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YOUNG COMPOSERS COMPETITION EMOTIONS Hi everyone! Last year’s winter competition was a little bit laid back so I thought about doing a similar thing this time. Instead of stories, we’re going to do what artists do best and express our emotions! This may sound like a little bit of a happy-go-lucky competition idea, but it’s simply meant to be relatively freeform, but specific enough where the composer should learn a little bit more about themselves, and the listener should learn a little more about them. I hope you all enjoy looking within yourself and showing us all how your life plays out through emotions… what drives you, motivates you, and forces you away. Let your music do its job! ELIGIBILITY: *You must be a member of the Young Composers forum in order to enter. Sign ups will be in the comments below. *There will again be no limits to instrumentation, but a smaller ensemble is encouraged, for a more personal feeling. Extra points will not be given for smaller ensembles. *The minimum length for this competition will be 6 minutes. The maximum is 30 minutes. *You must have some sort of audio rendition accompanying your work, otherwise your entry will be disqualified. *A score is required, but is not as heavy a focus as previous competitions. If you want to enter and are not proficient at engraving, message @Monarcheon. *If you volunteer to be a judge, you may not enter as a contest participant. *Entrants should have an intermediate understanding of engraving and orchestration. *Entrants may only submit one work. RULES AND SCORING: Submit a score that represents and answers the following questions: “How does this emotion feel within me?” | “How do I outwardly express this emotion?” Competitors are expected to deal with at least 3 emotions throughout the piece. This can either be in programmatic sections or in one arc-like movement. Here, much like last time, you will be judged on your ability to effectively develop thematic material (/25), and your ability to answer the two questions in such a way where the audience can understand it (/25). The more technically based compositional aspects are judged here. These aspects include score quality (/10), audio file quality (/10), and orchestration (/15). Finally, submit a written component answering the above two questions for every emotion you deal with in the piece (/15). This should include what techniques you used to demonstrate certain aspects of each, keys, styles, or anything else you feel is prudent. You are graded on how easy it is to match your written description and you piece. TOTAL: /100 Deadline for Intended Entry: March 10th Deadline for Piece Entry: March 17th Scoring Deadline: March 20th PRIZES: All entrants receive detailed feedback on their works. The winner’s piece will be placed in the YC Competition Hall of Fame. It is possible that winners receive a full year’s subscription compensation to Sibelius, but we are still working on that (THIS FINAL PRIZE IS NOT GUARANTEED). HAVE FUN WITH THIS!! Good luck! Judges: @Monarcheon @MusicianXX12 Entrants: @oingo86 @Noah Brode @Rabbival507 @Gustav Johnson @celloman99 @Some Guy That writes Music

Hello! [Partly the description in the program booklet and youtube video] Maarten Bauer – Melodrama No.1 ''The End of His Story Started Here,'' Op. 45. 11th of August 2017 Dedicated to all the victims in concentration camps during World War II. The music begins at circa 2:00 On the 18th of November 2017 (one of the) most prestigious composition competition(s) in the Benelux took place: Prinses Christina Compositie Concours. I submitted my Melodrama No.1 ‘’The End of His Story Started Here’’ and to my surprise I won the first price of competition! I cannot express my gratitude for the judges, the performers (Trio Burlesco+) and the audience! Furthermore I would like to thank the other participating composers for the amazing experience and relaxed atmosphere during the stressful day. Description This melodrama uses the poem, which I have written in 2014 (see the text below), based on John Boyne’s astonishing book The Boy in the Striped Pyjamas. This composition is composed for the Trio Burlesco and a soprano and a percussionist (Trio Burlesco+). The text and music strengthen each other, so none of the two can be omitted. The innocent soprano is both narrator and singer and she symbolizes the actions, the emotions and the thoughts of the main character in the poem: Shmuel. Shmuel is a Jewish boy, who has just arrived in Auschwitz, which is called Out-With by Boyne. He does not know where he is and he cannot find his family, consisting of his father, mother and his big sister, whom I called Anat, which means ‘singing.’ The motivation for me to write such a heavily-weighted piece, namely an innocent young boy who will probably die in a Nazi concentration camp, is because I noticed that people in my surrounding realize less and less that freedom and peace are not obvious. It is the greatest gift that we can live in freedom and peace in the Netherlands. I noticed that this important consciousness gradually drains away by the years. Therefore I wanted to compose a piece, which remembers us that we have to be grateful for the lives we now live and that the indescribable terrible crimes may never be repeated. When I wrote the poem, my tears flowed. When I composed the Melodrama, my tears flowed. And now again, my tears flow, because this may never happen again. Never. https://christinaconcours.nl/alles/9667/

