Bill Harris started a new thread, so this one will close. Please post in the next topic!

Thanks,
Dennis

Hi all,

After the official announcement goes out, I will open up a new thread and close this one (which is getting unwieldy). It will stay open until then.

Dennis

Hi all,

Return communication from WGDR and from Goddard has been sparse, so I've contacted Don Glasgo, director of the Salsa Festival, so that we can integrate (or at least parallel) the two sets of events smoothly.

I'll let you know what his response is. I've also invited him to particpate here (as I have done with Carlos Haase at WGDR and Peter Casey at Goddard).

Dennis

Hi all,

I'm going to make the Ought-One Festival announcement via email to composers tonight (Saturday).

I'll incorporate any suggestions to make sure the equality/democracy issues are taken care of.

Please let me know.

Dennis

Regarding Michael's earlier question about equipment. We spoke with Larry Polansky at Dartmouth yesterday, and very little of the equipment there will be available. Larry will be on sabbatical until September, so we'll be dealing with others. Larry was neither pessimistic nor optimistic, but his question was the converse -- not what's available, but what will we need?

So let's come up with a list so we can begin contacting sources locally.

We will be using some of our own equipment, which includes a Proteus orchestral keyboard, Proteus FX module, and Alex reverb. We're mostly software users, and it's PC-based. We'll bring one if that will help, a 900MHz Celeron with 384MH memory, 4 channel sound card, Finale, Sonar (successor to Cakewalk), AudioMulch, and a variety of other modules. We have one Midi port.

Who else can bring what?

Dennis

Michael,

Everyone is welcome to help put this together -- physically or economically. With three parallel sets of music, that gives us about 40 hours to work with, and if there's more, we'll work to figure something out.

For example, Saturday is sketched out to start at noon, and Sunday at 2pm. It can start earlier with no problem.

It can also go later, but keep in mind this is rural America. The music can go on, but we may have a dwindling audience, and will need to juggle housing for those composers we'll be putting up as guests in folks' homes.

Time, money, and volunteers are the only limitations. Land isn't, so we can also expand the number of sites -- though it can't go off-campus because of liability insurance issues, and can't conflict with the ongoing Salsa Festival across campus.

Anyone who can commit to coming here mid-week to help get ready is more than welcome!

As for as ICMC ... where can I get that sort of cash!

Dennis

At last summer's ICMC, there were the 'regular' concerts (afternoon, evening), and then the "off ICMC" events, which started about an hour after the last concert, and went on until ca. 2:00 am or whenever. These were pieces and performances that, for what ever reason, were not considered appropriate for the main concerts. Maybe if there is a time problem, you could consider some sort of parallel structure.

Is this to be an 'open' or an 'invitaional'?

cynical suggestion:
You could assign everyone a rank (we really want you.....maybe if there is time) and tell us where we stand. Some of us may drop out or alter proposals. Wouldn't be any worse than the "we have had a lot of excellent proposals, but with the time constraints....."

Richard,

I don't think any of these things will actually present problems, but always, the struggle with any event is who does what and who is highlighted.

As all our guests probably know, we've always taken the approach that each composer voice is unique and needs to be heard.

That said, I have to add that achieving this in practical terms can be nightmarish. Tomorrow's show is #300 -- including special shows, that's about 650 hours of new music. This festival will be about 15 hours.

Here are the kinds of scenarios we'd have to talk about:

1. Composer A is among the world's best, and wants to have something performed by the chamber ensemble with electronics. It's a demanding piece with unidiomatic, handwritten parts and a tape of the piece. The composer is well known, so wants to arrive in time for the playing and then leave.

2. Composer B also wants a piece with electronics performed by the ensemble. The piece appears artistically more "slight" but the parts are perfectly made, the playback is a CD carefully cued for rehearsals as well as playback, and the composer is willing to show up early to coach the ensemble, help with physical arrangements, and provide any necessary equipment.

Composer B makes the festival organizer's life easier, even if Composer A may offer a more rewarding artistic experience. If, given the time available, only one gets heard, who is it?

Now add to this relatively simple choice the facts that some composers are playing themselves, others are bringing ensembles, others are sharing performers, and some are depending entirely on the festival. Mix that up with composers who want to do workshops, those that will be out "in the field" doing installations, and composers with multichannel sound pieces.

Don't forget that the press will always highlight the "famous" composers and the local composers; the audience will be there for what they read in the press and hear on the radio.

So it's a case where time and scheduling end up being important. We have about 15 hours of time for performances and installations and three continuous locales (the performance studio, the outside ampitheatre, and the sound installation room), plus the likelihood of one full concert each evening.

Our goal is to have a blast. We want non-stop music, a lot of interaction, workshops of some kind, unexpected installations, composers talking or working with composers they would never normally meet, and quite a lot of fun.

