Ce fond a été établi par le Comité consultatif de l’Association internationale du cor (AIC) en 1989. Meir Rimon (1946-1991) a été cor solo de l’Orchestre philharmonique d’Israël et a servi trois mandats à titre de vice-président de l’Association internationale du cor. En mémoire de ce cher collègue, qui a eu un impact positif sur grand nombre d’interprètes, de compositeurs et de spectateurs à travers le monde, le fond a été renommé en son honneur en 1992. Une liste mise à jour annuellement des œuvres qui ont été soutenues par le Fond d’aide à la création Meir Rimon peut être trouvée sur le site web de l’AIC.

Le fond a pour objectif d’encourager la naissance de nouvelles compositions significatives mettant en vedette le cor en offrant une assistance financière aux membres qualifiés de l’AIC. Les compositions de niveau intermédiaire sont fortement encouragées. La gestion du fond est à l’entière discrétion du Comité consultatif et les lauréats sont sélectionnés par le celui-ci. 8 000$ sont disponibles annuellement, mais le Comité consultatif se réserve le droit d’offrir un montant plus ou moins important selon la nature et le mérite des projets sélectionnés.

Toutes les applications doivent être fait électroniquement sur le PORTAIL DU FOND D’AIDE À LA CRÉATION MEIR RIMON.

Marche à suivre :

• La demande doit être faite par un membre en règle de l’AIC via le formulaire d’application en ligne.
• Un maximum de trois commandes seront accordées à un même compositeur à l’intérieur d’une période de 10 ans.
• Un maximum de quatre demandes seront permises à un même membre de l’AIC à l’intérieur d’une période de 10 ans.
• Les œuvres qui reçoivent du soutien financier du Fond d’aide à la création Meir Rimon de l’AIC ne peuvent être inscrites au Concours de composition de l’AIC.
• Veuillez joindre le C.V. à jour du compositeur, en incluant les précédentes compositions, commandes, prix et reconnaissances qui démontrent les compétences créatives du compositeur
• Un texte bref doit accompagner l’application ; celui-ci doit démontrer l’importance de la démarche et inclure la date prévue de l’achèvement du projet, l’instrumentation, la durée de la composition, et le rôle que prendra le compositeur lors de la création de l’œuvre en concert ainsi que pour la promotion de celle-ci. 
• Applications en ligne : toutes les applications doivent être faites en ligne via le formulaire d’application Aide à la création Meir Rimon (à venir bientôt)
• Toutes les applications en ligne doivent être en format MS-Word ou en format PDF. Les documents ne seront pas retournés et deviendront la propriété de l’Association internationale du cor.
• La date limite pour les applications est le 15 mai 2020.

Dr. Randall Faust
re-faust@wiu.edu
Président, Programme d’aide à la création de l’AIC

NOTE : Les applications pour le Fond seront à nouveau ouvertes en Janvier 2020.
NOTE : Les lauréats du Fond Rimon ne peuvent inscrire l’œuvre gagnante au concours de l’AIC. 

by Marlene Ford

Teaching horn lessons via Zoom is a lot different.
Teaching horn lessons via Zoom is no different.

Many college and private horn teachers are seeing their students through some sort of online applications during this Coronavirus pandemic. It took me awhile, but Zoom turned out to be as easy as Tune-A-Day.

Once I was up and running, my students all showed up at their regular lesson times. With so much out of our control, this small routine of regular lesson times was comforting. What wasn’t routine, they missed. Driving to lessons, unpacking the horn and music, warming up and playing in front of the real me was a ritual missed.

The basic music work was pretty much the same: scales, etudes, solos, orchestral excerpts. I listen; they listen. I comment; they comment. Learning happens—sometimes because of me, sometimes despite me. Nothing changed there. I hadn’t considered that I could video record their lessons through Zoom. That was a boon for us all. On the flip side, we just couldn’t play together. No duets. There was the time delay and there was often distortion. Also, it didn’t make much sense to discuss sound quality as low notes sounded like barking dogs and high notes just disappeared.

