Dear fellow IAMIC members,
As I write this, the IAMIC Board and secretariat are making final preparations for our meeting at Classical:NEXT in Rotterdam, where I look forward to seeing many of you. We will host a public networking meeting bringing together an expert and varied panel to discuss and compare approaches to export and international promotion activities, followed by informal drinks and snacks at the IAMIC stand. (Those of you with us last year in Vienna will recall how enjoyable that was, so we hope to make it even more fun this year….) IAMIC’s Board will also be having some discussions with the Board of the European Music Council (a member organisation of the International Music Council), specifically about the potential for deeper collaboration between the two networks.
We will also of course have our Spring Meeting in Rotterdam on 23 May, and I look forward to further discussion there about practical ways in which we can help each other achieve success in working internationally. I am also keen to begin a discussion about how we can work together in a structured way to think about how we grow and better understand our audiences, particularly in a fully emerged digital world: a subject which, as many of you know, I’m very passionate about.
So I look forward to some good discussions with some great colleagues - and to feeding back to the wider network afterwards. As ever, drop me a line if you have any thoughts or ideas regarding IAMIC and our activities, it’s always lovely to hear from you (
All good wishes,
Susanna Eastburn
Chief Executive, Sound and Music

IAMIC out and about

Classical:NEXT, Rotterdam (20 to 23 May 2015)

IAMIC will participate in Classical:NEXT 2015 Rotterdam with a panel session:"Music Export Strategies: How can artists and organisations help themselves to export successfully?"

Chaired by: Susanna Eastburn, IAMIC President
With speakers:
Françoise Clerc - Classical music correspondent, Bureau Export; Director, Diaphonique
Francine Gorman - Editor, Nordic Playlist
Tuomo Tähtinen - Executive Director, Music Finland
Luca Di Bernardo - Project Manager, music:LX
Kostas Moschos - Director, IEMA

The IAMIC global network of music centres exists to promote successful transnational cooperation between music organisations. This session will bring together an invited panel of experts to share real experience in successful export, including tips and tricks to help anyone seeking to develop this activity themselves.

IAMIC expert panel session will take place on 22 May 2015 in Rotterdam.
Time: 11.30-12.15 / Venue: De Doelen - Conference Room 3.
See Full Classical:NEXT 2015 Programme Schedule here.

IAMIC Annual Meeting 2015

This year's IAMIC Annual Meeting, General Assembly & Conference will take place in Basel, Switzerland from 11 to 15 September 2015 hosted by the organisation Fondation SUISA.

IAMIC Annual Meeting 2015 will coincide with the first edition of ZeitRäume Basel Festival "Contemporary Music & Architecture" which will take place from 10 to 13 September 2015.

You can find the Conference Schedule here.

Registation is now open!
Please register before 1 July 2015.

For any questions regarding the organisation of the conference, accommodation or the program please contact:


  • Womex 2015
    Budapest, Hungary | 21-25 October 2015


Register quickly and easily here.
For more information on what registration includes, click here

Register before Friday 19 June to obtain the best-value Smart Rate (255 Euro)!

  • MEDIMEX 2015
    Bari, Italy |29-31 October 2015

-Book your stand by the 30th of June 2015 and get 30% off 
To learn more please click here
For all the details about the costs please click here

-Buy your operator's badge to participate in all professionals activities and networking events
To learn more about please click here

-Showcase your artists at Medimex 2015
To send your showcase proposal please register you in the Medimex website Reserved Area here.

  • 5th European Forum on Music organised by the European Music Council
    Riga, Latvia | 11-14 June 2015

 The 5th European Forum on Music "Access to Music is Digital?" will take place on 11-14 June 2015. On this occasion the EMC 2015 Annual Meeting will also take place on 14 June.
You can register for the Forum and Annual Meeting online here.
Deadline for all registrations is 28 May!


  • Gianni Bergamo Classic Music Award | Call for participants

For 2015, the Gianni Bergamo Classic Music Award
announces a competition for CHAMBER MUSIC.

Competition open to musicians of all nationalities
Age limit: ensemble average age 30 years (maximum individual age 33 years)

Click here to read detailed information about the terms of participation.

