Oxingale Music announces Winner of Composition Competition

November 16, 2014

Oxingale Music, publisher of a range of contemporary sheet music from award-winning composers, has chosen a slate of winners for the first in a series of composition competitions aimed at expanding and enrich the repertoire for cello in unusual combinations and ensembles. The nucleus of Oxingale Music is a catalogue of works written for, premiered by, and recorded by Grammy-nominated cellist Matt Haimovitz.

For the 2014 Composition Competition, Oxingale Music and Matt Haimovitz joined UK vocal trio Voice in inviting composers of all ages and nationalities to submit a work for cello and three voices, using text from Shakespeare’s Sonnet 8, 30, or 60. 

Over 40 composers from over 18 countries entered works, most written expressly for this competition. 

The winning composition will be premiered by Matt Haimovitz and Voice in February, 2015 in New York State, with the possibility of further performances into 2016. The winning composer will be offered up to $500 to defray the cost of travel and accommodations to attend rehearsals and the concert. In addition, the full slate of winning compositions will be considered for publication on Oxingale Music.

Because of the tremendous quality of submissions received, Matt Haimovitz and Voice will perform at least one of the runner-up works, in addition to the winning composition, on their concert in February.

• Winning composition: Bozo Banovic, “Sonnet 60 of William Shakespeare,” Serbia 

• Runners up:

Diana Rosenblum, “Like as the waves,” United States

Filipe Sousa, “Like as the waves,” Portugal 

• Honorable mention: Gabriel Malancioiu, “Chronos phagos – The Eater of Time,” Romania

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Oxingale Music Announces New Composition Competition for Cello and Voice

May 29, 2014

Oxingale Music, publisher of a range of contemporary sheet music from award-winning composers, announces the first in a series of composition competitions aimed at building the repertoire for cello and unusual ensembles. The nucleus of Oxingale Music is a catalogue of works written for, premiered by, and recorded by Grammy-nominated cellist Matt Haimovitz.

For the 2014 Composition Competition Oxingale Music and Matt Haimovitz join UK vocal trio Voice in inviting composers of all ages and nationalities to submit a work for cello and three voices, using text from Shakespeare’s Sonnet 8, 30, or 60. Works should be under ten minutes in duration. There is no fee to submit. For additional details, please see below.

Prizes:

– The winning composition will be premiered by Matt Haimovitz and Voice in February, 2015 in New York State with the possibility of further performances in 2016.
– Oxingale Music will provide the composer a stipend of up to $500 towards travel and accommodation to attend rehearsals and the concert.
– The composer will be provided an archive recording of the performance, if available.
– The winning composition will be considered for publication on Oxingale Music.

Guidelines:

– Submission deadline: October 15, 2014
– Composers of any age or nationality may submit one original work.
– Duration: up to 10 minutes
– Text must be taken from Shakespeare’s Sonnet 8, 30, or 60. Sonnets may be used in whole or in part, individually or combined, at the composer’s discretion.
– Work must be for acoustic cello and un-amplified voices. (No electronics please)
– Works must be submitted electronically via dropbox or other file-transfer method. Please see required submission package contents below. Please do not submit materials via email or postal mail.

Vocal ranges:

Victoria = A4 to C6. Happy to sing in a folky chest register up to D5.

Emily = G3 to B6.

Clemmie = E3 to G5. She is most comfortable A4 to E5.

