2014 Awardees

Congratulations to Andrew Hsu
Young Composer Competition Winner

Tribeca New Music Young Composer Competition
"Dedicated to broadening public appreciation of new American music”
NY Daily News
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Andrew Hsu

Congratulations to Andrew Hsu of California

His Solo Violin Sonata has won the 2014 Young Composer Competition.
A native of the San Francisco Bay Area,
Andrew Hsu began showing signs of musical talent as early as five years of age, but did not begin to take formal piano lessons until he was seven years old. Composition lessons quickly followed less than two years after, and improvisation a year after that. He continued to excel at school during this time. Today, Andrew is an extremely versatile musician and "new music junkie", and enjoys various musical activities, including chamber music, improvisation, teaching, musical outreach and collaborations with other modern art forms.

In addition to his dedication to music, Andrew's interests outside of music are vast, including but not limited to literature, philosophy, history and mathematics.
Recipient of numerous awards and grants,
Andrew is a 2014 Gilmore Young Artist and a critically acclaimed composer and pianist. Currently residing in Philadelphia, Andrew pursues an Artist's Diploma in music composition at the prestigious Curtis Institute of Music, where he holds the Rising Star Annual Fellowship.

As the winner of the Tribeca New Music 2014 Young Composer Competition, Andrew will receive a $1,000 award, and his piece,
Solo Violin Sonata, will be performed at a date to be determined on the Tribeca New Music 2014 season.

2014 Runners Up
Congratulations to everyone who participated in this national competition. In addition to the winning piece, Tribeca New Music wishes to acknowledge some of the other exceptional works that were entered:

• The Honorable Mention category recognizes the top tier of composers who were in contention to win.
• The Emerging Composers category recognizes those who have shown great promise with their entries.

Honorable Mentions (In alphabetical order)
Chung Hon Michael Cheng for his The Four Elements
Eric Fegan for his Captivate, Coexist and Separate
Max Friedman for his Mnemiopsis
Jack Hughes for his Action Potential
Sharif Labban for his Koyo (Autumn’s Changing Leaves)
Daniel Rudin for his Caccia
Sean Michael Salamon for his June Dances

Emerging Composers (in alphabetical order)
Sofia Belimova for her Crossing
Eleanor Bragg for her Serenade for Violin and Piano
Brandon Anthony Bruscato for his A Dream Lost
Stuart Ross Carlson for his Life Dance
Dominic Coles for his To Know Beans
Nicholas Davies for his La Jolla
Nigel Deane for his This Bewildering: Puzzle I’m working on
Noah Diggs for his Grief
Kaylee DuPont for her The Cave
Tamzin Elliott for her Semester Abroad
Stella G. Gitelman Willoughby for her Prayers, Three Movements for Clarinet and Piano
David Hiester for his 2013 is still Baroque String Trio #1, Opus #6
Solomon Hoffman for his Build
Emilla Poma for her Life
Will Rowe for his Murphy’s Law
Victoria Vasta for her Stirred

Young Composer Competition
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Note: 2015 Guidelines will be officially posted next month.
Preliminary Guidelines are below.

Tribeca New Music (formerly the New York Art Ensemble) announces its 16th Annual Young Composer Competition. Its two-fold purpose is to encourage outstanding young composers in America and to provide a prominent forum for their recognition.

1) Award and Performance

The winning composer will receive
• a $1,000 cash award
• a professional performance of the winning score on the
Tribeca New Music 2015 Festival
• a recording of the performance.

This award is presented at the sole discretion of the TNM Board of Directors.

2) Eligibility

• All composers, who are U.S. citizens or permanent residents,
born after December 31,1992 are eligible.
• Note: Former winners of the Young Composer Competition are not eligible.

3) Submission Guidelines

• Pieces may be written for solo, duo, trio, quartet, or quintet (from one to five performers).
• Instruments may include the following: flute (piccolo, alto flute), clarinet (bass clarinet), oboe (English horn), bassoon (contra bassoon), saxophone (soprano, alto, tenor, baritone), French horn, trumpet, trombone (bass trombone), tuba, percussion, piano, violin, viola, cello, bass.
• Acoustic works that utilize electronic/computer music accompaniment are also acceptable.
• All music must be no more than fifteen minutes in duration.

4) Submission Items
• a legible, bound, full score
• an audio recording of the piece on a CD (a computer realization is acceptable if no live performance or studio recording exists)
• a biography, with current address, e-mail address, and phone number
• a stamped, self-addressed envelope, if you want your music returned
• a copy of the
Competition Cover Sheet--click here: YCC Cover Sheet

5) Entry Fee and Deadline

• The entry fee is $25.00 per work entered.
• Make checks or money orders payable to Tribeca New Music, Inc.
• All entries must be
postmarked no later than Friday, January 9, 2015.

Tribeca New Music, Inc. is not responsible for lost or damaged material.
The winning composition will be announced on website Friday, February 20, 2015.

Send entries or written inquires to:

Tribeca New Music
Young Composer Competition
640 West 139th Street, Suite #60
New York, NY 10031

You may e-mail questions to:


Past Winners
2013 Scott Etan Feiner
Emily Cooley
Dylan Mattingly
Chris Rogerson
William Zuckerman
Stephen Feigenbaum
Tudor Dominik Maican
Michael Brown
Eric Nathan
Sebastian Chang
2003 Suspended because of 9/11
2002 Suspended because of 9/11
Evan Johnson
2000 David Vitale
1999 Maya Levina
William J. Lackey


General Suggestions
A number of young composers have asked for a critique of their music. It's not practical to answer everyone individually, but we will offer some general suggestions, both technical and musical.

Score: You are the score. When you enter a score that looks bad (hard to read, stapled together, notation on only one side of the page, original pencil manuscript, not spiral bound, etc.), it sends a negative message. It says that you don't care about your music. And, that effects the attitude of the musicians who evaluate and perform your work--i.e., “If the composer doesn't care, why should I?” So, make your scores look professional. Even if you feel unsure of yourself, make the score and parts easy to read, spiral bound, and well thought out with logical page turns. The best way to kill a rehearsal of your music is to have an illegible score and parts. Musicians will spend more time asking questions about the score (“Is this an e or an f?”) rather than playing your music.

Music: Use strong ideas. It doesn't matter if your piece starts soft or loud, fast or slow, you should present strong, compelling ideas--music that makes a definite impression, catches one's imagination, and then does something with it.

Harmony: Harmonic language is all over the map in the 20th and 21st century. And that's great--lots of possibilities. So when you delve into a new harmonic world, make sure you figure out what to do with it. We see music that starts out with very unusual and interesting harmony, but doesn't know where to take it. It becomes static and lost. Evaluate the harmonic language you're using. Experiment with it. Learn what it is that creates tension and resolution within that language.

Style: Some of you ask, “What kind of style are you looking for?” We see all sorts of musical style and language. Our objective is to select good music--music that works. The best music is usually informed by a well-trained and intuitively driven musician. Use the musical language that best fits what you want to get across. _______________________________________

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