2021 Shanghai, Nanning – CANCELLED

Jury

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Repertoire

[NOTE: Below is a complete list of the repertoire selected by the jury from both ISCM member submissions and independent submissions which would have been performed during the 2021 ISCM World New Music Days. Since the festival was not able to occur, the repertoire is not grouped into concerts; rather it is arranged by instrumentation categories for which works were submitted and then, within each category, alphabetically by composers’ surnames. In addition to these works, the program committee would have programmed other works to fill out each category into a full concert program or, in some cases, multiple programs, but since the festival did not occur the only information that is available is for the works selected by the jury.]

Music for Orchestra
Conrad Asman (United Kingdom [England], b. 1996 in South Africa): Shuāng miàn xiù [Two-faced Tapestry] for orchestra (2018) [8′] (submitted by the ISCM British Section);
Jagoba Astiazaran Korta (Spain [Basque Region], b. 1986): Répétitions autour du vide for orchestra (2015) [10′] (submitted by Musikagileak);
Krzysztof Baculewski (Poland, b. 1950): VOLTE – FACE for orchestra (2016) [14′] (submitted by the ISCM Polish Section);
Lucia Chuťková (Slovakia, b. 1984): Pulse for orchestra (2019) [9′] (submitted by ISCM Slovak Section);
Sebastian Hilli (Finland, b. 1990): Peach for orchestra (2019) [9′] (submitted by the ISCM Finnish Section);
Satoru Ikeda (Japan, b. 1961): Water Cycle for orchestra II and III (2017) [10′] (submitted by the ISCM Japanese Section);
Tania León (United States, b. 1943 in Cuba): Stride for orchestra (2019) [15′] (submitted by New Music USA);
Rolf Martinsson (Sweden [Gotland], b. 1956): Shimmering Islands for orchestra (2017) [12′] (submitted by the ISCM Gotland Section);
Neil Tòmas Smith (United Kingdom [Scotland], b. 1987): Aphelion for orchestra (2018) [10′] (submitted by the Scottish Music Centre);
Xi Wang (United States [Texas], b. 1978 in the People’s Republic of China): Above Light for orchestra (2008) [9′] (submitted by Stephen F. Austin State University, Texas);
Ye Xiaogang (China, b. 1955): The Faint Ginkgo for orchestra (2019) [11′] (submitted by the ISCM Beijing Section).

Music for Chinese Orchestra
Rok Golob (Slovenia, b. 1975): Wisdom of the Blind Tiger for Chinese instrument orchestra (2017) [11′] (submitted by the ISCM Slovenian Section);
Felipe Pinto d’Aguiar (Chile, b. 1982): Caligrama for Chinese instrument orchestra (2016) [9′] (submitted by the ISCM Chilean Section);
Xu Jianqiang (China, b. 1953): Annular Eclipse for Chinese instrument orchestra (2015) [10′] (submitted by the ISCM Shanghai Section).

Music for String Quartet
Ward De Jonghe (Belgium [Flanders], b. 1990): strijkkwartet I (String Quartet No. 1) (2019) [5′] (submitted by the ISCM Flemish Section);
Leonidas Kanaris (Greece, b. 1963): GOETEIA for string quartet (2016) [6′] (submitted by the ISCM Greek Section);
Eun Young Kim (South Korea) Hummingbird for string quartet (independent submission);
Patricia Martínez (Argentina): Volar (To Fly) for string quartet and video projection (2011/12) [7′] (independent submission);
Ni Chenkang (China, b. 1988; based in Germany): Teufels Biss for string quartet (independent submission);
Stellan Sagvik (Sweden, b. 1952): MESE for string quartet (independent submission);
Helena Skljarov (Croatia, b. 1993) Silence for string quartet (2019) (independent submission);
Alex Stephenson (United States, b. 1990): Bloom for string quartet (2019) [10′] (submitted by the ISCM USA Section);
In-Sil Yoo (United States, b. in South Korea): Bird, Bird, Blue Bird for string quartet (independent submission).

