Lewis Spratlan - An Interview The 4'" National Student Conference, held at Indiana University and hosted by Jason Bahr, invited Lewis Spratlan as guest composer. This interview was conducted by David Gompper and transcribed by Chris Brakel.

DKG: Tell me about the piece that won the Pulitzer.

2 LS: Life is a Dream', which is drawn from La Vida Es SueFw , the great baroque era drama I rt tltis isS_ u_e_: ------by Pedro Calderon de la Barca (1630). In 1975 I was invited by the New Haven Opera Theatre to write a piece for them. The producer and founder of that company was Herta Glaz3 , and I was very happy to acc,ept the invitation. I had not been thinking of writing an opera. In our first conversation about this I asked "Do you have any particular suggestions for me regarding 3 the topic or region you would like me to go into?" She gave me a copy of Calderon's La Vida Es Sueiio. Neither had I read it nor ever heard of it before. But I took it home and that night read it and thought, "This is it." It was an amazingly compelling drama. It's regarded, pretty widely, as a piece ofliterature within the Spanish tradition, somewhat the equivalent of Hamlet etitions. in English, and it's just one of those looming coniP ca11s masterpieces that is in the conscience of Span­ 6 Grants, ish society. School children memorize so­ A Message liloquies from it. It's "What is life? A frenzy? An illusion?" This is one of the famo us from the President speeches from it-a "to be or not to be" sort of phrase. Apart from the wonderful details s yo u know SCI is an all-volun­ call for of it, at the dramatic level it partakes in teer membership-driven organi­ zation with historical ties to the scores absolutely ageless themes in the sense of the A 8 Greek dramas. It's very Euripidian in con­ academic institution that still serves as its cept and structure. It contains themes of primary support and foundation. It has father and son in a tremendously important resisted the move to becoming a 'corpo­ way. Fate and free will, and, above all, ration,' and with it the pros and cons dreams and reality, as is reflected in the title. associated with such a step, such as hiring It has a strikingly modem quality to it. I have grant-writers to find ever larger levels a feeling that Berg must have felt the same and pots of public and private money-a way in reading Buchner. It's astonishingly cyclical and often spiraling process that forward-looking and I didn't even argue with can be whim to uncontrollable market myself about it, for my initial judgement forces and political fall-out. To its credit, about the piece was correct from the begin­ SCI is still functioning as it was set up ning. some thirty-five years ago. Most of its The play is performed as a stage drama components-the newsletter, SCION, the rather a lot these days. There was a big CD series, Journal of Scores, Website, production of it done by a Scottish troupe4 Audio Streaming Project-work effi­ that came over and put it on. It got a lot of ciently and for the most part without too attention here, and last year would have been much grief. New accessories have been the Calderon's 400'h birthday, so on that occa­ added recently, most prominently, the sion, it also got a lot of stage revivals. As far SCI/ASCAP Student Composition Com­ as I know this is the only recent operatic missioning Program (see pg. 11 ), and setting of it. with it, a large presence of students through an increasing number of student DKG: And she approached you in 1975? chapters. My friends , this is the future of SCI-the active inclusion of yo ung com­ LS: Yes, and this piece was completed in posers who can and will take the society 1978. This is the world's weirdest musical into the next generation. As testament, award for the Pulitzer Prize. I know of no the new "Student Nationals"-at Indiana other one that has been awarded for a work University last March and ably hosted by written that far removed from the date of the Jason Bahr, and next year at Bowling prize. It was , however, awarded for the world Green State University-have been a re- premiere of Act II of this opera. Here's what continued on page 7 continued on page 3 A publication of the Society of Composers, Inc. March/April 2001, xxxi:2 35th National Conference-Review Forth coming Conferences The Society for New Music There were six concerts, one in­ Neva Pilgrim, host stallation (Sam Pellman) and one paper pre­ 2001-2002 sentation (Jeffrey Hoover). The conference Syracuse, New York 36'h National Conference was unique, for it was hosted by a non­ 29-31 March 2001 Un· academic institution (SNM) with the acad­ iversity of Akron, Ohio This unique conference took place emy as secondary resources. There is a D aniel McCarthy, host on both the campus of Syracuse University lively and active musical life in Syracuse, April 18-20, 2002 and at the Everson Museum of Art Audito­ thanks to the stalwart Neva and her many rium. Many thanks are extended to Neva friends! 4'h Stud ent National Conference Pi !grim and members of the Society for The following composers were per­ Bowli ng Green State University New Music, who organized a tight and formed: John AK+NS , Jennifer BARKER, March 21-23, 2002 well-programmed conference. SCI is also Charles BESTOR, James DASHOW, grateful to Andrew Waggoner, director of Michael DELLAIRA, Brian FENNELLY, the School of Music at Syracuse University Daniel S. GODFREY, Walter HARTLEY, Region I who made available their auditorium and JeffreyHERRIOTT,KentHOLLIDAY,Jef­ Uni versity of Maine, Orono rehearsal space. frey HOOVER, Gregory HUTTER, Beth Wiemann, host The performances were of the high- Alexandros KALOGERAS, Andrey October 26-28, 2001 est quality, and included the University of KASPAROV, HidekoKAWAMOTO,Mar­ lowa Center for New Music, David garet FAIRLIE-KENNEDY, Daniel Region IV Gompper, director; The Tremont String KOONTZ, Karl KORTE, Joseph University of Florida Quartet; Cornell University's Ensemble X, KOYKKAR, Jonathan KRAMER, Hye directed by Steven Stucky; the Bugallo- Kyung LEE, Anthony LIS, Patrick LONG James Paul Sain & Paul Richards, ' hosts Williams piano duo; the Syracuse Vocal Tom LOPEZ, Melissa MAIER, Danie1 Ensemble, Robert Cowles, director; the McCARTHY, Mike McFERRON, Eric November 8-10, 2001 Rivermist Brass Quintet; and individual McINTYRE, Dimitri PAPAGEORGIOU musicians, including Deborah Bradley (pi- Rob PATERSON, Sam PELLMAN, Mark' Region V ano), Ron Caravan (sax), Kelly Covert PHILLIPS, Bernard RANDS, Pau 1 Wayne State University, Michigan (flute), Linda Greene (flute), William RICHARDS, Laura SCHWENDINGER James Lentini, host -~N~i ~cho (clarinet), CJark..P tteL( io,,,.»,µ..a ..,.,,..,__ A-nrrSH..-5£EE, Reb-8MITH, David SOLEY ' ' November 1-3, 2001 Michael Richards (clarinet), Todd Paul STEINBERG, Steven STUCKY, Hi - Welbourne (piano), Alan Woy (clarinet). laryTANN,AndrewWAGGONER, Alicyn Region VIII The SCI Newsletter wARREN , Robert wASHBURN , Craig Univ ChristopherBrakelandDavidGompper WESTON, John D. WHITE, Beth ersity of Alaska, Anchorage WIEMANN, Jim WILLEY, Amy WILL- George Belden, host Circulation: 1350 IAMS, Michael WOODS, and Noe 1 March 15-17, 2002 Annual Subscription Rate: $50 ZAHLER. Frequency of Publication: Bi-monthly. Edited and printed at The University of Iowa. Send articles and member SCION 2002-2003 activities: Region V SCI Editors David Drexler, Editor Mac alester College, Minnesota The University of Iowa Daniel Powers, Asst. Editor School of Music Carleton Macy, host Iowa City, IA 52242 March 2003 SCION, SCI's on-line electronic news (319) 335-1626 (voice); ' (319) 335-2637 FAX prov ides information on opportunities for E-mail: [email protected] composers. News items, announcements ' ALERT! comments, and other material for publi­ If you tea ch in a department or school of music, For other business: cation may be sent via e-mail to: Martin Gonzalez - Exec. Secretary please e nsure that concert programs presented Society of Composers, Inc. by your universi ty are being collected and sent 70-30 80th Street [email protected] to ASC AP and BMI each on a regular basis. Glendale, NY 11385 Each ag ency, which relies on these programs, Phone/fax: (718) 416-2623 Mail, telephone calls, and fax messages extracts perfomrnnce information and deter­ E-mail: [email protected] should be directed to: mines th e amount of royalty credited to each URL: http:// compos er based on a sample rate. www.societyofcomposers.org/ David Drexler, SCION Editor 2560 Kendall A venue Copyright © 2001 Have you considered becom­ The Society of Composers, Inc. Madison, WI 53703 All rights reserved. Telephone (home): 608-255-6491 ing a lifetime member of SCI?