Prizes: 25.000 Euro
Deadline for application: May 31, 2015

  • Composition Contest for Young International Film Music Composers | Call for entries

The rules for the composition contest can be found here.

This award was created by the World Soundtrack Academy and is worth €2,500 plus the compositions of the three finalists will be performed by Brussels Philharmonic and Flemish Radio Choir, conducted by maestro Dirk Brossé, during the 15th World Soundtrack Awards, also known as the official closing ceremony of the 42nd Film Fest Gent.

Registrations will be accepted via this link until 10 July 2015.
The composition must be submitted by 10 August 2015.

IAMIC Member news

Australia: Australian Music Centre

The Australian Music Centre recently completed its digitisation project, which has been running since mid-2013.
Funded through a grant from the Federal Government Department of Education and Training, the AMC's 2013-2015 digitisation project set a goal of completing the digitisation of a major part of the AMC's library collection of scores and audio, as well as the AMC's publications and photo archive.

The project target was to add 13,000 new digital objects to the AMC's existing digital collection. During the course of the project (in 2013-2015), 12,508 scores and sets of performance parts were scanned and digitised. Also included in the collection were 1,084 digital audio files, 508 digital images and photographs, as well as 6 archive publications.

A member of the digitisation team, Jane Aubourg |Photo by Anni Heino
A large part of the digitised scores are already available for users through the AMC's website, for instance over 9,000 scores are already available as digital library loans, and over 7,000 audio samples are available for listening and over 7,700 sheet music samples for perusal. More archival publications, photographs, music scores, and audio files will become available online as digitised materials are checked for compliance with our file specifications.

Digitisation Project: Facts and figures
Project target: 13,000 digital objects.
• 12,508 scores, and sets of performance parts scanned/digitised (including 5,425 DSPMs*)
• 1,084 audio files digitised
• 508 images and photographs digitised
• 6 other publications digitised
* Digital Score Production Masters, conforming to PDF/a Version 1(b) standards.

AMC Online (as of 20 April 2015)
• 9,262 scores available for digital library loan
• 7,086 audio samples available for listening
• 7,742 sheet music samples available for perusal
• 12,932 music scores available for sale.
• 3,527 recordings available for sale, as CD, or as MP3 download
• 16,155 products available for sale in total

> See also: Digitisation Project web page (AMC Online)
> Read also: Project coordinator Chris Williams's article about the project

France: Documentation Centre for Contemporary Music

Last month, the Cdmc organized a day session called “Plurielles. Contemporary landscape with female composers”, in partnership with the association Plurielles 34. This day session presented some of the aspects of current and future production of female composers, and seeked to (re)define its position and its impact within French institutions, its outlets for programming, diffusion and teaching. There were round tables, interventions by female composers, philosophers and musicologists, musical interludes and dialogues between the different players in today’s musical life.
See the pictures of the day session on Cdmc Facebook page.

 In April, the Cdmc will be transferred because of repairs of the offices to 218 avenue Jean Jaurès 75019 until the end of 2015. The Centre will be closed to the public during the move from 1st to 20th April included.
More information: 01 47 15 49 86

Greece: Institute for Research on Music and Acoustics

On the occasion of the International Noise Awareness Day (INAD) on 29 April 2015, the Institute for Research on Music & Acoustics (IEMA) and the Hellenic Institute for Acoustics (HELINA) has organised a Conference with the title: "Noise: A problem that needs solutions".

Noise is seriously harmful for your health. This is the bitter truth. Researches have revealed that noise and noise pollution not only reduce the quality of life but also have serious health consequences: it increases stress, affects performance of intellectual work, reduces the ability to concentrate, while it leads to progressive hearing loss and it may also lead to hypertension and cardiovascular diseases and even cancer.

This Conference aims at raising awareness of both citizens and the State to the problems caused by noise. The Conference "Noise: A problem that needs solutions" examined the production of noise, its impact, the tools to confront noise and the legal frame of protection against noise.

The Conference will take place on 20 May 2015 at Polis Art Cafe (Stadiou & Pezmazoglou 5, Athens) from 16:00 to 20:30.

Visit the Center for Hearing and Communication (CHC) and read more about the International Noise Awareness Day (INAD).

