Latest information: According to Carlos Haase, Goddard College has officially given their support to the Ought-One Festival. We were waiting for this beyond radio station WGDR support alone both because of the various legal niceties and because the College's interest will be a welcome symbiosis.

We will have answers about some other questions, particularly on-campus housing for those who want it, and the use of The Haybarn Theatre. It looks like The Haybarn for Sunday night's concert is good to go; Saturday's use still depends on the Salsa Festival and whether they have formalized their plan to play in downtown Montpelier.

The information should be to us before Friday, March 9.

Dennis

Gary,

We're gonna try to make everything happen.

Timing, players, capabilities, etc. ... what do you need?

Post here, but also contact me via email. I'm making a huge list to try to coordinate.

Just as a reminder on space and time. Based on interest, we'll probably extend the show time to noon-10pm on both days. Likewise, we'll expand the spaces from three to five, plus on-air. Here's how the spaces look:

Studio A (On air). Feeds from performances, plus interviews.

Studio Z (Live mixed performances). Seats about 50. Small stage area on the level with audience. No theatrical features, but good recording console.

The Atrium (Live acoustic performances). Seats about 50. Nice high ceiling, and open. Nothing loud here.

Meeting Room (Electroacoustic live performances and/or lectures). Seats 30.

Ampitheatre berm and concrete balcony (Live performances). This is outside, and the "stages", so to speak, are at right angles. One is at the base of the ampitheatre, the other is up and to the right. Seats a few hundred on the grass and chairs.

The "Dream Room" (Installations). This is the acoustically curated space for multichannel sound. Comfortable seating for experiencing the music.

There will also be wooded pathways (Installations), and several private rooms for installations.

We still have no answer on The Haybarn (Featured concerts). This is a true theatre with grand piano, lighting, etc.

As for performers, we have the Ensemble VCX (core ensemble of four), 28 composer-performers (including you and John) for a Festival Band, the Vermont Youth Orchestra (90 really good kids, kind of dependent on having The Haybarn. We're waiting on an answer still from the Montpelier Chamber Orchestra.

So go ahead and post the ideas, and we'll work on the logistics. By May we should have a reasonably solid schedule.

Dennis

Hello.

I've finally ascended the discusmountain. I was delayed, something to do with digitalliederhosen and a mountain goat.

I will be attending -- absolutely. I have invited another Toronto-area based composer and performer (piano)-- John Kameel Farah to perform with me a piece of mine. We'd also like to do some improvisation based thing.

If I've an idea for something (a composition of mine) to be played by someone else -- how do we figure out whether it's (to use that awful not-so-neo-logism) 'doable" -- in terms of performing forces & scheduling? I'm happy to just come down and play my own stuff, but it'd be great if I could coral some chamber group into playing.

Best,

Gary Barwin

Hi all,

I'm about to start some fundraising letters to specific companies.

Anyone making progress with fundraising at this point?

Thanks,
Dennis

Hi all,

There is a lot happening. We're stunned by the response (over 60 acceptances so far), and have lots of planning to do.

It's be so wild ... well, never mind. I'll bring everyone up to date in a few days.

I did want to clarify something: I've gotten several emails from folks saying they wouldn't attend because they couldn't perform. Somehow our message must have gotten mixed a little bit ... there will be *many* composer/performers, but also composers whose material will be performed by others. We're hoping to put together the Festival Band (only a few strings so far, but lots of winds and percussion), and there are performers open to playing a variety of pieces.

So we'll try to work out a way to get some music heard by any composers who's coming.

We've begun measuring spaces and getting logistics together. If you want to volunteer, there's a nascent list of tasks on the Festival main page at http://kalvos.org/ought1.html

Must get back to placating the bureaucratic gods...

Dennis

This is going to be a great event and I look
forward to participating. The White River
Junction Music/Video Collective, Healthy Boys (of
Montreal), and the Dartmouth Electro-Acoustic
Music Program all look forward to participating.

Celui-ci etre un grand événement et j'attends ŕ
participer. La White River Junction Music Video
Collectifs, Healthy Boys (de Montreal), et le
Dartmouth Programme de Electroacoustique tout
attend ŕ participe.

Jon Appleton
E-mail:

Joe Benzola contacted me via email with his idea of a toy piano / toy percussion improv. We could add such a beast at the end of my set. I am also willing to participate in any larger improvisatory ensemble as well.

My Best:

James Bohn
http://www.mp3.com/jbohn

Hi all,

There are roughly 40 composers, composer/performers, and performers committed as of today.

Some questions have come up.

1. How do we get funding to help with expenses and even honoraria? Per a recent discussion on another thread, it's true (and embarrassing) that in the U.S., events such as this rarely compensate participants, and some even ask registration fees. I'd hope that any of you with contacts in the business or funding communities would pursue this.

2. We'd like to consider some virtual performances (web-based). Any thoughts on making this possible? Some composers who cannot attend but would like to (Nick Didkovsky, Anne La Berge, David Dramm) might benefit from this sort of interactive presentation.

3. Joseph suggests jokingly about a toy piano/percussion duet. Phil's original drive for this involved composer performance collaborations and self-directedness. Let's keep that going. The "I'll send a score; what is the orchestration" questions are not quite to the heart of active participation. (Fortunately, there's been little of that.)

Michael Manion and Richard Tolenaar will be working on spatialization, and Elaine Tomazi Freitas (who is presently at IRCAM) has also offered to help with this. Once we get room dimensions, I'd like to hand this entire aspect over to you three (and perhaps one or two others).

