2001 Prize Winner
enneth Frazelle has won the 2001 Barlow Prize, a $10,000 commission to write a new sacred song cycle that will be premiered in 2003 by Erie Mills, renowned soprano. Mr. Frazelle is artist-in-residence with the Los Angeles Chamber Orchestra and the Santa Rosa Symphony and currently teaches at the North Carolina School of the Arts. Mr. Frazelle was also recently awarded a Goddard Lieberson Fellowship from the American Academy of Arts and Letters. Jeffrey Ryan, an affiliate composer with the Toronto Symphony Orchestra who teaches at the Royal Conservatory of Music, received an honorable mention.
Other Commissioning Programs
he Endowment awarded nearly $40,000 in its other annual commissioning programs to nine composers, who were commissioned to compose pieces for the following ensembles, listed below.
Murray Boren’s Wind Octet, commissioned for the Belarus Wind Octet, was premiered in their USA tour in the Spring of 2001.
Tully Cathey, 1998 Barlow Competition winner, premiered his Motherchord in January 2001 with the Utah Symphony, Keith Lockhart conducting.
Stephen Jaffe’s Homage to the Breath was performed on November 10, 2001 by the 20th Century Consort at the Smithsonian’s Hirshorn Museum and Sculpture Garden.
Kurt Rohde’s work for Emil Miland (cello) and Eric Zivian (piano) was premiered in the Spring of 2001.
Jeff Manookian’s Concerto for Flute and Orchestra was premiered on October 5, 2001 in Maurice Abravanel Hall (Salt Lake City). James Michael Caswell conducted with Laurel Ann Maurer as soloist. The second movement was performed at the Madeleine Festival (Salt Lake City) in the Spring of 2001. In September Mr. Manookian and Ms. Maurer recorded the Concerto with the Armenian Philharmonic Orchestra, to be released on the Albany Records label early in 2002.
C. Curtis-Smith’s A Farewell…(Les adieux) was premiered in June, 2001 at the Epic Center, Kalamazoo, sponsored by the Gilmore International Keyboard Festival. The work was also performed at the 33rd International Horn Symposium at Dalton Recital Hall, Western Michigan University, and by the Fontana Concert Society in Shelbyville, Michigan.
Mack Wilberg’s Two Carols was premiered in December, 2001 by the Bach Choir of Pittsburgh.
Chen Yi’s Ning was performed in Carnegie Hall in May, with Colin Jacobsen, violin; Yo-Yo Ma, cello; and Wu Man, pipa.
I am pleased to announce two important developments that will impact the Barlow Endowment for years to come. First, the Board of Directors has decided to focus the LDS Composer Commissions each year. For 2002, that focus will be on young LDS composers. Applications received from LDS composers under the age of 35 will be given special consideration in 2002. The Endowment hopes this focus will encourage young LDS composers who are in the earlier phases of establishing themselves in the world of composition. Composers over the age of 35 are still encouraged to submit applications and will be considered as always.
The second development is the addition of $25,000 more, each year, for commissions. This welcome increase has come about through the capable efforts of Alice Barlow Jones, the Barlow family ex-officio member of the Board of Directors; and Newell Dayley, Chair of that Board. This new money will make it possible for the Endowment to offer more commissions to more composers.
We hope the unfolding of these two new developments will increase interest in the Endowment. Ultimately, both are designed to support composers and the creation of new music.
L ast year the Endowment provided scholarship money for eleven composition students, ranging from freshmen to masters candidates. Several of these students have now been welcomed into prestigious graduate composition programs elsewhere (e.g., Columbia); furthermore, one student is doing film soundtracks for a Utah firm, another is working with music for the Discovery Channel, and yet another recently won the composition contest for the Guild of Carillonneurs in North America. We are so grateful that the Endowment makes it possible for so many gifted young composers to focus more intensely on their creative work.
While scholarships were the largest expenditure from the Education Grant, other funds were used to host some excellent guests. Avant-garde violinist Bodil Roerbech taught our students about writing for strings and also performed a stunning recital of new works for violin and electronics by contemporary European composers. One of the nation’s most respected theorists, Charles Burkhart, taught us all about formal devices. Noted American film composer Paul Chihara (whose two last assistants at UCLA were former Barlow scholarship recipients) taught the students about the complexities of writing for hire. And the outstanding percussion group Talujon not only taught us about percussion writing but also performed a brilliant evening recital that featured a newly commissioned work by new BYU faculty member, Steven Ricks.
Finally, faculty members not only received generous support for the composition and presentation of their work—e.g., making copies of scores and CDs to send to prospective performers—they also traveled, perhaps most notably in the case of Michael Hicks, who attended a six-day seminar with master composer and conductor Pierre Boulez at Carnegie Hall in May.
Our deepest gratitude, as always, to the Barlow Endowment for enabling the wonderful progress of composition in the BYU School of Music.
Barlow Board of Advisors
Barlow Board of Directors
K. Newell Dayley
Alice Barlow Jones
Scott M. Boyter