Hello everyone, Thank you to all the entrants for your hard work in completing the Summer 2017 Competition! The judges -- Maarten Bauer and myself -- have also worked very hard since the submission deadline to provide you with helpful critiques and commentary. Detailed commentary will be posted below. Everyone should be proud of themselves for their good work. Without further ado, here are the final scores for the Summer 2017 Competition: - Monarcheon: (TIED FOR FIRST PLACE) Maarten Bauer: 40 / 50 Noah Brode: 44 / 50 TOTAL: 84 / 100 - Punintentional: (TIED FOR FIRST PLACE) Maarten Bauer: 40 / 50 Noah Brode: 44 / 50 TOTAL: 84 / 100 - Luis Hernandez: (THIRD PLACE) Maarten Bauer: 37 / 50 Noah Brode: 42 / 50 TOTAL: 79 / 100 - Gustav Johnson: (FOURTH PLACE) Maarten Bauer: 35 / 50 Noah Brode: 40 / 50 TOTAL: 75 / 100 - luderart: (FIFTH PLACE) Maarten Bauer: 32 / 50 Noah Brode: 35 / 50 TOTAL: 67 / 100

Hello everybody, You may have already seen the two other topics about this quartet. One is about the sketch, which I had to make for the selection rounds of the composition competition. The other one was about how to create a climax and how to continue and finish the piece. Finally, I have finished the piece and to be honest I hate it. I have heard it so many times and it was terribly hard to finish the piece and include a climax. @Luis Hernández I hope that there are more vertical lines and there is a clear climax. The piece is about Europides' Medea. More information in the PDF attached to this post. The notes on page still have to be changed. There are a few themes and motives exposed in the beginning and during the piece I develop them in many ways. I have, for example, included a Fugato structure, where the theme is a based on a motive in the beginning. I am very sorry that the instruments sound so fake. . . If anybody knows a decent soundfont for saxophone (quartet), please let me know! Thanks for listening! Feedback and comments would be very nice! Maarten

Young Composer’s Spring 2017 Competition Spring is in the air! This competition is going to be a little different than most others, and will be a based on the following scenario: A regional chamber orchestra is commissioning composers to orchestrate three spring months, specifically March, April, and May, from Pytor Ilyich Tchaikovsky’s piano work, The Seasons Op. 37a. The orchestra has the following instrumentation available: 2 Flutes (both can double piccolo) 2 Oboes (2nd oboe can double English horn) 2 Clarinets (Bb, A, Eb, bass clarinet doublings allowed) 2 Bassoons (2nd Bassoon can double Contrabassoon) 3 French Horns 2 Trumpets 1 Trombone 3 Percussionists (including timpani) 1 Harpist 8 1st Violins 7 2nd Violins 5 Violas 4 Celli 2 Contrabass TOTAL of 44 players The orchestration of all the movements must feature at least 14 players from the orchestra. Entries that exceed the instrumentation listed above (44 players) will be disqualified. Please try to keep the instrumentation as consistent as possible for all three movements. To enter this competition you must meet the following requirements: Be a member of YC Signal your desire to enter by May 15th by commenting on this thread. At the time of submission, submit a score with proving that you meet the instrumentation requirements (NO EXCEPTIONS), and an audio mockup (MIDIs are acceptable). We also want members of this site to volunteer their time to judge. If you do volunteer, I ask that you have some working knowledge of orchestration. Entries will be scored on the following (these guidelines are somewhat general at the moment, but might be expanded upon later): Orchestration - How well does the entrant write for his chosen ensemble? Does the entrant exploit different colors through different instrumental combinations? Does he add any originality to the work? 35 PTS Instrumentation - How well does the entrant write for each specific instrument? 30 PTS Quality of Score 25 PTS Quality of Audio 10 PTS TOTAL 100 PTS Please observe the following deadlines: Signal to enter or volunteer to judge: May 15th, 2017 Entries must be submitted by June 4th, 11:59 PM EST I have attached a PDF of the three movements in question to this thread. Happy orchestrating, and good luck! DO NOT SUBMIT ENTRIES ON THIS THREAD Entrants: 1. Monarcheon Judges:

Hello everyone, This is my very first post here on youngcompers. I would like to have your feedback on one of my latest music "broken" which is a very, very short instumental music. This piece is part of my new project called "Non-sense" where I try to push music to the absurd and unbearable levels, but still maintain a musical structure. I hope you like it! For more pieces like this visit my blog : http://antimusicale.blogspot.pt/