The competition intake is now closed. Thank you to all who submitted scores and aided in spreading the word.
We announced our winner, Montréal-based composer/pianist Edward Enman, on September 17, 2020. Read the full press release here.
Call for Scores
The Canadian Chamber Choir (CCC) is soliciting innovative submissions for a National Choral Composition Competition. In response to the COVID-19 pandemic that has altered our world and especially in-person choral singing, we are looking for compositions that transcend the current limitations of singing together – choral music that is performable by singers spread throughout Canada. This competition is open to Canadian citizens or permanent residents. The CCC strongly encourages composers of diverse backgrounds and experiences to submit works for consideration.
Compositions should leverage technological supports but not rely solely on a ‘virtual choir’ platform. Choral innovations could include, but not be limited to: a combination of pre-recorded and live material, conducted and/or unconducted processes, and the use of other technologies which would be readily available to singers. The composition should be 2-4 minutes in total length and written for a cappella mixed chamber choir (divisi possible, 20 singers minimum). The winning composition will demonstrate a thoughtful, creative use of technology to create a choral piece that unites geographically separated singers and expresses emotions experienced by artistic communities during the pandemic.
This is the 3rd Choral Composition Competition sponsored by the Canadian Chamber Choir. Our mission is to celebrate and champion Canadian choral music by engaging in a diverse musical narrative that strengthens the choral community. Our Canada 150 competition was won by Alberta composer, Garrett Krause for his composition, “The Maple.” The song is featured on our recently released album, Seasons of Life and Landscape and is published by Cypress Choral Music.
The deadline for submissions is September 1, 2020. The winning composer will receive a $2,000 cash prize as well as a virtual performance of their work, in consultation with the CCC Artistic Team.
Guidelines
The piece must be for a cappella SATB chamber choir (with or without divisi parts) **Singers will NOT be able to be gathered in one geographical location. Individual singers will be located all over Canada.**
- Submissions must be a single piece, 2-4 minutes in length. Multi-movement pieces will not be accepted.
- Composers must have secured the legal rights to the text(s) set or the text must be in the public domain.
- Composers submitting works must be Canadian citizens or permanent residents.
- PDF is the only format that will be accepted. No paper manuscripts please.
- Submissions must be original compositions. Arrangements will not be accepted.
- Submissions must not have been previously performed, published, or commissioned.
- Please ensure the composer’s name does not appear anywhere on the score.
Each submission requires a $25 application fee, payable by e-transfer to [email protected].Update – June 2020: The CCC has decided to waive its $25 application fee in recognition of any financial challenges that applicants may be facing at this time.Composers may submit more than one composition but the application fee is required for each piece.
Click here for a printable summary of the competition guidelines in English.
A French translation can be found here.
For more information, please email the CCC General Manager.
To submit a piece for the competition, please email the submission to [email protected].
Frequently Asked Questions
Why are you commissioning a new work? Why not just make a Virtual Choir video?
The COVID-19 pandemic has turned the world upside-down, creating particular challenges and limitations in the field of performing arts. For the foreseeable future, the Canadian Chamber Choir singers will be unable to convene to make music together in the the way they have been doing for 20 years – so we are looking to create an entirely new experience that feels innovative, collaborative, and artistically gratifying even from a great distance.
We also encourage you to consider the audience’s experience as well. Your composition should sound its very best being executed via long distance – or perhaps even require distance for an ideal performance. Composers should use the Canadian Chamber Choir’s geographical spread to their advantage and create an emotional effect and/or musical impact that simply wouldn’t be possible without it. The piece should be designed for the Internet rather than the concert hall, using the challenge (read: opportunity) of the current pandemic almost as an instrument unto itself.
Can you define “technological supports” and “creative use of technology”?
Our main intent in using these terms was to indicate the need for some sort of software or digital platform(s) (i.e. Zoom, telephone, pre-recorded video, voice memo app, etc.) in order to connect our singers geographically and enable a performance of the piece. However, that is not to say that additional interpretations (including electroacoustic textures, for example) will not be considered.
At the very essence of this call, we are looking for something that goes beyond a typical virtual choir performance/rehearsal model; a piece that has the technology serving the music or as part of the music, and is part of the compositional concept of the piece. (Please note: We are not looking for a stop-gap to make a traditional choral piece ‘work’, or a virtual choir ‘cover’ of another idea that the composer would have preferred to be performed in person if the circumstances were better.)
Does the piece have to be entirely a cappella? Am I permitted to use other sounds?
Our singers form an a cappella ensemble and will provide their voices from afar. How you use those voices, whether you engage them separately or simultaneously, what you pair with them, and/or the textures you choose to play off of them, are up to you – along with any interplay between our singers and other sounds in a live and/or pre-recorded form.
However, we are looking for something that puts our singers at the centre of the experience, rather than having the choir serve as a ‘window-dressing’ or secondary background texture on a primarily electroacoustic piece, instrumental piece, etc.