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VOLUME 25, NUMBER 4
Arvo Part: Notes from Oregon by Jeremy Beck
During the summer of 1994, Arvo Part was the
composer-in-resid~nce at th~ ?regon B~ch Festival. The Festival
comm1ss1oned a maJor
new work from Part which was premiered there by Helmuth Rilling,
the Hilliard Ensemble and the Oregon Bach Festival Chorus and
Orchestra. Notably, this work, Litany , was the first U.S.
commission Part had ever accepted. In addition to his activities
associated with the presentation of this premier, Part also met
with the composers attending the first annual Composers Sym-posium
at the University of Oregon. This Symposium, under the direction of
Robert Kyr, was being held in conjunction with the Oregon Bach
Festival. I was in attendance at this Symposium and took down notes
during one of the meetings with Part; this article is drawn
primarily from those notes.
The image often presented of Arvo Part is that of an ascetic, a
monk from another time outside of our own, composing music which
recalls that of some earlier age. Part himself is not one to bear
with such an image without a sense of humor. At an open meeting
with the public before the premier of his Litany, in answer to the
rather serious question "Does your living in solitude contribute to
the spiritual nature of your music?", Part replied dryly, to the
amusement of all present, "I have a family: four children and a
wife - what solitude?"
The participants in the Symposium met with Part privately in the
School of Music at the University of Oregon on the morning of June
28. We had been cautioned by the directors of the Festival that
Part was shy with strangers and uncomfortable with so much
attention being thrust on him; he felt it was a distraction from
his music, we were told. The directors had assured him that we, his
younger colleagues, had great respect for his music and his privacy
and that this meeting wourd be one in which questions would be
asked, not to disturb that privacy, but rather to learn more about
his approach and philosophy, one which yielded music of such depth
and beauty. Once so assured, Part agreed to meet with us. Our
group, for its part in the bargain, did its best to make him feel
as comfortable as possible. It should be noted that while Part does
speak English, it is his fourth language, after Estonian, Russian
and German. There-fore, for the purposes of our meeting, an
Estonian composer/pianist from Los Angeles (Rein Rannap, who was
also attending the Symposium and who had a performing relationship
with Part) acted as a supporting translator to facilitate the
meeting. As well, Part's wife (a conductor) often participated in
the ensuing discus-sions, primarily to help clarify certain points
her hus-band was trying to make.
APRIL, 1995
Q: Do you start with large structures and add details or the
reverse when you compose?
Part: Every time it's different. Everything starts with one
simple ... gesture or stroke. The path to an idea goes downward to
the bottom of ourselves. You don't know anything; all you know is
that you know nothing. You never know how it will grow; one is
always oscillating between Heaven and Earth or, better, Earth and
Hell one's whole life. For example, in Tabula Rasa [for Two
Violins, String Orchestra and Prepared Piano, c. 1976-77], the
structure is a vessel which is used to convey feelings and
gestures. I don't trust my music to flow without mathematical
structures.
Q: Could you tell us some of your thoughts in general about
composition? Do you have any advice to offer younger,
less-experienced composers?
P: I am like you or worse as a composer; each time I must start
anew. I never know how something will grow - edible or a weed? One
never knows how a kernel will sprout and grow; it is always
different. Suffering gives one creative energy and power; if one
has the gift to suffer, one has great power. Composers can write
with pencils, pens, tears, blood. Blood is not like ink. Every note
must be considered very carefully; none can be wasted. Different
com-posers have accompanied me at different times in my life -
Schubert, Tchaikovsky. Schubert never heard his symphonies; this
constant rejection gave him p~wer. There is a Jot of noise in our
lives, in this world, all around us and inside of us. Some
compos-ers resort to cosmetic surgery; these masks may be pretty
now, but they will turn ugly later. Evil comes into our lives
unknowingly, slowly.
Q: How has the economic and political situation in Estonia
affected you?