Page 2 The SCI Newsletter XXX/:2 Sprat/an-cont. from pg. 1 Schuller's house. They worked, as I did, Allan Glassman, a superb young singer. , happened. Herta made the commission in side by side and we sent it off to everybody The father role Basilio was sung by John 1975. Very shortly after that, I was talking with all the usual follow-up, calls and so on. Cheek. While it is not as virtuosic of a part about it with my close friend and colleague And absolutely nothing came of it. And and it's not as impossible to find a basso at Amherst college, James Maraniss, who finally, I just sort of gave up . I turned my pro/undo, it is a real basso pro/undo role, is, it turns out, a Calderon scholar and knows attention elsewhere and the piece sat on the and there are a limited number of singers La Vida Es Sueiio very, very well. I was shelf fo r fi fteen or sixteen years. And I floating around. Plus it had to be a fabulous telling him how excited I was about this and guess it's fair to say that it was sort of out of character, and John Cheek was the ideal one we agreed that he would do the libretto for my mind for a while, and I began thinking of for it. So I knew I would spend big bucks to it. It was the most natural thing in the world, other things. get them. And then, of course, hiring a fo rhe and I are absolute soul mates. He's an About fi ve or six years ago, Roger union orchestra from Boston to augment the amazing listener. He's not an educated Reynolds came in to do a semester with us other forces and so on. In fact, then we had musician, but he is one of the greatest listen­ at Amherst College and I played a tiny to hire the six additional singers, who were ers of music that I know. We talked a lot segment of the end of the second act, which all the creme de la creme of the Boston area, about our ideas fo r the piece, the way we we had done actually with the Amherst with the exception of Christina Bouras who wanted to take the play and render it. We College Orchestra and student singers as a is this fabulous young soprano from the had to do a huge amount of cutting, for it's tiny little showcase for the piece in 1978 New York City Opera. She's a future super­ an enormous sprawling 5-act play. We when it was finished (about a nine-minute star, in my opinion. She's of Greek back­ ditched two or three sub-plots entirely, and segment). And Roger finished listening to ground and her voice is the opposite of got rid of a lot of characters. We did months it and said , "Your nuts not to have pushed generic and full of character. She hadn 't of hacking around, picking and choosing, this work and gotten someone to hear it! done all that much new mu sic, but she was shaping it into what our concept was. How can you stand having put this much of very eager to perform it and did a fabulous When it came down to actually writing your life into something this good and let it job. So those were the three important the libretto we did not work side by side. I sit on the shelf?" (He scolded me!) singers. sort of sent him off and he spent about three Then I enlisted J. David Jackson , who or four months on the libretto for the first DKG: Good for him. was a former student of mine, and in fact a ac t. When he gave it to me, I thought it was composer in addition to being a conductor. sensationally good, absolutely what I LS: And I said , "You 're right! " It was sort He's spent the last fifteen years in Europe wanted. I had him add one or two things that of a wake-up call for me. I had already made going up the ladder in various opera compa­ were not in the original, for musical stru - up my mind for a variety of reasons that I nies, and has really paid his dues- a fabu­ tural reasons. And then off we went. I was going to put on an "All -Spratlan" con­ lous talent. He has a magical touch with worked on the first act with very little con­ cert in Boston, which is sort of a musical singers, and is a brilliant student of the score ferring with him . I made just tiny changes home base for me. I hadn' t quite made the and a superb conductor. I knew as soon as for local rhythmic reasons, it was very much connection between the opera and this when this project was on that I wanted him to do intact. While I was working on the first act, I first dreamed of it. I was fortunate enough it and I was very much rewarded by that he started working on the libretto for the to receive a Koussevitsky commission, choice. I must say that I consider this to be second act and on it went. This whole thing which produced Sojourner, so that piece a reall y wonderful performance, and a very took about three years and I finished the became the center of this concert. It oc­ large part has to do with David's direction piece in 1978. And about half way through curred to me to use the commission as seed of it. The singers would have done an ything the composition of the third act, the New money to expand to an appropriate-sized he told them- he had them in the palm of Haven Opera Theater folded. Hence, this orchestra, hire the two very expensive sing­ his hand and that isn't easy. Particularly, absurd situation that I was fac ing. ers that would be needed for the two princi­ opera singers, who tend to be very tem­ For five years my publisher and I tried pal roles, and make the bulk of the program peramental people and sometimes selfish in to get this piece placed with an opera com­ Act II of this opera in addition to Sojourner a certain way. He handled them with the pany in the United States. We did not go to and a couple of other smaller pieces. The perfect touch, when to flatter them and Europe, which in retrospect was probably a more I thought about it, the more it seemed when to be demanding in the exact propor­ bad decision because I think we could prob­ the right thing. tions. Just watching him work was a marvel ably have put it on. I was kind of stubborn And then Scott Wheeler and I rolled up to me. And likewise with the orchestra, he about it. I said, "You know, I'm an Ameri­ our sleeves and started raising money using had them in the palm of his hand as well. can, Jim's an American. It's very nearly the Koussevitsky grant as seed money, and There was a rare sense of cooperation about colloquial American English. It's not some managed to put together $75,000. I knew the whole thing. starchy Elizabethan English, by any means." that this would be an extremely expensive The concerts took place on January 28'h I felt this should be premiered in the United proposition fo r a Boston new music con­ and 30'h of the year 2000, one in Amherst States and should be heard by Americans. cert. and the other at Harvard University. They I'm not sure I could describe the whole were great events ... Roger was right! complex of reasons that we didn't pursue a DKG: Whom did you get? European connection at the time. The piece DKG: What kind of re-tooling did you do to was published by Margun Music, Gunther LS : The tenor who played Segismundo was make it a concert version, if anything? cont. on pg. 4

The SCI Newsletter XXX/ :2 Page 3 LS: Practically nothing. There was maybe that I'm very eager to change. There's no a three-percent re-working overall, but it opportunity remotely like this that my kids didn 't have to do with making it into a DKG: Could yo u talk about this weekend or the students of my colleagues have. I concert version as such. It was just a matter and being here and what yo u've heard? mean, we get decent performances locally, of going back to the score after twenty but there's nothing like this. Hearing all of years. Mainly it had to do with sanding LS: I think it's been a wonderful event. It 's this other music by one's peers is what's so do wn the vocal parts a little bit, to great a very special opportunity for this huge significant about this. advantage. I think I got rid of a little bit of number of kids to hear each other's music­ my 'composerly arrogance' after so many good, bad, or indifferent. We learn from DKG: You know, there has existed since years. I had squared to the realities of what everything we hear. It doesn't have to be 1947 the Midwest Composers' Symposium. it means to sing during that time. My wife great stuff. It's groping, as well. The Northwestern started it along with the Uni­ is a fabulous singer, and she can sing any­ variety of it, I think, is wonderful-the versities of Iowa, Michigan, Illinois, and thing. And that's a shame, in a certain sense quality of the performances just blows me Indiana-ori ginally five schools. Oberlin because I'm spoiled by that. away. I'm just staggered by the commit­ was added in the sixties and Northwestern I also touched up the scoring, just barely. ment that these Indiana University students dropped out twice. But, every fall the stu­ As a matter of fact, I was a little bit amazed have made to something which, after all, is dents come together. The hosting rotates, when I went back to the score, given that extra. I mean they have their own recitals to and so the composers in the Midwest hear twenty years had gone by, to see how satis­ prepare for, their own homework to do, and each other works on an annual basis. fied and right I still felt about it. In fact it their own practicing to do. They didn't need continues to surprise me. to do it, and I think it's a huge tribute to LS: No, Iwasn'tawareofthat. Asfaras I I don 't have to tell yo u that there are a something that's in the air here. At the very know there's nothing comparable to that in lot of opera companies in this country that least, it's a reflection of the value that new the East, is there? put on something that happened to have music is held-it's something that they're been written within the last five years and expected to do and they want to do. DKG: I believe the SCI's Student National pat themselves on the back and say they're I say to my own students all the time, Conference borrows from that Midwestern great supporters of new opera. They have that is, as far as I'm concerned, the central model of bringing composers together, on a this idea about what the public wants. And learning experience of composing is hear­ national basis from a "Call for Scores." so it's my view that it's largely kind of ing one's own music. I can blabber as a Hollywood mentality-you know this Ter­ teacher until I'm blue in the face, but when LS: I've made up my mind to promote this. minator I or Terminator II. Identify hip and they sit and li sten to something anclsee how As we were observing the other day, th make an imitation hit. And if it's not that, it lines up with what they thought they were number of submissions from the East is then use what is topical. .. Marilyn Monroe, doing when they were putting the marks on paltry. I think there is kind of a very unfor­ A ViewfromtheBridge ... what's hot, what's the page, that's where the learning happens. tunate arrogance in the East that gets in the gonna grab them. And I have a certain And -to have it of such a quality, I mean, way of connecting composers. I think that sympathy for that, believe it or not. Putting there's a potentially unfortunate side to that might be a residue from the privatization on operas is extremely expensive and you too, which is if you get a bad performance, and hyper-intellectuality streak that was so have to have warm butts sitting in the chairs. you can get wrong signals about your own current in the60's and 70' s. That basic way The NEA might as well be dead-I mean music. You can think that you miscalcu­ of thinking, I think, is not still there, but it it's just not there. Corporations are pulling lated which, in fact, wasn't your fault. But carries its baggage with it.• back, and stockholders don 't like their hard­ when yo u get what are so obviously good won money going to new projects. But, performances, such strong performances, 1 Premiered at the Dinosaur Annex, courage is required here. These people have they're dependable, they're reliable, and Boston, 28 January 2000 (Act II, concert to realize that if something is dramatically you can trust them as real indicators of what version) good enough and compelling, it's going to you're doing. 2 This play is well known in German fill the house. It doesn't have to be like "X" culture, having been translated in the early 1 and it doesn't have to be in C major. DKG: And that's the importance of the l 9 h century by one of the seminal influences So, as I say, I've got a degree of sympa­ performer and the composer coming to­ of German Romanticism August Wilhelm thy with it. Opera, I fear, has lost its vener­ gether and really interacting. !think it's not von Schlegel (1767-1845) with the title Das able edge as cutting-edge stuff. When you only the performance, but the preparation Leben ist ein Traum. think of The Marriage of Figaro, these are for that performance-the composer work­ 3 Herta made quite a career at the Met pieces that were, in a sense, the movies of ing with performers-that is 'gold ' to these as a contralto. She retired and married Fritz their day. Movies have co-opted that spot in people, whether they know it or not. Redlich, who was at that time the chair of a way, but I remain convinced that opera is the Psychiatry Division at the Yale School a uniquely moving and enveloping and total LS: The last several days have been a of Medicine. That is what brought them to kind of art form and experience. There wonderful eye-opening experience for me. New Haven. She was full of energy, and remains a place along side film for opera to As I told you the otber day, I, my students even after retirement she founded this com­ still be right up there in the front and en­ and, in fact, my colleagues generally among pany. grossing to a population, while saying some­ the people I know in the Northeast have not 4 Calixto Bieito's production at the thing significant. been involved in SCI. And that's something Edinburgh Festival and Brooklyn's BAM. Page4 The SCI Newsletter XXX/ :2 . Competitions, Grants and Calls ______