Chamber Music
Piano Trios and Violin/Piano Duos
Jan Flessel (Denmark, b. 1982): 3 Depictions of Night for violin, cello, and piano (2017) [12′] (submitted by the ISCM Danish Section);
Johannes K. Hildebrandt (Germany, b. 1968): Dreieck for violin, cello, and piano (2018) [7′] (submitted by the ISCM German Section);
Jongwoo Kim (South Korea, b. 1968): Imulnori for violin and piano (2020) [8′] (submitted by the ISCM South Korea Section);
Ashley John Long (United Kingdom [Wales], b. 1986): Beyond the Haze of Winter’s Edge for violin, cello, and piano (2020) [4′]  (submitted by the ISCM Welsh Section);
Sunleif Rasmussen (Denmark [Faroe Islands], b. 1961): Romance for Violin and Piano (2020) [8′] (submitted by the ISCM Faroe Islands Section);
Jeanne Zaidel-Rudolph (South Africa, b. 1948): Trio for Piano, Violin and Cello (2013) [6′] (submitted by the ISCM South Africa Section).

Chamber Music (for “Pierrot” ensemble and subsets) 
Máté Bella (Hungary, b. 1985): Phantasm for flute and piano (2013) [5′] (submitted by the ISCM Hungarian Section);
Greg Caffrey (Ireland, b. 1963): …for peace comes dropping slow for flute, clarinet, violin, cello, and piano (2017) [7′] (submitted by The Contemporary Music Centre Ireland);
Dai Wei (United States, b. 1989 in China): Meng Si Ze II – Liao Ge for flute, clarinet, violin, cello, and piano (2020) [7′] (submitted by ISCM Nanning Section);
William Kuo (Canada, b. 1990): geht auf wie eine Blume for flute, clarinet, violin, cello, and piano (2016) [10′] (submitted by the ISCM Canadian Section);
Claude Ledoux (Belgium [Wallonia], b. 1960): Esquisse lancinante for flute, clarinet, violin, cello, and piano (2017) [6′] (submitted by the ISCM Wallonian Section);
Rita Mačiliūnaitė-Dočkuvienė (Lithuania, b. 1985): Gōng’àn for clarinet, violin, and piano (2012) [7′] (submitted by the ISCM Lithuanian Section);
Laura Manolache (Romania, b. 1959): Hills for clarinet, violin, cello, and piano (2021) [8′] (submitted by Arfa);
Nicole Murphy (Australia, b. 1983): Surfacing for flute, clarinet, violin, cello, and piano (2018) [9′] (submitted by the ISCM Australian Section);
Laura Schwendinger (United States, b. 1962): Treetop Studio for clarinet and cello (2012) [7′] (submitted by the Roger Shapiro Fund for New Music);
Anna Veismane (Latvia, b. 1976): Graudi (Grains) for flute, cello and piano (2019) [17′] (submitted by the ISCM Latvian Section).

Music for SATB Choir
Morten Poulsen (Denmark, b. 1990): A Cradle Song [text: William Blake] for chorus (2011) [4′] (independent submission);
Evelin Seppar (Estonia, b. 1986): Psalm 129 for chorus (2017) [3′] (submitted by the ISCM Estonian Section);
Gordon Williamson (Germany, b. 1974 in Canada): Tape Recorder for chorus (2014) [5′] (independent submission).

Music for Solo Piano 
Brian Current (Canada, b. 1972): Sungods for solo piano (2007) [7′] (independent submission);
Madeleine Isaksson (France, b. 1956 in Sweden): Ecrits sur l’eau (Writings on Water) for solo piano (2020) [13′] (submitted by the ISCM Swedish Section);
Vitaliy Kyianytsia (Ukraine, b. 1991): euphoria for solo piano (2016) [8′] (submitted by the ISCM Ukraine Section);
Liu Qiqi (China, b. 1983): MEƎT for solo piano (2021) [11′] (submitted by the ISCM Chengdu Section);
Yasuhiro Takenaka (Japan, b. 1951): Glimpses of Unfamiliar Japan for solo piano (2014) [7′] (submitted by JFC, Japan Federation of Composers);
Barbora Tomaškova (Slovakia, b. 1990): Summit of the intersection lines for solo piano (2019) [3′] (submitted by Music Centre Slovakia);
Eric Verbugt (Netherlands, b. 1966): Bagua for solo piano (2015) [3′] (submitted by the ISCM Netherlands Section).