P: I am not interested in politics, but of course I cannot
escape it. It was totally absurd, the misunder-standing of my Credo
[for Piano, Mixed Choir and Orchestra, 1968]. This is a religious
and personal piece, not a political protest against the Soviet
Union. My 'Cello Concerto was a protest [Concerto for Violoncello
and Orchestra "Pro et Contra", 1966, commissioned by Rostropovich]
. It starts with a major triad which is related to the national
anthem of the Soviet Union - the politically correct thing to do -
and then a chaos chord reacts against this, crashes against
this.
Q: What was your first piece in the tintinnabuli style [note:
this is Part's description for his musical style since 1976, a
style which makes use of interchanging
-
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Page 2
combinations of scales and triads in often shifting, yet stable
patterns]?
P: Fiir Alina [for Piano, 1976], although many pieces came in
about the same time.
Q: What is your concept of dissonance in the tintinnabuli
style?
P: One must think first of two-voice po-lyphony, independent of
and dependent on each other. One part is unchanging [note: here,
Part, to die hushed enjoyment of all present, went to the piano and
loudly played a single line in quarter notes - f2, e2, d2 and then
harmonized that line with a second line beneath it, in parallel
quarter notes - d2, al, c2]. One voice is fixed, one is totally
free -from this the entire score grows. Well, perhaps not totally
free, but with more free-dom than the other, fixed voice. From this
combination comes unexpected sounds which even the composer doesn'
t expect.
Q : What guides you in your decision to make new versions of
different works [ e.g.,Fratres, for String Quintet or String
Orchestra and Percussion, 1977, rev. 1983; for Violin and Piano,
1980; for 12 Violoncelli, 1980; for Violoncello and Piano, 1992;
also, Summa for Voices, 1978; for Orchestra, 1991; for String
Quartet, 1991]?
P: The two lines are the most important
more attention to this music. Its roots are very deep, but I
have no direct relationship to this myself.
Q: How do you view your place in history? ~
P: I don't think about this.
Q: What are your compositional plans for the future?
P: I normally don' t make plans, but, ifl did, I wouldn't share
them. Like humans going too close to a bird's nest, the mother will
abandon the eggs. As far as composing goes, I am in a boat with
oars and a sail; mostly I go on my own power, but sometimes a
com-mission provides a bit of wind ...
Frequently, there were questions at which Part demurred or
shrugged off, either because he felt the music spoke for itself or
because he felt it was not possible to truly address certain
compositional issues in the context of "small talk." Some examples
of
. these types of questions were:
Q: What is the meaning of silence for you? What is your
compositional process? Does the downward gesture in the Elegy for
[sic] Benjamin Britten [ Cantus in memory of Ben-jamin Britten for
String Orchestra and Bell, 1977] reflect your feelings about
him?
thing. Timbre and instrumentation are not During such moments
Part clearly always the most important. As long as the showed his
discomfort at being the center of structure is maintained, it may
be revealed attention. Yet he was alway polite and gra-by different
timbres and instrumentations. I cious; even in trying to avoid as
much as should say here that the best recording and possible the
"cult of personality", he did not performance of the violin and
piano version wish to draw undue attention to himself by of Fratres
is the one by Gidon Kremer and being impatient or gruff. Part also
demon-Keith Jarrett. , strates in other ways that he is the
antithesis
Q: What are your thoughts about the influ-ence of older music -
medieval, Bach - on your own?
P: Back then, people walked on two feet; today people walk on
two feet. It is the same. But today people can jump off a cliff
with a sail; they didn't do this before. I would like to do this
some day.
Q: Do you feel yourself influenced by folk music at all?
P: Folk music is very distant from my music, but I think
sometimes I should have paid
of how one might "normally" conceive of a senior, career
composer. For example, he frequently turns down commissions that
don't move him. As well, he doesn' t give inter-views and usually
stays away from confer-.ences and festivals (it is to the credit of
Rilling, Kyr, the directors of the Bach Festi-val and Manfred
Eicher, his producer at ECM, that the experience for Part at the
Oregon Bach Festival was such a success on his own terms). After
the music, what im-presses and moves one the most about Arvo Part
is the combination of his quiet strength, humility and focused
sense of self coupled ~ with a determination of purpose and a
clear
cont. pg. 7
The SCI Newsletter XXV:4
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Members' Activities---,-------------Brian Belet's [BASS ]ically
Harmless( elec-
J tric bass and computer- generated tape) was performed on the
"American Music Week" concert at San Jose State University,
Cali-fornia (November 1994); at Ohlone Col-lege, Fremont,
-
Competitions, Grants and Calls The following listings are
condensed and may not have complete information. You're encouraged
to contact the sponsoring organizations directly for submission
guidelines, particularly if anony-mous submission is required.