At this point, we don't know what we'll end up with. If the rush of composers is very great, we'll ask Goddard College for some help with space. But nothing helps with time. There may be a moment when the volunteers who are organizing the event have to make arbitrary choices based on resources and time.

Ultimately, I hope we're anticipating rather than inventing problems here! So what are your expected problems *and* their solutions?

Dennis

I was very busy this week, so sorry for the late reply to you Dennis.
Of course, no, I have no objections against any event anybody wants to organize.

ANd it would be great to have an orchestra there.

What I would like to see is many performances. If anything, I would love to see that. Combined with the possibility to talk about things afterwards. Or have a lecturing kind of event before the performance, so that a composer can say some things about his/her work.
It may sound straight forward, but that is what I think it should be.

If you, Dennis, think there is huge variety in experience and achievement, within the group of composers that will participate, then it is a very important choice if you want everybody to be "equal", or some people to stand out. If some people get more profile, and do workshops, it is mainly an eductional event. That is something very different than a composer festival, in which everybody for themselves can deside who stands out or not. By hearing the music.
But I understand that the lack of a big audience is somewhat in the way for the wish of many performances.
WHat do you think it will be?

Hi all,

I heard from Catherine Orr of the Montpelier Chamber Orchestra, and here is what she wrote:

"People were generally very enthused about the project. We gave them a week to think about it, and next week we're going to count heads and see who would actually do it."

She also asked that we not yet announce the MCOS participation to the composers at large.

Dennis

Richard, these are all suggestions for making it possible for composers to also enjoy some of the things that are part of the Vermont scene. They also can help us gather an audience. Every year, for example, the Mozart Festival opens its season with an exhibition of the Lippizaner Stallions, and it's their most popular concert. And who wouldn't want to hike with one of the composers they admire?

In any case, Peggy Madden is a hiker and wants to offer this herself ... and hiking is beautiful in August.

As for the dressage, Stevie would like to organize this aspect. Rip Hayman has written dressage music, and at least one other composer has expressed interest.

Neither, then, would take Festival resources.

In a city festival, I'd expect to have museum and shopping and style opportunities if I were coming from a distance. These are both part of the Vermont rural experience.

Assuming they are not a financial or time distraction, is there any philosophical objection to these being offered?

Dennis

personally, I would maybe not be too eager for things like morning mountain hiking or a dressage event.
I guess that makes me the real ought one.

I have approached the Montpelier Chamber Orchestra about their participation in the festival. Orchestra director Catherine Orr will present the idea to the orchestra tonight (Monday, February 12).

Dennis

This is all we know now: There will be on-site sound systems. As more composers join in the events, we'll begin to know what's available and what's sharable.

Rental is not an option up here, of course, and there's no studio at Goddard College with this equipment. But Dartmouth College is 90 minutes away, and the Bregman Studios are there. We've worked with Dartmouth for the past two years on interview and concert broadcasts; I'll be there Wednesday the 14th, and ask.

Dennis

I've been checking the forum most every day, and have had nothing to contribute. My guess is that as things progress there will be more discussion. Leave it up.

For what it's worth: I was involved in organizing part of last summer's ICMC in Berlin, and we had 2 deadlines, for my part of things. The actual deadline, which was about one month later than the announced deadline. That gave us some headroom.

Are there any performers who might like to know what equipment will be available at the scene? I'm thinking of things like samplers, etc... that people coming from great distances would rather not bring.

Michael Manion

One more thing ... occasionally the forum script "hiccups" and you get an authentication or password error, or a message that "discussion has been turned off". Not true. Just use your back button and try again.

Thanks,
Dennis

Actual discussions here appear to be almost absent. Shall I go back to email distribution? There are 23 advisory board members, and so far there have been brief posts from only 3 members here.

I'll make the formal festival announcement on Monday, along with this forum URL. Maybe some actual idea exchanges will happen here.

If not, perhaps it's not worth it for a few of us to be checking the forum?

Let me know!

Dennis

I've just learned (now you know I'm not a grant writer!) that we can only apply for six Meet the Composer grants for one presenter ... and those are already in progress.

So any other grant ideas, please fire away. In the meantime, I'll be knocking on doors. Many of you are aware that I'm much more comfortable with private and business contributions than grants.

Dennis

Since we have no experience with managing this first festival (size, time, support), it will be limited to Kalvos & Damian guest performers and composers (with their performers).

However, if you (and I'm assuming this is Bill Harris whose post I'm answering) want to coordinate/moderate a workshop with them, let's see how the scheduling goes and how it will fit into the time and space.

We'll only have one performance grand piano, and that will be reserved for the performance studio. Other work will be done on the electronic pianos (we should have at least one, maybe two, 88-key instruments).

Dennis

Is this open to jazz players at the new-music end?
I have run across some younger composers who would
possibly be interested, one advantage is they
playt their own stuff.

