11\/25\/16<\/p>\n
I. COLORADO SYMPHONY LOOKS UP – AND SEES MORE CHALLENGES
\nII. BMI RESPONDS TO DOJ APPEAL OF FRACTIONAL LICENSING RULING
\nIII. NACUSA COMPOSITION SUBMISSIONS FROM EAST COAST MEMBERS
\nIV. EVENTS<\/p>\n
<\/p>\n
…Absolutely guaranteed anonymity – Former Musician’s Union officer<\/p>\n
…The one voice of reason in a sea of insanity – Nashville ‘first call’\u2028scoring musician<\/p>\n
…Allows us to speak our minds without fear of reprisal – L.A. Symphonic musician<\/p>\n
…Reporting issues the Musicians Union doesn’t dare to mention – National touring musician<\/p>\n
=============================================<\/p>\n
I. COLORADO SYMPHONY LOOKS UP – AND SEES MORE CHALLENGES<\/p>\n
Here is quite an interesting and wide ranging article about
\nthe Colorado Symphony. We’re putting the section about
\nthe Colorado Symphony vs. the AFM because of it’s import
\nthe AFM Membership…<\/p>\n
Excerpted from the article concerning the AFM:<\/p>\n
The symphony plans to expand not only its concert
\nseason, but its work in recording soundtracks and
\nbackground music, its work as a backup orchestra
\nfor pop and rock musicians, and more.<\/p>\n
The bad news? Well, the Symphony is mired in a
\nlong-standing and complex dispute with the American
\nFederation of Musicians about these non-concert-hall gigs.<\/p>\n
What do you want first \u2013 the good news? Okay. The
\nColorado Symphony finally posted a budget surplus
\nfor the first time in its history. It\u2019s back from the brink
\nof death, with a growing multi-million-dollar endowment
\nand a raft of new and returning corporate sponsors. It\u2019s got
\na peppy new music director designate. The symphony plans
\nto expand not only its concert season, but its work in
\nrecording soundtracks and background music, its work as
\na backup orchestra for pop and rock musicians, and more.<\/p>\n
The bad news? Well, the Symphony is mired in a long-standing and
\ncomplex dispute with the American Federation of Musicians about
\nthese non-concert-hall gigs, for one. And the City of Denver\u2019s going
\nto tear down the symphony\u2019s home, Boettcher Concert Hall, and
\nshunt it into a new venue which is half the size and which the
\nsymphony must share with other arts groups. Given these challenges,
\ncan the symphony sustain its successful momentum?<\/p>\n
The orchestra is awaiting the decision of an administrative
\n-law judge in the wake of a September 14 hearing concerning
\npoints of contention between it and the American Federation
\nof Musicians union. Oddly, Colorado Symphony musicians
\nare on management\u2019s side in the case. Much of the dispute
\nstems from the symphony\u2019s desire to diversify its revenue
\nstreams.
\nIn its Consolidated Financial Statements of June 20, 2016,
\nthe symphony characterized the dispute as follows:<\/p>\n
\u201cOur collective bargaining agreement with the American
\nFederation of Musicians of the United States and Canada
\n(AFM) expired September 30, 2013, after which we attempted
\nto negotiate in good faith a successor agreement with
\nchanges to certain terms governing the musicians’
\ncompensation for work on SOUNDTRACKS, AUDIO\/
\nVIDEO BROADCASTS AND OTHER ELECTRONIC MEDIA
\n(emphasis added), which were necessary to allow the
\nSymphony to take advantage of new and emerging
\nperformance opportunities. We\u00a0 were unable to reach
\nagreement with the AFM, and, therefore, we implemented
\nthe changes in October 2014.\u201d<\/p>\n
\u201cThe American Federation of Musicians tends to foster
\nthat \u2018us versus them\u2019 mentality,\u201d says Kern. \u201cIt thinks
\nthat it knows better what\u2019s good for the organization
\nand the musicians. Management is viewed negatively \u2013
\nbut that\u2019s not what goes on here. We have more of a
\npartnership with the musicians than any orchestra
\nin the United States.\u201d<\/p>\n
Meanwhile, Michael Allen, president of AFM Local 20-623,
\nwrites that \u201cEverything I know about this dispute fills
\nup four 1.5-inch three-ring binders.\u201d The allegations
\ninvolved include unfair labor practice charges, employer
\ndomination and refusal to furnish information. Colorado
\nSymphony musicians are also looking to EXIT AFM
\nREPRESENTATION (Emphasis added.), but this idea can\u2019t
\nbe pursued legally until the prior litigation is ended.\u201d<\/p>\n
[COLLEAGUES: Reading the above makes it clear that the
\nColorado Symphony wants to begin recording for
\nSoundtracks and Video, but the AFM is trying to block
\nthat (You can guess whom they are working on behalf of
\nhere). So much so that the orchestra is trying to find
\na way to free itself from the AFM, much as Seattle did.]<\/p>\n
\u201c . . .The matter currently before the administrative law
\njudge is regarding the unfair labor practice charge and
\nNOT the issue of representation,\u201d Allen writes, \u201cthough
\nthe outcome of the hearings will certainly have on
\nimpact on the issue of representation.\u201d<\/p>\n
THE ARTICLE IN FULL:<\/p>\n
Denver\u2019s symphony orchestra has always ridden a sine wave of ups
\nand downs. It originated as the Civic Symphony Orchestra, a
\nvolunteer community ensemble. In 1934, the group professionalized
\nitself under the name of the Denver Symphony Orchestra. As such,
\nit persisted until March 1989, brought low by financial woes.
