The 5th Young Composerʼs Competition
The winning piece has been decided!
“SOL D’Oriente Fantasia for string quartet”composed by Fabio Luppi
Thank you to everyone who applied.
Selected works will have their world premiere at the“MUSIC FUTURE VOL.11”
“SOL D’Oriente Fantasia for string quartet”composed by Fabio Luppi
Thank you to everyone who applied.
Selected works will have their world premiere at the“MUSIC FUTURE VOL.11”
“SOL D’Oriente Fantasia for string quartet” by Fabio Luppi
- Fabio Luppi
- Fabio Luppi was born in San Giovanni in Persiceto (Bologna) in 1992, he studied piano at the G.B. Martini Conservatory in Bologna under the guidance of Maestro Carlo Mazzoli from the age of 8. Since then, he has studied chamber music, composition, choral conducting, and brass band, and in 2019 he obtained a specialization in Harpsichord with top marks and honors.
He has also won numerous national and international piano competitions in piano duo performance. Furthermore, as a composer, he has received numerous awards in national and international competitions, including the Abbado Prize and a scholarship from the Zucchelli Foundation.
Since 2013, he regularly gives piano concerts in Italy, Spain, Belgium, Japan, and the United States. His works have been recorded and released by various record labels. In addition to his musical activities, he teaches harmony theory and analysis at the Conservatory of Rovigo.
Comments from the judges *In alphabetical order
In each movement, multiple characters are sometimes juxtaposed, sometimes multilayered, and the composition as a whole is pleasantly composed, which is highly commendable.
Kenji Ashimoto (Associate Professor, Kunitachi College of Music)
Very interesting ideas with lots of harmonics. It certainly requires a super ensemble with a lot of rehearsal days.
Masato Suzuki (Conductor, composer and clavier player)
It is a brilliantly written piece that uses up all of the String Quartet’s capabilities.
YCC in Music Future has many minimalist compositions, but this piece is written in the manner of so-called dissonant contemporary music.
Still, the precise writing of each part is very convincing.
However, the sound coming out of it does not change much.
If you are going to compose three short pieces, you might want to study Webern and others.
Be that as it may, it is a brilliant technical achievement.
YCC in Music Future has many minimalist compositions, but this piece is written in the manner of so-called dissonant contemporary music.
Still, the precise writing of each part is very convincing.
However, the sound coming out of it does not change much.
If you are going to compose three short pieces, you might want to study Webern and others.
Be that as it may, it is a brilliant technical achievement.
Joe Hisaishi (Composer)
Demo tracks for those who passed the first screening
Divertimento for string quarte
by Roydon Hoi Chak Tse
The high degree of perfection is outstanding.Although the idea itself is not extraordinary, I appreciated the fact that it was written with a solid writing style.
Kenji Ashimoto (Associate Professor, Kunitachi College of Music)
Enjoyable music with Stravinsky-like touch.
Difficulty balance is also nicely designed but it might need a little slower tempo.
Difficulty balance is also nicely designed but it might need a little slower tempo.
Masato Suzuki (Conductor, composer and clavier player)
Very well written. Such a light contemporary piece would be acceptable to many. The basic motif is also good. However, I feel that the first theme after several parts is a very classical composition and not very fresh.
I suggest that you explore a method that is a little less concerned with harmony.
I suggest that you explore a method that is a little less concerned with harmony.
Joe Hisaishi (Composer)
String Quartet No.2 “Little Prelude in Peach Blossom and Tangram’s Dance”
by Yikun Qi
The music is full of passion and passionate sound, and the listener can feel the power of the music. The development of the music lacks a bit of freshness, which is regrettable.
Kenji Ashimoto (Associate Professor, Kunitachi College of Music)
Interesting minimal music with a lot of character.
The sound is very complicated and therefore it needs a great quartet.
The sound is very complicated and therefore it needs a great quartet.
Masato Suzuki (Conductor, composer and clavier player)
This piece is a contemporary piece with a minimalist musical language based on “repetition”. The same tone pattern and resonance in the first piece is a bit heavy for me. It reminds me of Philip Glass’s words, “Minimalism is not about repetition, but about change.”
The second piece is also well written, with no lapses in writing style. I would suggest a little more experimentation.
The second piece is also well written, with no lapses in writing style. I would suggest a little more experimentation.
Joe Hisaishi (Composer)
Wooden toys
by Jiho Jeon
This is a work that shows a skillful way of carrying music.
I hope to see more progress on the mediocrity of “production” and the “lack of scrutiny” in each gesture.
I hope to see more progress on the mediocrity of “production” and the “lack of scrutiny” in each gesture.
Kenji Ashimoto (Associate Professor, Kunitachi College of Music)
Loved the setting, loved the Balinese sound.
