[Voxnovus] Contributions to New Music - Celebrating 15 Years of Fifteen-Minutes-of-Fame:

[New Voice in New Music]

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<http://www.VoxNovus.com/NM421/issue/25-04-12.htm>April
12th, 2025
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[image: Celebrating 15 Years of Fifteen-Minutes-of-Fame]
Celebrating 15 Years of Fifteen-Minutes-of-Fame: Contributions to New MusicBy
Lauren Dean

For fifteen years, Fifteen-Minutes-of-Fame has been a platform for new
music—a form that extends the classical music tradition through newly
created works by living composers. “To keep a genre alive, it has to have a
new repertoire and new listeners,” says new music composer and clavichord
player Monica Chew. And to achieve those things requires time, repetition,
and a place for composers and musicians alike to distribute and perform
their new works.

In recent interviews with new music artists, Fifteen-Minutes-of-Fame was
highlighted as an establishment in the field, which contributes to keeping
the genre alive, while also expanding and diversifying the form.

“It’s a special project,” says composer and guitarist Rodrigo Baggio, whose
style includes jazz and Brazilian, but not so much classical. For him, the
platform is a place for artists to crossover—rather than stay confined to
circles of classical musicians or other jazz players, for example—and to
expand musically and aesthetically. “Definitely there’s nothing like it in
Brazil,” he says, adding that “bringing together composers and musicians
from all over the world is a special thing in the musical community.”
<https://www.youtube.com/watch?v=aON4DSo5vLs>

On the same topic, Craig Hultgren, who has performed twice with
Fifteen-Minutes-of-Fame as a solo cellist, recalls his first performance in
2013 where the call for submissions specifically aimed to upset the status
quo. Themed “Occupy Cello”
<https://www.youtube.com/watch?v=aON4DSo5vLs>—inspired
by the then-recent Occupy Wall Street Movement— the call asked composers to
disrupt traditional techniques and composition strategies of works for
cello. It was a hit with both artists and audiences, garnering over 1,000
YouTube views once the live performance posted.

Soprano Jenny Ribeiro, speaking about a new series in 2024 for
unaccompanied singers, says “It’s important and new.” It gives singers an
opportunity to bring anything that suits their voice, regardless of what
the pianist wants, and “inhabit the sound world that comes with new music.”
>From this, a catalogue of audition arias is being created to add to the
repertoire.
<https://www.youtube.com/live/7sVuiZ9Kbq4>

And while Fifteen-Minutes-of-Fame has contributed to expanding new music as
a form, it’s also playing a role in who participates. “Living people are
underrepresented in classical music, in general, but women and people of
color are severely underrepresented,” says Monica Chew.

Increasing diversity in the field requires first diversifying the people
who submit their work, and then, selecting submissions that represent that
wider pool of applicants. For her part, Chew reached out to women and black
composers’ groups during her call and encouraged them to apply. But just as
important, “Fifteen-Minutes-of-Fame is unique in the sense that the chosen
pieces are up to the musician,” she says. That is, each program depends on
the musician selecting the pieces, which is a way to add or increase
diversity based on the performer’s choices.
<https://www.youtube.com/watch?v=3Akndokh_90>

“It’s creating a platform for finding works that are from hidden voices,”
adds soloist and French horn player Mary Beth Orr, whose selections varied
across age group, nationality, culture, and ethnicity. “It’s incredibly
diverse and it’s unique in its diversity.”

And although some artists noted that unpaid projects like
Fifteen-Minutes-of-Fame can discourage those without the resources to
participate for free, they also pointed out that there is no submission fee
for composers or performance fees for musicians. “The fact that one does
not have to pay for the opportunity to play in [New York City] is
important,” says Craig Hultgren, who performed live in downtown Manhattan
before the concerts moved online.