Lithuania:Lithuanian Music Information and Publishing Centre

A Video Presentation of George Maciunas CD Release: I Don’t Know What Fluxus Is
 At the very end of 2014 Music Information Centre Lithuania released an album by George Maciunas titled Musical Scoring Systems. Being a part of the Inter Alia series, the album was dedicated to the experimental, the ‘anti-’, the ‘beyond’ or the ‘inter-’ forms of creative self-expression; in other words, it was an endeavor that crossbred dissimilar practices, genres and media or simply presented unconventional types of music, those that intentionally took a stance of being consistently ‘against.’ Evidently, George Maciunas is a pain in the neck when it comes to classifying his music. In his booklet introduction to the album, the poet Žilvinas Andriušis described it as “crossing boundaries, being rebellious, educated, desperate, traumatized, sarcastic, (self-)destructive, apocalyptic and infantile.”
George Maciunas release | Photo by Mantas Savickis 
The unconventionality of the Lithuanian-American artist George Maciunas has permeated almost every aspect of the release, from the rhizomatic artist figure, controversial compositions, eccentric attitudes of the performers, unconventional instruments to perversions in liner notes, experimental design and a CD format that is quite outside the box. The insistent initiator behind Maciunas’s Musical Scoring Systems was Anton Lukoszevieze, a British musician and artist of Lithuanian descent. Together with his Apartment House ensemble he recorded music compositions by Maciunas, stressing the terms "music" and "composition", even though each piece contained a great deal of ‘do it yourself’ practice. Without putting on a ‘sour face’ and with a kind of religious fervor, Apartment House recorded 8 experimental pieces that at times demanded from the artists to be particularly eccentric. 
The cellist Anton Lukoszevieze visited Lithuania in 2014 around Christmas, during the shooting of a video presentation, which was posted on YouTube in February. Being a practitioner of Maciunas’s music, as well as his unofficial historian, Lukoszevieze confessed in front of the camera (operated by the video artist Džiugas Katinas) that after many years of exploration he still didn’t know what fluxus really was.

Anton Lukoszevieze performs Solo for Balloons | Photo by Džiugas Katinas
Without any superfluous praise, the cellist plainly introduced the idea behind the album and commented on Maciunas’s overall creative language. Moreover, he made a comment about the title Musical Scoring Systems (which in the context of fluxus aesthetics can seem rather paradoxical) and spoke in a fashion intelligible to any curious individual, not only to radical theoreticians. For the YouTube video presentation, Lukoszevieze also performed two works by Maciunas, his Solo for Balloons (1962) and Solo for Rich Man (1962).
The video presentation of George Maciunas’s CD release is available for viewing on the Lithuanian Music Information and Publishing Centre’s YouTube channel. The release of the album was sponsored by the Lithuanian Council for Culture. The partner of the Lithuanian Music Information and Publishing Centre is the Lithuanian Composers’ Union.

New Zealand: Centre for New Zealand Music – SOUNZ

SOUNZ Centre for New Zealand Music champions the music of Aotearoa/New Zealand by collecting and curating resources, connecting them with audiences and collaborating with partners towards shared goals.
2015 is the centenary of Douglas Lilburn’s birth, marking NZ’s very first composer centenary, and SOUNZ will be celebrating along with NZ musician and music organisations. Lilburn (1915-2001), who has been described as the grandfather of New Zealand music, left behind an extraordinary musical legacy. Last year he was posthumously inducted into the New Zealand Music Hall of Fame. You can find a list of Liliburn100 related events at SOUNZ online by visiting

You can watch Lilburn’s posthumous induction to the NZ Music Hall of Fame, including the induction speech by Lilburn biographer Philip Norman, video tributes and performances of Aotearoa Overture, Sea Changes and Welcome Stranger. Or why not have a listen to the second annual Lilburn Lecture delivered by Dr William Dart, recorded by RNZ Concert. Just visit
SOUNZ also has Lilburn related educational resources available and to inspire you further, the SOUNZ catalogue includes extensive examples of Lilburn’s works (151 scores, 33 recordings, 27 related resources) available for hire or purchase.
Photo: Composer Douglas Lilburn in the electronic music studio at Victoria University, Wellington. Further negatives of the Evening Post newspaper.Ref: EP/1969/3689/18-F. Alexander Turnbull Library, Wellington, New Zealand.