\nDSO musicians Terry Smith and John Weatherill led the initiative
\nto regroup, and the Colorado Symphony sprang to life in the
\nDSO\u2019s place in May 1990.<\/p>\n
However, the Colorado Symphony eventually faced financial
\nhardships. A spate of financial problems threatened the
\norganization in 2000. Eleven years later, a renewed shortfall
\nof revenue triggered the cancellation of concerts and the
\nresignation of two-thirds of the symphony\u2019s board of trustees.
\nThe emergence of Jerry and Mary Rossick Kern, current
\nco-chairs of the board, over the past fifteen years as
\nproblem-solvers led to the symphony\u2019s newfound
\nfinancial stability.<\/p>\n
\u201cIt\u2019s great to have cash in the bank,\u201d says Jerry Kern, who
\nserves as the symphony\u2019s CEO as well. \u201cThe place was never
\nadequately capitalized and adequately supported by the
\ncommunity. We have come a long way toward resolving that.\u201d<\/p>\n
On June 30, 2015, the symphony ended the season with
\n$7,000 in cash \u2013 just enough to buy a 2006 Honda Civic,
\nin theory. On June 30, 2016, the surplus stands at more
\nthan $1.7 million. Any organization, particularly an arts
\norganization, that can demonstrate a higher net worth
\nenjoys a more solid financial position and inspires greater
\ninterest from potential contributors.<\/p>\n
\u201cErasing the deficit expands the prospective donor base,\u201d
\nKern says. \u201cIt\u2019s like the stock market. It takes money to
\nmake money.”<\/p>\n
Kern\u2019s speech has the crackle and tang of old-school
\nNew York, where he plied a successful career as a lawyer
\n(he’s now in his late seventies). Extensive work with
\nnonprofits and performing-arts organizations gives
\nhim a unique amount of experience and insight as
\nto what works and what doesn\u2019t in what is, after all,
\na branch of showbiz.<\/p>\n
\u201cWe make music and that\u2019s it,\u201d he says. \u201cWe feel that
\nit\u2019s our obligation to create the best of whatever music
\nis out there. We happen to make the best music in
\nthe state of Colorado.\u201d<\/p>\n
Much of the symphony\u2019s success can be attributed to
\nits adaptability. Kern was quoted in the Denver Post
\non October 12, 2011, as saying, \u201c\u2019The 21st-century
\norchestra is not going to be the same as the 19th-
\nor 20th-century orchestra.\u2019\u201d Like many other symphony
\norchestras across North America, the Colorado Symphony
\nhas diversified its offerings to include a much greater
\nportion of contemporary fare.<\/p>\n
A flip through the symphony\u2019s 2016-2017 season calendar
\ntallies a near-even split between what would traditionally
\nbe considered \u201cserious\u201d concert-hall fare and crossover events \u2013
\ncollaborations with contemporary groups and artists such
\nas Elephant Revival, Stewart Copeland and Ben Folds, pop
\nand jazz excursions and holiday shows. There is a Symphonic
\nTribute to Comic Con, The Music of Michael Jackson, and
\nPokemon Symphonic Evolutions. The symphony\u2019s upcoming
\nHarry Potter and the Sorcerer\u2019s Stone: In Concert sold out
\nits first two performances, then added a third and promptly
\nsold that out.<\/p>\n
So what\u2019s wrong with being popular? All of Denver\u2019s
\nsymphonic leaders of distinction to date have been dedicated
\nto popularizing the organization. Saul Caston, DSO music
\ndirector from 1945-1964, took the orchestra on tour,
\ninitiated school outreach plans, and performed outdoors
\nat Red Rocks Amphitheatre. Brian Priestman, a beloved
\nand ebullient Brit, led the orchestra from 1970 to 1979,
\ngarnering the greatest amount of community support to
\ndate. (Classical station KVOD and dry-goods giant May
\nD & F used to raise money through a weekend-long