INTERNATIONAL ALLIANCE FOR WOMEN IN MUSIC 14TH SEARCH
FOR NEW MUSIC BY WOMEN STUDENT COMPOSERS
DEADLINE: May 1, 1995
Women composition sutdents are eligible to compete for three
prizes. Contestants must be IA WM members or willing to join at
time of entry ($25 student membership).
CONTACT: Nancy Bloomer Deussen, Coordinator, Search for New
Music, 3065 Greer Road, Palo Alto, California 94303
BRIAN M. ISRAEL PRIZE
DEADLINE: May 1, 1995
The Society for New Music seeks to encour-age promising New York
State Composers of student age or those just beginning their
professional careers. The competition is open to any composer
living in New York State, born on or after May 1, 1965 whose music
has not previously been performed by the Society for New Music. One
award will be made: $500, plus a performance by the Society for New
Music during the 1995-96 season. Send score and cassette recording
(strongly recommended, if available).
CONTACT: Professor Nicholas V. D' Angelo, Chair, Brian M. Israel
Prize, Department of Music, Hobart and William Smith Colleges,
Geneva, NY 14456
1995 COMPOSITION CONTEST FOR EUPHONIUM ETUDES
DEADLINE: June 1, 1995
will be published by the TUBA Press; other entries may also be
published.
CONTACT: Philip Sinder, Coordinator, TUBA Composition Contest,
School of Music, Michigan State University, East Lan-sing, Michigan
28824
1995 TAMPA BAY COMPOSERS' FORUM PRIZE
DEADLINE: June 1, 1995
Eligible works include compositions in any style which have not
been previously pub-lished or awarded a prize, calling for one to
four performers and no more than one each of the following:
soprano, mezzo soprano, clarinet, flute, violin, cello, guitar,
piano, organ, trombone, trumpet. Additional elec-tronics or tape
are also acceptable. The maximum duration is twenty minutes. There
are three cash and performance prizes; entry fee is $20.
CONTACT: Composition Contest, The Tampa Bay Composers' Forum,
P.O. Box 16251 , St. Petersburg, FL 33733
HOLTKAMP-AGO A WARD IN ORGAN COMPOSITION 1995-96
DEADLINE: June 1, 1995
The American Guild of Organists, The Holtkamp Organ Company, and
Hinshaw Music, Inc. announce the seventh biennial competition for
the Holtkamp-AGO Award in Organ Composition 1995-96. The award
consists of a $2,000 prize, publication and performance at the
biennial National Con-vention of the American Guild of Organists,
New York City, July 7-11, 1996.
CONT ACT: Holtkamp-AGO Competition, American Guild of Organists,
4 7 5 Riverside Drive, Suite 1260, New York, NY 10115
BARLOW INTERNATIONAL COM-
The Tubists Universal Brotherhood Asso- PETITION 1995 ciation
announces the 1995 Composition Contest for Euphonium Etudes at the
El- DEADLINE: July 10, 1995 ementary Level. There is a prize of$500
and an entrance fee of $10. The winning etude
Page4
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To more effectively serve the needs of com-posers, the 1995
Barlow International Com- ~ petition has been altered to direct the
compe-tition more specifically toward the goals of the Endowment' s
Charter. The winning composer will receive a $10,000 commis-sion
from the Barlow Endowment for a work to be performed beginning with
the 1996-97 season by a consortium of orchestras. The orchestras in
the consortium are the Minne-sota Orchestra, the Saint Louis
Symphony, and the Baltimore Symphony. The work will be 15-25
minutes in duration and is expected to meet the highest artistic
require-ments for the medium.