Aroha Quartet-RNZ Concert-SOUNZ Recordings project
A new initiative launching this year will see 70 minutes of previously unrecorded string quartets by New Zealand composers become available for free online streaming through SOUNZ and partner websites.

Photo: Aroha String Quartet

The collaboration is between SOUNZ Centre for New Zealand Music, the Aroha String Quartet, Radio New Zealand Concert (RNZ Concert), the Composers Association of New Zealand (CANZ) and Chamber Music New Zealand (CMNZ).

The project was open to all New Zealand composers. The five composers whose works were selected for inclusion are Anthony Ritchie,   Jeroen Speak, Helen Bowater, Alex Taylor and Ross Carey. The recording session will take place in October 2015. You can read the original news here.

Norway: NB noter - National Library of Norway

NB noter became an official member of IAMIC in 2014, and this is our first contribution to the IAMIC Newsletter. NB noter is a continuation of MIC, The Music Information Center in Norway’s sheet music publishing service. The sheet music publishing part of MIC was transferred to the National Library of Norway in 2013, and the service was given the name NB noter. Two employees from the former MIC are now working with NB noter in addition to three employees that came from the National Library.
In 2014 we worked with integrating the service in the library institution. The online catalogue has been given a new visual profile, the sheet music has a new design, and an extensive transfer of competence has been made to the new people involved in the service. It has been an instructive process. We are still learning, and we are working to make the already great service even better. Otherwise it has been “business as usual”, most of all thanks to our two colleagues with 20 and 35 years of experience from MIC.

We have a comprehensive online catalogue of contemporary Norwegian music, and practically all the sheet music has been digitized. However, we so far have had no solution for offering previews of the digital sheet music online. This will be one of our main tasks in the coming year, and is something we have just started to work on at the beginning of 2015. This process will take time, but we eventually start publishing previews of the sheet music (which are not downloadable) and that will increase our ability to bring the music out to all parts of the world.

NB noter is collaborating closely with Music Norway, the institution responsible for profiling Norwegian music abroad. Music Norway was established in 2013, when MIC was shut down.
From April 15th to 18th  NB noter and Music Norway shared a stand at the Musikmesse Frankfurt, exhibiting Norwegian contemporary sheet music from NB noter. This was the first time the two institutions pooled their resources in order to showcase music by Norwegian contemporary composers to an international market.
Karen Rygh | Photo by Ingrid Romarheim Haugen
We are also very much looking forward to attending the IAMIC spring meeting, and classical:NEXT in Rotterdam in May.

Please visit our web page for more information and to browse our catalogue:
Ingrid Romarheim Haugen

Poland: Polish Music Information Centre

Share & Learn 2015: Audience Development Conference and Workshop
March 24-25, 2015, Warsaw, Poland

The Polish Music Council in cooperation with the European Music Council organised a conference and a workshop on audience development. The term “audience development” has received much attention lately, but the concept has been utilised by cultural operators for a long time. Recently, the EU Commission announced that increased access to culture is one of the priorities of the Creative Europe Programme, and has thus put a strong focus on audience development.
 Audience Development Workshop, Warsaw | Photo by PMC
The Warsaw events were held in a new cultural centre amidst beautiful greenery located out of the centre of the city. They gathered around a hundred and fifty people from Poland and all over Europe. The speakers included, among others: Sarah Boiling from the Audience Agency in London, Richard Slaney (Philharmonia Orchestra), Chris Denton (Southbank Centre), Sonja Greiner (European Choral Association “Europa Cantat”) and Karel Bartak, Head of Culture Unit, European Commission. The programme featured a project presentation: “I create, therefore I am”, a music workshop with the active participation of  Warsaw primary school pupils, as well as “Guildhall School of Music and Drama – Audience Development in Practice”.
The Polish Composers’ Union (which runs the Polish Music Information Centre, POLMIC), in its role as a founding member of  the Polish Music Council, was a special guest of the Audience Development Conference and Workshop. “Share & Learn 2015” was also attended by Susanna Eastburn, President of the International Association of Music Information Centres. It is worth mentioning that audience development is the theme of a project submitted by IAMIC to the European Commission as well as of the NewAud project with a number of MICs participating.  

