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submission guidelines

submission form
If you don't have Acrobat Reader,
you can get it here.

EarShot homepage

ACO homepage

other opportunities:
ACO's Underwood Readings
& Commission















submission guidelines

submission form
If you don't have Acrobat Reader,
you can get it here.

EarShot homepage

ACO homepage

other opportunities:
ACO's Underwood Readings
& Commission

















submission guidelines

submission form
If you don't have Acrobat Reader,
you can get it here.

EarShot homepage

ACO homepage

other opportunities:
ACO's Underwood Readings
& Commission












submission guidelines

submission form
If you don't have Acrobat Reader,
you can get it here.

EarShot homepage

ACO homepage

other opportunities:
ACO's Underwood Readings
& Commission

 

EarShot Buffalo Philharmonic Orchestra New Music Readings February 22-24, 2012

application deadline extended:
December 2, 2011

note: the submission deadline has now passed. Applications are no longer being accepted for this program. This page is provided for information only.

Buffalo Philharmonic OrchestraBuffalo Philharmonic Orchestra, JoAnn Falletta, Music Director, and EarShot, the National Orchestral Composition Discovery Network, announce the BPO New Music Readings, to be held February 22-24, 2012, in Buffalo, NY. The Readings are designed to be an outstanding artistic and professional-development opportunity for emerging composers, and are also an excellent way for emerging composers to gain visibility in the field of orchestral music.

The Readings will provide up to four emerging composers the opportunity to work closely with the nationally acclaimed BPO under the baton of associate conductor Matthew Kraemer and Mentor Composers Margaret Brouwer, Michael Gandolfi and Derek Bermel. Composers will be selected for the readings on a competitive basis, and the experience will include feedback from principal BPO musicians, Mr. Kraemer, and mentor composers.

Applications and submitted works for the Buffalo Philharmonic New Music Readings are due by December 2, 2011.


Submission Guidelines

To download the submission guidelines in PDF, click here.

  • Applicant must be either a U.S. citizen or non-citizen lawfully and permanently residing or studying full-time in the United States.
  • There are no age restrictions; however, applicants should be composers at the early stages of their professional careers.
  • Each composer may submit only one composition for consideration.
  • Only works which will not have been performed or read by a professional orchestra, nor received a public performance prior to the reading date are eligible.
  • Do not submit recordings.
  • Only works completed after January 1, 2007, will be considered.
  • Compositions should be up to 15 minutes in length. Shorter works or a portion or movement from longer works will also be considered.
  • Instrumentation should not exceed: winds at 3.3.3.3; brass at 4.3.3.1; timpani, 2 percussion, harp, and strings (12.11.7.7.7). Standard orchestral doublings are permitted. Works with instrumentations that exceed the above limitation will be considered only with advance approval.
  • Works requiring soloists will not be considered.
  • If selected, composers must provide professional, legible orchestral parts and scores prepared according to guidelines established by the Major Orchestral Librarians Association. Materials must be delivered to ACO offices no later than 5 PM, January 16, 2012. The MOLA guidelines can be found here.
  • The quality of the score submitted is the primary evaluation criteria. It is therefore in the applicant's best interest that the score be clear, accurate, and the best representation of the composer's work. The additional background and educational information is for eligibility and documentation purposes.
  • Works employing electronics, MIDI, digital technology, and/or sound reinforcement in combination with the above instrumental forces will not be considered
  • Incomplete, illegible, or late applications will not be considered.
  • Composers who have applied previously for an EarShot program are eligible to apply. However you must submit a new and complete application, including score and all required background information. Please contact the American Composers Orchestra with any questions concerning eligibility.
  • Composers who wish to have their submitted work considered for other EarShot readings during the 2011-12 season may do so by indicating it in the proper place on their submission
  • For more information call 212.977.8495 x202.

Application Procedure

To download the submission form in PDF, click here.

All applications must be received no later than 5PM, December 2, 2011.

Please complete the submission form and include it with the following:

  • One bound copy of the score, clearly labeled with the composer's name and title of the work on the cover page.

  • A current résumé for the composer including educational background, major teachers, awards, professional affiliations.

  • A list of works, including title, year composed, instrumentation, duration, and performance history.

  • One letter of recommendation from an established composer or other music professional, attesting to the applicant's accomplishments and potential as an orchestral composer. The recommendation may be sent under separate cover. The recommendation letter is not required if the applicant has already submitted a reccommendation letter as part of a previous EarShot application.

  • A self-addressed stamped envelope suitable for the return of materials. All supporting materials remain the property of EarShot. EarShot is not responsible for lost scores.

Please send all materials to:

Buffalo Philharmonic Orchestra New Music Readings
EarShot c/o: American Composers Orchestra
240 West 35th Street, Suite 405
New York, NY 10001-2506


About the Buffalo Philharmonic Orchestra The Buffalo Philharmonic Orchestra celebrates its 75th Anniversary Season in 2010-2011. Over the decades, the BPO has matured in stature under the leadership of William Steinberg, Josef Krips, Lukas Foss, Michael Tilson Thomas, Julius Rudel, Semyon Bychkov, Maximiano Valdes, and now Maestro Falletta. Since 1940, the Orchestra's permanent home has been Kleinhans Music Hall, a National Historic Site with an international reputation as one of the finest concert halls in the United States. The BPO presents more than 120 Classics, Pops and Youth Concerts during a 37-week season and its award-winning education programs reach over 35,000 students per year. During the tenure of Maestro Falletta, the orchestra has rekindled a distinguished history of broadcasts and recordings, including the release of 15 CDs of a highly diverse repertoire on the NAXOS and Beau Fleuve labels. The BPO's recording of composer John Corigliano's Mr. Tambourine Man: Seven Poems of Bob Dylan, featuring soprano Hila Plitmann, on the NAXOS label, won Grammys in two categories. Its concerts are heard regularly in over 200 cities across the U.S. on American Public Radio's Performance Today. As Buffalo's cultural ambassador, the BPO has toured widely across the United States and Canada including a recent tour to Florida, the first multi-city tour since the 1988 European tour and the first outside of the region since Maestro Falletta led the ensemble at Carnegie Hall in 2004, its 22nd appearance there.

About EarShot

The Buffalo Philharmonic Orchestra New Music Readings are a part of EarShot: the nationwide network of new music readings and composer-development programs. The goals of the program are to create the nation’s first ongoing systematic program for identifying emerging orchestral composers; to provide professional-level working experience with orchestras from every region of the country; and to increase awareness of these composers and access to their music throughout the industry. EarShot is a partnership of American Composers Orchestra, American Composers Forum, American Music Center, the League of American Orchestras, and Meet The Composer.


EarShot is made possible with the support of the Andrew W. Mellon Foundation, Booth Ferris Foundation, the Aaron Copland Fund for Music, the Alice M. Ditson Fund at Columbia University and with public funds from the New York State Council on the Arts.

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