CONTACT: Barlow International Compe-tition 1995, Harris Fine
Arts Center, Brigham Young University, Provo, UT 84602.
CONTEMPORARY RECORD SOCI-ETY NATIONAL COMPETITION FOR COMPOSERS
RECORDING
DEADLINE: July 19, 1995
The Contemporary Record Society has an-nounced its National
Competition for Com-posers Recording. The award of first prize will
consist of a commercially distributed new compact disc recording
grant featuring one composition, along with other distin-guished
composers and recording perform-ing artists. There are no age
restrictions. The work submitted must be unpublished (prior to
acceptance) and not commercially recorded on any label. The work
submitted must not exceed nine performers.
CONTACT: Contemporary Record Soci-ety, 724 Winchester Road,
Broomall, PA
- 19008. Tel: 215-544-5920, Fax: 215-544-5921.
CALL FOR PAPERS ON EXPERI-MENTAL RADIO
DEADLINE: Augl!st 15, 1995
If considerations of mainstream radio have been for the most
part excluded from aesthetic and cultural discourse, the history of
experimental radiophony has until -recently been utterly repressed.
At this
The SCI Newsletter XXV:4
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moment when academic recognition is be-latedly occurring, we
offer the following project as an attempt to complicate such
atters . Thus, in this special issue of The _,,Drama Review, we
are concerned with con-ditions of transmission, circuits,
disarticula-tion, degeneration, metamorphosis, muta-tion_ and not
communication, closure, ar-ticulation, representation, and
simulacra.
The guiding theme is radiophonic experimentation, in all of its
modes and manifestations: ontological heterogeneity, radiophonic
specificity, disjointed signifiers, broken circuits, cognitive
feedback, elec-tronic parasites and viruses, telephony, sen-sory
and technological overload, electric shocks, dead air, disembodied
voices , audio uncanny, linguistic contortions, noise, arti-ficial
voices, spiritualist macabre, aleatory constructs, musical
interludes, concrete cut-ups, disappearance and resu scitation ,
postmodern psychopathologies, talk radio populism, guerilla
broadcasting, genre mix-ing, radio eros, pop tactics , multiple
identi-ties, hardcores, softwares, role playing, gen-der shifting,
virtual phantasy, and especially et cetera.
We seek all types of documenta-tion and intervention:
transcripts , scores, ales, dialogues, histories, scripts,
projects,
critiques, theories, characters in search of authors, authors in
search of characters, etc. Participants will include Toni Dove,
Christof Migone, and Gregory Whitehead.
We will accept complete typewrit-ten manuscripts (along with
xeroxes of any accompanying visual material, musical scores,
technical specifications, etc.; maxi-mum 4000 words, though short
pieces are preferable).
CONTACT: Allen Weiss, The Drama Re-view, New York University,
721 Broadway, 6th Floor, New York, NY 10003.
1995 LOUIS AND VIRGINIA SUDLER INTERNATIONAL WIND BAND
COMPOSITION CONTEST
DEADLINE: October 30, 1995
The contest is open to any composer, regard-less of age, gender,
religious belief, or ethnic origin. Each entry must be submitted
with the official application form. A current, brief biography of
the composer must ac-company the entry. Materials submitted, except
for the score and tape, may not be
The SCI Newsletter XXV:4
returned. The work will be composed for the wind band medium.
This includes the sym-phonic band, wind orchestra, and wind
en-semble. A composer may submit only one composition to each
competition. Composi-tions must be a minimum of ten minutes in
duration to qualify for acceptance; however, there is no maximum
duration. The work must have been completed within the bienniem
since the last competition (be-tween October 30, 1993 and October
30, 1995.)
CONT ACT: Colonel John R. Bourgeois, Chairman, Sudler
International Wind Band Composition Competition, c/o United Stated
Marine Band, Eighth and I Streets, South-east, Washington, DC
20390
STETSON UNIVERSITY NEW ELECTRONIC MUSIC ENSEMBLE
CALL FOR SCORES
The Stetson University New Electronic Music Ensemble is seeking
scores for per-formance in their 1995-96 season. MIDI instruments
that are available include a Yamaha wind controller, MalletkatPro,
Zeta 'cello, Zeta 5-string violin, MIDI guitar (Roland GR 1
controller), and Kurzweil K2000SR keyboard. Numerous sound mod-ules
and signal processors are available along with Apple and IBM
computers. Scores combining acoustic instruments or tape and
electronic instruments will also be consid. ered.
