The New York Women Composers’ annual Seed Money Grant Program awards grants of $1,000 each for concert projects that include a substantial commitment to the performance of music by NYWC members. (Note: This is not a commissioning grant.) Application details will be circulated in mid-April of each year.
Applicants may be solo performers, ensembles or presenting organizations. Applicants do not need to be members of New York Women Composers, and the concerts are not required to take place in New York State.
Concerts for the grant period must take place from September of the application year to December of the following year.
For concert grant applications, we offer two possible formats:
- Focused Concert: Presentation of a concert featuring the works of three or more composer-members of New York Women Composers for at least half of the project’s time-length. At least one of the NYWC composers chosen must be new to the performers.
- Disseminated performances: Performers or ensembles may instead choose to perform works by a minimum of five different NYWC members during their performance season, on two or more concerts. At least two of the NYWC composers must be new to the performers.
Call For Scores
The music to be presented will be chosen from a call for scores circulated on behalf of the grant recipients by NYWC. Although many composers do list works in the members’ online catalog on NYWC website, please be aware that this list is not complete, so a general score/recording call is preferred (either physical scores or PDFs) over catalog-only selection. The concert organizers choose the music they wish to play according to their tastes.
We ask that composers receive notification of rehearsal schedules with the option to attend at least one rehearsal; that printed programs be provided with information on the composers and the pieces, and if vocal music, song texts; and that performers vet the venue prior to booking to make sure it is suitable and that the acoustics and piano (if applicable) are suitable for the performance.
Finances and Project Completion
Seed Money Grant awards are $1,000. Any financial proceeds from the concert go directly to the organizers, not to the New York Women Composers organization. The selected composers do not have to pay any money to the organizers for the performance of their works. New York Women Composers is not responsible for any additional monies needed to complete the projects. A program should be provided to NYWC after the performance takes place; sound or video files are also appreciated, but not required.
The applicant should submit a brief outline of the proposed project, along with professional biographical and promotional materials, and a sample sound recording. Applications will be judged by the following criteria:
1) Project visibility
2) Financial need
4) Performing Rights Organizations licensing coverage for paid-admission concerts*
5) Concert length
6) New applicants will receive preference over those who have previously received New York Women Composers funding
*Preference for grant selection will be made for concerts that are covered by performance licenses from ASCAP and BMI, so that composers may be remunerated. Some concert halls carry blanket licenses, but other venues do not. NYWC will be happy to provide information on how to secure single-performance licenses for your concert if your concert is not free admission.
The grant cycle runs annually and submissions are only accepted once up-to-date guidelines have been posted. Please check back here for updates.
2022 SEED MONEY GRANT RECIPIENTS
Presenting the winners of our 2022 Seed Money Grants! We have awarded seven grants, two foreign (Belgium and Argentina) and five domestic (one of these is actually both, a concert in New York to be repeated in Tokyo, Japan). One grant is in a disseminated format, and the rest are focused grants. One concert will initially be streamed online, with subsequent performances being planned. Additionally, some of the other concerts will be either streamed or available later on YouTube and Instagram or other such platforms. All the projects will include open calls for some or all the NYWC composers to be represented.
The winners are listed alphabetically:
Donna Weng Friedman, pianist: Ms. Friedman will present a two-part concert event called “Five Composers and a Pianist.” The first portion will be a 50-minute concert of works by NYWC composers, three of whom (Beata Moon, Kim Sherman, and Stefania De Kenessey) have been chosen, with an additional two composers to be selected through an open call. The second portion of the event will be a 30-40-minute panel discussion with the composers. The venue will be in New York City, with Steinway Hall and the National Arts Club under consideration. The target date for this event will be March, 2023. Her website is here: (https://www.newschool.edu/mannes/faculty/Donna-Weng-Friedman)
Javier Oviedo, saxophonist: Mr. Oviedo, Executive Director of the Classical Saxophone Project, will present a 90-minute solo recital at the National Opera Center’s Scorca Hall accompanied by Dr. Suk Hee Hong entitled “New York Faces.” The live concert will be supplemented by a videotaping that will be available to view on the Saxophone Project’s YouTube and Instagram platforms. More information about the Classical Saxophone Project is available on their website, www.classicalsaxproject.org.
Milica Paranosic, composer (project with NYWC composers Lynn Bechtold and Ann Warren): This unique concert in coordination with Ms. Paranosic’s “Secret City” art projects will be in four parts, with compositions by Lynn Bechtold (played by Miolina, her violin duo with NYWC member Mioi Takeda), Ann Warren, and Ms. Paranosic, along with a fourth composer chosen through an open call. Each segment will include a mini “set design” created out of abandoned or discarded objects, be co-coordinated by Paracademia, and be performed either at Gallery MC or The Bernie Wohl Center/Goddard Riverside’s. Ms. Paranosic’s multi-faceted website is https://milicaparanosic.com/
Thomas Piercy, clarinetist and hichiriki player: Mr. Piercy, along with pianist Tengfu Irfan and a cellist, will perform twin 90-minute concerts in New York and Tokyo, including the works of Tokyo-based composers Kyoko Hirai, Miho Sasaki, Yu Kuwabara, already selected NYWC composers Elisenda Fabregas, Nina Siniakova, and Lora Al-Ahmad, as well as two more NYWC composers to be selected from an open call. His website is here: http://www.thomaspiercy.com/ and his project information is here: http://www.tonadaproductions.com/tokyo-to-new-york-home.html
Sergio Puccini, guitarist: Mr. Puccini, whose celebrated career spans 45 years, will present a concert in Rosario, Argentina at the Museo Castagnino or similar venue which will also be streamed live. The concert is tentatively scheduled to take place in October 2022. He will be choosing his repertoire for the concert through an open call. His website is currently undergoing maintenance, but here is a substitute for now: https://ppsites.wixsite.com/sergiopuccini
Françoise Vanhecke, soprano: Ms. Vanhecke’s project is an online streamed concert for the coming season at toitoiDROME http://drome.wtf/, an artist-run media space and collective based in Zendelingenstraat 38 A – 2140 Borgerhout (Antwerp, Belgium), consisting a physical space and headspace for experimentation and critical thinking, with additional plans to repeat the concert in a series of live concerts in Belgium, France, Luxembourg, Brazil, and the U.S. The instrumentation will consist of voice, either solo works or with the addition of piano and electronics, to be chosen through an open call. Her website is http://www.francoisevanhecke.com
Alexander Wu, pianist and chamber ensemble director: Mr. Wu, who is a pianist and the Co-Founder/Artistic Director of the Millennium Chamber Players, will curate a disseminated series of concerts from this summer through spring of 2023 called “Made in America – Music Then and Now,” including the works of five NYWC members that his group has not previously performed. The project essays the evolution of America’s musical roots, tradition, and popular culture of the past three centuries, up to and including current compositions. His group’s website is https://www.millenniumchamberplayers.org/