It might be nice to check the marimba part with the player to get the groove smoothly.
It might be nice to check the marimba part with the player to get the groove smoothly.
Masato Suzuki (Conductor, composer and clavier player)
It is a light piece of music. The minimalistic sound pattern of the marimba continues, but it should be noted that when the melody appears, the sound pattern quickly becomes like an accompaniment. At the same time, it also sounds old-fashioned, as if it were written a generation ago.
However, it is important for a composer to write this long. Since you have a solid technique, you should try more avant-garde challenges.
However, it is important for a composer to write this long. Since you have a solid technique, you should try more avant-garde challenges.
Joe Hisaishi (Composer)
When I Was A Child… for Ensemble
by Jaemin Jung
During the Judging, this is the best work that made me want to hear the actual performance in a hall. It has created a unique sound world.I do not deny the idea of using so-called motifs, but I regret that the latter half of the piece left me wondering if there were any more ideas to be found.
Kenji Ashimoto (Associate Professor, Kunitachi College of Music)
Enjoyed the bright A Major color and also the haphazard rhythm which seems to be rather hard to play, though.
Masato Suzuki (Conductor, composer and clavier player)
The first half of the piece proceeds around a sixteenth-note, perpetuum mobile pattern that is taken over by the violin and viola, but the oboe, clarinet, and contrabass that intertwine with it create subtle changes that are interesting.
The rest of the piece is full of variety, including a minimalist canon and a rhythmic canon, but I think that the piece would be stronger if a few more elements were cut down and the focus concentrated on a single material.
The rest of the piece is full of variety, including a minimalist canon and a rhythmic canon, but I think that the piece would be stronger if a few more elements were cut down and the focus concentrated on a single material.
Joe Hisaishi (Composer)
Outline for application
※Applications are now closed.
Thank you very much for your applications.
Thank you very much for your applications.
- Call for entries
- The piece should be attractive with fresh image, and be performed by real musicians, not machines.
Not only the minimal music style, but also experimental works are most welcomed.
Moreover, it is expected to have a good connection with the audience.
- Instrumentation
- Quartet to sextet from the instrument chart
- Only works that can be performed without a conductor will be accepted.
Also, the works deemed not possible to perform will not be accepted. - Please refer to the following ” instrument chart” for the instruments to be used.
- Use of amplifiers, electronic instruments, or recording materials such as tapes is not allowed.
- Only works that can be performed without a conductor will be accepted.
- instrument chart
- 1 flute, 1 oboe, 1 clarinet, 1 bassoon, 1 horn, 1 trumpet, 1 trombone, 1 percussion, strings(1-1-1-1-1)
- Duration of the piece
- About 7 minutes
- Qualification
- We welcome any nationality, any gender around 35 years old. (No application fee)
- Download outline for application
About Judge
- invitation
- The winning piece will be premiered at MUSIC FUTURE Vol. 11 (7/25 & 26 at Kioi Hall), and the winner will be invited to the concert.
* Transportation and lodging will be subsidized for distant winners.
- Reward
- Best Original Score JP 300,000 yen
- How to judge
- One winner will be selected based on unnamed scores and sound sources provided by the candidates.
- judges
- Joe Hisaishi, and others to be announced.
- Announcement of results
- The results of the final judging will be announced on the official website in mid-June.
Submission・Application method
- Submission
- ①Application form *fill in the blanks
②A copy of full score
- Please state only the name of the piece title and instrumentation.(Do not put your name on the score).
- The score must be made by computer software or your hand writing to be read clearly.
- Smaller than A3(=297×420mm)size and do not bind.
- Performance time and the tempo (by metronome)must be indicated clearly.
- Indicate the rehearsal number or measure number and the page number.
④Music notes *Please submit in Japanese or English
Notes- The piece you submit must be your original, new(unreleased) and not published yet.
- We do not accept the piece that has already submitted to other organization.
- All or part of the submitted works may be made public during the judging process or for archival purposes.
- In principle, award winners must attend the rehearsal (date to be determined) and the performance (July 25 & 26).
- The Organizer makes all the parts and possess them after the concert.
- The copyright of the award-winning works belongs to the composer. After the award decision is made, a license agreement will be concluded between the organizer and the composer.
- Deadline for application
- All materials must arrive by May 30, 2024 *Submissions will not be returned.
- Contact・Application destination
- ＜For email attachments＞
＜For post＞
Young Composer’s Competition Management Office C/O Wonder City Inc.
202 Nishiazabu-house, 4-20-3 Nishiazabu, Minato-ku,Tokyo,106-0031 Japan
※The data name must be the title of the work. Please do not include the name of the applicant in the data name.
※All attachments should be in PDF format, and mp3 or WAV source data is preferred. Uploaded URL is acceptable.