CONTACT: Kari Juusela, Stetson Univer-sity, School of Music,
DeLand, FL 32370. Tel: 904-822-8987, E-mail: juusela @suvax l
.stetson.edu.
MANDUCA MUSIC PUBLICATIONS CALL FOR SCORES
Manduca Music Publications seeks works by composers aged 6-18 to
be published in the third edition of Music by Young People for
Young People. Any instrumentation will be considered. Scores should
be in the composers' own hand or on a Macintosh disc using Finale
3.2 or 3.0. Submission of, tapes and cover art or illustrations is
also encouraged.
CONTACT: Suzanne Ingisano, Manduca Music Publications, P.O. Box
10550, Port-land, ME 04104.
DERRIERE GUARD - CALL FOR SCORES AND PERFORMERS
The Derriere Guard, an alliance of artists interested in
reconsidering the avant garde at the close of the twentieth
century, seeks recruits. Performance projects for the 1995-96
season will be formulated during Spring, 1995. Composers and
performers should submit proposals , work samples, and an SASE
CONTACT: StefaniadeKenessey,30West 63rdStreet25G,NewYork, NY
10023 . Tel : 212-765-2537.
ANCIA QUARTET - CALL FOR SCORES
The Ancia Quartet seeks original, unpub-lished works for
saxophone quartet (SATB) to present at the World Saxophone Congress
in Rotterdam, Holland, this summer. Sub-mit only works that have
not been performed in Europe. If the work has been premiered by a
professional saxophone quartet, please furnish contact information
for that group. Composer must provide four transposed scores or
transposed score and parts. Hono-rarium: $100.
CONTACT: Angela Wyatt, 4230 15th Avenue South, Minneapolis, MN
55407. Tel: 612-825-6840.
NATIONAL POETRY FOUNDATION CALL FOR SCORES
The National Poetry Foundation announces a call for solo
settings of texts by American poets who were active in the1950's
for pos-sibie performance at its coilling conference. Setting
should be for middle or high voice with solo piano and/or
percussion accompa-niment.
CONTACT: Nancy Ogle, Associate Pro-fessor, Music Department,
University of Maine, Orono, ME 04469-5743.
32ND SEMINAR ON CONTEMPO-RARY CHORAL MUSIC
An important and acclaimed feature of the Cork International
Choral Festival is its com-mitment to encouraging ·awareness,
under-standing, and appreciation of contemporary choral music. For
over thirty years the
Page 5
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Seminar has commissioned many distin-guished composers to write
new works which have been performed, analysed, and dis-cussed at
sessions attended by scholars, con-ductors, music students,
choristers, and mem-bers of the general public. Each new work was
also premiered publicly during the Fes-tival, and many of the
commissioned works have been published internationally. Dates of
the seminar are April 27-28, 1995. Art-ists-in-residence are the
RTE Chamber Choir. Commissioned composers are Marian Ingoldsby
(Ireland), Brian Kelly (U.K.), and Arne Mellnas (Sweden).
CONTACT: Mr. John Fitzpatrick, direc-tor, Cork International
Choral Festival, P.O. Box 68, Cork, Ireland. Tel:
011-353-21-308308; Fax: 011-353-21-308309.
SOUND-ENVIRONMENT
During May 25-28 in Berlin, the Music Department of the Academy
of the Arts will present the project '.'KlangumWelten" at the
Hanseatenweg 10. In this both scientific and artistic project about
sound and environ-ment the following persons will give lec-tures,
workshops, and concerts: Murray Schafer, Hildegard Westerkamp,
Keiko Terigoe, Louis Dandrel, acoustic designers from Siemens and
Daimler Benz, Christina Kubisch, Bill Fontana, Ronald Stecker!,
Martin Daske, Max Neuhaus, Dieter Schnebel, and Georg Katzer.