\nannual marathon. The orchestra even used to have a
\nkissing booth at the People\u2019s Fair.) Marin Alsop, a disciple
\nof Leonard Bernstein, scheduled new work, led engaging
\noutreach programs, recorded extensively with the
\norchestra for the Naxos label, and effectively evangelized
\nfor the local classical scene from 1993 to 2005.<\/p>\n
Now the musical directorship will transfer to the present
\nassociate conductor of the Cleveland Orchestra, 37-year-old
\nBrett Mitchell, who takes up the position formally on July
\n1, 2017. Is Mitchell the kind of committed, charismatic
\nleader the symphony needs?<\/p>\n
Kern is a staunch supporter, of course. \u201cWhen you look at
\na guy like Brett Mitchell, who\u2019s committed to spending no
\nless than 25 weeks a year in Denver, to move here with his
\nwife, well, we haven\u2019t had that since Marin Alsop,\u201d he says.<\/p>\n
\u201cIt\u2019s not my first rodeo,\u201d says Mitchell, who\u2019s currently braving
\nDenver\u2019s insane housing market. In a short span of years, the
\nconductor has accumulated a significant amount of experience,
\nranging from opera to leading the Cleveland Orchestra\u2019s
\nYouth Orchestra. He\u2019s excited about the challenge ahead,
\npraises the musicians (\u201cThey\u2019ve been doing their part in
\nthis place for so long that it\u2019s a labor of love\u201d) and looks
\nforward to conducting the full range of concert offerings.<\/p>\n
\u201cHey,\u201d the Seattle native says, \u201cI am not the guy who did
\nnothing but listen to Mozart growing up.\u201d He confesses to
\nplaying a little alto sax \u00e0 la David Sanborn \u2013 \u201cHey, it was the
\n’80s!\u201d \u2013 but he didn\u2019t really feel the impulse to conduct
\nuntil his freshman year in college.<\/p>\n
\u201cAt first I thought I would be a band teacher,\u201d he says.
\n\u201cMr. Holland\u2019s Opus.\u201d Once he determined his career path,
\nhe studied extensively with such prominent conductors
\nas Alsop, Kurt Masur and Lorin Maazel. However, he
\ndoesn\u2019t disdain the popular fare.<\/p>\n
\u201cI think that, having been a staff conductor, I\u2019ve played just
\nabout every kind of music there is for orchestra, and I love
\nit all,\u201d Mitchell continues. \u201cI want to do the pop shows and
\nthe movies. My interest is to appear on every series, not
\njust the masterworks. Those works need to be performed
\nwith the enthusiasm they deserve because they mean
\nsomething. I mean, John Williams [composer of Star Wars
\net al.] was my intro to orchestra. That\u2019s a gateway.
\nDeveloping a broad footprint, having enormous diversity
\nand variety \u2014 those are gateways.<\/p>\n
\u201cWith an audience, you need to develop relatability,”
\nhe goes on. “If you are doing the same thing over
\nand over again, people can shut you out. The way
\nthat we have it is not as a museum, but as part of
\na continuum. How do you make music that opens
\nears in a new way that doesn\u2019t make it intimidating?
\nWe want to be responsive, not reactive. We\u2019re not
\ndumbing down anything at all. The presentation is
\nmanaged differently, and there\u2019s more salesmanship
\nto it. We\u2019re just trying to have fun and share these
\nextraordinary experiences.\u201d<\/p>\n
So far, so good. All is not beer and Skittles for the
\nsymphony, however.<\/p>\n
The orchestra is awaiting the decision of an administrative
\n-law judge in the wake of a September 14 hearing concerning
\npoints of contention between it and the American Federation
\nof Musicians union. Oddly, Colorado Symphony musicians
\nare on management\u2019s side in the case. Much of the dispute
\nstems from the symphony\u2019s desire to diversify its revenue
\nstreams.
