches tra ( 2-2-2-2, 2-2-1-1, timp & 1 perc, piano/eel/ harpsichord, harp, strings 6-6-4-3-2). TIME LIMIT: 18 min. AWARD: $2000 and opt ional premiere per-formance by Omaha Symphony Chamber Orchestra.

Submit score with Social Security No. as i den ti fi cation of en try. Performance and recording rights for winning composition are request ed. If extensive solo work is require.ct, performers must be provided by composer. Work must be un-published and not have been performed by a professional orchestra. No composer may win two consecutive years. Entry f ee is $25 per score.

CONTACT: "'Omaha Symphony Guild, Mrs. Bennett Wagner, ~3 1 South 9lst Str0et, Omaha, NE 68114.

PITTSBURGH NEW MUSIC ENSEMBLE 1988 HARVEY GAUL COMPOSITION CONTEST -------

DEADLINE: April 15, 1988. ENSEMBLE: 6 - 16 instruments drawn .ram the following -- fl, ob, 2 cl, bsn, F hn, tpt, trbn, tuba, 2 vlns, vla, vc, cb, 2 perc, piano, harp, electronic t ape (include with entry). AWARD: $1500 and premiere by Pittsburgh New Music Ensemble during 1988-89 season. Honorable mentions may be awarded, to include performance consideration by the Ensemble. All works performed wil 1 be taped for broadcast on public radio.

Submit anonymously, unpublished work s. Contestants must be citizens of the US. Entry fee is $10 for each composition submitted.

CONTACT: 1988 Harvey Gaul Composition Contest, c/o Pittsburgh New Music Ensemble, Inc., Duqu~sne University School of Music, Pi ttsburgh, PA 15282.

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GEORGES ENESCO INTERNATIONAL COMPOSffTON COMPETITION

DEADLINE : March l , 1988. ENSEMBLE: 1 - 10 instruments, one each from the following -- fl, ob, cl, bsn, F hn, tpt, trbn, perc, piano, vln, la, vc, cb, voice (no ele~~~~e..). T-IMC'. LIMIT: 20 min. AWARD: $1500, performance of work in New York and Italy, and possible publication by AIM Press, Italy, or Quadrivium Press, NY.

Submit unpublished works written in the last five years, that have not been professionally performed in NY City. NY Univ. faculty members are excluded from entry. Include one score, tape recording of work, fee of $15 for each wo rk submitted, and SASE.

CONTACT: Georges Enesco International Composition Competition, Roger Mahadeen, Administrative Director, New York University, Music Department, 35 West 4th Street, Suite 777, New York, NY 10003.

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ANCHORAGE FLUTE SOCIETY 4TH ANNUAL FLUTE CHOIR

COMJiOSIT!ONl".ONTEST

DEADLINE: March 1, 1988 . ENSEMBLE: Flute choir, to include up t o piccolo, 6 flutes, 2 alto flutes and bass flute. TIME LIMI T: 4 - 6 min. AWARD : $150 and performance by Anctuu:4ge Flute Choir. ( \

__, Submit unpublished works and parts ,

with $5 entry fee and SASE.

CONTACT: Anchorage Flute Soci ety, PO Box 142845, Anchorage, AK 99514.

CONCORDIA, A CHAMBER SYMPHONY lST ANNUAL COMPOSER'S CDr1PETITION ----

~ INE: July 5, 1988. E,,. __ ,1BLE: Chamber orchestra to include up to 2-2-2-2, 2-2-1, 2 perc, piano, 8-7-5-4-2. TIME LIMIT: 6 - 9 min. AWARD: $500 and copying and parts preparation expenses, and performance by CONCORDIA at Alice Tully Hall, Lincoln Center, NYC, on October 20, 1988.

Composition must reflect influence of American jazz. Submit score and cassette of work (keyboard version is acceptable), single-page resume, single-page listing of previous works and performances, fee of $50 and SASE.

CONTACT: CONCORDIA, A Chamber Symphony, Composer's Competit ion, 484 West 43rd Street, #46B, New York, NY 10036 .

