Sabbatical Leave Application

Transcription

1 LOS RIOS COMMUNITY COLLEGE DISTRICT Sabbatical Leave Application Name _Kurt Erickson College: CRC Present Assignment: Tenured Professor of Music Type of Leave Requested: A. Type A One Semester: Fall Spring _2016 Entire Year Will you be a tenured faculty member at the commencement of this leave? Yes _X No If you have previously been awarded a Type A leave, have you completed a sequence of seven full years of service with the District since the last Type A leave? Yes No B. Type B Fall % Spring % Will you have completed a sequence of at least three full years of service with the District at the commencement of this leave? Yes X_ No Title of Proposal: _ New Work for Soprano & Orchestra: A Multi- State and International Brief Description of Proposal: _My sabbatical plans involve a unique professional growth opportunity to create a new minute work for soprano soloist and orchestra to be premiered by a consortium of 7-10 orchestras from within the US and internationally. The work will be written during the sabbatical (spring 2016) and premiered during the season by Ohio based soprano Laura Portune and San Francisco based soprano Heidi Moss. I am currently in the process of building the consortium and am receiving assistance from music professionals in the field. What are your qualifications to undertake and complete your proposed project? _For the past fifteen years I have balanced my academic teaching career with an active professional career as both a composer and a pianist, with original works regularly commissioned and performed across the country. I currently serve as the composer-in-residence with the San Francisco performing arts organization Lieder Alive!, and regularly work with singers who perform at NY s Metropolitan Opera, San Francisco Opera, and even Paris Opera. My most recent commission comes from Berkeley Community Chorus and Orchestra to celebrate their 50 th

2 Anniversary (chosen over 100 applicants from across the country). I have extensive experience writing large-scale works for both orchestra and opera. Explain in detail how the accomplishment of your proposal will promote the objectives of serving students within the Los Rios District: _This sabbatical project will revitalize my teaching and improve the quality of instruction through the acquisition of new and more advanced skills sets. One of my strengths as an instructor is that I serve as a mentor to students (Music Majors in particular) who seek to develop a career as a professional musician. In the course of my classes, I share with my students the steps and actions required to create and sustain a thriving career in the arts. Will you be receiving any outside remuneration for the proposed activities during your requested leave? Yes No _X (If yes, please submit explanation on separate sheet.)

3 Sabbatical/Professional Development Leave Request, Page 2 Do you anticipate receiving any commercial benefit from your project or product through future sales? Yes No _X (If yes, please submit explanation on separate sheet.) Please submit on a separate sheet: I. A narrative on your planned program containing a statement of purpose and objectives, a detailed description of the proposed activities, and budget or resources support. II. III. IV. An appropriate method of evaluation. A plan for sharing the results of the project. Professional Growth Attachment V. Explain how you arrived at the requested leave time. VI. Explain why the project is outside of your normal duties. I agree to comply with all requirements stipulated in the faculty contract if awarded this leave. _Kurt Erickson Signature of Applicant Date Approval/endorsement of immediate or appropriate supervisor: I have reviewed this proposal and believe, do not believe, that it is an appropriate project/activity, which will promote the objectives of the college/district. Comments Signature of Supervisor Date

4 I. A narrative on your planned program containing a statement of purpose and objectives, a detailed description of the proposed activities, and budget or resources support. PROJECT ACTIVITIES My sabbatical plans involve a unique professional growth opportunity to create a new minute work for soprano soloist and orchestra to be premiered by a consortium of 7-10 orchestras from within the US and internationally. Ohio based soprano Laura Portune will give the first premiere performance with the Central Ohio Symphony Orchestra during the season, with subsequent performances given by soprano Heidi Moss and Ms. Portune, depending on the geographic locale. In addition to creating the new work, I will oversee the administrative aspects of the consortium (in progress), collaborating with the multiple orchestras every step of the process while creating the work, and making sure all relevant deadlines are met. To create a work of this scope and magnitude the process will be as follows: Collaborate on the text selection to ensure that the work fits well into the larger scheme of the concert(s) Research models of similar works Sketch out the work on the piano using pencil and staff paper (approximately 150 pages) Make multiple recordings of myself playing the work on the piano Consult with singers/musicians/conductors on specific notation and/or scoring questions Input the composition into the computer using Finale notation software Edit multiple copies (approximately separate versions) Send a DRAFT copy to conductors Hire a professional music copyist to create individual parts and full conductor score to the orchestras Additionally, it is common to create a separate soprano/piano score so as to facilitate easier score study for the singers and conductors involved (this will require many of the editing steps listed above). OBJECTIVES My Sabbatical Leave will attain the following objectives: Faculty revitalization from invigorating professional experiences Student benefits (particularly Music Majors and CRC Composer Ensemble members) accrued from opportunities to observe and put into practice practical skills imparted from a working professional Improve quality of instruction through the acquisition of new and more advanced skill sets from which to draw from Enhanced college image and visibility through faculty participation in high profile artistic events on a national and international level