\nIn its Consolidated Financial Statements of June 20, 2016,
\nthe symphony characterized the dispute as follows:<\/p>\n
\u201cOur collective bargaining agreement with the American
\nFederation of Musicians of the United States and Canada
\n(AFM) expired September 30, 2013, after which we attempted
\nto negotiate in good faith a successor agreement with
\nchanges to certain terms governing the musicians’
\ncompensation for work on soundtracks, audio\/video
\nbroadcasts and other electronic media, which were
\nnecessary to allow the Symphony to take advantage of
\nnew and emerging performance opportunities. We
\nwere unable to reach agreement with the AFM, and,
\ntherefore, we implemented the changes in October 2014.\u201d<\/p>\n
\u201cThe American Federation of Musicians tends to foster
\nthat \u2018us versus them\u2019 mentality,\u201d says Kern. \u201cIt thinks
\nthat it knows better what\u2019s good for the organization
\nand the musicians. Management is viewed negatively \u2013
\nbut that\u2019s not what goes on here. We have more of a
\npartnership with the musicians than any orchestra
\nin the United States.\u201d<\/p>\n
Meanwhile, Michael Allen, president of AFM Local 20-623,
\nwrites that \u201cEverything I know about this dispute fills
\nup four 1.5-inch three-ring binders.\u201d The allegations
\ninvolved include unfair labor practice charges, employer
\ndomination and refusal to furnish information. Colorado
\nSymphony musicians are also looking to exit AFM
\nrepresentation, but this idea can\u2019t be pursued legally
\nuntil the prior litigation is ended.\u201d<\/p>\n
\u201c . . .The matter currently before the administrative law
\njudge is regarding the unfair labor practice charge and
\nNOT the issue of representation,\u201d Allen writes, \u201cthough
\nthe outcome of the hearings will certainly have on
\nimpact on the issue of representation.\u201d<\/p>\n
Then there\u2019s Boettcher. It was the first symphony hall
\nin the round in the United States when it was built in
\n1978, and since it opened, its innovative design was
\nconstantly overshadowed by acoustical problems and
\na lack of attendance. A $40 million project to upgrade
\nthe facility, funded by a 2007 bond issue, was scrapped
\nby the city, and the funds were diverted to other projects.<\/p>\n
Now the city plans to demolish Boettcher and relocate the
\norchestra to a new music hall, \u201csupporting the Symphony
\nand also a diverse range of other musical groups and
\nforms. This hall replaces Boettcher Concert Hall, offering
\na better and more intimate experience, appropriate in
\nsize and form for traditional and contemporary groups,\u201d
\naccording to the Executive Summary of the city\u2019s Arts &
\nVenues Department\u2019s Next Stage plan.<\/p>\n
Next Stage is a massive revitalization plan that intends
\nto rework the cultural center in and around 14th and
\nChampa Streets into an integrated, mixed-use neighborhood,
\nleaving the Denver Center Theatre Complex, the Ellie Caulkins
\nOpera House and the Buell Theatre unchanged, but making
\nover practically everything else. Three newly designated
\n\u201copportunity sites\u201d will sandwich arts venues between
\nground-level retail spaces and commercial towers above.<\/p>\n
\u201cThe new image of the Arts Complex is that of a community
\nliving room,\u201d announces the 88-page Next Stage prospectus.
\n\u201cDPAC\u2019s fortress-like enclosure should become a place that
\nis always open and always active with informal programming.\u201d<\/p>\n
The symphony and the city have been at loggerheads on
\nthe issue since the plan was first rumored in 2014. The
\ncity points to the low seat counts, \u201cchanging demographics
\nthat have different cultural consumption patterns,\u201d and
\nthe \u201cdeclining audiences for traditional performing arts,\u201d
\ngoing so far as to cite the complex\u2019s present \u201ceconomic
\nand racial inaccessibility\u201d \u2013 a long way of saying its
\nevents are geared toward rich white folks.<\/p>\n
Architect Hugh Hardy, who designed Boettcher and whose
\ncompany is on board with the Next Stage plan, was more
\nexplicit. \u201cThe specific character of the Arts Complex
\nwill come from its emphasis upon use by the largest
\npossible cross-section of the community, amateur
\nand professional alike, and not upon the use by a
\nfavored few,\u201d he writes. \u201cThe true innovation of the
\nMusic Hall will similarly lie in the fact that it is being
\nbuilt to encourage the citizens of Denver to share in
\nthe making of music. Such an idea is quite different
\nfrom using the hall as a device for furthering the
\nremote presentations of a musical aristocracy.\u201d<\/p>\n
In response, Kern has termed Next Stage \u201cpoor civic
\nplanning.\u201d Boettcher has 2,362 seats. The new music
\nhall is slated to have 1,200. There sits the practical
\ncrux of two differing visions. If the symphony’s
\nrevival continues and ticket sales and subscriptions
\nrise \u2014 where will the patrons sit?<\/p>\n
\u201cWe would like to see more seats, maybe 1,500.