* * * * * * * * * * MUSIC IN THE MOUNTAINS

NATIONAL COMPETITION FOR ORCHESTRAL WORKS

DEADLINE: March 30, 1988. ENSEMBLE: Orchestra to include up to 2-2-2-2, 4- 3- 3-1, 3 perc., harp, keyboard and strings. No chorus, solo voice or electronic tape. TIME LIMIT: 10 - 20 min. AWARD: $1500 and performance by Music in the Mountains Festival Orchestra during

summer series in July, 1988.

US citizens or permanent residents born before January 1, 1967 may submit one entry anonymously. SASE may be sent, although Music in the Mountains would like to retain all submissions for future consideration.

CONTACT: William Finn, Dean of Fine and Performing Arts, Music in the Mountains Competition, College at New Paltz, State University of New York, New Paltz, NY 12561.

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NATIONAL OPERA ASSOCIATION 3RD BIENNIAL CHAMBER OPERA COMPETITION

DEADLINE: May 15, 1988. ENSEMBLE: Chamber opera suitable for college production; orchestra maximum of 20 players. TIME LIMIT: 60 min. AWARD: Several finalists will receive performance of selected scenes in a show-case at the NOA Convention in Columbus (OH) in November, 1988; winning work will be produced by an NOA member company at the annual convention in November, 1989.

No works-in-progress or works performed by a major opera company or accepted for Jlll.Qlication or rental. Submit a complete

( ~o/vocal score; finalists will be ,Jired to submit complete orchestra

score. Submit audio/video cassette if available. Include completed official application form and $15 fee for each opera submitted. SASE if submitted materials are to be returned.

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CONTACT: Dr. Robert Chauls, Coordinator, NOA Chamber Opera Competition, PO Box 3292, Van Nuys, CA 91407.

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MUSEUM IN THE COMMUNITY COMPOSER'S AWARD FOR STRING QUARTET

DEADLINE: May 1, 1988. ENSEMBLE: String Quartet. AWARD: $2500 and premiere performance by the Montani String Quartet at the Teays Valley School for the Arts (WV) in spring, 1989. Transportation for winning composer will be provided.

Submit unpublished works that have not been publicly performed nor used commer-cially. Submit three copies of the score anonymously, with SASE and $25 fee. Winner must grant permission for perfor-mance in any future Montani String Quartet concert, and title page of win-ning composition must include stipulated recognition of the award.

CONTACT: Vicki Jordan, Contest Administrator, c/o Museum in the Community, PO Box 251, Scott Depot, WV 25560, 304/757-2509.

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BARLOW INTERNATIONAL COMPETITION --1988 ORCHESTRAL MUSIC

DEADLINE: June 30, 1988. ENSEMBLE: Orehestra not to exceed 4 fl (incl. 'alto flute, picc, etc.), 4 ob (incl. Ehn), 4 cl (incl. Bel, eb cl, etc.), 4 bsn (inc. cbsn), 5/6 F hn, 4 tpt, 4 trbn, 1 tuba, 5 perc, keybd (incl. piano, synth, etc.), harp, tape, strings. No concertos or works with vocal soloists. TIME LIMIT: At least 12 min. AWARD: $10,000 and performance by the Saint Louis Symphony Orchestra with Leonard Slatkin conducting during its 1989-90 season.

Submit only one work, completed within 24 months of competition deadline, and not previously performed or commissioned by a professional major orchestra. Sub-mit entries anonymously, with duration indicated on title page,and include SASE.

CONTACT: Barlow International Competition, Harris Fine Arts Center, Brigham Young University, Provo, UT 84602.

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SOUTHWEST VIRGINIA OPERA SOCIETY ONE-ACT OPERA COMPETITION

DEADLINE: April 1, 1988. ENSEMBLE: One-act opera in English. AWARD: $500 and expense-paid trip to Roanoke (VA) for performance of winning opera with full musical forces, profes-sional cast, minimal sets and costumes.

Submit new, one-act operas in English. Work may have had nD more tilan two pre-vious productions, only one of which may

have been a fully professional tion. Text may be original or from an existing source.

produc-adapted

CONTACT: Barbara Foster, SVOS Opera Competition, 6140 Saddleridge Road, Roanoke, VA 24018.