But still, the move to online performances has its own benefits for
diversity. “There’s no way a traditional concert could be paid for, with
all those people participating,” says Monica Chew. “So, it’s great to have
the online events for more participation.”
<https://www.youtube.com/live/6JP6QjrhkOc?si=sdD46CLmy2UDNKi2>

Ultimately, though, expanding participation and musical form also depend on
bringing in new audiences. “This is a kind of new platform for supporters
of new music,” says composer and Bayan accordionist Stas Venglevski. “It
unites the composer/performer and the listener… and due to the online
access of these concerts, this makes it possible to convey the idea of
Fifteen-Minutes-of-Fame to the general public.”

Dr. Lauren Spaulding—one half of Tallā Rouge Viola Duo, together with Aria
Cheregosha—adds that the platform creates “a teaser of a composer’s musical
voice,” which can be an access point for new audiences.
<https://www.youtube.com/watch?v=TOGnIgbHbrg>

And while Fifteen-Minutes-of-Fame has provided artists the opportunity to
“tune in to what’s going on in the world of notated compositions,” in the
words of composer and flutist Robert Dick, keeping the form alive and
growing is a continual project.

“It’s an incredible platform, but it needs more attention. There is nothing
like it. Not on this scale,” Mary Beth Orr says. However, getting financial
recognition “to give it more reach and make it sustainable is the biggest
challenge.”

But, greater financial support notwithstanding, after fifteen years and
counting, the platform’s successes are undeniable. To hold events “so often
and for so long is really unusual,” says Monica Chew. “I can’t think of
anything else close to the scale.”
[image: Celebrating 15 Years of Fifteen-Minutes-of-Fame]

This special edition on NM421 is the third of a special 5 part series of
interviews with musicians who have been featured on Fifteen-Minutes-of-Fame.

The first installment was published on February 8th, 2025.
<http://www.voxnovus.com/NM421/issue/25-02-08.htm>

The second installment was published on March 8th, 2025.
<http://www.voxnovus.com/NM421/issue/25-03-08.htm>

The next installment will be published on May 3rd, 2025.
<http://www.voxnovus.com/NM421/issue/25-05-03.htm>
[image: Andrew White]
<http://www.musicavatar.org/categories/Fifteen-Minutes-of-Fame-Featuring-Andrew-White-2025/index.html>

Call for Vocal Scores
Deadline:
March 31, 2025

Vox Novus is calling for one-minute pieces composed for
Fifteen-Minutes-of-Fame with baritone Andrew White with or without
electronic accompaniment to be premiered online in 2025 Only works
one-minute in length for baritone voice will be considered with or without
electronic accompaniment.

Find more information and submit at
Music Avatar
<http://www.musicavatar.org/categories/Fifteen-Minutes-of-Fame-Featuring-Andrew-White-2025/index.html>

[image: Yumi Suehiro]
<http://www.musicavatar.org/categories/Fifteen-Minutes-of-Fame-Featuring-Yumi-Suehiro-2025/index.html>

Call for Piano Scores
Deadline: May 1, 2025

Fifteen-Minutes-of-Fame Featuring Yumi Suehiro Vox Novus is thrilled to
announce a new edition of Fifteen-Minutes-of-Fame, featuring the acclaimed
pianist Yumi Suehiro. Composers are invited to submit one-minute
compositions that showcase the piano’s expressive and dynamic capabilities
while highlighting Ms. Suehiro’s exceptional artistry and technical
virtuosity.

Find more information and submit at
Music Avatar
<http://www.musicavatar.org/categories/Fifteen-Minutes-of-Fame-Featuring-Yumi-Suehiro-2025/index.html>
<http://composerssite.com/>
<http://www.ComposersVoice.com>

Composer's Voice

is a bi-weekly TV showing airing on Manhattan Neighborhoodd Network

<http://www.Fifteen-Minutes-of-Fame.com>

Fifteen-Minutes-of-Fame

is 15 one-minute works written for a specific musician/ensemble.

<http://www.60x60.com>

60x60

60 one-minutes works by 60 different composers

Click Here for upcoming events with Vox Novus
<http://www.voxnovus.com/calendar/>

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