Another fabulous year with eight new works created by young people aged 12-21 come to life with the talents of the Australian Youth Orchestra and conductor Daniel Carter. You can listen to the fanfares now before venues around Australia call audiences to their seats from early 2020. Click on each composer to hear the work. Big thank you to the fine work of the audio team Jakub Gaudasinski and Andrew Dixon.

Listen to 2019 Fanfare Composers and their inspiration.

Open Fanfare 2020 is new for 2020, seeing Artology partner with the Queensland Youth Orchestras (QYO) and the Queensland Performing Arts Centre (QPAC) to extend the opportunities for Fanfare entrants. In short, anyone entering Fanfare in 2020 will have the opportunity to be selected to have their composition performed at a special concert event at QPAC in September 2020 by the QYO. You will attend two intensive workshop sessions in Brisbane with mentor composers before the concert. More details soon.

New teaching resource on Modes is available in 2020. We will decode Modes and how to effectively use them in preparation for writing your fanfare. The resource will take a look at the seven church modes and give you hits on how to create your own Mode. Take a look at Music Composition Toolbox, an invaluable guide to creating and notating original composition and is available from Science Press. View online resources.

Watch a short video from our mentors and this year’s composers.

Congratulations Sebastian Lingane winner of the Queensland Symphony Orchestra’s (QSO) COMPOSE – Symphony for Tomorrow, a program connecting secondary school students with professional composers and performers to showcase Queensland’s brightest composers. Sebastian will participate in workshops with the QSO and have his piece recorded at ABC studios.

Performers from the 2019 production of April Aardvark. In 2020, the successful sound design candidate will be working on the Australian Theatre for Young People’s production of Soul Trading.

Daniel Duque talks on his experience creating sound design. “Being able to work on this year’s ATYP production of April Aardvark has been one of my most memorable musical experiences this year. Having never written music for a theatre production before, I was dropped right into the ‘deep-end’ and it was quite daunting, but with the amazing assistance from my mentor Steve Francis I quickly became comfortable with the process and was excited to begin designing the musical language for the show. Coming into April Aardvark from the Fanfare competition, there was a massive difference in the music that I needed to create, and it was certainly a big learning curve.” Read more …