* * * * * * * * * *

BUFFALO NEW MUSIC ENSEMBLE CALL FOR SCORES

ENSEMBLE: fl/alto fl/picc, ob/E hn, cl/Bel/sax (alto/tenor), vc, piano/synth, perc, conductor.

Submitted works should not be serial and less than 25 years old -- unperformed works are encouraged. Send SASE, or submissions will be placed in the Ensemble's library.

CONTACT: Ferruccio Germani, Executive Secretary, Buffalo New Music Ensemble, Ellicott Station, PO Box 61, Buffalo, NY 14205-0061, 716/886-1544.

* * * * * * * * * *

DENVER WOMEN'S CHORUS CHORAL MUSIC COMPETITION

DEADLINE: August 31, 1988. ENSEMBLE: Women's chorus. AWARD: $1000 and premiere performance.

This competition is seeking new choral - works for women by women composers. The

text shall make an affirmative statement about or for women . There is a $10 entry fee.

CONTACT: The Denver Women's Chorus, Choral Music Competition, PO Box 2638, Denver, CO 80202, 303/331-2543.

* * * * * * * * * *

DANA NEW MUSIC FESTIVAL IV CALL FOR PAPERS

DEADLINE: March 4, 1988.

The Dana New Music Festival IV is calling for interdisciplinary papers and panel session proposals related to the theme "Music and Visual Image." This year's guest ensembles will include the Cleveland Philharmonic Orchestra and the Dionysian Arts Ensemble.

CONTACT: Dr. Robert Rollin, Coordinator, Dana New Music Festival IV, Dana School of Music, Youngstown State University, 410 Wick Avenue, Youngstown, OH 44555-0001.

* * * * * * * * * *

NORTH/SOUTH CONSONANCE CALL FOR SCORES

DEADLINE: May 1, 1988. ENSEMBLES: Solo or mixed chamber ensemble up ~o 15 performers. Compositions with voice, percussion and/or electronic means are acceptable.

This call is for works to be included in the 1988-1989 season. Include $25 processing fee for each submitted composition and SASE.

CONTACT: North/South Consonance, c/o Max Lifchitz, 862 West End Avenue, 3F, New York, NY 10025-4941.

* * * * * * * * * *

INTERNATIONAL TROMBONE ASSOCIATION TROMBONE ENSEMBLE COMPOSITION CONTEST

DEADLINE: September 15, 1988. ENSEMBLE: Trombone ensemble of 4 - 12 parts. TIME LIMIT: at least 4 min. AWARD : $1000 and publication by Mark Tezak Verlag, West Germany. Works chosen as finalists will be performed at the 1989 In t ernational Trombone Workshop.

Submit anonymously two copies of the score and one set of parts of original and unpublished compositions wri tten in the last two years. Include $15 entry fee .

CONTACT: Royce Lumpkin, School of Music, University of North Texas, Denton, TX 76203.

========= ================================ MEMBERS' ACTIVITIES

MICHAEL TORELLO wiTl give a seri es of concer ts, live radio broadcasts and lecture-demonstrations on the merging of art and technology. The seri es will take place in upstate New York in the late spring. Joining Torello in the series will be the Experimental Music Consort, a group co-founded by Torel lo for the cul-tivation of beliefs , understanding and emotions for the synthesis of art and tech no 1 ogy.

Several premieres of works by FRANK STEMPER have recently taken pl ace . Inner Voices (1987) for solo voice was per-formed bY"SQPrano Melanie Tomasz in the "Music From This Century" concert series at Carbondale-,-IL. Piano Sonata (1987) was premiered by Charlotte ZeTiTe bass , color video and electronic sound, performed by double bassist Robert Black, was awarded the Ce rtificate of Merit at the 23rd Chi cago International Film Festival, and received the Work of Speci al Distinction Award at the 10th Tokyo Video Festival.