Music for Percussion
Eduard Demetz (Austria, b. 1958): tempo separato for percussion quartet (2018) [11′] (submitted by the ISCM Austrian Section);
Ying Wang (Germany, b. 1976 in China): Focus – Spaltung for 8 percussionists (2011) [12′] (independent submission);
Lucian Zbarcea (Romania, b. 1983): Toacata for vibraphone and marimba (2019) [8′] (submitted by the ISCM Romanian Section).

Electronic Music (Fixed Media/Tape Music Only)
Irene Buckley (Ireland, b. 1978): Choral for pre-recorded and manipulated vocal tracks (2015) [5′] (submitted by the ISCM Irish Section);
Tor Halmrast (Norway, b. 1951): FLUTR for 24-channel fixed media (2019) [8′] (submitted by the ISCM Norwegian Section);
Vladimir Korać (Serbia, b. 1986): Electronic Study for fixed media (2018) [8′]  (submitted by the ISCM Serbian Section);
Ângela Lopes (Portugal, b. 1992): Reciclo-Recirculos – em forma de sanza for fixed media (2019) [11′] (submitted by the ISCM Portuguese Section);
Karin Wetzel (Switzerland, b. 1981): Glass Body for fixed media (2011) [12′] (submitted by the ISCM Swiss Section).

Electronic Music with 1 Instrumentalist (Fixed Media/Tape Music)
Shai Cohen (Israel, b. 1968): ER=EPR for French horn and fixed media electronics (2020) [5′] (submitted by the ISCM Israeli Section);
Alexander Khubeev (Russia, b. 1986): Cryptocalypse for cello, fixed media electronics and optional video (2013) [7′] (submitted by the ISCM Russian Section);
Tomislav Oliver (Croatia, b. 1987): Idioma I for cello and fixed media electronics (2016 rev 2020) [6′] (submitted by the ISCM Croatian Section).

Electronic Music (Real-Time Electronics with 1 instrumentalist)
Cheng Lee (China [Hong Kong S.A.R.], b. 1986): Shanshui for flute and live electronics (2020) [10′] (submitted by the ISCM Hong Kong Section);
Hugi Guðmundsson (Iceland, b. 1977): Veris for cello and electronics (2019) [8′] (submitted by the ISCM Icelandic Section);
Michal Rataj (Czech Republic, b. 1975): Beams for flute and electronics (2021) [10′] (submitted by Prague Spring Festival);
Timothy Roy (United States): Behind the Back for pipa and electronics (2016) [13′] (submitted by Florida International University);

[NOTE: To better parse out the works into what might have been possible concerts, works submitted in the first Chamber Music category (for Pierrot ensemble and possible subsets), which had the greatest number of accepted submissions, has been further divided here into works for piano trio plus violin/piano duos and works including wind instruments. There were two additional submission categories, for chamber music involving at least one traditional Chinese instrument and for live electronic music, but there were no submitted works in those categories chosen for performance by the jury. In the preliminary list of chosen works, Dai Wei’s composition Meng Si Ze II – Liao Ge was erroneously listed as in the former category, but since it is scored for flute, clarinet, violin, violoncello, and piano and does not use any traditional Chinese instruments, it belongs in the same chamber music category as the other selected works which is where it is listed above.]

(annotated by Frank J. Oteri)

Member organizations should submit their submissions via the ISCM’s Submission Wizard no later than March 16, 2021 at 11:59pm CET (Central European Time). Late submissions will not be considered. The Submission Wizard will open to receive submissions from January 18, 2021 and close on March 16, 2021.

OFFICIAL SUBMISSIONS

For Sections and Full Associate Members of the ISCM, the official submission will comprise six (6) works across at least four (4) of the twelve (12) different Score Categories identified in this Call for Works. For an official submission to be eligible each submitted work must be eligible, the durations specified for each work must be accurate, and the submitted works correctly aligned with the relevant category. Assuming the submission is eligible and the ISCM member is in good standing (2020 Annual Report completed and annual 2020 membership fee paid), we guarantee that at least one of the submitted works will be presented during the ISCM World New Music Days 2021.

