[ 12. Februar 2023 ]

DEGEM News – FWD – Opportunity for composers [GNM]

Von: lehmann…
Datum: Mon, 6 Feb 2023
Betreff: WG: Opportunity for composers

Liebe Mitglieder der GNM

Anbei leite ich Euch/Ihnen hier einen sehr kurzfristigen (Deadline am 12. Februar!!!) „Call for Works“ für ein Konzert der österreichischen Sektion zum 100jährigen Bestehen der GNM weiter. Alle weitere Informationen stehen im PDF im Anhang.

Außerdem möchte ich Euch/Sie erinnern, dass noch bis Ende Februar die Einreichung für die deutsche Vorauswahl für die

Weltmusiktage 2023 in Südafrika (24.11.-3.12.2023) läuft. (Siehe unser Mail an die Mitglieder vom 24. Januar). Ich hänge die Ausschreibung hierfür dieser Mail noch einmal an. Die vollständigen Unterlagen (keine Ordner, ggf. alles in einer Zip-Datei zusammenfassen) können dann noch bis zum 28. Februar 2023, 23:59 Uhr, unter folgenden Link auf unseren Upload-Server hochgeladen werden: http://AdFzejk3030.quickconnect.to/sharing/7ETwqRzQk.

Viele Grüße

Mathias Lehmann

Gesellschaft für Neue Musik (GNM)

Dr. Mathias Lehmann

c/o Edition Juliane Klein KG

Chodowieckistr. 15 / I

10405 Berlin

Tel.: +49 30 44045164


Inhalt der angefügten PDFs :

NAMES – New Art and Music Ensemble Salzburg IGNM
https://www.names-ensemble.com https://www.ignm.at/

for the concert series „Dystopien”

in cooperation with ISCM Austria

Conceptual framework

Under the notion of dystopias (
Dystopien), the ensemble NAMES approaches musical meanings
of un-places or mis-places – as an antithesis to Thomas Morus’ notion of positive, likewise fictional
utopia. In the context of a three-part concert series in 2023, various artistic positions dealing with
dystopian sonorities and their heterotopias as “counter-placements or abutments, actually realized
utopias” (Foucault) will be presented and put up for discussion. 

Composers and sound artists are invited to submit their works dealing with this complex
of themes or to develop new works.

12 th of February 2023 via email to: contact@names-ensemble.com

Notification of acceptance
1 st of April 2023

9 th of November 2023 – Wien Modern in cooperation with the IGNM in form of a symposium on
the same subject

11 th of November 2023 – Toihaus Theater Salzburg

12 th of November 2023 – Innsbruck (venue TBA)

Detailed instrumental lineup
– Violin/viola/e-violin (6 strings + effects) (one player)

– Violoncello

– Flute (incl. picc, alt, bass)

– Clarinet (Bb, A, bass, contrabass)

– Keyboards 1: piano, midi keyboards, Roli Seaboard (control), Nord Electro 3HP, DSI Mopho
SE (analog mono), Hohner Clavinet-pianet-Duo, Yamaha DX7, Toy pianos (incl 37 keys from F3),
effects (Moog ring-mod, Eowave spacebug delay…)

Keyboards 2: Korg DX-3 (https://www.youtube.com/watch?v=Au9OkqjSgQE), midi

– Percussion: vibraphone, bass drum, tamtam, cymbals, snare drum, 3 toms, kick drum (additional
small percussion instrument after consultation with the ensemble)

– Electronics


ISCM World New Music Days 2023
Johannesburg/Cape Town, South Africa
November 24 December 3, 2023

We are pleased to announce the official Call for Works for the International Society for
Contemporary Music (ISCM) World New Music Days 2023. Members are invited to submit
scores/projects for the festival, scheduled to take place in South Africa from 24 November 3
December, 2023. For further information about the details of this Call for Works,contact the
Festival Organizer by email via <wnmd2023sa@gmail.com>.

Submissions should be received via the relevant ISCM 2023 Submission Form no later than
11:59pm CET on 24 March, 2023. Late submissions will not be considered. The Submission
Forms will be made available, and the links advertised on the ISCM website, from early

There are two ways for composers to submit scores for consideration:
1. If you are represented by a Member organization of the ISCM, your organization will
issue a Call and you may submit your score to them for potential inclusion in the Official
Submissions. Your Member organization will have their own deadline, prior to the
deadline of this International Call.
2. You may make an Individual Submission to the ISCM on your own behalf see details

Submissions from ISCM Member organizations must be submitted by the organization via the
ISCM 2023 Official Submission Form. Please note, we can only consider submissions from
Members who are in good standing (Annual Report for the year of 2021 completed and annual
membership fee for 2022 paid). An official submission may not include a work by any composer
whose work was performed during the 2022 World New Music Days in New Zealand.

For Sections and Full Associate Members of the ISCM, the official submission will comprise six
works across at least four of the different Categories detailed in this Call for Works. For an
official submission from Member organizations to be eligible, each of the submitted works 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, at least one of the submitted works will be presented during the
2023 ISCM World New Music Days.