The following listings are condensed and may not 20 minute work for 15 players, participate in mance and possible inclusion on a future re­ have complete information. You are encouraged a month-long workshop with the Nouvel En­ cording. Submissions may be e-mailed (.gif to contact the sponsoring organizations directly semble Modeme, and have their new works or .jpg scans only) or sent by snail-mail. for submission guidelines, particularly if anony­ premiered and recorded. Receipt deadline: Please include contact information and a short mous submission is required. Oct. 31. Submit two scores, one of which bio. Scores can not be returned. Contact: must be for chamber orchestra or large en­ Frederick Steuart, 6-10 Balmoral Street, DALE WARLAND SINGERS NEW semble; CD or cassette recording; and appli­ Winnipeg, Manitoba, Canada R3C 1X2, CHORAL MUSIC PROGRAM cation form. For full information and appli­ e-mail [email protected], Deadline: September 14 cation form, contact: FORUM 2002, Nouvel web http://www.tomadowaming.f2s.com/. Ensemble Modeme' (Universite de Montreal, The Dale Warland Singers are accepting Faculty of Music), 200 avenue Vincent­ SEEKING NEW scores for their annual New Choral Music d'Indy, P.O. Box 6128, Succursale Centre­ HYMN-BASED MUSIC Program. Four composers will receive $1200 ville, Montreal, Quebec, Canada, H3C 3J7, A Lutheran church musician is looking for and travel expenses to write a 5-7 minute cho­ tel. (514) 343-5962, fax (514) 343-2443, e­ new organ/piano music, with optional solo ral work for a public reading session on Apr. mail [email protected], web instrument, that makes use of hymn melodies. 29-30, 2002. Based on those pieces, one com­ http://www.nem.umontreal.ca/. The music shouldbe suitable for use in a wor­ poser will be selected for a $6000 commis­ ship setting. Please e-mail (if possible) be­ sion for a work to be premiered during the NATIONAL ASSOCIATION OF fore you send materials. Contact: Tim Singer's 2003-2004 concert season. Compos­ TEACHERS OF SINGING Tollefson, 830 Collett Ave. Apt. C, Terre ers who have not received substantial recog­ Deadline: January 11 (receipt) Haute, IN 47804, e-mail nition and have had a limited number of ma­ Entry Fee: $25 [email protected]. jor performances are encouraged to enter. Deadline: Sep. 14. Submit one representa­ The National Association of Teachers of Sing­ CALL FOR FLUTE WORKS tive score (need not be choral), recording if ing, Inc., Vocal Composition Award will be A flautist/composer seeks new works that are available, and resume. If submitted score is given for an unpublished song cycle, group idiomatically written for flute, piccolo, and/ not choral, include a short statement on how of songs, or single song composed within the or alto flute, with or without accompaniment. you might approach a choral commission. last five years of 12-15 minutes' duration for Also seeking concerti and chamber works. Send materials to: New Choral Music Pro­ one voice and piano. Texts must be in En­ Please contact via e-mail before sending ma­ gram, The Dale Warland Singers, 119 North glish, and the composer must secure copyright terials. Contact: Doug Han, e-mail Fourth St., Suite 510, Minneapolis, MN clearance. Prize: $1000, premiere perfor­ [email protected]. 55401, tel. (612) 339-9707, fax (612) 339- mance, and expenses to attend the premiere. 9826, e-mail [email protected], web http:/ Entry fee: $25 . Receipt deadline: Jan. 11. HORN WORKS BY /www.dalewarlandsingers.com/. Submit: three bound copies of the score, AFRICAN-AMERICAN WOMEN marked with the date of composition, and with A horn player seeks scores and/or informa­ SOUNDCLOCK composer's name appearing only in the top tion on works for solo horn or horn with cham­ Deadline: October 1 right comer of the title page; cassette record­ ber ensemble by African-American women ing marked only with the title; written per­ composers. Send scores, recordings, or other Soundclock contemporary music ensemble mission to NATS to make ten copies of the information to: Crystal Swepson, 1 Crane seeks works for fl, cl, vn, pf, with one addi­ work for judging and performance; separate Park, Jackson, MS 39216-3703, e-mail tional part (vocal or instrumental) for a con­ sheet with composer's name, address, and tele­ [email protected]. cert in Nov. Works should not have been per­ phone number; SASE. Mail entries to: NATS formed in the New York area. Deadline: Oct. Vocal Composition Award, c/o Dr. Carol WORKS FOR CELLO 1. For full inforffiation, contact: Soundclock, Mikkelsen, Department of Music, Valdosta AND DRUMMER 144-01 21stAve., Whitestone, NY 11357, tel. State University, 1500 N. Patterson St. , A musician seeks new pieces for cello and (718) 463-8997, e-mail Valdosta, GA 31698, web http:// drummer. Contact: Elliot Humberto Kavee, [email protected]. www.nats.org/. e-mail [email protected], web http://www.elliothumbertokavee.com/. NOUVEL ENSEMBLE CALLS FOR PARTICIPATION MODERNE FORUM 2001 VIOLA WITH TAPE WITHOUT DEADLINES Deadline: October 31 (receipt) Andreas Georgotas, viola player and lecturer WORKS FOR PIANO AND VIOLIN at the Ionian University, Greece, is interested Forum 2002, the sixth International Forum for "Tornado Warning," a Canadian piano-violin in performing and recording contemporary Young Composers, organized by the Nouvel duo is accepting submissions for works in the works for viola with tape and/or live electron­ Ensemble Modeme, will be held in Nov. 2002 genres of new music (neo-romantic/classical, ics. Please send materials to: Andreas in Montreal. Seven composers born after Oct. modem, minimalist) as well as folk (Celtic, Georgotas, P.O. Box 546, Corfu, Greece, 31, 1971, will be invited to create a new 15- Canadian Maritime, bluegrass) for perfor- 49100.

The SCI Newsletter XXX/:2 Page 5 FRIENDS OF THE ALBANY NEW WORKS FOR SOLO TUBA SCI National Council (2001-02) CITY CARILLON A freelance professional tuba player seeks new The friends of the Albany City Carillon wel­ works for solo tuba with or without accom­ David Gompper, President come submissions of music for carillon for paniment of any kind for possible perfor­ The University of Iowa possible performance and publication. Works mance. Contact: Geoff Moore, 4 Chapel Scott Brickman v should be less than eight minutes long and Road, Snodland, Kent ME6 5NE, UK, tel. University of Maine (I) Beth Weimann playable on a 4 octave carillon. See the web 01634 - 244849 0956 207764, e-mail I University of Maine (I) site for guidelines on composing for carillon. [email protected]. Perry Goldstein Send scores to: Friends of the Albany City SUNY-Stony Brook (II) Carillon, c/o Mayor's Office, Albany City MUSIC WITH DOUBLE BASS Daniel Weymouth Hall, Albany, NY 12207, e-mail A bassist well versed in contemporary music SUNY-Stony Brook (II) [email protected], web http:// is looking for new solo, chamber, and orches­ Jennifer Barker members. tripod.com/-rensselaer/. tral works for possible performance or record­ University of Delaware (III) Harvey Stokes ing. Contact: Steve Gilewski, e-mail Hampton University (III) NEW WORKS FOR BASSOON [email protected]. Nick Demos An experienced bassoonist in the St. Louis Georgia State University (IV) area is looking for new works for possible VIOLIN SOLO OR WITH PIANO Tayloe Harding performance. The bassoonist is mainly a clas­ A violinist seeks works up to 15 minutes long Valdosta State University (IV) sical performer, but also has experience with for violin solo or with piano for possible per­ James Chaudoir blues, experimental, new age, Christian, funk, formance. Contact: Dr. Linda Hsu, Depart­ University of Wisconsin, Oshkosh (V) Rocky J. Reuter pop, rock, and Indian musics. For more in­ ment of Music, University of Central Arkan­ Capital University (V) formation, contact: Anthea Ybarra, e-mail sas, 201 Donaghey Avene, Conway, AR Kenton Bales [email protected]. 72035, e-mail [email protected]. University of Nebraska at Omaha (VI) Phillip Schroeder HARPSICHORD AND LIVE WORKS FOR ORGAN Sam Houston State University (VI) ELECTRONICS An active contemporary music organist seeks Marshall Bialosky Vivienne Spiteri would like to collaborate with works in any style for solo organ, organ with Cal State University, Dominguez Hills (VII) Glenn Hackbarth composers on works for harpsichord (classi­ a single other instrument, or organ with tape Arizona State University (VII) cal copy, no pedals, no 16-foot register) with or electronics for possible performance and Charles Argersinger live electronics where the parameter of recording. Contact: Carson P. Cooman, 386 Washington Stat~University (VIII) spatialization (in real time or otherwise) plays Oakdale Drive, Rochester, NY 14618-1131, Patrick Williams a major part (holophone technology is highly e-mail: [email protected], web University of Montana (VIII) welcome). She is interested in works where http://www.carsoncooman.com/. silence is incorporated as a force of positive Executive Committee (2001-02) space. Contact: Vivienne Spiteri, Case postale SOLO VOICE WITH ELECTRONICS 1642, Succursale B, Montreal, Canada H3B A singer and researcher seeks works for solo William Ryan, Chairman, 3L3, tel./fax: (5 14) 481-8379, e-mail: voice with electronic tape and/or live electron­ Suffolk Community College [email protected]. ics. Any voice type is acceptable. A short Reynold Weidenaar, Chairman Emeritus William Paterson University, NJ description of the works along with compos­ Greg A. Steinke, President Emeritus SOPRANO SAXOPHONE AND PIANO ers ' contact info will be included in a cata­ Bruce J. Taub, Chamber duo seeks contemporary scores for logue of voice and tape works. Materials will Editor of Journal of Music Scores piano and soprano sax for possible perfor­ be kept at The University of Texas at Austin Richard Brooks, Producer of CD Series mance. Contact: Rasa Urbsiene, Kretingos for archival purposes. Please send score, tape, Nassau Community College 65-27, LT-5809, Lithuania, fax ++370-6- and a recorded performance of the work Geoff Kidde, Submissions Coordinator 310800, [email protected]. (MIDI OK), and any other pertinent informa­ James Paul Sain, Student Chapters University of Florida tion to: Larisa Montanaro, 186 Clover Road, Tom Lopez, Webmaster WORKS FOR BARITONE VOICE Cedar Creek, TX 78612. Oberlin Conservatory of Music A singer seeks works for baritone voice and David Drexler, Editor, SCION piano and/or other instruments for possible GUITAR PLUS DATABASE Dorothy Hindman, performance and recording. Tonal works pre­ Composers who have written works including Representative for Local Chapters ferred. Contact: Meredith Ryan Taylor, e-mail guitar are invited to submit information about and Affiliate Groups David Vayo, Membership Chair [email protected], web http:// themselves and their works to the Guitar Plus Illinois Wesleyan University www.mp3.com/mrt. International online database. For more infor­ Byron Petty, mation, contact: Bob Schneider, GPI Market­ Independent Composer Representative CLARINET AND GUITAR ing Director, 2324 Madison Rd., Suite 903, Thomas Wells, A clarinetist in the Boston area seeks original Cincinnati, OH 45208, tel. (513) 321-9460, e­ Audio Streaming Project Manager V music for clarinet and guitar. Contact: e-mail mail [email protected], web http:// Ohio State University [email protected]. www.guitarplus.org/GPI.html. Martin Gonzalez, Executive Secretary