CONTACT: Akademie der Ktinste; Abteilung Musik, Pariser Plaz 4,
10117 Ber-lin - Mitte, Germany. Tel : 011-49-30-308923-0; Fax:
011-49-30-308923-38.
HYMN SOCIETY COURSE IN HYMN WRITING
The Hymn Society is sponsoring A Course in Hymn Writing to be
held June 23-28. at Saint Olaf College in Northfield, MN. Small
group and individual instruction will be of-fered by John Bell,
Carl P. Draw, Jr., Alfred V. Fedak, Jane Marshall, and Carl Schalk.
The five-day length of this course wil offer ample time for
writing, reviewing, and sing-ing of newly-written hymns.
CONTACT: The Hymn Society, P.O. Box 20854, Fort Worth, TX
76129.
Page 6
STANFORD UNIVERSITY CCRMA SUMMER WORKSHOPS
Introduction to Psychoacoustics and Psychophysics, with emphasis
on the audio and haptic components of virtual reality design. June
26 - July 8, 1995; fee: $800, 2 weeks instruction and laboratory.
Limited to 15 participants. Instructors: Brent Gillespie, Craig
Sapp. This course will introduce concepts and ap-ply tools from
cognitive psychology to the composition of virtual audio and haptic
en-vironments. In particular, the salience of various auditory and
haptic phenomena to the perception and performance of music will be
examined. Morning lectures will cover relevant topics from
acoustics, psy-chology, physics, and physiology. Prin-ciples of
speech, timbre, melody, pitch, tex-ture, and shape perception will
be used to tailor virtual objects to be convincingly touched and
heard. Guest lectures by emi-nent researchers and entrepreneurs
working in the fields of psychoacoustics and psychophysics will be
featured. Afternoon labs will provide practical experience through
a set of human subject experiments. In addition to sound synthesis
tools, various haptic interfaces will be available.
Introduction to Algorithmic Composition. July 10- July 21, 1995;
Fee: $800, 2 weeks hands-on instruction. Limited to 20
partici-pants. Instructors: Heinrich Taube, Ferna'!do Lopez
Lezcano, Tobias Kunze, Nicky Hind. This course introduces basic
principles and techniques of algorithmic composition and covers
topics such as data representation, techniques employing random
selection, enveloping, algorithmic editing, pattern gen-eration and
scheduling. Sound synthesis as used in course examples will include
MIDI, the (realtime) Music Kit and (non-realtime) Coillmon Lisp
Music and Common Music Notation. The course will be taught using
the Common Music/Stella environment on NeXT workstations and on
Macintoshes using a newly developed graphical inter-face. The labs
will feature hands-on spectral and physical modeling using software
such as SMS, Music Kit, SynthBuilder, and simple C~Code examples.
The Yamaha synthesiz-ers to be used in the course will include the
VL-1 and SY-77. All source code and docu-ments from the workshop
including the graphic interface are free to take. No prior
programming experience is assumed.
Advanced Projects in Algorithmic Compo-sition, July 24 -August
4, 1995; Fee: $800. Topics are continued from the first cours but
emphasis is placed on developing pro. gramming skills while working
on individual projects of the student's own choosing. Students may
take the full 4 week course at a reduced tuition rate of $1400.
Digital Signal Processing for Musicians: Spectral and Physical
Models, July 24 -August 4, 1995; Fee: $1200. 2 weeks in-struction.
Limited to 15 participants. In-structors: Xavier Serra, Perry R.
Cook. This course will cover analysis and synthe-sis of musical
signals based on spectral and physical models. The course will be
orga-nized into morning lectures covering theo-retical aspects of
the models and afternoon labs. The morning lectures will present
topics such as Fourier theory, spectrum analy-sis, the phase
vocoder, digital waveguides, digital filter theory, pitch
detection, linear predictive coding (LPC), and various other
aspects of signal processing of interest in musical applications.