Electronic Geographies at O'culto da Ajuda
March 27-28, 2015, Lisbon, Portugal
The Polish Music Information Centre POLMIC participated in the “Electronic Geographies” concert series organised by the Portuguese Music Research & Information Centre. The programme included electroacoustic compositions, historical and contemporary, “performed” by the Loudspeaker Orchestra. The pieces had been submitted by eight Music Information Centres in Europe, localised in Croatia, Cyprus, the Czech Republic, Greece, Latvia, Poland, Portugal, and Slovenia. POLMIC selected three works, which represent a brief survey of the history of Polish electroacoustic music.  
Włodzimierz Kotoński’s (1925- 2014) Study on One Cymbal Stroke was completed in 1959 as the first autonomous Polish composition for tape. It was produced at the Experimental Studio of the Polish Radio, founded in November 1957 as the fifth electronic music studio in Europe and the seventh in the world. From one stroke of a Turkish cymbal, used as a point of departure, the composer derived different series of sound colours mainly by filtering the sound and transposing it to different registers. The editing itself, with the equipment then available at the Experimental Studio of the Polish Radio, was – as the composer recalled – an extremely painstaking process, which required great precision in joining the pieces of recorded tape. Featured at the Warsaw Autumn in 1960, Kotoński’s Study subsequently appeared at many events both in Poland and abroad and also found its way into textbooks, where Włodzimierz Kotoński is treated as one of the leading Polish composers of new music and his work is regarded as a classic of music for tape.

Włodzimierz Kotoński at the Experimental Studio of the Polish Radio (SEPR), 1970 | Photo by Andrzej Zborski
The history of Polish electroacoustic music is also to a considerable extent the history of the Experimental Studio of the Polish Radio. All Polish composers of electroacoustic music worked there, as also did many composers from abroad, among others Franco Evangelisti,  François-Bernard Mâche, and Arne Nordheim. The Studio ceased its activity in 2004, but by that time every composer had developed a studio on his or her own computer.

The most frequently repeated opinion about Solitude of Sounds (1975) by Tomasz Sikorski (1939-1988) is that it is one long sound lasting for over twenty minutes. The more daring among the listeners regard the composition as an example of extreme minimalism, only one step from Cage’s 4’33”. Such slogans may be catchy, but they are far removed from the truth. It is a work characterised by an extraordinary wealth of colours and an in-depth, “maximalist” exploration of the structure of sound.
Sikorski paid much attention to the right positioning of the sound equipment. Only a precise projection of sound and complete silence can create conditions in which it is possible to hear the nuances teeming deep under the surface of a dense and muted sound mass. Originally, the composition had a four-channel version and only by listening to this version can we discover its author’s consistently pursued idea: the sound, swelling throughout the work, slowly moves around the listeners, it comes closer to them, “corners” the audience and, at the end, dies away into silence. A “flat”, two-channel version was made probably for the needs of the radio and, though it remains the best known for technical reasons, it obviously lacks this particular effect. That is why when listening to the work, it is worth bearing in mind the spatial dimension of its original version.
Solitude of Sounds was produced at the Columbia-Princeton Electronic Music Center in New York, where Sikorski worked on a U.S. Government scholarship (Senior Fulbright Program) in 1975-76.
Kalina Świątnicka composed her piece Il rumore del silenzio in 2014. As she says, “it was inspired by Luigi Russolo’s manifesto L'arte dei rumori of 1913. It confronts the futurist text with the contemporary sound landscape, noise of civilisation and fast rhythm of life. Apart from quotations taken from Russolo’s work, the composer used fragments of statements given by students from the College of Europe in Warsaw on the idea of noise and silence, made in 11 languages: Georgian, Spanish, Polish, Italian, Basque, French, Danish, Arabic, Turkish, Ukrainian, and German. The sound structure also combines clarinet and percussion timbres with sounds of the surrounding environment, including the common midwife toad (Alytes obstetricans).”
Twenty-seven-year-old Kalina Świątnicka is currently a student of Lumière University in Lyon (Université Lyon 2) at the department of Music Applied to the Visual Arts (Musiques appliquées aux arts visuels), where she develops audiovisual projects in cooperation with film and animation schools (Ecole Factory, Supinfocom, Ecole Emile Cohl, ESIA 3D).