ELIZABETH FAW HAYDEN PIZER's suite for solo piano, Strains and Restraints, was premiered at the Adirondack Lake Center for the Arts by Margaret Schoenberg . Pizer's song cycle, Nightsongs, set to texts by Milton Drake and scored for mezzo-soprano and piano, was premiered at the Charl es Ives Center for American Music by members of the Gregg Smith Singers. Strains and Restraints has also bee selected for performance at London's Wigmore Hall. Ni~htsongs received its New York City premiere 1st November by members of the Panopticon chamber music ensemble in a concert sponsored by New York Women Composers as part of American Music Week . At the request of mezzo-soprano Christina Ascher, Pizer has com-posed a set of pieces for solo voice, based on texts by Shakespeare, scheduled for premiere at the University of Mannheim, Germany. Pizer has also received a commission from the Brooklyn Chamber Orchestra for a work for soprano and chambe'r orchestra.

MARY JEANNE VAN APPLEDORN's Sonic Mutation for - sole-·harp- was- recor·ded -5y Gail Barber for the Contemporary Record Society, Philadelphia's new main line record company (CRS 8741). Soni c Mutation, Four Duos (viola and 'ceTTOT and Missa Brevis for trumpet and organ have oeen accepted for publi cation by Arsis Press of Washington, DC. ' A transcription of van Appledorn's Passacaglia and Chorale for conc~rt band by Mark Heidel received its premiere by the Texas Tech Univ. Symphoni c Band at Lubbock, TX.

A concert of compositions by ROSEMARY CLARKE will be presented in March, 1988, at the Univ . of Wisconsin at Platteville.

MARK PHILLIPS has been -awarded an Ohio Arts Council grant for 1987/88. Summer-soft for chamber orchestra has received performances in Buenos Aires, Argentina, in Baltimore, MD and Athens, OH. An orchestral composition, Turni ng, received its premi ere in Bloomington, IN, where it was awarded first prize in the Dean's Composition Contest at Indiana Uni v. The film Widow's Weeds, directed by Russ Johnson and with a film score by Phillips, was shown in film festivals in Turin, Italy, Michigan, Ohio and Cali-fornia, where it received the Humboldt Prize. Night Vision for alto saxophone and piano was preiiilered i n Athens, OH.

Curt Cacioppo of member school HAVER-FORD COLLEGE has been touring with a program of contemporary American piano music. Included are works by George Rochberg, J~hn Dav~son, John Benskin, Lee Hoiby, Luis Jorge Gonzalez and Alejandro Cardona. Included i s a work by Cacioppo,

Variazioni caratt eristiche sul name d'un Maestro, based on the musicaTSpelli~ Rochberg's name.

SYLVIA PENGILLY's opera Premonitions received its premiere at Loyola Univ., New Orleans , LA. Based on a science fiction story by Richard Cowper, the opera has a score realized entirely on Yamaha DX series synthesizers.

Last October, ANTHONY S. LIS gave a lecture on minimalism in 20th century music at the Annual Conference of the Association of South Dakota Composers in Sioux Falls . Lis' Three Pieces on Nine Notes was performed attlie 9fhSympoSTUiil of New Music at Michigan State Univer-sity, by pianist Albertine Votapek. Burgundian Counterpoint was performed later in October at a concert of the Cincinnati Composers' Guild. The per-formers were Joel Hoffman and Phillip Ruder, concertmaster of the Cincinnati Symphony Orchestra.

JAMES URE's Sym~hon~ in Two Movements was recently premiere 0y the University of Illinois Symphony, conducted by Paul Vermel, in Urbana , IL and Crawfordsville, IN. Ure 's piano piece The Broken Wheel wa s premiered last Januaryby the com-poser at Wabash Col l ege.

CLAIRE POLIN participated in the Vis i ting Composer Seminars at Texas ~h Un iv . last October. At that r \ PoHn' s - Mythos, Corrcern> '"fo f Harp J Orchestra was performed by fill Berb·er-;-harp, and the Lubbock Chamber Orchestra, conducted by Gurer Aykal. A recording was made of Mythos for Opus One Records. Polin's Fre~Sonata for violin and piano was performed by Gabriel Schaff and Nancy McDill and Tristia for tenor , violin and piano, written in memory of Vincent Persichetti, was premiered at the Delaware Valley Composers concert in Philadelphia.