\nIt\u2019s a little unclear, or a lot unclear, what shape
\nthe Next Stage plan will finally take or how long
\nit will take,\u201d says Kern. \u201cRight now, it\u2019s a
\nconstruct of the consultants.\u201d<\/p>\n
Bran Kitts, director of marketing and communications
\nfor the city\u2019s Arts & Venues Department, says: \u201cWe
\nare now in the post-conceptual, pre-practical stage.
\nRecommendations on financing and governance are
\ndue to the mayor\u2019s office by the end of the year.\u201d<\/p>\n
\u201cOne of the down sides of the performing complex,\u201d
\nKitts continues, \u201cis that it’s busy on show nights,
\nbut not particularly inviting on dark nights. We are
\nlooking to make the area a focal point, to have good
\ncommunity facilities there, so that people feel they
\nhave a standing invitation to visit.\u201d<\/p>\n
As to the need to tear down Boettcher, Kitts identifies
\nproblems such as its flawed acoustics, staging and
\nsetup problems, and lack of attendance.<\/p>\n
\u201cIf they\u2019re not full to begin with now, you scale them
\ndown,\u201d Kitts says. \u201cYou take some of these complaints
\ninto account, and you also look into the future. What
\ndoes the technology look like? That factors in. We
\nhave to think about younger audiences, not just
\nolder audiences, and not just the musicians, but
\nthe patrons and fans.\u201d<\/p>\n
Kern says, \u201cWe need a home. We are happy to
\ncooperate with the city \u2013 as long as people
\ncontinue to listen to us and recognize our needs.\u201d<\/p>\n
The city states that \u201cit is envisioned that the Boettcher
\nConcert Hall will remain operational until after the
\nconstruction of the Music Hall . . . at 14th and
\nArapahoe.\u201d Whether the city is simply trying to
\nmonetize its underused property with its Next Stage
\nplan, or whether it will trigger a new flowering of
\nthe symphony, a fresh intersection between the arts
\nand all of the city\u2019s inhabitants, remains to be seen.<\/p>\n
In the meantime, the symphony will continue to
\nimplement its own revitalization program, playing
\nin the aging confines of its once-state-of-the-art
\nhome, waiting to see what its new digs will look like,
\nhoping that its labor disputes will end, freeing it
\nup to monetize new, non-standard musical opportunities.<\/p>\n
And what about the traditional repertoire? Is the
\ngreat orchestral music of the past doomed to fade
\nout of the cultural conversation? Given the new
\npolitical climate, the future looks bright for neither
\nthe arts nor the sciences. Is the concert hall, like\ufffc
\nthe movie palace, merely a lingering cultural remnant
\nwhere dwindling audiences still fetishize their antiquated
\ncultural ceremonies?
\nSays Mitchell, “We are always lamenting that this tradition
\nis going away, but it’s not. Did you know that TIME
\nmagazine pronounced the death of classical music?
\nThey did! \u2014 in 1961.”<\/p>\n
It appears that the Colorado Symphony will continue
\nto roll with the punches.
\n========================
\nII. US DEPARTMENT OF JUSTICE TO APPEAL 100% LICENSING AGREEMENT<\/p>\n
The US Department Of Justice has confirmed it will appeal the
\nimpromptu court ruling that overturned its decision on whether
\nor not American collecting societies BMI and ASCAP must
\noperate a 100% licensing system.
\nAll you consent decree fans out there will remember that
\nwhen the DoJ reviewed the regulations governing the
\ncollective licensing of song rights by American performing
\nrights organisations BMI and ASCAP, it concluded earlier this
\nyear that both societies should be offering 100% licences.
\nBut the two societies, and pretty much every American
\nsongwriter and music publisher, insisted the government
\ndepartment had got it wrong, wrong, wrong.<\/p>\n
Under a BMI licence, 100% licensing would mean that a
\nlicensee would be able to use any song in the society\u2019s
\ncatalogue, even if BMI only controlled a slice of said song.