Official Submissions by our member organizations can now be uploaded through the Submission Wizard by logging into the old ISCM website, which can be found here: https://member.iscm.org

For Affiliated Associate Members, an official submission will comprise up to three (3) works. While there is no guarantee that any particular work will be selected, the organizer will strive to include them where possible.

INDIVIDUAL SUBMISSIONS

Individual Submissions must be submitted by an independent composer or a composer’s authorized representative.  Submissions will be accepted from January 18, 2021 until March 16, 2021 at 11:59pm CET (Central European Time). An entry fee of €53.05 applies to Individual Submissions, payable at the time of submission by PayPal through the ISCM website.

Individual Submissions are not guaranteed a performance. Space for Individual Submissions is limited, but all submissions will be considered. Please promote this information via your networks.

Submit the individual form here: https://iscm.org/individual-submissions/

GENERAL GUIDELINES

Priority will be given to works within the recommended duration for each category. Furthermore, priority will be given to works written since 2012. Only one work per composer may be submitted, by either Individual submission or Official submission.

By submitting works to this Call, composers are agreeing that if their work is selected for performance/presentation, they automatically grant permission for the ISCM performance/presentation of their work to be recorded, broadcast, and streamed from the website without additional financial liability to the ISCM or the Festival Organizers.

INFORMATION REQUIRED

Information required for each Work to be submitted is:

1. The composer’s personal and contact information: Given names; Family name; Name as it should appear in the programme; Date of birth; full Mailing address; Gender; Phone number; email address; and website (if applicable).
2. Work information: Title; Submission Category; Accurate duration; Year of composition; Statement of whether the work has been previously performed.
3. The score (.pdf document preferred), or audio/video documentation if the work does not have a written score – as described in the Work Categories.
4. An audio or video recording of the work (if available).
5. Programme notes for the submitted work in English (maximum 100 words).
6. Technical rider specifying all equipment necessary to perform the work.
7. Short biography of the composer in English (maximum 100 words).
8. High-resolution digital photograph of the composer.

Category I: Orchestral Works

1. Instrumentation: 3 fl (II=picc, III=picc,afl). 3 ob (III=corA). 3 cl (III=bcl). 3 bn (III=dbn). – 4 hn. 3 tpt. 2 trbn. 1 btrbn. 1 tuba – 3 perc. 1 timp. 1 hrp – full strings
2. Soloists are NOT allowed in the Composition, nor Piano.
3. Works shorter than [12 minutes] will be given priority.

Category II: Works for Chinese Orchestra

1. Instrumentation: 2 Bangdi (I=Xiaodi, II=Qudi 2). 1 Qudi. 2 Xindi. 2 Soprano Sheng, 2 Alto Sheng. 1 Bass Sheng. 2 Soprano Suona.1 Alto Suona. 1 Tenor Suona. 1 Bass Suona. 1 Guan in C. 2 Yangqin. 2 Liuqin(II=Zhongruan). 4 Pipa. 4 Zhongruan. 2 Daruan. 1 Sanxian. 2 Guzheng. Timpani. 3 perc. Chinese Strings (Gaohu, Erhu, Zhonghu, Violoncello, Double Bass).

2. Soloists are NOT allowed in the Composition, nor Piano.
3. Works shorter than 12 minutes will be given priority.

Category III: String Quartet

1. Works shorter than 8 minutes will be given priority.
2. Extended techniques are allowed.

Category IV: Chamber Music Group A

1. Works shorter than 8 minutes will be given priority.
2. Instrumentation: 1 fl. 1 cl. 1 vln. 1 vc. 1 pno.
3. Composers may choose any combination of 2 – 5 among the above instruments.
4. Extended techniques on each instrument allowed.