Portugal: Portuguese Music Research & Information Centre

Miso Music Portugal . 30 Years!
O'culto da Ajuda in Lisbon
May 21 to 30, 2015
In 2015 the Música Viva Festival, taking place between May 21 and 30 at O’culto da Ajuda in Lisbon, completes its 21st edition and celebrates the 30th anniversary of Miso Music Portugal.
Once again, following its vision and main mission, the Festival constitutes an integrated initiative focused on the dissemination of contemporary music creation, simultaneously being committed to Portuguese composers and the relations of music with technology.
The Música Viva 2015 presents the broadest ever representation of Portuguese music, with 50 pieces by Portuguese composers, within the approximately 70 works of its complete programme.
The Festival includes 18 concerts, as well as installations, dance, video, poetry, courses, workshops and meetings.
Additionally, the Música Viva International Composition Competition, the hosting of EASTN (European Art Science Technology Network) and the partnership with MINSTREL, provide not only close collaborations with various artists, but also open the Festival essentially inside Europe. Giving evidence to the vitality of new music creation, the Festival’s programme embraces 18 world-premieres, as well as numerous Portuguese first performances.

The Música Viva 2015 Festival constitutes a vibrant collection of diverse ideas and aesthetics; promoting new ways of expression and approaching the audience; as well as creating opportunities for emerging artists.
For the Festival´s complete programme follow this link: Música Viva 2015

Slovakia : Music Centre Slovakia

The 25th Allegretto Žilina Festival  (until 2013 known as the Central European Music Festival), organized by the Music Centre Slovakia, will be held from 13th  to 18th April 2015 in Žilina – a cultural and industrial centre of the North Slovakia. The festival – an unique showcase of the top most young international talents (mainly from the Central Europe), who have reached considerable achievements and were awarded at various prestigious music competitions – invites them to play solo recitals or performances accompanied by renowned orchestras particularly from Slovakia.
Visitors of the jubilee year of the festival can enjoy excellent performances of such outstanding young musicians as Josef Špaček (the finalist of the Queen Elisabeth Music Competition in 2012), Alexandre Esperet (the laureate of the Tromp Percussion Competition in 2012),  Yordan Kamdzhalov  (laureate at the Jorma Panula International Conducting Competition in 2009), Anna-Victoria Baltrusch (finalist at the International Music Competition of the ARD in Munich in 2011), Pablo Barragán (laureate at the International Music Competition of the ARD in Munich in 2012), Antonii Baryshevskyi (laureate of the International Arthur Rubinstein Piano Competition in 2014), Gergely Madaras (finalist at the 52nd Besançon International Competition), and the Mucha Quartet (laureate at the Antonín Dvořák International Chamber Music Competition in 2014).  

Additionally, through masterclasses, the festival also provides a significant outlet for contact with other first-class young performers from Europe (this year with Anna-Victoria Baltrusch and Mucha Quartet). It enables greater familiarity with the music and performing arts of our neighbours and some other European countries as well as facilitates greater interaction. It also brings an opportunity to enrich cultural values within conferences – this year the festival hosts the 2nd Czech-Slovak Meeting of Music Professionals. The festival consists mainly of classical music, but the organiser has made an effort to further broaden horizons with more new music.

In collaboration with the Latvian Music Information Centre, and in the framework of the EU project MINSTREL, the composer Pēteris Vasks has been invited to attend Slovak première of Presence, his second concerto for cello and string orchestra, performed by the young Latvian cellist Kristaps Bergs with the Sinfonietta Bratislava (artistic director violinist Pavel Bogacz, Jr.)