For Affiliated Associate Members, an official submission will comprise up to three works. While
there is no guarantee that one of the works will be selected, the organizer will strive to include
them where possible.


Individual Submission must be submitted by an independent composer or a composer’s
authorized representative. Submissions should be submitted via the ISCM 2023 Individual
Submission Form. An entry fee of 53.50 applies to Individual Submissions, payable at the time
of submission by Paypal using the link provided on the ISCM website.

Individual submissions are not guaranteed a performance. Space in the festival for Individual
Submissions is limited, but we will consider all submissions and perform those that can be
included. Please promote this information via your networks.


Priority will be given to works shorter than 10 minutes in duration and composed after 2013,
with highest priority given to works composed after 2018.

Only one work per composer may be submitted, either by Individual Submission or Official

It is possible to submit works in any of the categories that include dance, either alongside the
music or performed by the musicians and/or singers themselves. While this might reduce
performance opportunities, the organizers will do their best to give such works equal
consideration with those that do not include dance. Other interdisciplinary works (i.e. including
theatre or visual arts) are also possible and should be submitted in the category corresponding to
their musical/instrumental necessities.

If you have questions about this Call, feel free to email the Festival Organizer via

By submitting works to this Call, composers are agreeing that if their work is selected for
performance/presentation then they grant automatic 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 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; Gender; full Mailing address; Phone
no.; email address; website (if applicable).
2. Work information: Title; Submission Category; Accurate duration; Year of composition;
Statement of whether the work has been previously performed.
3. For categories 110, please submit a pdf of the score and a recording or MIDI realization.
For categories 1116, please submit a project proposal, score, or lead sheet, soundfiles,
and/or other material that will allow the selection panel to gain a clear understanding of the musical, and technical aspects and requirements of the work. (Especially in category
11, it would be ideal to submit a recording of the finished work.)
4. Programme notes for the submitted work in English (maximum 100 words).
5. Technical rider specifying all equipment necessary to perform the work.
6. Short biography of the composer in English (maximum 100 words).
7. Highresolution digital photograph of the composer.


1. SYMPHONY ORCHESTRA (with or without soloist[s]) max. 3 fl. (of which 1 alto flute and
1 piccolo are possible), 3 ob. (of which 1 cor anglais is possible), 3 clar. (in Bb or A, with 1 bcl.
possible), 3 bsn. (of which 1 contrabassoon is possible), 4 hrn., 3 tpt., 2 tbn. (of which 1 bass tbn.
is possible), 1 tuba, 3 perc. (of whom 1 player can perform on timp.), 1 hrp., 1 pno. and/or
electric kbd., string orchestra

2. CHAMBER ORCHESTRA 13 musicians or more drawn from the following: 1 flute (incl.
piccolo, alto flute), 1 oboe (incl. cor anglais), 1 clarinet (incl. bass clarinet), 1 bassoon (incl.
contrabassoon), 1 horn, 1 trumpet, 1 trombone, 1 tuba, 2 pianos and/or keyboards, 1harp, 2
violins, 1 viola, 1 cello, 1 contrabass, 2 percussion*(see below), live electronics (mono or stereo
only), voice(s) (up to 2, male or female)

3. LARGE CHAMBER ENSEMBLES 812 musicians drawn from the following: 1 flute(incl.
piccolo, alto flute), 1 oboe (incl. cor anglais), 1 clarinet (incl. bass clarinet), 1 bassoon, 1 horn, 1
trumpet, 1 trombone, 1 tuba, 2 pianos and/or keyboards, 1 harp, 2 violins, 1 viola, 1 cello, 1
contrabass, 2 percussion*(see below), live electronics (mono or stereo only), voice(s) (up to 2,
male or female)

4. MEDIUM CHAMBER ENSEMBLES 57 musicians drawn from the following: 1 flute (incl.
piccolo, alto flute), 1 oboe (incl. cor anglais), 1 clarinet (incl. bass clarinet), 1 bassoon, 1 horn, 1
trumpet, 1 trombone, 1 tuba, 2 pianos and/or keyboards, 1 harp, 2 violins, 1 viola, 1 cello, 1
contrabass, 2 percussion*(see below), live electronics (mono or stereo only), voice(s) (up to 2,
male or female)

5. STRING QUARTET (2 violins, viola, cello)

6. BRASS QUINTET (or trio or quartet) drawn from the following instruments: horn, 2
trumpets, trombone, tuba

7. TRIOS OR QUARTETS drawn from the following instruments (one of each): flute(incl.
piccolo, alto flute), clarinet (incl. bass clarinet), alto saxophone, violin, viola, cello, contrabass,
piano, accordion, percussion*(see below), voice(s) (up to 2, male or female)