Category V: Chamber Music Group B

1. Works shorter than 8 minutes will be given priority.
2. Instrumentation: 1fl. 1ob. 1cl. 1trbn. 1perc. 1pno. 2vln. 1vla. 1vc. 1db. 1dizi 1erhu 1pipa
3. Composers may choose any combination of 6 – 14 among the above instruments, but at least 1 must be included from Dizi, Erhu, or Pipa.
4. Extended techniques on each instrument allowed.
5. The intro video of Chinese Instruments: Dizi, Erhu, and Pipa will be posted on the official website: https://nmw.shcmusic.edu.cn/.
6. The list of percussion instruments is attached at the end of Call for Works.

Category VI: Choir Works (SATB)

1. Works shorter than 5 minutes will be given priority.
2. It can be a capella. If not, the only instrument that can be included is piano.
3. Extended piano techniques will not be accepted.

Category VII: Solo Piano Works

1. Works shorter than 8 minutes will be given priority.
2. Extended techniques allowed on piano, performers are allowed to play inside the piano.
3. Prepared piano works will not be accepted.

Category VIII: Percussion Works

1. Works shorter than 8 minutes will be given priority.
2. The list of percussion instruments that can be used is:

6 Tom-toms
5 Suspended Cymbals
2 Tambourine
2 Snare Drums
3 Triangles
1 Bass Drum
1 Marimba
1 Vibraphone
1 Glockenspiel
1 Xylophone
1 Cymbals (paired)
1 Wind Chime
2 Maracas
1 Tempo Block (5 Blocks) 2 Bongo
2 Conga
1 Tam-tam
4 Timpani

If the work requires any percussion instrument not listed above, the composer must bring the instrument to the rehearsals and concert.

3. Compositions may be for 2-8 percussionists.

Category IX, X, XI, XII: Electronic Music

1. Works shorter than 10 minutes will be given priority.
2. There are four (4) Electronic Music Categories; be sure that the composition submitted fits one of these.

Category IX : Electronic Music (Fixed Media/Tape Music Only)

1. Composers must provide an audio file of the work in .wav format. The audio file can have maximum 8 channels. (Format options are: stereo; 4 channels; 5.1; and 8 channels.)
2. Composers must supply a diagram showing the speaker layout.

Category X : Electronic Music with 1 Instrumentalist (Fixed Media/Tape Music)

1. Composers must provide an audio file of the work in .wav format. The audio file can have maximum 8 channels. (Format options are: stereo; 4 channels; 5.1; and 8 channels.)
2. Composers must supply a diagram showing the speaker layout.
3. Only one (1) instrument should be included, selected from the following instruments: Flute; Oboe; Clarinet; Bassoon; Horn; Trumpet; Trombone; Violin; Viola; Violoncello; Dizi; Erhu; or Pipa.

Category XI : Electronic Music (Live Electronics Only)

1. Only one (1) Operator is allowed for live performance.
2. It is recommended that the Composer or the operator bring their own laptop for the live performance. Only 1 laptop is allowed in the performance.
3. No instrument can be linked to the electronics in this Category. The work can have maximum 8 channels, and the composer must supply a diagram showing the speaker layout.
4. Any special sensor or devices that the composer used should be brought to the performance by themselves. We don’t provide any kind of sensor or trigger devices.
5. If the composer needs to use our Mac or PC for performance, the only software we can provide is Max-MSP. We strongly recommend you bring your own laptop.

Category XII: Electronic Music (Live Electronics with 1 instrumentalist)

1. The performance allows only 1 operator and 1 instrumentalist in this Category.
2. Only one instrument may be selected from following instruments: Flute; Oboe; Clarinet; Bassoon; Horn; Trumpet; Trombone; Violin; Viola; Violoncello; Dizi; Erhu; or Pipa.

3. The selected instrument can be linked to the electronics. But the sensor or any linked devices should be provided by the composer.
4. We strongly recommend that the devices that the composer provides are common and universal, with connecting ports such as USB2.0, USB3.0, USB-C or any audio port. Bluetooth is recommended for any wireless connections.
5. We suggest the Composer or the operator brings their own laptop for the live performance. Only 1 laptop allowed in the performance.
6. The work can have maximum 8 channels, and the composer must supply a diagram showing the preferred speaker layout.