Please visit Voice’s website where you can listen to recordings and get an idea of the three singers’ blend on different tracks. If you have specific questions regarding the vocalists, please direct your inquiries to Victoria at voicetrio@gmail.com.
Submission package must include:

– Complete submission form (below)
– PDF of full score
– XML or .sib file of full score
– Biography/CV of composer
-Program notes
– Photo of composer

For more information on the artists and Oxingale Music please visit:

http://www.matthaimovitz.com
http://www.voicetrio.co.uk
http://www.oxingalemusic.com
The fine print:

– The competition organizers reserve the right not to select a winner.
– By submitting a work to this competition you certify that the composition is original and does not rely on the copyrighted material of any other person.
– Payment of stipend will be made in the form of reimbursement of expenses. Documentation of expenses must be received no later than 30 days after the premiere.
– Archive recording may be used for promotional purposes only. Any commercial use or public broadcast must be approved separately.
– By submitting a work to this competition you certify that there is no legal impediment to Oxingale Music acting as publisher for this work. If any conflict exists, please disclose it on the submission form. Oxingale Music reserves the right not to publish the winning composition.

General inquiries can be sent to info@oxingale.com Please do not email submissions.

Application

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The New York Times: Her Art, Her Passion, Her Torment: Joyce DiDonato Celebrates Camille Claudel at Zankel Hall

February 6, 2015

Joyce DiDonato at Zankel Hall with the Brentano String Quartet: from left, Serena Canin, Mark Steinberg, Nina Lee and Misha Amory. Credit: Hiroyuki Ito for The New York Times

The life of the French sculptor Camille Claudel is a tangle of art, passion, madness and betrayal. A student and lover of Rodin’s, Claudel was a critically acclaimed artist when she began to show signs of mental distress, which led her family to commit her to an institution, where she spent the remaining 30 years of her life.

On Thursday at Zankel Hall, the incandescent mezzo-soprano Joyce DiDonato presented the New York premiere of Jake Heggie’s “Camille Claudel: Into the Fire.” Set for voice and string quartet, the work compresses a tragic life of operatic dimensions into a song cycle of great beauty and emotional resonance.

Ms. DiDonato is one of this season’s artists in the Perspectives series at Carnegie Hall, tasked with assembling a group of concerts that reflect her own interests. At first glance, these seem eclectic: Thursday’s program, which featured the fiercely eloquent Brentano String Quartet, also included instrumental music by Charpentier and Debussy, as well as the world premiere of “Mother Songs,” a set of lullabies composed by amateurs, resulting from an outreach program of Carnegie Hall’s Weill Music Institute.

But at a closer glance, there was a narrative cohesion to the concert that revealed Ms. DiDonato’s intelligence as a storyteller. Debussy’s seething String Quartet provided a backdrop for Claudel’s personal drama, a Parisian arts scene humming with innovation yet anchored in the kind of classicism of which Charpentier’s “Concert Pour Quatre Parties de Violes” is an elegant example. The Brentano Quartet performed both with stylistic finesse; in the Debussy, the juxtaposition of blurry textures and bright explosions of sound vividly evoked Impressionist painting.

The titles of Mr. Heggie’s songs, with texts by Gene Scheer, are those of some of Claudel’s sculptures, allowing her work to remain in the foreground, even as the songs explore her personal turmoil. Ms. DiDonato gave a riveting performance that ranged from the unkempt eroticism of “Shakuntala” to the hollow despair with which she sang the final line, “Thank you for remembering me.”

The touching simplicity of “Mother Songs,” written in a gospel-tinged American vernacular, with spun-sugar arrangements by the composer Luna Pearl Woolf, may seem far removed from Claudel’s wild genius. But the authors, women who had teamed up with teaching artists from the Weill Music Institute during their pregnancies, drafted these lullabies facing their own struggles. Of the four women represented in Ms. DiDonato’s performance, one had been homeless during her pregnancy, two were teenagers, and one was incarcerated on Rikers Island.

Ms. DiDonato’s tender performance of their songs alongside her tribute to Claudel thus became a gesture of defiant compassion.

By: CORINNA da FONSECA-WOLLHEIM

Read at: The New York Times 

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San Francisco Classical Voice: From the Top Loves the S.F. Conservatory

February 4, 2015
Christopher O'Riley
Christopher O’Riley, photo by Edy Perez

 

It’s been a while, seven years, since the popular NPR musical talent show From the Tophas been back to San Francisco. The show is planning to tape a show at the S.F. Conservatory on Feb. 14.