Page 6 The SCI Newsletter XXX/:2 Gompper, cont. from page 1. colleagues. Members Activities , sounding success and help to encourage I believe new and contemporary music performers and to prepare younger compos­ in American is in good shape-in the sense Two compositions of Daniel Adams were ers for the "career" in this country as a that composers are writing what they want premiered in Febru ary, 2001. Equipoise, a composer. to write, and that, on the whole, performers duo for saxophone and percussion was pre­ I have been president for five years and are wi lling to learn and perfom1 our music. There is diversity in our "collective" mu­ miered by saxophonist Eddie Rich and per­ will hand the baton off to some 1ucky soul at cussionist Daniel McCloud on February 10 nex t year's Nati onal Conference, held at the sic-we have learned how to make our music more "performer-friendly". Remem­ at "Festival 31: New Music 2001 " held at University of Akron, Dan McCarthy, host. Ball State Uni versity in Muncie, Indiana. ber, these performers are our true friends. During my time as its leader, I have come to Two Antiphonal Portraits for percussion They are the one who sell our music to understand SCI's role in our quite proscribed ensemble was premiered by the University audiences, win over and convince audi­ and narrow field , and it is thi s: SCI acts to of South Florida Percussion Ensemble un­ ences, and in the end build a listener base. bring together composers and performers der the direction of Robert McCormick on I would encourage you, as "Anierican" on a regional and national level with one February 28 at St. Petersburg (Florida) Jun­ purpose in mind- the performance. Ok, composers (whatever th at means today) to ior College. Lignumvitae, another percus­ sometimes we ' 11 hear papers, but this is work more on an international level. Eu­ sion ensemble composition by Adams was becoming increasingly rare. No, it is not so rope, Asia, South America or Africa-it also performed on this program. much the research, but the search, let us doesn' t matter. These conferences help us Dr. Adam's Quandary for violin admit it, to hear our works performed. But to hear what others are doing. But to truly and guitar was performed by Duo 46 (Mat­ more to the point, it allows an exchange resist parochialism or deadly nationalism, I thew Gould, guitar; Beth Schneider-Gould, between composer and performer-we learn urge you to continue to make new contacts violin) at the Italian Cultural Center in from them, they learn from us. Having a with those who live and work abroad. This Istanbul, Turkey on February 26 and re­ conference at an academic institution gives will ensure a continuation and exchange of corded for international broadcast on Turk­ young musicians the opportunity to learn ideas and of sounds. ish Radio. Quandary wi ll be released as from working with li ving and actively com­ Finally, let me encourage yo u to return part of a Duo 46 CD entitled "Untaming the posing composers. to SCI some of yo ur time, your ideas, your Fury", on Guitar Plus Records. Works from As a composer myself, I have always felt expertise and energy in helping to create this CD are currently avail able as .mp3 files a tug between the intuitive and the analyti­ future opportunities. It is the only society on the Duo 46 website. Three Movements for Unaccompanied Marimba was per­ cal, between the need and desire to think that takes an acti ve role to connect you, the formed by Mel Mobley at the Louisiana about structure and the way music can "hang" composer, to the perfomer. Encourage your Tech Univ. School of the Performing Arts supported by such strong underpinnings, students to become active participants in on Nov. 6, 2000. Reverberations for tim­ and the urging to just "compose," to write in what, for all of us, becomes important life­ pani solo was performed by Jeanetter Wrate the heat of the moment, flowing and pour­ long learning experiences.David Gompper on the Living Music 2000 Concert, Novem­ ing out without restraint. A diesel engine is ber 10, at Los Angeles Harbor College. only efficient when it is hot-we become SCI Newsletter hot when we continue to compose, from one Editor Wanted Rolv Yttrehus heard his new work Plec­ piece to the next. Banker's hours, as trum Spectrum played by the Cygnus En­ Stravinsky reminds us. But, of course, the semble at Merkin Hall in New York on mediator between the head and heart, the The SCI Newsletter, a bi-monthly January 10, 2001. The conductor was Jef­ mind and soul , is the ear. The ear becomes publication of the Society of Com­ frey Milarsky. the arbiter and judge, sifting out the crude posers, Inc., needs a volunteer to and saving the jewels and gems-knowing Greg A. Steinke was selected as one of five what is garbage and what is worth saving; serve as editor beginning with the finalists for the Seoul International Compe­ what to keep in a piece and what to September/October issue. The tition for Composers 200 1, sponsored by jettison ... and not onl y what, but how much duties will include gathering and the Korean Society of 21st Century Music. or how little. writing material (lead article, con­ He will attend competition for the selection So what does this have to do with SCI? of the grand prize winner in Seoul, Korea. ference reviews, membership In a sense, SCI is a resonator for our activi­ The work chosen was a revised version of ties, and extension of what we, as profes­ news, schedule of conferences, White Blowing Daffodil Seeds for Piano sionals seem to value and hold dear. The contests, commissions, etc.) and Trio. struggle between the doers and thinkers, the editing the material into a journal Members' Activities Column applied and the academic-between the ef­ format. Since the newsletter will fort it takes to actively support other com­ be delivered electronically, print­ Please send current information on your posers versus a resilient and virulent re- activi ties to the following address: traint, due mostly to self-absorption- be­ ing knowledge is not required, just SCI Newsletter tween the push to want our music accepted the ability to convert the document University of Iowa by a wider audience and the pangs we feel into a PDF file. School of Music when our music may not be cuddled by our Iowa City, IA 52242