All for now ... I'll also update the website (http://kalvos.org/ought1.html) this morning.

Dennis

Shooooooooooooot......if James Bohn is going to be there then I have to be there too!!!! Dennis & David, this is a fantastic idea!!!! Count me in for both a live performance & also for the electroacoustic performance. Of course I will probably be representing the evil improvising empire. I am thinking of a trio of two percussionist's, & guitar and/or reeds. There might be a live electronic element as well but rather than depending on the precarious nature of a PC in a live setting, I'm thinking along the lines of Moog filters and Ring Modulators.

JB...how about a toy piano/percussion duet??? HE HAAAAAAAAAAAAAAAAAAAA!!!!! Let me know about hotels in the area so I can bring my wife and kids.

JB

Maybe there could be an area for publishers, etc... as separate from the composers merchandise. Feedback Studio Verlag Köln might want to participate also. Others?

Howdy:

I'd just like to thank Dennis and David for undertaking this project, as well as the others who are helping out. Since there is going to be some merchandise available for sale at the festival, I was wondering if it would be possible for composers to bring their own merchandise (e.g. CDs) that could be for sale at the same booth, preferably with some proceeds going to K&D and some going to the composer in question? Perhaps there could even be some sort of FrogPeak presence.

My Best:

Jim Bohn

what do you all think of the following:

If we are being realistic, the chance that we will find a lot of professional performers, that will make the hopefully demanding composers happy with the preformance, is minor. Every performance is a wonderful thing, don't get me wrong, but when you want to present your music to collegues, it better would be a good performance altogether.
Now, what if we would be okay with sessions, amongst the composers themselves, in which the "new" media, like cd and mp3 or whatever + a reasonable PA system, is used to present the music ? I mean, when it is not is theater piece, it would work. And then so much more could be exchanged and be talked about.

A certain guy has a piece for an inordinate number of circle-breathing flutes with a Vermont theme, he talks a mile a minute and the letters S and R come to mind.

Doctor Matt,

We'll see about the orchestra -- but this is not a professional ensemble, and based on what I heard of your piece, they could not do something that long well.

You can hear their work with my music (http://www.mp3.com/bathory/) on "Sourian Slide" and "Mountain Dawn Fanfare" and David's music (http://www.mp3.com/gunn/) on "Mass of Mercury". It's also their fundraising season, so part of the question for them is whether to do this in addition to their fundraiser or as part of it. All under discussion, and we'll know next week after their rehearsal.

As for Jeff's piece, I'll have to listen again. They might be able to cut that one.

We first floated the name last February (wow, a whole year ago), and we had two sets of graphics prepared for the Festival (that huge 01 is so easy to spot!).

Two samples are here:
http://kalvos.org/jpg/01-sample-01.jpg
http://kalvos.org/jpg/01-sample-02.jpg

Dennis

Richard,

Oh, yes, of course, anyone can come for any length of time. I was only trying to illustrate the things to think about when managing, promoting, and resolving schedule conflicts.

Dennis

Chamber Orchestra

Well, I have a piece for the chamber orchestra (2 oboes, 2 horns, strings) but it's hard and it's almost 30 minutes and I have a pretty good take on CD. But it's also a very rocking piece. Jeff has a New Zion Pastorale (did I get that right?) for string orchestra that oughta be done right--pros with practice should be able to do it better than he's ever heard it before, and it's also very rocking.

Whatever we do, if the Chamber Orchestra wants in, don't offer them any money that they haven't already asked (read: begged) for--they must have their end funded some other way to be able to join in.

Red Alert Festival: The Red Alert is for New Music, of course! Does anybody have a rotating red light like an emergency warning light? If there's a "see this person first to figure out what the heck you're doing", that light should be there.

I'm marking my calendar, will requisition the appropriate vacation time and see about plane tix and a rental car from Burlington or--I forget, maybe there's a way in from Pinkham Notch over in That Other State.

Matt "The Doctor" {8V{D>>>

Dennis, on the other thread you spoke abotu Composer A who is well known and by that not staying long.
If other people have a busy life, can they just come in for the time they can make it?
It would be good to have that available for everybody. Probably more people would come, for whatever time they can.

Bill,

In summary: At the moment, Goddard's involvement is merely at the hands-off level. The Salsa Festival has booked many rooms and, although it's possible to get some, we have to come up with cost, meals, etc.

There are no insruments and no "hall" in the usual sense. We have the performance studio (audience of 40), conference rooms, ampitheatre, on-air studio. The Haybarn (the real concert hall with the concert grand) may be negotiable, depending on the Salsa Festival, which has preference. They had planned to have their evening concerts in downtown Montpelier, however. So, in any case, for the main stream of performances in the performance studio, we will rent a piano.

At this point, since the announcement won't be made for a number of hours, I have no idea who is coming in terms of composers, beyond the 27 who have confirmed (the list is in the previous thread).

As for where to stay over at the college, that's being talked about, but chances are there would be a charge. I'd rather have them stay with local folks, as has been done before with major events. This is a tossup, though, because which is better? Rooming with other composers in a group, or being with local people?

That motel requests are in progress. We have lined up two motels and one B&B tentatively, but won't firm that up until we have made the announcements and get some feel for who might come.

So how do the other board members feel? Would you prefer to stay at Goddard or with local people? I'm trying to keep costs way down in line with usual Kalvos & Damian projects, and that includes costs that composers would incur ... lower is gooder. But if others are feeling expansive, well.... :)

Dennis