1999 Prize Winner
he winner of the 1999 Barlow International Orchestra Competition is Kevin Puts. There were over 300 entries from across the globe, and the high quality of submissions was unprecedented. Kevin, who has recently received his degree of Doctor of Musical Arts at Eastman School of Music, will compose a 15- to 20- minute orchestral work to be performed in January 2002 by The Cincinnati Symphony Orchestra and The Utah Symphony Orchestra.
Other Commissioning Programs
he Endowment also granted awards in its commissioning programs to nine other composers, who were commissioned to compose pieces for the following ensembles, listed below.
|General Commission Recipients||Piece||Premiering Ensemble(s)|
|George Arasimowicz||Bursting While Colors Bloom||Harp Solo|
|John Costa||Perception||NOVA String Quartet|
|Richard Festinger||Crossfire||San Francisco Contemporary Music Players|
|Robert Maggio||Forgiving our Fathers||San Sylvan
|Kurt Rohde||Six Character Pieces for Viola and Piano||Emil Miland
|Carlos Sanchez-Gutierrez||…Voici, le Bateau pour les Calanques||Left Coast Chamber Ensemble|
Murray Boren’s Band Dances received its world premiere on March 31, 1999, performed by the Brigham Young University Wind Symphony.
John Costa’s NOVA String Quartet was performed March 19, 2000 by the NOVA Chamber Music Series at the All-Saints Episcopal Church in Salt Lake City.
Jeff Manookian’s Concerto for Flute and Orchestra’s second movement was premiered April 30, 2000 at the Cathedral of the Madeleine in Salt Lake City with flutist Laurel Ann Maurer and conductor Joel Rosenberg. The complete premiere is scheduled for March of 2001 with the Salt Lake Symphony.
Maija Einfelde’s 1997 commission work, Psalm 15, was performed by the Brigham Young University Singers as part of a five-week goodwill tour in the Spring of 1999 in England, Jordan, and Israel. The tour concluded with its hallmark performance in New York’s Carnegie Hall.
Osvaldo Golijov’s Lua Descolorida was premiered by Dawn Upshaw in April 1999 as part of the Brigham Young University Performing Arts Series.
Lansing McLoskey’s Wild Bells was performed at the Salt Lake City Temple Square Concert Series June 30, 1999. The piece for viola and piano was performed by Leticia Oaks Strong and Timothy Durkovic, respectively.
David Kechley’s new cello concerto, Flow: Transcending Passages for Cello and Orchestra, was performed by the Seattle Symphony on May 5, 2000 with cellist Walter Gray.
David Dzubay’s 1996 commissioned work Sun, Moon, and Rain, was premiered by the Saint Louis Orchestra in April 2000 under the baton of James DePreist.
Marie Nelson’s Concerto for Cello, Harp, Percussion, and Strings was performed in Alice Tully Hall in the Lincoln Center, New York on March 24, 1999 by the Concordia Orchestra. The concerto was also recorded by Concordia and will be released at a future date by MMC.
Eric Whitacre’s When David Heard was performed as part of a five-week goodwill tour by the Brigham Young University Singers in the Spring of 1999 in England, Jordan, and Israel, with a final performance in Carnegie Hall. The piece has been published by Walton Publishing Co.
Joseph Schwantner’s poetic piece for horn and orchestra, Beyond Autumn was premiered by the Dallas Symphony Orchestra in the Fall of 1999.
James Primosch’s Holy the Firm was premiered by Dawn Upshaw, renowned soprano, in April 1999 as part of Brigham Young University’s Performing Arts Series.
N ow that the Barlow Endowment has a new Executive Director, it seems appropriate to reflect on the accomplishments of the past seventeen years under the supervision of Merrill Bradshaw, the outgoing Executive Director.
During his tenure, the Barlow Endowment commissioned 105 composers to write 120 new works that were performed by 104 different ensembles. Renowned composers such as Samuel Adler, Dominick Argento, John Harbison, Bernard Rands, Joseph Schwantner, Joan Tower, and Augusta Read Thomas have received Barlow commissions. The piece for which Melinda Wagner won the 1999 Pulitzer Prize was commissioned by the Barlow Endowment. Major American orchestras, including those of Atlanta, Baltimore, Chicago, Cincinnati, Philadelphia, and St. Louis, have performed Barlow commissions. Other distinguished performing ensembles such as the Mormon Tabernacle Choir, the Kings Singers, and the St. Paul Chamber Orchestra have been involved as well. The magnitude of these successes is staggering.
Both Merrill and I have known for some time that I would be succeeding him as Executive Director. He has taken me under his wing showing me the ropes. I’ve known Merrill for 21 years. He interviewed me before I accepted my current faculty position at BYU. I knew then, here was an intellect and force to be dealt with. I have watched his exuberance and devotion to the objectives of the Endowment’s Charter since its inception. I cannot “replace” Merrill; but we share an excitement and commitment to the cause of new music. The Endowment’s stature and position in the world has been secured because of Merrill’s energetic leadership over the past seventeen years. He has made a difference.
B ecause nearly all of our graduate students completed their degrees last summer, we spent only a small amount of this budget on scholarships—around $1,200.
That was a curse and a blessing: a curse because our graduate program suddenly became emaciated, a blessing because we now could be more flexible with how the money was spent. We ended up focusing the money on two aims: getting outside composers to BYU and inside composers out of it.
As usual, we spent some funds for faculty to travel to conferences or performances. But more frequently we spent money to produce scores, dub performances, and disseminate such things to an unsuspecting world. I get glimmers of knowledge mostly from former BYU students who are now graduate students elsewhere-that the reputation of BYU as a center for new music is growing.
We also, as usual, applied our resources toward readings and performances of student works. But one of the best things we did for our students was to provide a “field trip” for several of them in October. Visiting the Moab Music Festival, the students not only heard premieres of works by Lukas Foss, Peter Lieberson, and others, but actually got to have their own private quasi-master class with Lieberson. This was a revelatory experience for several, and Lieberson was exceptionally gracious with his time, wisdom, and advice.
Meanwhile, we sponsored campus visits by Jonathan Kramer and Claude Baker during this semester. Both gave lectures to the entire School of Music, presented their music in a more technical way during our composition seminar, and gave master classes. These visits, like the field trip, greatly impressed the students, based on the frequent mentions and reminiscences we hear.
Sister Packer once was asked what she saw as her role in life. She replied, “Making happy memories.” I think, to some extent, I see our Barlow-Education Grants-role as similar to that. Between the excursions we sponsor and the guests we import, we are making happy—and lastingly illuminating—memories for the fine students and faculty we have. And what else, ultimately, is money good for?
As we move into the next calendar-year budget, we look forward to several new projects, including a Barlow CD featuring the works of none other than me, your humble (and appreciative) servant.
Barlow Board of Advisors
Barlow Board of Directors
K. Newell Dayley
Alice Barlow Jones
Scott M. Boyter