The SCI Newsletter XXX/: 2 Page 7 35th National Conference instrumentation: Application . The American New Arts Festival 1. Chamber Winds (6-15 performers University of Akron, Ohio drawn from the standard symphonic Name: ______School of Music band) Address: ______2. Full Symphonic Band or Wind En­ email: ______Daniel McCarthy, host semble telephone#: ______18-20 April 2002 Category V: Music for Jazz Ensemble (5 fax : ______saxophones, 5 trumpets, 4 trombones w/ SCI Region Membership (must be in good CALL FOR SCORES tuba and rhythm section) standing): ______DEADLINE (POSTMARK) Category VI: Music for Brass or Wood­ School or other affiliation: _____ 1 OCTOBER 2001 wind Quintet (standard instrumentation) Category VII: Chamber Music (The Ak­ Category and Title of Composition(s): Two •Daniel McCarthy, Host/Director ron New Music Ensemble, Daniel scores in each category (four scores maxi­ •Nikola Resanovic and Ralph Turek, Co­ McCarthy, director) 6-16 performers­ mum): Hosts instrumentation may be drawn from the •Michael Daugherty, Guest Composer following: single winds, 1111 , single #1. Category:. ______and Keynote Speaker brass, 1111 , one or two percussion, pi­ Title: ______ano, 2 violins, viola, cello, bass. May Instrumentation: ______The University of Akron School of include voice (1). Music is pleased to announce the Society Category VIII: Music for Youth Orches­ Category: ______of Composers, Inc. National Conference tra (High School-age musicians) Title: ______2002, to be held on the campus of The Uni­ Category IX: Interdisciplinary; Music for Instrumentation: ______versity of Akron School of Music April dance, short musical theatre scenes, mu­ 18,19, and 20, 2002. The SCI National Con­ sic and art combinations. #2. Category: ______ference will be part of the 2nd Annual Category X : Music for organ alone Title: ______American New Arts Festival at the Univer­ Category XI: Papers: Submit one paper Instrumentation: ______sity of Akron that features artists in dance, for a 50-minute presentation at the con­ theatre, visual arts, and music. ference on any topic related to music Category: ______Performances by The Paragon Brass composition. Title: ______Quintet; The Solaris Woodwind Quintet; Instrumentation: ______The University of Akron Jazz Ensemble, INCOMPLETE OR LATE APPLICA­ Jack Schantz, Director; The University of TIONS WILL NOT BE ACCEPTED. (a composer submitting in three categories Akron Concert and Symphonic Bands, would be submitting a paper) Galen Karriker and Robert Jorgensen, Con­ ·• Submit up to two scores (and corre­ #3. Category: ______ductors; The University of Akron Percus­ sponding recordings if available) in no more Title: ______sion Ensemble, Larry Snider, Conductor; than two of the eight categories (a maxi­ The University of Akron New Music En­ mum of 4 scores) and/or one paper for a 50 Do yo u wish to bring your own performers semble, Daniel McCarthy, Conductor; The minute presentation at the conference. (please circle one below)? Akron Youth Symphony, Eric Benj amin, • All submissions MUST include a YES NO Conductor. composer biography (no more than 500 Members in good standing with the So­ words) and program notes (no more than If you checked "yes," PERFOMER BIOG­ ciety of Composers, Inc. are invited to sub­ 500 words) for each composition submit­ RAPHIES MUST ACCOMPANY YOUR mit up to two scores (and corresponding ted. YOU MUST INCLUDE "IN THE APPLICATION. PLEASE ATTACH ALL recordings if available) in no more than two PACKAGE ADDRESS" THE BIOGRAPHIES AND NOTES TO THIS of the following categories (four scores CATEGORY(S) IN WHICH YOU ARE APPLICATION. Mail submissions post­ maximum). Composers wishing to supply SUBMITTING (see address below). marked no later than October 1, 2001 to : their own performers must so indicate on •The registration fee for all events will the application form (composer/performer be $65. Further information will be posted Daniel McCarthy biographies and program notes must be in­ at the website: SCI National Conference 2002 cluded with application): http://www.uakron.edu/music! Category#_ Music Welcome.html. American New Arts Festival Category I: Music for piano alone School of Music Category II: Music for percussion (2 to • Please fill out and submit the form The University of Akron 15 players) below with your scores and other materi­ Akron, OH 44325 Category III: Electroacoustic music (tape/ als: email: [email protected] cd alone or performer with tape/cd) Category IV: Music for Symphonic Winds: Scores will be accepted with the following

