If you cannot view this email, click here
To ensure delivery of the CLC-LCC newsletter, please add it to your accepted e-mail list.

CLC Newsflash! LCC les Dépêches!

The CLC sends out periodic newsflashes to keep our membership informed of CLC activities and composer opportunities. We currently send out materials in the language in which it is received; our intention in the future, once we have sufficient resources, is to send out messages in both official languages.

La LCC envoie périodiquement à ses membres des flashs d'information pour les informer des activités de la Ligue et de nouvelles susceptibles d'intéresser les compositeurs. Actuellement, nous envoyons les renseignements dans la langue d'origine. Cependant, à l'avenir, nous avons l'intention d'envoyer les messages dans les deux langues officielles, lorsque nous disposerons des ressources suffisantes.


Array Music 2009/2010 YOUNG COMPOSERS’ WORKSHOP - submission deadline - Jan 22, 2010


________________________________________________

Array Music 2009/2010 YOUNG COMPOSERS’ WORKSHOP & CONCERT - submission deadline - Jan 22, 2010


WRITE A NEW WORK WITH / FOR THE ARRAY ENSEMBLE

Submissions Deadline: Jan. 22 | 10      Applicants will be notified February 12 | 10

Array is accepting submissions for its 2009|10 YOUNG COMPOSERS’ WORKSHOP + CONCERT

Now in its 25th year, this unique workshop is designed to benefit composers who have completed their basic studies in composition and who welcome the rare opportunity to work with a professional ensemble in the development of a new work.

There is no age restriction as ‘young’ in this instance refers to ‘emerging’ composers. The jury that selects Array’s Young Composers’ Workshop participants is comprised of professional composers. They select four (4) participants to create a new work for three Array Ensemble members. The composers work over a one (1) month period throughout May, 2010. They receive one (1) session each of two (2) hours weekly in May to work directly with The Array Ensemble’s musicians and artistic director / workshop leader in the creation of their piece. Through weekly readings (by Array Ensemble members) and consultations (with the workshop leader), the participants are able to share their ideas and experiment in the creation of their work. Completed pieces, or works-in-progress, are performed by The Array Ensemble in a public concert at The Array Studio Saturday, May 29th, 2010, at 3 PM, in Toronto, Ontario, Canada.

Selected composers must be willing to reside in Toronto during the duration of the workshop sessions (and to pay associated travel / accommodation costs. Array will happily supply letters of recommendation to the successful candidates who wish to apply for a travel grant.

To submit your scores for consideration to Arraymusic, please review the following. Note: There is no application form. Interested composers should submit the following:

1). A letter of introduction

2). A complete curriculum vitae

3). 2 to 3 scores of previous works and, if available, corresponding recordings on CD or cassette tape to demonstrate the applicant’s ability to compose for chamber ensemble.

4). Applications must include a processing fee of $25.00 Canadian Funds.

Send these by (‘snail’) mail to:
The Array New Music Centre / Arraymusic
ATTENTION: The Young Composers’  Workshop Jury
Suite 218, 60 Atlantic Avenue
Toronto Ontario Canada M6K 1X9

To review these details, visit

www.arraymusic.com/array_youngcomposers.html


This workshop and concert is supported by The SOCAN Foundation, the Canada Council for the Arts, the Ontario Arts Council and the Toronto Arts Council.


What Past Young Composers’ Workshop Participants Say

“Through the workshop, I managed to accomplish all the goals set and then some. It forced me to think in a different artistic manner, then quickly have it demonstrated whether this was working or not. Studying with such great musicians is always a treat, but in this case it was made more so by their ability to comment on how something was or wasn't working for their particular instrument, with the object of making it work. Having the luxury of time to do that made each individual part sing that much more. Even at the dress rehearsal, Blair was walking me through a (late-composed) vibraphone line, suggesting he play it slightly different than I'd written it, to make it more of a line, rather than just a rhythmic and harmonic counterpoint to something more focal being played elsewhere in the ensemble…. The final concert restored some confidence that perhaps I can actually compose music. Overall, the entire experience was awesome. It's always great to be in such a creative environment, with people pushing me to go further, rather than to hold back. –  Christien Ledroit, 2006

“I have been reviewing some of the highlights [from my workshop experience], of which there were many. I think the most meaningful were: the encouragement to freely experiment; the supportive, non-judgemental, low-stress, and flexible atmosphere; the opportunity to hear my work-in-progress played so often that my ears began to be filled with musical buzzings throughout my waking day...” — Jennifer Bird, 1999

“There’s nothing like a hands-on experience...to facilitate one’s learning. I believe that I learned more in my month with Array in Toronto than in any full term at college or university.”— Jordan Nobles, 1998

“No past experience compares to how much I learned in this workshop, working with professional performers. What a luxury to hear my music in progress!” — Jennifer Wilson, 1990

“I personally found it an excellent opportunity and environment to create a new work and have learned much that just cannot be taught in classrooms... I cannot overstate the importance of such a workshop which provides the chance for ‘hands-on’ experience for young composers, an opportunity which is, unfortunately, quite rare.” — Henry Lai, 1988

“Especially valuable was the chance to experiment with different sounds and ideas...all the musicians of the ensemble were very helpful in offering their professional advice, especially in regard to the technical difficulties of writing for each instrument as well as the particular texture and balance of the ensemble.” — Brent LEE, 1987

“It is of little doubt to me that the time I spent in the workshops offered some of the best lessons I have received in my compositional training. ...If we want the quality of music being written in this country to improve, we need to provide young composers with such opportunities as that provided by the ARRAYMUSIC workshop, so that they will feel more secure about themselves professionally.” — Ronald Bruce Smith, 1987

“I found the workshop situation extremely valuable... I hope this program will continue to offer other composers this opportunity.” — Helen Hall, 1986

The Canadian League of Composers/La Ligue canadienne des compositeurs
Chalmers House -- 20 St. Joseph St./20, rue St. Joseph , Toronto , ON M4Y 1J9
www.clc-lcc.ca   ~  [416] 964-1364  ~  Fax: [416] 961-7198  ~  info@clc-lcc.ca


Should you prefer not to receive these messages, you can unsubscribe:
Unsubscribe me from this list.