Tomorrow (November 26) is the final deadline to submit an application for the 2014 Performance Grants! There is still time to complete your application (or to encourage your favorite ensemble to do so) and receive funding to support an upcoming performance of works by women composers.
All ensembles are striving for wider appreciation and larger audiences – and innovative programming is one of the simplest, and most effective, ways to increase interest and sell more tickets. Including works by women also brings to light the largely forgotten history and contributions by women to the Western canon.
Invigorate performers! Entice audiences! And receive funding to cover the cost of performance!! Complete your application, or find out more information, here.
Due to several problems that have arisen with our online application process, our Board has decided to extend the deadline for our Performance Grants to Nov. 26, 2014. The technical issues have now been resolved and applications should proceed smoothly.
Mrs. Price…spoke in the musical idiom of her own people, and spoke with authority. There was inherent in [the Symphony] all the emotional warmth of the American Negro, so that the evening became one of profound melodic satisfaction.
In the symphony there was a slow movement of majestic beauty, a third in which the rhythmic preference of the Negro found scope in a series of dance forms, and a finale which swept forward with great vigor.
Here is a recording of the work being performed by the Women’s Philharmonic:
The piece is available through A-R Editions. Wouldn’t this paired with Copland make for a fabulous concert?
Q: I see your grants encourage the performance of historic composers (“we prefer that one of the two works be by a historic woman”). I guess that means that new music ensembles shouldn’t apply?
A: Not at all! We interpret “historic” very broadly, as composers who are deceased, or born in or before 1934 (and we are flexible about that). New music ensembles often include historic composers: look (for instance) at the presence of Charles Ives, Xenakis, Stockhausen, and Ligeti, on this schedule of the Calithumpian Consort, a new music ensemble based in Boston. On the copy below, I have highlighted the male composers’ names in green; the lone woman is inyellow. The original schedule is here. We would like to see more women composers – both living and historic — included in the programs of ensembles like this (and also on their “discography” and “listen” pages!). Here are a few (of the many, many) historic female composers that would fit in with Calithumpian’s exploration of works by modernist and experimental composers: Elisabeth Lutyens (1906-1983), Ruth Schonthal (1924-2006), Ursula Mamlok (b. 1923), Vivian Fine (1913-2000), Galina Ustvolskaya (1919-2006), Barbara Pentland (1912-2000), Miriam Gideon (1906-1996).