8. DUOS drawn from the following instruments (one of each): voice (male or female), flute (incl.
piccolo, alto flute), oboe (incl. cor anglais), clarinet (incl. bass clarinet), bassoon (incl.
contrabassoon), alto saxophone, horn, trumpet, trombone, tuba, violin, viola, cello, contrabass, piano, accordion, guitar, percussion*(see below), live electronics (up to 4 channels no fixed
media electronics as these should be proposed in category 11)

9. SOLOS of the following instruments: voice (male or female), flute (incl. piccolo, alto flute),
oboe (incl. cor anglais), clarinet (incl. bass clarinet), bassoon (incl. contrabassoon),alto
saxophone, horn, trumpet, trombone, tuba, violin, viola, cello, contrabass, piano, organ,
harpsichord, accordion, guitar, percussion*(see below), live electronics (up to 4 channels no
fixedmedia electronics as these should be proposed in category 11)

10. CHOIR SATB, a cappella or with piano accompaniment. The choir that is likely to perform
most pieces consists of 22 singers; divisi possible (2 per voice); subgroupings (such as female
voices only, etc.) are possible.

11. ELECTRONIC MUSIC WITH FIXED MEDIA (acousmatic works, fixed media alone,or
fixed media plus up to 2 performers of any instrument listed in categories 8 or 9, or supplied by
composer) (up to 8 channels/speakers).

12. COMPOSERPERFORMER on any instrument supplied or brought by theperformer, or on
an instrument provided by the venue (possibilities are piano, vibraphone, marimba). For
electronic composerperformers, a p.a. system (up to 8 channels/speakers) will be provided.

13. JAZZ and/or IMPROVISING ENSEMBLE: Instrumentation should be drawn from the
following list: voice (male or female), flute, oboe, clarinet (incl. bass clarinet), bassoon, horn,
trumpet, trombone, tuba, violin, viola, cello, contrabass, piano, accordion, guitar,
percussion*(see below); additional instruments include: saxophone (up to two players soprano,
alto, tenor, baritone possible), electric keyboards, electric guitar, electric bass guitar,various
African or Latin percussion, steel pan, drum set, live electronics (up to 4 channels).

14. SOUND INSTALLATIONS to be shown in gallery spaces or other environments, or outside.
It should be possible to set up and tear down the installation within 20 minutes each.Installations
with more complex setups will be accommodated where possible; the Festival Organizers can be
contacted in case of questions.

usually do not read scores; it is possible to develop music and learn it by rote, but also to develop
new notation systems or in some cases use existing ones. Each such collaboration will require its
own approach and strategy for development. Please submit a written project description. If you
know (a) musician(s) you would like to collaborate with, let us know; if not, describeyour ideas
and we will try to match you with (a) collaborator(s). In order to rehearse and perform the music,
it may be necessary to attend the festival in South Africa and to arrive several days prior to the
festival’s opening. Smaller numbers of musicians will make projects easier to realize duos or
trios are ideal. Possible African instruments can include, but are not limited to, lesiba,
sekhankula/mamokhorong, Southern African musical bows (uhadi, umrhubhe, umqangala,
xitende, etc.), guitar played using African techniques, timbila, Southern African marimba,
balafon, amadinda, endongo, djembé, kora, mbira, kalimba, drums from various Southern
African locations. Electronics and voice(s) can be included in these collaborations.

16. MARIMBA ORCHESTRA: Compositions for youth or professional ensembles consisting of
Southern African marimbas (n.b., this is not the Western concert marimba, but a singlerow
instrument usually with „white notes“ plus the f#) of different sizes. Ensembles usually consist of
4 voices, soprano, tenor, baritone, bass, each played by multiple musicians. Please submit a score
or get in touch with the Festival Organizers to discuss instrument details.

*for works including percussion, it should be noted that, while instruments used in the standard
symphonic repertoire are available (timpani, snare drums, tom toms, marimba, vibraphone,
xylophone, glockenspiel, triangle, tubular bells, etc.), locating more unusual percussion
instruments might be challenging. In some cases, it may be necessary for the composer to
provide such instruments, either by sending them via courier or by attending the festival and
bringing the instrument. NewMusicSA will liaise with the composer should there be problems
locating necessary instruments. In addition to standard orchestral percussion, a wide variety of
African traditional percussion instruments is available, as well as Southern African marimbas,
which are neotraditional (not traditional!) instruments from Zimbabwe and South Africa that are
usually diatonic with „white notes“ plus the f#.

Lukas Ligeti, Artistic Director
Ignacio Priego, Administrative Director
Diale Mabitsela, Chair, NewMusicSA
Camron Andrews, Staff Member, NewMusicSA
David Lephoto, Staff Member, NewMusicSA
Aviwe Matandela, Staff Member, NewMusicSA
Sinenhlanhla Mdiya, Staff Member, NewMusicSA
Adeyemi Oladiran, Board Member, NewMusicSA
Chesney Palmer, Board Member, NewMusicSA
Nonku Phiri, Board Member, NewMusicSA
Marvin Weavers, Staff Member, NewMusicSA