\nTraditionally the licensee would need a separate license
\nfrom whichever entity or entities controlled the other
\nslices of a co-owned work, which might be ASCAP or
\nsmaller American PROs SESAC or GMR. Under the 100%
\nlicensing system, BMI would receive all the royalties and
\nwould then need to pay the other societies their share.<\/p>\n
As soon as the DoJ confirmed its conclusion on this point,
\nASCAP said it would lobby Congress on the issue, while
\nBMI took the matter to court. In September, at what was
\nexpected to be hearing to discuss the time tabling for
\nthat court case, the judge who oversees the BMI consent
\ndecree, Louis Stanton, reached an immediate surprise
\njudgement, ruling in BMI\u2019s favour. The DoJ had got it
\nwrong with all that 100% licensing nonsense, and BMI
\nwas perfectly entitled to operate the opposite system,
\naka fractional licensing.<\/p>\n
The DoJ\u2019s appeal means that Stanton\u2019s interpretation
\nof BMI\u2019s consent decree will now be considered by the
\nSecond Circuit court. BMI said on Friday that the
\ngovernment agency\u2019s decision to appeal the ruling
\nwas \u201cdisappointing\u201d but not a surprise. BMI boss Mike
\nO\u2019Neill added: \u201cWhile we hoped the DoJ would accept
\nJudge Stanton\u2019s decision, we are not surprised it
\nchose to file an appeal\u201d.<\/p>\n
He went on: \u201cIt is unfortunate that the DoJ continues
\nto fight for an interpretation of BMI\u2019s consent decree
\nthat is at odds with hundreds of thousands of
\nsongwriters and composers, the country\u2019s two
\nlargest performing rights organisations, numerous
\npublishers and members of the music community,
\nmembers of Congress, a US Governor, the US
\nCopyright Office and, in Judge Stanton, a federal
\njudge. We believe Judge Stanton\u2019s decision is
\ncorrect and look forward to defending our position
\nin the Court Of Appeals for the Second Circuit\u201d.<\/p>\n
Rival PRO ASCAP backs BMI on this issue, the
\nassumption being that if a court rules in BMI\u2019s
\nfavour on 100% licensing, the same principle
\nwill have to be applied to its consent decree.
\nIts CEO, Beth Matthews, said this weekend: \u201cThe
\nSecond Circuit\u2019s ruling in this case will affect the
\nrights of more than a million American songwriters
\nand composers, thousands of whom have expressed
\nstrong opposition to the DoJ\u2019s position, and we are
\nhopeful the court will affirm Judge Stanton\u2019s decision\u201d.<\/p>\n
She concluded that \u201cASCAP looks forward to resolution
\nof this matter as we continue to advocate for modernising
\nthe consent decrees for today\u2019s world\u201d.<\/p>\n
===========================================<\/p>\n
III. NACUSA COMPOSITION SUBMISSIONS FROM EAST COAST MEMBERS<\/p>\n
Plans are being made to sponsor one concert in New York City during
\nthe 2017 spring season. The event will mark and celebrate NACUSA’s
\n84th season.<\/p>\n
The program will feature works by composers who are current members
\nof the East Coast Chapter of the National Association of Composers, USA.<\/p>\n
Composers interested in participating in these programs are invited
\nto submit scores for consideration to:<\/p>\n
MAX LIFCHITZ
\nChair, Program Committee
\nP.O. Box 5108
\nAlbany, NY 12205-0108<\/p>\n
The deadline for the receipt of scores is Thursday, December 1, 2016.<\/p>\n
Compositions for voice, solo instruments and\/or chamber ensembles will
\nbe considered.<\/p>\n
All scores should be clearly labeled with the name, address, current
\nphone number and e-mail of the composer.<\/p>\n
Please submit xerox copies of scores only. Do not send parts. Include
\na brief up-to-date biographical sketch. If available, please also send
\na CD recording of the submitted work(s). Submitted materials cannot
\nbe returned.<\/p>\n
Composers will be responsible for engaging and paying their performers.