5 TIMELINE AND PERFORMANCE ACTIVITIES Initial work and consultations on the new piece will begin Fall 2015, with the vast majority of the work taking place during the planned sabbatical in the Spring 2016 semester. It is expected that the composing and score production part of the project will be finished and delivered to performers and ensembles by August 1, For public performances of premieres, it is common practice for composers to be in attendance when geographically feasible, especially for the very first of the premiere performances (Central Ohio). I anticipate giving pre concert talks and/or an onstage interviews with the conductors before the performances. Post concert activities include meeting with donors, musicians, and community members at post concert receptions. COLLABORATION WITH PROFESSIONAL ENSEMBLES Creating a new work for a consortium of multiple orchestras ensures that the new work reaches broader audiences while creating a positive PR buzz for the ensembles who can publicize the event as a premiere performance. Once successfully completed and performed, the new work will be sold online via the music distribution site Swirly Music (agreement secured) 1. Collaborative relationships will be formed using the personal and professional networks of sopranos Laura Portune, Heidi Moss, and composer Kurt Erickson. We will also utilize the networks of professional friends who have agreed to introduce us to orchestras outside of our respective networks. To this end we have obtained the support of the following professionals: Allison Pybus - former Artist Management Vice President of New York s IMG Artists Maxine Bernstein - Executive Director, Lieder Alive! Peter Grunberg - Music Assistant to San Francisco Symphony Conductor Michael Tilson Thomas Paul Yarbrough - violist with the Alexander String Quartet Through participation in this project, professional orchestras are afforded an opportunity to partner with fellow arts organizations across the country and the globe to take part in premiere performance activities without having to pay for any commissioning funds. A partial list of the orchestras we will or have already approached include those in the following geographic locales: San Francisco, CA Oakland, CA Sacramento, CA Santa Rosa, CA San Jose, CA Livermore, CA Fresno, CA Denver, CO Ashland, OR Atlanta, GA 1 This serves a PR function only, as there is little demand for the sale of orchestral scores.

6 New York, NY Czech Republic China PROFESSIONAL GROWTH & BENEFIT TO CRC COMMUNITY This unique project is a high visibility arts project, the likes of which are not often see in four-year collegiate environments, much less the California Community College system. Successful completion of the project reinforces the idea that CRC s professors are some of the finest in their respective fields and the quality of education is second to none. This project will be highly transformative and will revitalize my teaching. The experience will prove immensely valuable to our Department, particularly for those students (Music Majors) who seek to attain professionally active careers. BUDGET & AVAILABLE RESOURCES In the cash strapped world of classical music, there is much interest in exciting projects like this but no corresponding commissioning funds. The orchestras involved in this project are not being asked to pay for the work - a Sabbatical Leave will provide me with the time necessary to create this unique project that has no commission funds attached for my work. To create the individual parts for the separate orchestral players (upwards of 60) I will need to hire a professional music copyist which will cost approximately $3,000-$4,000. While I will seek grant funding to cover this cost, there are at present no funds specifically earmarked to cover these expenses. For this unique professional growth opportunity, I am prepared to absorb these costs and operate at a loss. II.An appropriate method of evaluation The new work will be given public performances by orchestras across the the country and the globe. Professional orchestras of the calibre we are approaching all have ticketed subscription concert series that are regularly reviewed in print and electronic media. Colleague feedback will be received through the regular interaction with conductors, orchestral players, singers, administrative staff, and members of the respective communities. From my participation at rehearsals, dress rehearsals, and concerts I will have multiple opportunities to evaluate the work from a multiplicity of vantage points. III. A plan for sharing the results of the project The new work will be given multiple public performances by a wide assortment of professional orchestras (including a potential performance in Sacramento). Audio and televised recordings are

7 made for archival purposes, with recordings of the complete work to be posted onto Youtube, my composer web site, and other social media sites. To share the work with the Cosumnes River College community, I will schedule a performance of the new work (and others) in a soprano/piano arrangement in a CRC Music Department Recital and/or lecture demonstration. I will present regular updates and presentations to the CRC Composers Ensemble (I am the Director of this ensemble) as well to music majors and others taking Music Department classes. Such experiences are immensely helpful to students who seek insights and advice concerning the many challenges and opportunities of navigating a professional career in the arts. IV.Professional Growth Attachment COMPOSER KURT ERICKSON - RELEVANCE TO PROJECT For the past 15 years, I have balanced my academic teaching career with an active professional career as both a composer and a pianist, with original works regularly commissioned and performed across the country. In 2006 I took part in the Minnesota Orchestra s Composer Institute, working with conductor Osmo Vänska and Pulitzer Prize winning composer Aaron Jay Kernis (the program was featured prominently that year in a two-page New York Times article). In 2008 work my orchestral song set Chicago Songs was commissioned and premiered by the Sacramento Philharmonic, a performance that was lauded by critics and has since been performed across the country in a soprano/piano transcription. In fall 2014 I was selected as the commissioned composer to create a new 7-10 minute chorus and orchestra work for the Berkeley Chorus and Orchestra s 50th Anniversary Celebration. I am currently serving as the composer-in-residence with San Francisco s Lieder Alive!, where my commissioned vocal works are performed alongside performers including violist Paul Yarbrough (Alexander String Quartet). Operatic commissions have come from Festival Opera (SF Bay Area), Lone Star Lyric Theater Festival (Houston), and West Edge Opera (Berkeley). This project represents the high point of my work in the opera and opera worlds over the past five years. V.Explain how you arrived at the requested leave time Work on the creation of a major new work for soprano and orchestra is an all-consuming endeavor. During the Spring 2016 Semester, I anticipate composing 4-6 hours per day, 6 days per week at the piano. An additional 2-3 hours will be spent researching comparable pieces, score study, listening to recordings, inputting score into notation software, meeting with collaborators, playing excerpts for collaborators, and workshopping excerpts with singers. I do not anticipate finishing the work during my sabbatical, and will use the summer 2016 to complete the work (additional performance and PR related activities will commence during the season).

8 VI.Explain why the project is outside of your normal duties Creating a large-scale new work for 60 plus musicians is a monumental task requiring long stretches of uninterrupted time spread out over a period of months. Teaching six separate classes and overseeing the CRC Composers Ensemble (for which I receive no pay, FTE, or retirement benefits) is fulfilling but extremely time and labor intensive. While teaching I have neither the time nor the resources to successfully complete a project of this magnitude. I see the looks of admiration when my students see me perform and I am aware that I serve as a mentor to many of them seeking to develop a career in the arts. I thank you for your consideration and I look forward to discussing this further.