NANCY VAN de VATE's Concerto for Violin and Orchestra recei ved its worl

released a CD and cassette of Van de Vate's Journeys for orchestra performed by Bournemouth (England) Sinfonietta, co ~e d by Carolann Martin. Cambria Recu.u~ has released Songs for the Four Parts of the Night recorded~y---CucTTTe rTeld, ---Sopran~nd Harriet Wingreen, piano.

Two videotapes by MICHAEL SCHELL, Just words and Bricolage (Homage to Peter Tod Lewis 1932-1982), are incTU~n a series of Night Light TV programs syn-dicated an~eased TOr international distribution by The Raindance Foundation. An experimental music video, Selfsame was premiered at a July screening at Film/Video Arts. This work was produced during residencies at Film/Video Art~, the Experimental Television Center in Oswego (NY) and the Center for Computer Music, Brooklyn College (NY).

JOHN .WHITE's Sonata for Cello and Piano and LESLIE BASSETT's Music for Cello_and Piano were performed on a concert given DyWhite as part of "T.he Icelandic-American Exchange ProJect sponsored by the Univ. of Florida at Gainesville. Also included in the series were works by Icelandic composers Atli Heimir sveinsson, Karolina Eriksdottir and Haflidi Hallgrimsson. Accompanying White in his concert was Icelandic pianist, Gudridur Sigurdardottir.

~ works by SYDNEY HODKINSON recently Ii ved world premieres. Echo Preludes f, _,..cello and brass ensemble, was pre-miered by Steve Doane, cello, and the Eastman Wind Ensemble, conducted by Donald Hunsberger. Saint Carmen~ the Main, an opera with------il"b"retto by Lee Devin, was premiered at the Guelph (Ontario) Spring Festival, directed by Billie Bridgman, sets and costumes by Reg Bronskill and the composer conducting. Hodkinson was recently Composer-in-Residence at Kent State Univ. (OH), and presented a lecture, "The Art Audience of the Future," as part of the 2020: Eyes~ the Future Lecture Series presented by the University of Rochester (NY).

GEORGE BELDEN's Rituals for Violin and Orchestra wi 11 be premi ered----oy- the Anchorage Youth Symphony, which commi s-sioned the work. The solo part will be performed by the composer's son, David, who is the concertmaster of the orch-estra. Belden has recently received a grant from the Alaska State Council on the Arts to composed Celebrations: Symr,hony No. 2 for the Anchorage Symphony Orc'iestra-;-t"o-be premiered next January.

=========================================

1988-89 FULBRIGHT GRANTS IN MUSIC

rhe Council for International Exchang of Scholars (CIES) has announced that number of 1988-89 Fulbright Grants remai available to US faculty in the field ( music.

7

::: There are specific openings in Czechos-

lovakia, Egypt, Hungary, Romania, Turkey and Yugoslavia. In addition, other coun-tries are open to applications in any discipline, and music is among their preferred fields.

Scholars in all academic ranks, including emeritus, are eligible to apply,and it is expected that applicants will have a Ph.D., college or university teaching experience, and evidence of scholarly productivity. US citizenship is required. In a few countries (of

. Central and South America and Francophone Africa ), knowledge of the host country language is required.

CONTACT: M. Carlota Baca, .Director of Academic and University Liaison, CIES, 11 Dupont Circle NW, Suite 300, Washington, DC 20036, 202/939-5403.

=========================================

SONNECK SOCIETY MEETINGS

Two meetings devoted to American music are planned by the Sonneck Society for 1988:

April 13 - 17, 1988, Shaker Village and ~ COlTege:- KY. ---

Located about 25 miles from Lexington, the site of the meeting and lodging for the conference is the recently restored Shaker Village of Pleasant Hill, built by the Shakers in the early 19th century. Some sessions will also be held nearby at Centre College in Danville . •

The sessions are devoted to folk music, contemporary music, popular music, band music, country music, art music, psalmody, and jazz. Included also are several live performances. The chair of the program committee is Thomas Riis of the University of Georgia.