Slovenia: Slovenian Music Information Centre

SIGIC has had a busy period, full of activities under a new management.
We have finished an important project of FundaMENT – first series of workshops for musicians, bands and music managers (35 participants from all over Slovenia) who were preparing themselves to present at MENT ( MENT was the first show-case festival and conference, taking part in Ljubljana from 4 – 6 February, organised by MENT, Kino Šiška and Sigic.
A project of our first classical compilation - The process of putting together the double-CD compilation Klasika Slovenia: Orchestral Works Vol. 1 has finally come to a conclusion. It features a hand-picked selection of the most exquisite classical music masterpieces penned by 20th-century Slovenian composers, outstanding musical works by Anton Lajovic, Slavko Osterc, Marjan Kozina, Primož Ramovš, Uroš Krek, Marijan Lipovšek, Lucijan Marija Škerjanc, Matija Bravničar, Demetrij Žebre, and Zvonimir Ciglič. Compositions selected from archive recordings are performed by the Slovenian Philharmonic Orchestra, the RTV Slovenia Symphony Orchestra, the RTV Ljubljana String Orchestra, and the RTV Ljubljana Chamber Orchestra, under the direction of maestros Uroš Lajovic, Samo Hubad, Marko Munih and Simon Krečič with violinist Igor Ozim and the Slovenian String Quartet in the role of soloists. The accompanying informative essay, written by Dr. Gregor Pompe, Assistant Professor at the Department of Musicology of the Faculty of Arts, Ljubljana, sheds additional light on these musical masterpieces. 
Accompanying booklet to the compilation CD Klasika Slovenia (pdf, 560 KB)

We have started a new project. After our very successful Jazz and Ethno compilations, we issued a call for new jazz compositions. The results were surprising, even for us. We had submissions of 35 new pieces. A selection from them will be made by a jury and will be released on a new Jazz compilation 2015.

Toxic Psalms project | Photo by Dorian Šilec Petek
Among our most successful musicians performing abroad we have to mention the female vocal ensemble Carmina Slovenica. Their project Toxic Psalms was presented in New York and described in the press as "vibrantly theatrical, genre-blurring, unusual in its techniques, eclectic in its musical style and politically charged" (
The choirs' next tour will be to Moscow, to the prominent performing arts festival Golden Mask within the festival’s programme CONTEXT through which the festival presents high-quality foreign productions that give an insight into the diversity and the reality of theatre. Since 2012, Carmina Slovenica has been performing in German composer Heiner Goebbels's internationally acclaimed project, When the Mountain Changed its Clothing. The project, produced by Ruhrtriennale, will have its 28th performance in the Moscow theatre P.N. Fomenko Workshop. 
A video film of the choir was also accepted among the Video showcase presentations at the Classical:Next in Rotterdam. Attendees of  Classical:Next will have the opportunity to meet and talk with their conductor, Karmina Šilec, in person (

President of the Republic of Slovenia Borut Pahor recently decorated Carmina Slovenica with the Silver Order of Service for its "extraordinary contribution to the Slovenian and international music culture".

UK, Wales: Tŷ Cerdd

Tŷ Cerdd Records Launch Party in New York
Tŷ Cerdd Records launches the CD of Under Milk Wood: An Opera at the Opera America Centre, New York, 27 February 2015  
 Tŷ Cerdd Records launched its latest CD in New York on February 27, 2015, at OPERA America's National Opera Center. Under Milk Wood: An Opera was composed by eminent Welsh composer John Metcalf using a libretto based on Dylan Thomas’ famous radio play for voices. Metcalf’s opera enjoyed a successful live tour of Wales in April 2014, commemorating the centenary of Thomas’ birth, in a collaboration by Welsh and North American organisations: Taliesin Arts Centre (Wales); Le Chien Qui Chante (Canada); Companion Star (USA); and the Welsh National Opera.
New York was chosen for the U.S. launch because of Dylan Thomas’ significant connection with the city. Under Milk Wood was completed and premiered there in the spring of 1953. He died in New York in November that year. The play was performed in the city again that same year as a tribute to the dead poet.
The launch included live performances by three members of the original cast of the 2014 Welsh tour: Karina Lukas (soprano), Michael Douglas Jones (baritone) and Wyn Davies (tenor and Musical Director). The New Zealand soprano Amelia Berry also performed one of the opera’s most affecting moments, "Polly Garter’s Aria." That performance can be viewed on Tŷ Cerdd’s YouTube channel. Photo: Left to right: Carwyn Jones (First Minister of Wales), Wyn Davies (musical director), Michael Douglas Jones (bass-baritone), Katrina Lucas (mezzo soprano), Danny Lopez (British Consul General to New York).
The CD of Under Milk Wood: An Opera was recorded by Tŷ Cerdd Records at St German’s Church, Cardiff, in April during a three day break in the 2014 tour. The South Wales Evening Post reviewed one of the tour performances in Swansea:
Cover of the Under Milk Wood: An Opera, illustration by Sir Peter Blake.