The taping caps a week in which From the Top host Christopher O’Riley will be in residence at the Conservatory giving concerts with cellist Matt Haimovitz.

Unusually, this edition of the radio show will focus on performers from the Conservatory’s pre-collegiate division, including soloists 16-year-old cellist Elena Ariza from Cupertino; 15-year-old pianist Elliot Wuu from Fremont; and 14-year-old violinist Kevin Zhu from Cupertino. Conservatory alums Haimovitz and soprano Lisa Delan will premiere parts of the “music storybook” Angel Heart (based on stories by Cornelia Funke and with music by Luna Pearl Woolf) on the same program. Normally, the auditions for From the Top include a geographical region, so this is a little feather in the cap for the Conservatory.

The radio episode airs nationally on March 9. For tickets to the taping, call 415.503.6275 or visit this Conservatory website.

BY MICHAEL ZWIEBACH

Read at: San Francisco Classical Voice

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THE PILLAR – Opera-in-progress Workshop

THE PILLAR an Opera by Luna Pearl Woolf

THE PILLAR
An opera by Luna Pearl Woolf
Libretto by David Van Taylor
Based on the book, The Wizard of Lies: Bernie Madoff and the Death of Trust, by Diana B. Henriques

Workshop
September 14, 2014 – 7pm
RSVP to reserve your place

Opera America Center Recital Hall
330 Seventh Avenue, New York, NY

Libretto reading
30-Minute excerpt performance
Audience feedback

Featuring:
Julian Wachner, Music Director
Marnie Breckenridge, Soprano
Leah Wool, Mezzo-soprano
Peter Tantsits, Tenor
Wes Mason, Baritone
Jonathan Woody, Bass

THE PILLAR tells the tale of a woman who has dedicated her whole life to her husband, a pillar of the community.  When he falls into disgrace, she must finally confront choices—and consequences—of truly operatic proportions.  That woman is … Ruth Madoff.

Based on Diana Henriques’ bestselling The Wizard of Lies:  Bernie Madoff and the Death of Trust, THE PILLAR digs beneath the surface of this contemporary scandal to uncover a timeless meditation on loyalty, corruption, and the nature of love.

Please join us to sample the work in progress and offer your feedback. THE PILLAR has received an Opera America Discovery Grant, and we are now seeking a producing partner to continue development of the project.

To RSVP and reserve your place at this intimate venue, please click here or visit: http://tinyurl.com/ThePillarRSVP

The development of THE PILLAR received funding from Opera America’s Opera Grants for Female Composers program, supported by the Virginia B. Toulmin Foundation.
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The New York Times: Classical Playlist: John Adams, Handel, Lewis Spratlan and More

June 6, 2014

LEWIS SPRATLAN: ‘Apollo and Daphne Variations’; other works
Boston Modern Orchestra Project, Gil Rose, conductor
Eliot Gattegno, on soprano and alto saxophones
(BMOP/Sound)
The American composer Lewis Spratlan, born in 1940, gained wide attention in 2000 when a concert version of Act II of his opera “Life Is a Dream,” which was completed in 1978 but had never been staged, won the Pulitzer Prize for Music. This welcome new recording from the impressive Boston Modern Orchestra Project offers three ingeniously written and distinctive Spratlan works. “A Summer’s Day” (2008) uses a simple, dreamy Celtic tune at the start as a jumping-off place for an elusive, complex suite that ruminates on the tensions below the surface of an inviting day. In his Concerto for Saxophone and Orchestra (2006), Mr. Spratlan finds a gripping, fresh approach to what might seem an awkward classical music genre; the music evolves from mystical musings to raw, jazzy vehemence. “Apollo and Daphne Variations” is like a Spratlan version of a Schumann suite, with alternating episodes of whimsy, frenzy and innocence. (Anthony Tommasini)

Read at: The New York Times

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