Call for Works

Structure of Choir

One section of the October 18 call for works (posting immediately below) is still in German.

I’ve taken the liberty of translating the paragraph concerned:

The Vienna Jeunesse Chamber Choir features the following voices: SSSS-AAAA-TTTT-BBBB.
• As a general rule all the voices used must act as soloists (choral scoring must strictly be used as a special timbral technique.)
• Electronics are generally an option, via playback (2 channels). The following rules apply to the use of live electronics:
the patch and the operation instructions must be sent with the score; the individual voices cannot be mic’ed directly.
In all cases the cues for the electronic part must be notated in the score.
• In the ‘Vocal Theatre’ category additional props are permitted provided the performers are able to use/work them (see above).

Best regards from Linz, Austria
Samuel Gray (CANZ member)


The Austrian section of the International Society for Contemporary Music (ISCM) and the Jeunesse
Chamber Choir Vienna would like to announce a composition competition for the creation of new
works for soloistic vocal ensemble. The aim of the competition is to draw the attention of
composers to vocal music, to enrich the genre of vocal composition, to stimulate experimental
vocal thinking and to achieve sustained support for the extension of the repertoire in this field.

The competition is open to composers of any nationality and without age limit. Nevertheless the
participants have to be member of a section of the ISCM (International Society for Contemporary
Music, see or or have to include an application for membership to one
of the sections of ISCM.

The competition is divided into three categories: “Nonsense”, “vocal theatre” and “non liturgic
sacred vocal music”. (Details see below).
The application should consist of
• an already existing work of the applicant using at least one vocal voice,
• a concept/sketch of the planned work in the chosen category of the competition AND/OR a
completely elaborated section of the planned work with a length of approx. 2 minutes.
• The new work must not be already performed or published.

The application has also to include the contact details of the applicant and a proof of membership
in one of the sections of ISCM, or an application for membership to the ISCM (if the applicant is not
already member).
The dead line for the application is 15th of November 2010. (Postmark)
Based on the submissions, the jury (see below) will issue composition commissions from which
each applicant will receive at most one commission.
The composers will get the possibility to rehearse, verify and modify their work in the frame of a
The finished works will be performed in a festive concert and will also be included in the repertoire
of the Jeunesse Chamber Choir Vienna and published on a CD.

The competition is divided into three categories:

5 to 8 short movements with a duration of ½ – 1 minute each.
Text: Nonsense, syllable language, phonemes, sounds, noises. At first glance the text should not
make any sense.
2 commissions will be issued in this category.

“Vocal Theatre”
Duration: 8 – 15 minutes.
Texts should be according to the genre. A scenic concept has to be an integral component of the
work. Nevertheless it has to be emphasized that for the scenic concept a certain flexibility in the
use of the space would be an advantage, so that the work can be performed in different venues
Stage props may be used, as long as singers can operate them.
3 commissions will be issued in this category.

“Non Liturgic Sacred Vocal Music”
The duration of the work should be between 4 and 8 minutes.
Texts should deal with transcendental and spiritual topics, but without being tied at all to any
liturgical purpose.
2 commissions will be issued in this category.

• Die Besetzung des Wiener Jeunesse Kammerchores ist wie folgt: SSSS-AAAA-TTTT-BBBB.
• Die Stimmen müssen grundsätzlich solistisch eingesetzt werden (chorischer Einsatz muss ein
besonderes musikalisches Ausdrucksmittel bleiben.
• Elektronik ist als Zuspielband generell möglich (2 Kanäle); für den Einsatz von Live-Elektronik gelten
folgende Regeln: Patch mitsamt Bedienungsanleitung muss mit der Partitur mitgeschickt werden, eine
Direktabnahme der einzelnen Stimmen mit Mikrophonen ist nicht möglich. Auf jeden Fall muss die
elektronische Stimme in der Partitur Cue-mäßig notiert sein.
• In der Kategorie Vokaltheater sind zusätzlich Requisiten erlaubt, sofern die InterpretInnen sie bedienen
können (siehe oben).

