Chesney Palmer is a promising young composer who has been accepted to study for a Masters in Composition at the University of the Free State Odeion School of Music, but has not managed to secure funding as of yet. If anyone has any information, connections or ideas that can help him out, please contact us at firstname.lastname@example.org so we can put you in contact directly.
Chesney has been involved in music for the past 10 years as a pianist,clarinetist and composer in South Africa. He has had the privilege of studying at the acclaimed National School of the Arts in Braamfontein Johannesburg one of the country's leading art schools. During this period he studied both piano and clarinet and achieved several awards for music such as Half Colours for music and best music student as well as received a place on the Honour Roll of the Royal College of Music for external examinations.
He has recently completed his degree in music with honours and has been under the tutelage of Dr Andile Khumalo, Dr Christopher Letcher, Dr Jonathan Crossley, Dr Cameron Harris, Peter Cartwright and Professor Malcolm Nay and has received master classes from Lukas Ligeti, Kevin Volans and Professor Jeanne-Zaidel Rudolph.
He has had the privilege of also playing as part of the South African National Youth Orchestra in 2019 as well as being a part of the Composers National Collegium which premiered the works of 8 of the best young composers in the country at the University of Pretoria's Music Festival that took place in August 2019. Played by the world renowned Odeion String Quartet with Samson Diamond, Sharon de Kock, Jeanne-Louise Moolman and Animari van de Westhuizen.
His work work for string quartet called "Sketches of Memory" was premiered originally at the University of the Witswatersrand in July scored for String Quartet and Solo Soprano and then adapted for String Quartet and premiered at the Festival which also received a repeat concert at the University of the Witswatersrand.
The work was written to raise awareness about injustice towards women in South Africa and was based on a South African poem. The work depicts the emotional states of a young girl that is robbed of her innocence and has to overcome the fear to speak out against the injustice. The piece is very emotive and circles through different tonal centres to capture her changing emotions and thoughts.
Since the publication of the previous newsletter two opportunities have come to my attention sufficiently close deadlines to warrant an addendum.
Call for Compositions!
As The Winners of Boris Pergamenschikow Competition 2019 Trio Tempestoso are announcing a call for Scores. The Call for Compositions is open for all Composers, with a request of the Trio for a personal collaboration with the chosen Composer.
The Piece is to be premiered in Berlin in 2022, when the Competition will be held again.
1.Instrumentation: Trio Tempestoso consists of Clarinet (German System) in B flat or A, Cello and Accordion (Pigini Sirius Compact - C System).
2.Duration: 10-15 minutes
3.The Prize for the chosen Composition is 3.000 Euro.
• A short Curriculum Vitae of the Composer.
• 2-3 recordings of existing Chamber music Works (to be sent via Youtube Link, Sound Cloud, Google Drive).
• an attached Score of a short excerpt of a Composition for Trio Tempestoso (a midi File can be attached, no longer than 30 Seconds).
5.The Applications are to be sent until 31.1.2020 on the E-mail address:email@example.com.
6.The Order for a Composition will be placed no later than the end of February 2020.
7.In the case of finding more Composers Trio Tempestoso would like to collaborate with in the Future, one Winner of the Prize will be chosen and the rest are likely to receive another Proposition for their Compositions to be premiered by the Trio.
8.The link to the Winners Concert in Berlin, to get a sense of the Repertoire of the Trio:
P. Haapanen: ...hojas de nubes
J. Tiensuu: Plus IV
9.Questions? Please address any questions on the E-mail address or our Facebook page.
Music Ecosystems Conference: Auckland, New Zealand
24-25 April 2020
Open Call for Proposals
As part of the ISCM 2020 World New Music Days we invite proposals for papers/presentations that reflect on our changing music ecosystems, and may coincide with one or more of the following themes:
· musical villages
· music and the environment
· the musical globe
· dislocated musics
· internationalism and music
· musical (r)evolutions
Papers on topics outside these areas, but falling within the scope of the general theme, are also invited.
Proposals should be submitted via the festival website https://www.iscm2020.nz/conference by Friday 7 February 2020.
All abstracts will be peer reviewed by two members of an assessment panel convened by ISCM President, Assoc Prof Glenda Keam. Submitters will be advised whether their proposal has been accepted by Friday 28 February. Note that both formal and informal presentation styles are welcome. Presentations will be limited to 20 minutes, with a further 10 minutes discussion.
Please note: Select conference papers/presentations will be invited for publication in the new online platform Naxos Musicology International (accessible via the Naxos Music Library). Contributions may of course be edited and revised by authors for the purposes of publication.
If you have any questions, please get in touch on firstname.lastname@example.org
A retrospective, and a look ahead...
2019 has been another great year for NewMusicSA, starting with the publication of our 2018 bulletin. A great thank you must go out to François de Villiers for his continued efforts in that regard. Another great moment came when Franco Prinsloo work “Pula! Pula!” made South Africa proud with an excellent reception at the ISCM World Music Days in Tallinn. The 2019 Indaba at UNISA once again showcased the South Africa new music scene, a festival I trust all participants found a valuable experience. I thank Professor Marc Duby and his team for all their efforts with and also thank our faithful sponsors for this event, the SAMRO Foundation, Business Arts South Africa (BASA), the Malta Arts Council and, of course, UNISA.
I assumed the chairman’s mantle earlier last year after the resignation of Malcolm Dedman due to personal pressures. We thank him for service, and especially for his efforts in curating the 2018 Indaba.
To facilitate smooth operations, I have compiled a list of some of the tasks and responsibilities which need to be considered in future:
Next, there are also some basic functions that need to be considered:
The secretary role is also presently vacant, this principally involves:
Finally, the membership portfolio involves:
This isn’t an exhaustive list, since things crop up from time to time. Please let us know if there is any way you feel you can contribute. All assistance is always most welcome.
Planning for next year’s festival and Bulletin continues apace. Funding remains a concern, but we a continue to consider a number of avenues in this regards. Meanwhile, Lukas Ligeti has been chosen to perform his “Labyrinth of Stars” at next year’s World Music Days in New Zealand, and he will represent us there.
Chairman - NewMusicSA
XIII International composition competition Città di Udine - 2020
Art. 1 TEM - Taukay Edizioni Musicali and Delta Produzioni Associazione Culturale, with the awards of ERT – Ente Regionale Teatrale del Friuli Venezia Giulia, of Fidapa BPW Italy, of the heirs of the Friulano composer Piero Pezzé and of INA GRM, the patronage of the Rappresentanza Italiana della Commissione Europea, the Italian National UNESCO Commission, the Ministero degli Affari Esteri e della Cooperazione Internazionale, and the Università degli Studi di Udine, with Rai Radio3 as media partner and with the support of the Regione Friuli Venezia Giulia, the Comune di Udine and the Fondazione Friuli, hereby open the Thirteenth International Composition Competition “Città di Udine”.
Art. 2 The competition is divided in three sections:
- compositions for chamber instrumental group or solo instrument
- electroacoustic music
- audio visual projects
The closing date is 31st March 2020.
Read more here: