Composer FAIL #2

Just received an email yesterday. The first one looked like this:

Oops, they forgot the message. The real email looked like this:

On this note, Fight On Eric Guinivan, and congrats to David Biedenbender whom I met at Midwest a year ago.

Xavier Rehearsal

Last Thursday I was *finally* able to hear Motordom in rehearsal. (I say "finally" because Cincinnati does not know how to use a snow plow, and therefore some rehearsals were cancelled due to school cancellations.)

Here's Matthew Westgate, conductor of the Xavier University Symphonic Wind Ensemble.

Shortly afterward Matt posted the rehearsal schedule. I mentioned to Matt that it was funny having my name on the same rehearsal board as Frank Ticheli because I studied with him at USC. (To my Facebook friends: This is the last time I'm posting this, I swear.)

The rehearsal was good, although some students were missing due to class conflicts. This is my first band piece, so I was a little nervous about how the piece would sound (balance issues, etc.), but I now I believe it will turn out okay. At least one of the percussionists liked it: he thanked me before rehearsal for writing an interesting vibraphone part. (Okay, normally "interesting" means "bad," but he seemed genuinely thankful.)

Tomorrow at 2 PM I will meet with the Xavier University composition majors and discuss their music. Should be fun. :)

The *Best* Composer Competition Ever

Composers, take note: if you are outraged at a certain composer competition, make the best (composer) competition ever.

The Báthory-Kitsz Performing Ensemble Competition 2010

• For performing ensembles
• $1000 and the opportunity to perform a work created by acclaimed composer Dennis Báthory-Kitsz on a concert in early 2011 (date TBA).
• Entry fee: $75 per ensemble
• Deadline: September 1, 2010

Daniel Wolf suggests that Dennis should organize a similar competition for arts administrators. Genius.

The Most Exploitive Composer Competition Ever

Okay, maybe it's not the most exploitive according to some, but something about the International Antonín Dvořák Composition Competition sounds fishy to me.

Let's pretend you're a graduate student attending a music conservatory like me and you happen to see a bunch of brochures and a HUGE poster advertising this competition. Due to your curiosity, you check out the website regarding this competition. Here are the facts.

FOUNDING IDEAS AND AIMS

This Competition pays tribute to the memory of the great composer Antonín Dvořák and his musical achievements, and seeks to discover young and talented composers, raising them to inherit the musical legacy of the great composers. In addition, it seeks to aid the newly discovered composers in terms of compositional-entrusting, recording and concert for their continued development.

Fair enough. Moving on.

The 8bb Controversy

(Current photo of 8bb)

A few days ago, eighth blackbird announced their first-ever Composition Competition. (They seemed pretty excited about it.) If chosen the winner, you receive:

• $1000 cash
• A day to work with eighth blackbird on the piece you submitted
• A performance at a Chicago studio concert
• A recording for website or promotional use (yes, this means you CAN use this on your personal website) AND
• $500 travel & lodging reimbursement

All in all, not bad. Supposedly, there is one catch: you must pay a $50 application fee.

This has sparked a bit of controversy because, well, I suppose composers don't like spending money if they don't have to. We can be a cheap bunch.

Snowed in? Try Making One of These

(Photo Courtesy of Dan Visconti via NewMusicBox.org)

If you're curious about the above picture, you must visit NewMusicBox.com and read the description.

On this note of snow days, if you are snowed in (or dying of boredom), you should try making one of these.

Follow-up: Cause for Concern?

This is a follow-up on a previous post that discussed Alex Ross's concern for dwindling orchestra attendance. Mr. Ross's post was actually a teaser for the more substantial article that was published in the New Yorker on February 8.

There he writes about his experience at (Le) Poisson Rouge, a place where classical music is performed in a "jazz-club space." His reaction? Maybe he didn't like eating noisy nachos while listening to Hilary Hahn's performance of the Bach's Chaconne in D Minor, but he did point out that Le Poisson Rouge "has set in motion a brave experiment, from which mainstream organizations have much to learn." You're telling me. Has anyone attended a concert here? Please comment; I would like to know about your experience.

Also on this note, *please* check out Greg Sandow's blog on the future of classical music. He too believes classical music needs to change or else it's dead.

Composer FAIL #1

Hello, folks. I mentioned in a previous post that composers should scrapbook their rejection letters to make them more aesthetically pleasing. I have a confession to make: I'm not a crafty person. Instead, I will post my rejection letters for everyone to see and include a little blurb about them.

I think for this one I submitted Emoticons. Bummer.

Updates

I updated a couple of projects on my website, if you're interested (or would rather do something else besides counterpoint homework).

Motordom
The Aquarium
Sounds from the Gray Goo [II]
88 Exploding Ninjas [N.B. My friend Amanda Davidson designed the cover. The ninjas rock!]

Cause for Concern?

Alex Ross posted in his blog yesterday about how Gen-Xers have yet to exhibit an upward spike in classical orchestra attendance. As a classically-biased Gen-Y person, I believe orchestras need more exciting programming (and/or more exciting College Nites) to encourage my generation to attend orchestra concerts. Or, here's a thought: why base our generation's interest in classical music solely on orchestra attendance? Something to think about. Comments?

Boulez at Almost 85

Last Sunday I drove to Chicago to attend the "A Tribute to Boulez @85" concert. I purchased my tickets in December and had been waiting for this concert for weeks. (Sorry I didn't post about this sooner - I've actually been...composing...go figure.)

Admittedly, I haven't been a huge fan of Boulez. I was first introduced to recordings of his music in high school (more than 10 years ago) and I wasn't sold, and I heard some other pieces while I was in college, and I knew it was over my head. I think my problem was that I never listened to his works live.