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

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

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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

----

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

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: aledin@ccrma.stanford.edu

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: amc@slim.slnsw. 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

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