The afternoon labs will be hands-on spectral modeling using the SMS
software and physical models using SynthBuilder. Familiarity with
engineer-ing, mathematics, physics, and program-ming is a plus, but
the lectures and labs will be geared to a musical audience with
basic experience in math and science. Most of the programs used in
the workshop will be avail-able to take.
Music Printing with Small Computers using SCORE, July 10 - July
21 , 1995; Fee: $700. 2 weeks instruction. Limited to 8
partici-pants. Instructor: Leland Smith. This course will cover the
details of the use of the SCORE software program for the creation
of publication-quality music typog-raphy on PC compatible
computers. Em-phasis will be placed on the production of individual
participant's projects.
Additional Information: Housing costs are not included in the
course fee. Campus housing is available through the Stanford
University Conference Office. No academic credit is offered for
participation in the work-shops.
CONTACT: CCRMASummerWorkshops Department of Music, Stanford
University, Stanford, CA 94305-8180, USA. Tel: 415-
The SCI Newsletter XXV:4
-
723-4971. Fax: 415-723-8468. E-mail:
[email protected]
5TH TALLOIRES INTERNATIONAL J COMPOSERSCONFERENCEJULY
2-8, 1995
Tufts University European Center, Talloires, France. Robert
Cogan, Pozzi Escot, Shirish Korde, directors. The conference
provides a meeting ground for composers from the en-tire world for
performances of their works by the renowned Talloires Conference
Cham-ber Ensemble.
CONTACT: Talloires International Com-posers Conference, 24 Avon
Hill, Cam-bridge, MA 02140. Tel: 617-868-0215, 508-233-4165; Fax:
508-256-7615.
4TH INTERNATIONAL FLUTE SUMMER COURSE
"For the Contemporary Flutist." From Aug. 22 to Aug. 27, 1995,
Dutch flutist Will Offermans will be giving a flute course in
contemporary techniques. The course will be organized by Studio E
in cooperation
ith Foundation The Magic Flute and will e open for flute
students, flutists, and flute
teachers with or without experience in con-temporary music.
CONTACT: Studio E, Vrolikstraat 195D, 1091 TX Amsterdam,
Holland. Tel: 011-31-20-6682478; Fax: 011-31-20-6651425.
5TH INTERNATIONAL MASTER CLASS FOR COMPOSITION
August 28-0ctober9, Rheinsberg, Germany. Consultation with Paul
Heinz Ditrich (Ger-many) and Gerard Grisey (France); lectures about
contemporary music from the sight of interpreters and solo-recitals
with Carin Levin (USA, flute), Brenda Mitchell (UK, Singer), and
Friedrich Schender (Germany, trombone). Lectures about voice and
music by Pierre Garnier (France), Karl Mickel, Carlfriedrich Claus,
and Hartmut Zelinsky (Germany). Two concerts (one could be arranged
with compositions for piano and/or voice and/or vocal ensemble).
Discussions (September 7-9) about the situation of the ew music
from the chosen European na-
__,. tions: Italy, Lithuania, Rumania, Slovakia, Ukraine,
Hungary; expanding of the asso-ciation for contemporary music
Europe.
The SCI Newsletter XXV:4
CONT ACT: Brandenburgisches Colloquium ftir Neue Musik,
Luisenstrasse 58-60,D-10117Berlin,Germany. Tel: 011-030-28448231;
Fax: 011-030-2823475.
1995 NATIONAL ORCHESTRAL COMPOSERS' SCHOOL
NOVEMBER 12-18, BRISBANE
The 1995 National Orchestral Composers' School, managed by the
Australian Music Centre in collaboration with the Australian
Broadcasting Corporation, will be held at ABC Studios in Brisbane
with the Queensland Symphony Orchestra, conduc-tor William
Southgate, and composition tu-tor Gerard Brophy. The selected
participat-ing composers are Brendan Colbert, Stuart Greenbaum,
Christine McCombe, and Kevin Purcell, who will compose works
specifi-cally for the orchestra. The culmination of the School is a
public performance and a recording for subsequent broadcast.
CONTACT: AustralianMusicCentre,P.O. Box N690, Grosvenor Place
NSW 2000, Australia. Tel: 011-02-2474677; Fax: 011-02-2412873;
E-mail: [email protected]. gov.au.
