SFCMP presents
SF Search 2018

Bay Area
Under-30 Call for Scores

San Francisco Contemporary Music Players’ Artistic Director, Steven Schick is pleased to invite submissions for SFCMP’s SF Search 2018: Under-30 Call for Scores.

Composers from the San Francisco Bay Area who are under 30 years of age on January 8, 2018, are invited to submit an original composition for consideration. Three composers will receive $500, a reading session and feedback, an archival recording, and a public performance by SFCMP on a subscription-series concert.

To apply, each composer is asked to submit a score no more than six minutes in length for the following instrumentation: oboe (doubling english horn), clarinet (doubling bass clarinet), percussion, violin, and double bass. The submitted piece should reflect an influence of and a sensitivity to the kind of musical practice and sound-world which Oliveros championed in her life and career. The selected works will be performed alongside and integrated into Pauline Oliveros’ seminal work The Witness.

The selected pieces will be rehearsed during the week of March 20, 2018 and the composer will participate in a reading session at 9:30am on Friday, March 23. Each piece will be read by the ensemble followed by feedback from SFCMP musicians, and a panel made up of professional composers, and Artistic Director, Schick. The three works will be performed that evening, March 23 at 9:30pm, as part of SFCMP’s subscription-series concert at the ZSpace in San Francisco.

The deadline for applications is January 8, 2018.

Open and Download the Call for Score Guidelines
Apply by January 8, 2018

Questions? Call us at 415-278-9566 or email us (see guidelines)



Are there available doublings for the oboe and clarinet players, e.g., english horn or bass clarinet?
Yes, if the playing of the two instruments is by a single player.

Would the use of small objects and percussion by the ensemble be permissible?
As long as the objects/percussion can easily be played by non-percussionists and, if needed, the composer must provide them.

How comfortable are the players with alternate tunings?
If the score contains alternate tunings, the panel would like to see the score before submitting it.

Is the full ensemble instrumentation required?

View last year’s call