Call for Works for the 2019-2020 Concert Season 

The deadline for submitting works to the NYCC Program Committee (Tania León, Chair, John de Clef Piñeiro, Max Giteck Duykers, Hubert Howe and Dary John Mizelle) will be December 31, 2018.  Members may submit only one score, with exceptions as noted below.  The work should have been written in the last five years, although you may submit an older work, especially if it has not yet been performed.  Pieces should be under 15 minutes in length, although a longer work may be submitted (see below). 

You must be a member of the New York Composers Circle in order to submit a work.

Scores should be submitted in PDF form via email, but if you are unable to do this, we will also accept printed copies.  Please email a PDF copy of the score to Hubert Howe (Hubert.Howe@qc.cuny.edu) or mail one copy of your printed score to 

Richard Brooks

365 Bridge Street, Apt. 12E

Brooklyn, NY 11201 

While recordings are not required, we encourage you to send either a CD along with your printed score or an MP3 file if you send the work by email.  Either live performances or MIDI realizations are welcome.  If you have a recording of only part of the work, that is also acceptable.  Please include your estimate of the duration of the piece.  No parts are needed until they are requested by the producer of the concert.  If a recording is available on YouTube or another web site, you may simply include the URL.

Important: PDF files may be submitted as email attachments, but recordings should be submitted using a file-transfer service (like WeTransfer or Hightail) or by sharing a Google Drive or Dropbox folder (and scores may also be submitted in these ways).

We are introducing a new fee structure for the payment of performers.  The normal fee of $100 per performer will be assumed, but when works are submitted, the Program Committee will scrutinize the piece and will consider asking for higher fees depending on the length and difficulty of the piece.  The standard fee of $100 will provide the composer with a normal amount of group rehearsal for the piece.  If more rehearsal time is needed, the composer may be asked to pay $150 or $200 per performer, which will guarantee more rehearsal time.  The actual amount will not be determined until we consult with the performers, and that will not be possible until we engage the performers next season.

We are also allowing the submission of works in progress and of longer, multi-movement works.  If you would like to submit a work that is not yet complete but which you feel that you can finish within a reasonable amount of time, you may do so provided that you:

            (1) give the complete instrumentation that you expect;

            (2) submit the portion of the piece that you have completed, with an estimate of when you expect to complete the piece;

            (3) state the anticipated duration of your piece; the ultimate duration cannot exceed this limit.

In submitting a work in progress, you are making a commitment to finishing the piece. 

We are also allowing members to submit a work that exceeds the 15-minute duration limit.  This will require that the composer pay double the amount of the composer’s fee, because you will be displacing another composer who might have appeared on the concert.  Higher per-instrument performer fees may also be needed due to the length of the work.

You may submit a potentially difficult or long or uncompleted piece in order to see what we may estimate the fees to be, but if the costs turn out to be too much for you to bear, or if you don’t think you can finish a work in progress, then you may submit a second piece that will substitute for the original submission.

The Program Committee will assign accepted works to concerts based to a large extent on their instrumentation, since this gives us the opportunity of using a small number of highly qualified performers for each concert.  Please keep in mind that it is the responsibility of the concert producer to hire the performers for each concert.  If, however, you wish to use performers of your own choice, for instance because the work was dedicated to particular performers, you must advise us of your intentions when you submit the work.

The Program Committee will meet in January to select the scores and arrange programs for the next season.

Emeritus Professor Hubert S. Howe, Jr.

Aaron  Copland School of Music

Queens College C.U.N.Y.

Flushing, New York 11367

(929) 344-2209

https://www.huberthowe.org/