CONTACT: George Foreman, Norton Center for the Arts, Centre College, Danville, KY 40422.

~ 8 - 11, 1988, Oxford University, England-:--- --.- ---

Held in conjunction with the biennial British conference on 19th century music, which will also be the theme of the Sonneck Society sessions. Both accommodation and meeting rooms are at Lady Margaret Hall.

Program chair for the Sonneck Society is Nicholas Temperley (University of Illinois); for the UK, Ewan West (Oxford University). Local arrangements are being handled by Stephen Banfield (University of Keele). There may be informal post-conference tours as well.

CONTACT: Kate Van Wirtkle Ke M·er, 410 Fox Chapel Lane, Radnor, PA 19087.

MARCUS WALLENBERG SYMPOSIUM LUND UNIVERSITY, LUND, SWEDEN

(AUGUST 21 - 28, 1988)

The goal of the present symposium is to shed light upon the function of Electro-acoustic Sound and Music with speci J l reference to its use in experimental research. Esp ec ially composers may profit from such knowledge. Thus a Master Class of Electroacoustic Compos-ition has been looked upon as a pre-requisite and therefore integrated with the Symposium.

The aim of this symposium is to interact eminent co1aposers with es tab-1 i shed scientists in the field . Th e official language of the Symposium is English.

The masterclass program will include presentations by Denis Smalley, Morton Subotnick, Diana Deutsch, Soren Nielzen and John A. Sloboda. Six concerts will be held at the Museum of Public Art. Th ey will be related to the subjects and goals of the meetings.

Fees paid before May 1, 1988, will be as follows:

$440* $280

$160 $ 80

Masterclass participant Symposium, including concerts,

lunches and Gala dinner Symposium only Passive participants

*Masterclass participants will be accepted through Jury review.

Accommodations are available through the Symposium secretary before May 31, 1988. Room with breakfast is priced at $110 per night. Cancellation after June 15, 1988 will be surcharged 25% of refund.

CONTACT: Experimental Music Research (EMI), Department of . Musicology, Lund University, Kavlingevagen 20, S-222 40 Lund, Sweden.

INSTITUTE FOR MUSIC THEORY PEDAGOGY STITIITE-S --

(JUNE 12 - 18, 1988)

The College Music Society is pleased to announce the first Institute for Music Theory Pedagogy Studies 1"1il l be held at the University of Colorado, Boulder, CO, June 12 - 18, 1988. The Institute's theme will be "Materials, Strategies and Relevancy for the College Theory Teacher." Seminar topics will include "Pedagogy of Music Rudiments," "Pedagogy of Music Analysis," "Curriculum Design," "Electronic Technology and the Theory Curriculum" and "Student Evaluation." Institute faculty and staff include Roger E. Foltz, Director, Ann K. Blombach, Dorothy Payne, Allen Winold and Gary Wittlich.

CONTACT: The College Music Society, 1444 Fifteenth Street, Boulder, CO 80302, 303/ 449-1611.

Why Not Go First-Class? Sp.oul-d -you wish to receive the SCI Newsletter via First Class Mail instead of the much slower Bulk Rate, we are pleased to say that nothing could be easier. For an annual payment fo $7 to cover postage and handling, you will receive these announcements well in advance of any listed deadlines. Send payment to the New York office.

Announcements of contests, calls for scores, and other solicitations appear in the Newsletter as a service to SCI members only. While every effort is made to assure the accuracy of these announcements, ASUC cannot accept responsibility for errors, misrepresentations or misinterpretations.

Address labels of SCI members are available to SCI members. The labels can be ordered in various arrangements·-- by region, by state, etc. Contact the New York office for fees and availability.

An economical way to insure receiving the benefits of your membership in SCI is to subscribe to a Life Membership, available for a single payment of $500 or 10 annuai payments oT$75.

Deadline for submissions for the April, 1988 issue is March 1, 1988.

amerlean soelety or unf\rerslty eomposers

250WEST 54TH STREET ROOM 300 NEW YORK, N.Y. 10019

- --- --

NON-PROflT ORG. U. S. POST AGE

PAID PARSIPPANY, N.J . PERMIT NO. 1 10

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