Page8 The SCI Newsletter XXXI :2 2002 Society of Composers, Inc. 4) Electroacoustic works: One Confirmation of receipt of sub­ Student National Conference concert will be devoted entirely to works missions will be sent via email. Please "Praecepta musica nova" from this category. Electroacoustic works send no performance parts, bios, or pro­ 21-23 March 2002 alone (CD, DAT, or ADAT, written gram notes at this time. Participants Bowling Green State University scores not necessary), chamber works must be members of SCI before the Bowling Green, Ohio for one to ten performers with tape and/ conference and must also be students at or interactive elements, and works in­ the time of the conference to be eligible. CALL FOR SCORES volving mixed media (such as video and There is no submission fee. By submit­ POSTMARK DEADLINE: installations) are encouraged. ting, you agree that you will be present 14 SEPTEMBER 2001 Preference will be given to at the conference if your piece is pro­ works under 12 .minutes in length for grammed (but all who submit, please The Bowling Green State University Category 1, and to works under 10 min­ attend). College of Musical Arts and the utes in length for Categories 2, 3, and MidAmerican Center for Contemporary 4. Durations must be clearly printed on In order to be considered, submission Music are pleased to join in announcing the first page of all scores and on all re­ packets must be postmarked by Sep­ that Praecepta, the BGSU SCI Student cordings. Please indicate if individual tember 14. 2001. Chapter, will host the 4' 11 annual SCI movements from a work may be per­ Student National Conference, formed separately. Composers may pro­ "Praecepta musica nova," March 21-23, vide their own performers for works in Send submission packet to: 2002. The following call for scores is Categories 3 and 4 if they choose. announced. Up to two works per com­ Joe Dangerfield, host Submission packet should include: posermay be submitted in any combina­ 2002 SCI Student National Conference tion of four categories. Please limit College of Musical Arts 1) legible scores; submissions in Category 1 to one work Bowling Green State University 2) recording of each work submitted, per composer. Bowling Green, OH 43403 USA performances preferred but MIDI 1) Large ensembles: acceptable (CD, DAT, cassette, or t'hilharmonia orchestra (or chamber or Email all inquiries to VHS), separate cassette/VHS for string orchestra), Symphonic/Concert [email protected]. each composition submitted and/or Band, each of these with or without index for CD or DAT; choir; Men's Chorus, Women's Cho­ View the selection procedure online at 3) SASE for return of materials if de­ rus, mixed choir. Soloists (if any) must the following website: sired (all submissions not including be provided by the composer. SASE will become property of the 2) Small ensembles: New Mu­ http://www.bgsu.edu/studentlife/ MidAmerican Center for Contem­ sic Ensemble, Percussion Ensemble, organizations/praecepta/ porary Music for archival purposes, Kusuma Sari Gamelan (Balinese gong circulation, and performance con­ kebyar gamelan orchestra, contact host Check the Praecepta website often for sideration); for details), Early Music Ensemble (con­ frequent updates. 4) proof of student status (photocopy of tact host for details), Afro-Caribbean valid Student ID or a letter from Ensemble (contact host for details), instructor); and Trumpet Ensemble, Trombone En­ 5) contact sheet including name, ad­ semble, Tuba/Euphonium Ensemble, dress, email, daytime phone, SCI Brass Choir, Flute Choir, Bassoon En­ status (region and Student Chapter semble, Vocal Jazz Ensemble, Classi­ affiliation, if applicable), titles of cal/I azz Guitar Ensemble. Visit our Web page works submitted, durations, and in­ Tom Lopez, assistant professor of 3) Chamber works: one to ten strumentations. Please also indicate performers, all orchestral instruments composition at Oberlin College is our on this sheet if you wish to provide webmaster. The URL is: available including harp and saxo­ your own performers. For works with phones, plus instruments used in all text, include a letter of permission or http:/ !www .soci etyofcomposers .org above ensembles including guitar, voice, a letter stating that the text is in the rgan, ethnic instruments, and early public domain. This contact sheet Please visit the site and make your music instruments. Works involving may be printed from the website suggestions on the information you would like members and non-mem­ actors and/or dancers are also welcome. listed below. bers to access.

The SCI Newsletter XXX/ :2 Page 9 2001 SCI/ASCAP National Adjudication Winners' Biographies CEIRI TORJUSSEN was born in National Winners Cadrdiff, Wales, in 1976. He is a Welsh [Lewis Spratlan, Don Freund, Alfonso Montecino,judges] speaker. He gained his Bachelors in compo Ceiri Torjussen sition at the University of York, UK, and his Moiya Callahan Masters at the University of Southern Cali­ Mei-Fang Lin fornia, Los Angeles. He started playing the trumpet and piano at the age of nine, and Regional Winners began composing seriously at the age of Region I [Scott Brickman & Beth Wiemann, judges] seventeen. 1 STRING QUARTET Matthew Van Brink In addition to the main canon of western 2 STRING QUARTET Nancy Kho ' music from the middle ages to the present, 3 CONCERTO CONCERT ANTE Ralf Gawlick his musical interests have included a special love for jazz, and for certain non-western Region II [Paul Siskind & Robert Washburn] music, especially Indian classical and Indo­ 1 SONTATA FOR CL AND PIANO Shawn Zhu nesian Gamelan, partly resulting from spend­ 2 DEEP MIDNIGHT Gregg Wramage ing seven months in India when he was 19. 3 SEXTET Robert Paterson Ceiri also has a keen interest in music for the moving image, and began scoring for TV Region III [Harvey Stokes & Jennifer Barker] documentaries while still in high school. l WOMEN OF VALOR Andrea Clearfield His screen credits currently include six Brit­ 2 SYMPHONIC ODE David Laganella ish TV documentaries, alternative music to 3 DANTE'S INFERNO Suzanne Polak Kubrick's "2001: A Space Odyssey'', and eight short films. He has recently been Region IV [Nick Demos & Tayloe Harding] orchestrating on Hollywood feature films 1 PERMANENT SECRET James Barry for the composer Marco Beltrami. Recent 2 LAST DANCE Andrew Papadeas projects include Dracula 2000 and Angel 3 PIANO QUINTET Ryan Garber Eyes (principal orchestrator and conduc- tor). ~ Region V-east [Dan McCarthy & Mark Phillips] In 1998 he was awarded a William J. 1 ELECTRIC SHEEP Kenneth Froelich Fulbright Scholarship to study composition 2 FOUR-WAY SEXTET Moiya Callahan in the U.S. This, in addition to scholarships 3 FAHRENHEIT Mischa Zupko from the British Arts Council, S4C, and the Welsh American Foundation, allowed him Region V-west [James Chaudoir & David Vayo] to come to USC for graduate studies where 1 STRING QUARTET NO. 3 Pelarin Bacos III he also held a Teaching Assistantship posi­ 2 TOCCATA Greg Hutter tion. Ceiri has also won the Composers 3 SUDDEN LIGHT Jean Milew Medal at the Urdd National Eisteddfod three times, and been the recipient of the Daily Region VI [Ken Bales & Phillip Schroeder] telegraph Young Jazz Arrangers award, as 1 SONATA FOR VIOLIN AND PIANO Tom Osborne well as many other awards for his jazz 2 HANNAH'S GRAVE Daniel Nass playing. He wo n the Composers Medal at 3 FLOWERS David Gordon the Welsh National Eisteddfod in 1999 which made him the official 'Head Composer' of Region VII [Marshall Bialosky & Glenn Hackbarth] Wales. He has recently been made a 'White 1 DISINTEGRATION Mei-Fang Lin Druid of the Island of Britain' for his ser­ 2 L.A. STORIES Ceiri Torjussen vices to Welsh music, and been the subject 3 OCTOBER Rani Sharone of a documentary on national television. Other recent awards include the Hans Salter Region VIII [Charles Argersinger & Patrick Williams] A ward for his outstanding compositions, 1 VISION UNBOUND Helena Michelson given by the USC Thornton School of Mu­ 2 OSTINA TINOS Jonathan Kornfeld sic, and the SCI/ASCAP award (US) for his 3 SYMPHONY Christopher Wicks chamber ensemble piece, L.A . Stories. His orchestral work, Momentum, has been performed widely, notably by the BBC Na SCI is grateful to ASCAP and Frances Richard tional Orchestra of Wales, and been broad­ cast on national radio and television. He for their continuing support of this project. will be undertaking two new commissions