\nComposers will also be responsible for supervising rehearsals and
\nperformance of their work. The East Coast Chapter of NACUSA can only
\nassume responsibility for expenses involved in renting the hall,
\nprinting programs and publicity.<\/p>\n
Current members of NACUSA\u201as East Coast Chapter will be considered for
\ninclusion. Only members who have paid their dues for 2016-17 will be
\nonsidered. Scores should be accompanied by a check for $30 to cover
\nEast Coast Chapter dues.<\/p>\n
Please make check payable to the National Association of Composers,
\nUSA. In the lower left corner of the check, please indicate that
\nit is for East Coast Chapter dues.<\/p>\n
Prospective members are encouraged to submit works, but should do
\nso with accompanying membership fee.<\/p>\n
Composers whose works are selected will be notified by January
\n15, 2017.<\/p>\n
The National Association of Composers, USA will celebrate its
\n84th anniversary during the 2016-17 season. Founded by composer\/
\nconductor Henry Hadley, it began its activities in New York
\nCity during the 1932-33 season.<\/p>\n
Max Lifchitz
\nhttp:\/\/www.music-usa.org\/nacusa
\n<\/p>\n
=========================<\/p>\n
IV. EVENTS<\/p>\n
PHIL NORMAN CD\u2028 Now Available for Purchase<\/p>\n
Since last months formal release by MAMA Records,<\/p>\n
the Phil Norman Tentet’s newest CD has moved up<\/p>\n
from #209 to #20 nationally by\u2028\u2028 JAZZ WEEK CHARTS<\/p>\n
which weekly tracks & monitors jazz CDs radio airplay<\/p>\n
<\/p>\n
To order this NEW CD, \u2028simply e-mail your name and<\/p>\n
address to \u2028PHIL NORMAN and we will mail you a copy.<\/p>\n
Upon receipt submit your check for $20 – it’s that simple.<\/p>\n
———————————–<\/p>\n
<\/p>\n
DEAN AND RICHARD\u2028\u2028\u2028DEAN AND RICHARD<\/p>\n
are now at Culver City Elks the first \u2028Friday of \u2028every month.<\/p>\n
7:30pm-10:30pm,<\/p>\n
11160 Washington Pl.\u2028\u2028Culver City, 90232\u2028\u2028310-839-8891<\/p>\n
————————————-<\/p>\n
LA WINDS JAZZ KATS 584<\/p>\n
NO COVER, NO MINIMUM.<\/p>\n
Every 2nd and 4th Tuesday of the month at Viva Cantina<\/p>\n
7:30-10:00.\u2028\u2028900 Riverside Drive, \u2028Burbank.<\/p>\n
Free parking across the street at Pickwick Bowl.<\/p>\n
Come hear your favorite charts played the way they<\/p>\n
should \u2028be. \u2028\u2028We are in the back room called the<\/p>\n
Trailside Room. \u2028\u2028\u2028Come on down.<\/p>\n
<\/p>\n
Guaranteed to swing.<\/p>\n
——————————–<\/p>\n
11\/26\/16<\/p>\n
String Duo: CONNIE KUPKA & DAVID SPELTZ
\nat the EDENDALE UP CLOSE Concert Series
\nat the Edendale Branch Library\u00a0 in Echo Park.<\/p>\n
2011 W. Sunset Blvd.
\nLos Angeles, CA 90026
\ninfo (213) 207-3000
\nFREE ADMISSION
\nConcert in the Community Room
\nFree parking in the library lot (enter from Alvarado).<\/p>\n
Saturday NOVEMBER 26, 2016
\nTime: Noon to 1 p.m.<\/p>\n
CONNIE KUPKA – Violin, Viola<\/p>\n
DAVID SPELTZ – Cello
\nProgram:<\/p>\n
LUDWIG VAN BEETHOVEN<\/p>\n
Duo for Viola and Cello in E flat major\u2028(“duet with two eyeglasses obbligato”)<\/p>\n
J.S. BACH\u00a0\u2028Suite No.2 in d minor for solo cello, BWV 1008:<\/p>\n
Prelude, Allemande, Courante, Sarabande,\u00a0\u2028Menuet I and II,<\/p>\n
Gigue\u2028\u2028ZOLTAN KODALY\u2028Maestoso e largamente –<\/p>\n
Presto\u00a0\u2028from the Duo for violin and cello, Op.7
\n——————————————-
\n12\/3\/16<\/p>\n
HOLIDAY LIGHTS 2016 – A HOLIDAY MUSIC CONCERT<\/p>\n
7:30 PM<\/p>\n
The Moorpark College is very excited to begin<\/p>\n
the Holiday season at Moorpark College with<\/p>\n
some of the most memorable and popular<\/p>\n
music of the joyous season. As part of this<\/p>\n
celebration, the Moorpark College Symphony<\/p>\n
Orchestra and the Choral Music Program are<\/p>\n
joining their forces to perform wonderful<\/p>\n
Holiday music, including selections from the<\/p>\n
\u2018Nutcracker.\u2019 Moorpark College Symphony<\/p>\n
Orchestra, James J. Song, Music Director and<\/p>\n
Moorpark College Choral Music Program,<\/p>\n
Brandon Elliott, Music Director<\/p>\n
Hornist Jennifer Bliman will be featured on<\/p>\n
the 3rd movement of the Charles Fernandez’<\/p>\n
Horn Concerto.<\/p>\n
Moorpark College PAC – Main Stage
\n7075 CAMPUS ROAD
\nMOORPARK, CA – United States<\/p>\n
——————————————<\/p>\n
12\/7\/16<\/p>\n
FREE ADMISSION GLENDALE NOON CONCERTS
\nfeatures
\nJazz singer KaroliNa\u00a0and
\nPianist Robert Kamil Lewandowski
\nperforming the Great American Songbook.<\/p>\n
Website: http:\/\/www.glendalenoonconcerts.blogspot.com\u00a0(updated shortly)
\nThank you!