Whisper it, but John Metcalf might have achieved the seemingly impossible. With Under Milk Wood: An Opera, the Swansea-born composer has taken Dylan Thomasuntouchable play for voices and, by setting it to a soundtrack of such expressive beauty, might – just might – have made it better.
Tŷ Cerdd would like to thank Taliesin Arts Centre, Companion Star and Frank J. Oteri (New Music USA) for helping to make this launch event possible.
Tŷ Cerdd Records is the music production arm of Tŷ Cerdd: Music Centre Wales. Its aim is to record, publish and promote music from and made in Wales. Other recent releases by Tŷ Cerdd include: Seven Poems of Stillness composed by Hilary Tann, performed by cellist Guy Johnston; Songs of Wales performed by Stuart Burrows; and Bagatelles by Daniel Jones and Béla Bartók, performed by Llŷr Williams. These recordings can be found at the Tŷ Cerdd online shop and other major digital outlets.
For further information, please contact

United States: New Music USA

Things Keep Moving at New Music USA
There are lots of things happening here! In May, New Music USA will be hosting two public events. The first, on May 19, is a NewMusicBox LIVE showcase featuring talks and performances from three very different musical creators: saxophonist/sound experimentalist Matana Roberts, Grammy and Grawemeyer Award-winning composer Joan Tower, and polystylistic singer/songwriter Gabriel Kahane. The event, which is free and open to the general public, will take place at SubCulture, a unique New York City music venue that combines the best qualities of a club and a concert hall. We will return to SubCulture two days later on May 21 for a benefit cocktail party, dinner, and concert which will feature performances by a broad range of New Music USA Project Grant recipients: 2014 MacArthur fellow Steve Coleman; PRISM Saxophone Quartet with Rudresh Mahanthappa; flute/piano duo RighteousGIRLS performing works by Andy Akiho and Pascal Le Boeuf; and Wet Ink Ensemble. Benefit ticket prices range from $175 to $1000.

New Music USA’s latest round of Project Grants just closed on April 1, 2015. There were a total of 1,246 applicants of which 1,091 will continue on to be vetted through a peer review process involving 36 panelists from all over the country. Awards can range between $250 and $15,000. With a continued desire to impact the greatest possible breadth of artists and informed by valuable feedback we’ve received from the field, we will be placing continued emphasis on small grants requesting $3,000 or less. More information is available on the New Music USA website. Julia Wolfe’s oratorio Anthracite Fields, which was commissioned through our Commissioning Music/USA program in 2011, has been awarded the 2015 Pulitzer Prize in Music on April 20, 2015. More details can be found in the news report on NewMusicBox.

Other recent highlights from NewMusicBox include a conversation with iconic German-born composer Samuel Adler which has had over 4800 site visits thus far, a report on the current new music scene in Pittsburgh, and a series about being a composer at a commercial music production company. In May, we are featuring extensive profiles of three jazz vocalists spanning three generations and three completely different backgrounds—Sheila JordanFay Victor, and Jen Shyu.

Finally, New Music USA has moved offices as of April 13, 2015. We are still in Lower Manhattan’s historic Financial District, but we are now at 90 Broad Street, a 25-floor office building with an ornate Beaux-Arts lobby that was built in 1930. Although we all love history, New Music USA is about nurturing and advocating for new creations. So in that spirit, the staff got together on the weekend before we moved in to create a striking original mural comprised of pieces from discarded musical instruments (pictured above); it is the first thing you see when entering our new office space!


President: Susanna Eastburn (Sound and Music)
Vice President: Ed Harsh (New Music USA)
Secretary: Michalis Karakatsanis (Cyprus Music Information Center)
Treasurer: Kostas Moschos (Institute for Research on Music & Acoustics)
Urs Schnell (Fondation SUISA pour la musique)
Signý Leifsdóttir (Iceland Music Information Centre)
Gwyn L. Williams (Ty Cerdd: Centre for Welsh Music)


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