Pa ge JO Th e SCI Newsletter XXX/ :2 for the orchestra: one for the prestigious at the "Concours International de Musique professional composer but not enrolled Vale of Glamorgan Festival in September Electroacoustiques, Bourges" in 2000 and in a degree program. Send proof by ' 2001 and another for their 2002/03 season. the "Concorso Internazionale Luigi submitting either a) a copy of your cur­ Russolo" in 1999, "Honorary Mention" and rent transcript that clearly indicates your A native of Seattle, Washington, "Special Award" in the "Music Taipei Com- degree program orb) a letter from your position Competition" in 1998 and 1997 composition teacher confirming that MOIYA CALLAHAN obtained a B.A. in respectively. Her compositions have re- you are his / her student. Youmustsub- Music from Whitman College in 1996, a mit to the same region in which you M.M. in Music History at the University of ceived performances and broadcast in the United States, Europe and Taiwan. She also currently study. Cincinnati College-Conservatory of Music Adjudication in 1999, and is currently completing a performs new music internationally as a Each work will be adjudicated in one of D.M.A. in Composition at the same institu­ ._p_ia_n_is_t_. ------~ nine regions (Region Vis being divided tion. Callahan 's works have been selected 2002 SCI/ASCAP between East and West). Three win­ for performance at numerous music festi­ ning scores will be selected from each vals in the U.S., including the 2000 New Deadline: Dec. 1, 2001 region and sent to the National Confer- Music Miami Festival at Florida Interna­ ence for final adjudication. Three win­ tional University, the Music 97 , Music 98 , SCI, in conjunction with ASCAP, an­ ning composers at the national adjudi­ and Music 99 festivals at the Cincinnati nounces the fifth in a series of annual cation will be chosen to write new works College-Conservatory of Music, the 2000 commissions to be awarded to three to be performed and recorded the fol­ Resolution New Music Festival at Indiana student composers. The winners will be lowing year. If there is no national selected from a pool of finalists from University Southeast, and the June in Buf­ conference, then a regional conference each region, and their music will be falo festival. She was selected as one of fo ur host will be chosen for the performance. subsequently premiered at the National The judges reserve the right to composers to participate in a residency Conference and recorded on the SCI CD workshop with the ARRA YMUSIC en­ reconfigure the award money. The com­ Series. poser may choose to have the premiere semble in Toronto, Canada, in 2000, and Prizes: was a grant recipient from the Meet the performance placed on the SCI CD, or • 1st place • $1250 may reserve the option to arrange his I Composer Foundation in 1999. Most re­ recording in SCI CD series her own recording session. While it is cently she was awarded a Frank Huntington score published in our intention to include winning com­ Beebe Fund Fellowship supporting a year SCI Journal of Music Scores positions on the SCI CD series, in all of post-doctoral study at King's College • 2nd place - $750 cases the direct or indirect costs of an ,ondon. Commissioned works include recording in SCI CD series acceptable tape for inclusion must be Triple Somersaults for three pianos, the • 3rd place • $500 born by the host institution, the com­ choral work The Sea's Repeated Gesture, recording in SCI CD series poser or an outside funding source. SCI and Sequence, a solo piano work commis­ reserves the right to choose the CD on sioned by pianist Kathryn Woodard and Application process which the winning works will be pro­ funded by a grant from the City of Cincin­ •Submit both a score and a cassette tape duced (either on the regular SCI CD nati. or CD of one work for any combination series, or a special issue every other of instruments, voices, and I or electron­ year). SCI will endeavor to arrange the MEI-FANG LIN was born in Taiwan in ics. The work must show competency in performance and recordings to the mu­ 1973. She got her bachelor's degree in com­ writing for the chosen medium. Regard­ tual satisfaction of all parties, but re­ position and theory from the National Tai­ less of medium submitted, the subse­ serves to itself final approval of the wan Normal University and her master's quent commission may be limited to a arrangements. Nevertheless, all rights degree in composition from the University particular instrumentation (to be nego­ to the music will remain with the com­ of Illinois at Urbana-Champaign. She is tiated with the host of the National Con­ poser. currently pursuing her doctoral degree in ference). The recording you submit can mail scores to: composition at Hie University of California be of a studio session, a live perfor­ SCI/ ASCAP at Berkeley. She has received "Kate Neal mance or a sequenced format. See the School of Music map on the opposite side for your re­ Kinley Memorial Fellowship", "Dr. & Mrs. University of Iowa gion and postmark deadline. James C.Y. Soong Fellowship, "Geraldine Iowa City, IA 52242 Cooke Fellowship" since she came to the •All entrants must be SCI members (at any level) at the time of submission. The United States. She has studied composition For more information on this competi­ student rate is $25 per year. If your with Guy Garnett, SeverTipei, Zack Brown­ tion, please contact David Gompper at (319) ing, and electronic music with Scott Wyatt. institution has an SCI student chapter*, 335-1626, e-mail: [email protected]. She is now working with Edwin Dugger and then membership dues are $15. *For more information on Student Ed Campion at UC Berkeley. •Use the official submission form on Chapters, please contact James Paul Sain at the the right. She has won the the First Prize in the University of Florida at 352-392-0223 x240; or •composers can be of any age and na­ '2000 NA CU SA Young Composer's Com­ e-mail: [email protected]. tionality, but they must be either a) a petition", First Prize in "Prix SCRIME 2000" For more information on membership, student enrolled in a college or univer­ please phone the national office on Tuesday and in France, "21st century Piano Commission sity composition degree program, orb) Friday afternoons (718) 416-2623, or email : Competition" in 1999, the finalist selection studying privately with a recognized [email protected]. The SCI Newsleuer XXXI:2 Page 11 ANNOUNCEMENTS of contests, MEMBERSHIP INFORMATION • calls for scores and other solicitations appear in the SCI Newsletter as a service to SCI FULL MEMBERSHIP ($50/ YR): Eligible to submit scores to the National Conferences, region"' members. While every effort is made to conferences, SCI Record Series, SCI Journal of Music Scores and will receive the SC/ assure the accuracy of these announcements, Newsletter. Eligible to vote on Society matters and in elections for the National Council. SCI cannot accept responsibility for errors, misrepresentations or misinterpretations. JOINT MEMBERSHIP ($65/YR): Same benefits as for full members, bu t couple receives only one copy of th e Newsletter and other mailings.

WHY NOT GO FIRST-CLASS? SENIOR MEMBERSHIP ($25/ YR) : Open to those 65 years of age or older, or retired. Same First-Class Mail instead of the slower Bulk­ benefits as full members. Rate, send $8 to cover postage and handling ASSOCIATE ME,MBERSHIP ($25/YR): Open to perfo rmers and other interested professionals. for one year to the New York Office. Receives the Newsletter and can parti cipate in th e nation al and regional conferences.

ADDRESS LABELS Members of SCI STUDENT MEMBERSHIP ($25/YR): Eligible to submit to regional conferences and receive the Newsletter. may obtain the Society's membership li st on pressure-sensitive labels fo r $30 (half the STUDENT CHAPTER MEMBERSHIP ($15/YR): Same benefits as student members, but open usual price). Write to the New York offi ce, onl y on campuses hav ing Student Chapters. enclosing your payment. Specify alphabetic or zip code sequence. The list can also be INSTITUTIONAL MEMBERSHIP ($25/YR): Organizations receive the Newsletter and other sorted by region. Allow fo ur weeks for maili ngs. delivery. LIFETIME MEMBER SHIP ($950 OR $11 O/ YR FOR 10 YEARS) : Benefits th e same as full members, for life. PUBLICATIONS include the SCI Newsletter, CD Series, Journal of Music AFFILIATE MEMBERSHIP ($45/ YR) : Open to members of music organizations that are Scores, Monograph Series and SCION-the institutional members of SCI, except libraries and archives. Same benefits as fo r full mem­ bers. SCI On-line newsletter.

The SCI Newsletter Non-profit Organization The Society of Composers, Inc. U. S. postage SCI Editors PAID School of Music The University of Iowa Permit #45 Iowa City, Iowa 52242 Iowa City, IA

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