If a workshop I think we could get local people
interested if something on Improv from scratch. I
have a lot of stuff for something in this
area...lots of pianists who gave up but could do
something with their experienced hands.

Call For Chainsawers!

If you own a chainsaw, or even if you could only pick one out of a lineup with other motorized devices (such as steam shoes), I urge you to willingly participate in the First Synchronized Chainsaw Drill Team With Musical Accompaniment (SCDTWMA #1). Presumably, this will be a non-lethal event, as the chains will be begrudgingly removed. If you're interested, hold that thought, because I haven't figured out any of the important details yet.

Black & Decker Synchronizer

Today I spoke with Carlos Haase, WGDR station manager, and Peter Casey, Goddard College's liaison to the community station.

The August 25-26 dates are still "tentative" only in that the college major (and first) Salsa Festival is happening August 16-26 on the other side of campus. I'm holding off for the weekend, and then the dates go "live."

As of today, the following is the list of composers and performers who will definitely be there:

Kalvos & Damian, Phil Kline, Eve Beglarian, Nurit Tilles, Nick Didkovskym Margaret Lancaster, Michael Lowenstern, James Bohn, John McGuire, Beth Griffiths, Greg Hall, Karen Kevra, Vermont Contemporary Music Ensemble, Canary Burton, Peggy Madden, Don Stewart, Patrick Grant, Gwyneth Walker, Gary Barwin, Daron Hagen.

These are the "likelies" as of last count (some will be virtual presences on live links):

Matthew Fields, Michael Manion, Frank Oteri, Joseph Benzola, Robert Duckworth, Patricia Goodson, Tim Price, Erik Nielsen, Martin Fumarola, Jeff Harrington, Bill Harris, Mary Jane Leach*

There is no budget made up as yet, but I would estimate expenses at about $5,000 to $7,500, depending on volunteers and those who offer housing in the area. It also depends on what Goddard College offers in terms of liability insurance, security, and amenities.

We have a new sweatshirt design -- two of them, in fact -- which I'll post later for opinions. We'll need to order these in advance, and should offer them to composers and performers at cost. The rest will be for sale, along with the Vermont Composers mugs which can be used to recoup the $1,000 the organization has made available to us.

There will be several special 'fun' events along with all the serious music, including my Car Horn Symphony No. 3, David Gunn's Marching Chain Saw Band & Drill Team, Sunday morning mountain hiking led by Peggy Madden, and a dressage event for which some composers will be asked for music. Phil Kline has promised a special in-the-woods event as well.

It's been suggested that, since these events are all open to the public, that we also offer composition and contemporary performance workshops, etc. This is all to be discussed because we are, of course, in rural Vermont where crowds are not thick.

For guest composers, we'll be scaring up housing as well as discounts at the local motel, and hoping to entice the New England Culinary Institute into providing us with an "experimental" dinner as interesting as our music.

We are also in need of grant writers. Composers wishing to write their own Meet the Composer grants (or other grants) can do so, and contact us for the necessary "official" sponsorship info.

We will be having some excellent performers, so both an excellent multichannel sound system and a piano rental are on the horizon. We had hoped to use the Haybarn, but with the Salsa Festival also going on, we may be unable to use that space with its grand piano, and instead have one brought in to the performance studio.

The sound systems will be set up in three places -- one outside, one high-quality one for inside, and one special multichannel system for electroacoustic work. We don't have the last item firmed up because we don't know how many EA composers will be coming. But nevertheless, it will have to be something quite special!

We'll need help drafting news releases, publicity, and doing general stuff, but that all will come later as things are more firm. Name tags, stage setup, parking, etc. All for later.

We have at least one videographer and one recording engineer, and will be contacting more as the time gets nearer.

Also, the programmer after our Saturday show has contributed the time, giving us 2:30-7:00 pm on the air. Maybe we'll have more time as well. We'll see. Everything will be recorded for later broadcast.

If there are any questions, please post them -- and as you all have the list of board members, please be in touch and ask them to begin exchanging ideas here. I haven't heard from most of our Canadian or European contingents yet.

All for now,
Dennis

hi all, this is Richard.

In response to DrMatt...."Red ALert" for what, I wonder?

Looking forward to the info that Dennis is going to upload here.

I sent this proposal to Dennis before, but now I'll float it to the group: hey, what about calling it the "Red Alert Festival"?

There is no info sheet yet, but I will create one in the next few days. There's some info I'm still waiting for -- like the final dates (now set for August 25-26, but needing confirmation from Goddard College).

Dennis

Since this spot will be used for Ought
discussions, perhaps it would be good to have at
the top names and links to Dennis' current info
sheet on the Festival.

Also, where will posted notes be available to
view, so we can answer them and comment?

Bi