\nJacqueline Suzuki
\nCurator, Glendale Noon Concerts
\n818 -249-5108<\/p>\n
—————————————–<\/p>\n
12\/11\/16<\/p>\n
SOUTHERN CALIFORNIA JAZZ ORCHESTRA<\/p>\n
Hello friends,<\/p>\n
This is to let you know that my 22-piece big band,
\nthe Southern California Jazz Orchestra, will be making
\nits debut at the Secret Rose Theater in North Hollywood
\non Sunday, December 11th. We will be celebrating the
\nmusic of Rob McConnell and the Boss Brass as well as
\npresenting some of my new original arrangements.<\/p>\n
Details below:<\/p>\n
Charlie Ferguson presents
\nthe Southern California Jazz Orchestra
\nperforming live at<\/p>\n
Secret Rose Theater
\n11246 Magnolia Blvd.
\nNorth Hollywood, CA 91601<\/p>\n
Sunday, December 11th, 2016
\n7:00 – 8:30 PM (1 set)
\nTickets $20 (now on sale; call 818-970-1703 for more info)<\/p>\n
Saxophones\/woodwinds: Kim Richmond, Dan Kaneyuki,
\nBilly Kerr, John Yoakum, Tim McKay
\nTrumpets: Stan Martin, Jon Papenbrook, Ron Barrows, Ron Stout
\nTrombones: Scott Whitfield, Andy Martin, Erik Hughes, Craig Ware
\nFrench horns: John Dickson, Suzette Moriarty
\nPiano: Charlie Ferguson
\nGuitar: Dan Ferguson
\nBass: Chris Conner
\nDrums: Ralph Razze
\nPercussion: Billy Hulting, Linda Michelou
\nplus special guest Jacques Voyemant, trombone<\/p>\n
There is plentiful parking on side streets in the area and in
\nlots near the venue. This will be a fun night of music so
\nmake plans to join us.<\/p>\n
Charlie<\/p>\n
———————————————<\/p>\n
\nYou can read all previous offerings at:<\/p>\n
http:\/\/www.responsible47.com<\/p>\n
<\/p>\n
UNTIL NEXT TIME,<\/p>\n
THE COMMITTEE FOR A MORE RESPONSIBLE LOCAL 47<\/p>\n","protected":false},"excerpt":{"rendered":"
11\/25\/16 I. COLORADO SYMPHONY LOOKS UP – AND SEES MORE CHALLENGES II. BMI RESPONDS TO DOJ APPEAL OF FRACTIONAL LICENSING RULING III. NACUSA COMPOSITION SUBMISSIONS FROM EAST COAST MEMBERS IV. EVENTS …Absolutely guaranteed anonymity – Former Musician’s Union officer …The one voice of reason in a sea of insanity – Nashville ‘first call’\u2028scoring musician […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-314","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"http:\/\/www.responsible47.com\/index.php?rest_route=\/wp\/v2\/posts\/314","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.responsible47.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.responsible47.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=314"}],"version-history":[{"count":0,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=\/wp\/v2\/posts\/314\/revisions"}],"wp:attachment":[{"href":"http:\/\/www.responsible47.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=314"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=314"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=314"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}