CENTRE DE CREATION ET COM-MUNICATION D'ILE DE FRANCE
Composers and their performers: A course organized by the Centre
de Creation et Com-' munication d'Ile de France and l'Institut
Superieur de Composition Musicale. The course is set up for young
composers and their performers. There are two comple-mentary
parts:
1) Analysis - composition - orches-tration: a three hour class
each Tuesday and Thursday during the entire year by Patrice
Sciortino; composition classes will be given by guest teachers:
Alexandre Mullenbach (Salzburg), Helmut Flammer (Stuttgart),
Umberto Rotondi (Milan). The works of the students will be
performed by l' Atelier Musique de Ville d' Avray.
2) Introduction and advanced courses on new playing techniques
as used in contemporary music written for clarinet (Jacques di
Donato), flute (Patrice Bocquilon), violoncello (Jacques
Wiederker), guitar (Duo Horreaux-Trehard). Courses each first
Monday and Thursday of the month. All students' compositions and
orchestrations will be considered individu-
ally. Apart from the standard study-reper-toire, each student
interpreter may propose study-pieces of his own choice. Public:
teachers, musicians from orchestras and en-sembles, soloists,
composers, orchestrators. Location: the Chateau de Ville d'
Avray.
CONTACT: ChateaudeVilled'Avray, 10 rue de Mames, 92410 Ville d'
Avray, FRANCE. Tel.: 011-33-47-50-44-28; Fax:
011-33-47-50-53-90.
Members' Activities, cont. from pg. 3
and Temple Universities, and the Concerto for Wind Ensemble was
performed at North-western, Kent, Michigan State and Cornell
Universities. His Concerto for Violoncello and Sonata a Tre will be
performed in May during the Spring in Prague Festival, and his
Landscapes for Brass Quintet will be per-formed at the
International Brass Festival at Indiana University and at the
University of Wisconsin-Madison in May.
Arvo Part, cont. from pg. 2
apprehension of what is truly valuable in life. In this world of
ours, full of "noise ... all around us and inside of us," rather
than being the antithesis, Arvo Part should be the model.
Jeremy Beck is an Assistant Professor of Composition and Theory
at the University of Northern Iowa. He has received degrees from
the Yale School of Music, Duke Univer-sity and the Mannes College
of Music. Re-cently he was awarded a series of grants from the
American Council of Teachers of Russian to present lectures on
American Music at Herzen University and the Conser-vatory in St.
Petersburg, Russia.
CORRECTION
An item in a previous issue oftheNews-letter indicated that
submissions to the SCI CD series should go to the home address of
Richard Brooks. This is not the correct address for submissions.
Please send submissions for the CD se-ries to the New York City
Office: Soci-ety of Composers, Inc., PO Box 296, Old Chelsea
Station, New York, NY 10113-0296
Page 7
-
ANNOUNCEMENTS of contests, calls for scores and other
solicitations appear in the SCI Newsletter as a service to SCI
members. While every effort is made to assure the accuracy of these
announcements, the SCI cannot accept responsibility for errors,
misrepresentations or misinterpretations.
WHY NOT GO FIRST-CLASS? First-Class Mail instead of the slower
Bulk-Rate, send $8 to cover postage and handling for one year to
the New York Office.
ADDRESS LABELS Members of SCI may obtain the Society's
membership list on pressure-sensitive labels for $30 (half the
usual price). Write to the New York office, enclosing your payment.
Specify alphabetic or zip code sequence. The list can also be
sorted by region. Allow four weeks for delivery.
PUBLICATION of the SCI Newsletter is partially supported by a
grant from the National Endowment for the Arts.
The SCI Newsletter Society of Composers, Inc.
School of Music The University of Iowa Iowa City, Iowa 52242
MEMBERSHIP INFORMATION
FULL MEMBERSHIP ($45/YR): Eligible to submit scores to the
National Conferences, regional conferences, SCI Record Series, SCI
Journal of Music Scores and will receive the SCI Newsletter.
Eligible to vote on Society matters and in elections for the
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