Deadline for applications: 15th Nov. 2010 (postmark)
Notice of commissions: December 2010
First deadline for delivery of scores (complete scores, modifications still possible) 15th March 2011
Workshop: 11th to 15th April 2011
Second deadline for the delivery of scores (including modifications, corrections): 30th April 2011
Rehearsals, Performances: Mai 2011

• a honorary of 600 € per composition
• a guaranteed performance of the work in the frame of the festive concert in May 2011
• CD recording and publishing of the work by ISCM Section Austria
• inclusion of the work in the repertoire of the Jeunesse Chamber Choir Vienna

• Vykintas Baltakas
• Renate Burtscher
• Ajtony Csaba
• Chaya Czernowin
• Ingrun Fussenegger
• Bruno Strobl

Applications should be sent to the following address:
IGNM Österreich
Ungargasse 11/12
1030 Wien

URGENT: Members' Premieres 2008 and 2009


As CANZONA 2008 & 2009 are being worked on currently, I would like to invite you to submit a list of your premieres for 2008 & 2009.

1) Please send this information as plain text in the body of an email.
2) Please only send pieces that received their first performance in calendar years 2008 or 2009
3) Please put each entry on a new line.
4) Please carefulle format each entry in the following way (note full-stops between information):
Title (include separate entry for lyricist). Instrumentation. Performer(s). Full Date (Day Month Year). Venue, including country if overseas, and festival name if in festival.

Some examples:
Hine-pu-te-hue. Taonga puoro and string quartet. Richard Nunns and the New Zealand String Quartet. 14 March 2002. Ilott Concert Chamber, Wellington
Scintilla. Large ensemble. Stroma, cond. Hamish McKeich. 4 November 2002. Marama Hall, University of Otago, Dunedin
Ex Machine (fixed version). Electroacoustic. Philip Brownlee (diffusion). 1 July 2004. Adam Concert Room, Victoria University of Wellington.
Taiohi Taiao. Text: Aroha Yates-Smith. Choir with optional taonga puoro. Tower Voices New Zealand, cond. Karen Grylls. 13 October 2004. Otago Festival of the Arts, Dunedin.

Please send me your premieres at by 25 OCTOBER 2010.

With thanks
Samuel Holloway
Canzona Editor






1 ONLY PRIZE: 15.000 €



2011 NZSO-SOUNZ Readings

2011 NZSO-SOUNZ Readings
Deadline: 8 November 2010

SOUNZ is now calling for submissions from composers who would like their orchestral works to be considered for a Reading session with the NZSO on 9 and 10 May 2011.

Deadline for submissions: a full score and completed entry form to SOUNZ before 5pm, Monday 8 November 2010.

The NZSO-SOUNZ Readings will be on Monday 9 and Tuesday 10 May in Wellington Town Hall conducted by Hamish McKeich.

The composers of the chosen pieces will be notified before the end of November, and the deadline for submitting parts to the NZSO is 14 January 2011.

A submission form and information sheet is available from or by contacting SOUNZ if you would like it posted.

2011 APO Composer Mentor

A new position for 2011, in addition to their Composer-in-Residence position (John Psathas).

The Composer Mentor will take over all of the APO Education mentoring. This will include:
– mentoring participants of APO Connect and Compose events for 2011
– arranging music for the APO Education programme
– speaking for the APO on composition issues and contributing to the shape of the 2012 APO Compose programme
– liaising with CANZ as required
– answering questions from students about composition via email as required

Applicants should also:
– have experience as a composer, including thorough knowledge of composing for orchestral instruments
– awareness and experience of the NZ school environment and NZ composing community and context
– educational presentation and assessment ability in composition

$15K fee, to include travel and accommodation if required.

Applications should include a covering letter stating why you are applying for the position, a CV outlining your relevant skills and experience, a representative recordings of arrangements and original compositions for orchestral instruments, and should be sent to: APO Education, PO Box 56024, Dominion Road, Balmoral, Auckland 1446.

Closing date 31 October 2010. Further information is available from Lee Martelli, APO Education Manager at or