Ah, what would horn playing be without a few laughs. Cherubini Sonata #1 is now played by the horns with an Italian villa background, one regularly has a gorilla as stand partner, and I’ve had the pleasure of my pedagogy being questioned by a student’s Google home device.

As we go into our third week at Zoom U., we are planning a studio class. If there are no recitals this semester, we can still play for each other. That will be a little different, but not totally different.

Hello everyone, I am Angelo Bonaccorso, horn teacher at the V. Bellini Conservatory of Catania and 3rd Horn at the Orchestra of the Teatro Massimo V. Bellini of Catania and Italian IHS representative.

The situation here in Italy due to the pandemic is really difficult. We still have many deaths a day and the government has rightly ordered us to stay home. Hopefully it will end soon because many families, who have lost their loved ones, are suffering and many doctors and nurses as well as losing their lives are sacrificing themselves daily to help others.

The positive side of this quarantine (in addition to spending more time with our families and especially our children) is that it is developing more stimuli in us for study and creativity. Every day on social networks we see many videos by musicians, singers, athletes, cooks, etc. Each makes a contribution to offer something to others, a sign of long-distance friendship.

Among these initiatives, with my Sicilian Horn Ensemble, we were among the first to publish our video montage (made by our colleague Salvo Visalli) in which we play a remote arrangement of the Jurassic Park soundtrack. The members of the group: Bonaccorso Angelo, Manuele Catalano, Sebastian Mulè, Fabio Chillemi, Matteo Leone, Salvo Visalli, Daniele L'Abbate, Lorenzo Scolaro, Riccardo De Giorgi, Luca Grasso, Emanuele Giunta and Chiara Zito, all Sicilian hornists who, for work reasons, live in various parts of Italy and abroad but, thanks to technology, we have been able to pay homage to coronavirus victims. You can visit our facebook page or simply click this link to watch the video.

These days we have many new videos also from other horn players, trombonists and trumpeters, a really great artistic production! Among these, the video of the horns of the Teatro alla Scala which have mounted a fantastic video with the Scherzo of the 9 Symphony of Beethoven should be mentioned.

Another youtube channel to mention is definitely that of the great jazz horn playert Giovanni Hoffer who is offering us beautiful videos during this quarantine.

This makes us understand that the music does not stop even if we are all imprisoned at home.
Here is another example of mine to keep the stimuli at home where I recorded the {modal youtube="TD2u_Q7zRco"}Homilius quartet, I hope you like it!

Another very important initiative I would like to talk to you about is that of my French Horn Magazine page which, with the collaboration of great Italian horn players belonging to almost all the Italian opera-symphonic institutions, is implementing a project to stimulate the horn students who at this moment are at home.
Each maestro is creating a video tutorial in which he shows his daily exercises and explains how to do the daily study with practical examples. We already have a nice list of videos that you can view on the Facebook page.

We also did a two-hour video conference where the students interacted directly with the teachers and it was a really great experiment. We will have new videos shortly. Many students have contacted me and thanked me for this project. I personally would like to thank all my fellow colleagues who are embracing this initiative because they are really showing their big heart and great professionalism. We will soon make some great new projects with this great family of Italian horn players.

We stay home and practice, but thanks to music we are united even if we are far apart.
Wishing you all well, I send you a warm greeting

Angelo Bonaccorso

en español

en français

Prizes: $1250 for Each Division

1. The Featured Composition Division:  Compositions in this division are works of moderate difficulty.  “In the featured DIVISION, the horn part should be playable by the entire spectrum of Hornists within the International Horn Society:  Students, Amateurs, and Professionals.  It should have musical content that would have the integrity to honor the professional hornists—yet within the pitch and technical range of the panorama of student and amateur players. 
2. The Virtuoso Composition Division:  Compositions in this division have no difficulty limitation and are from one of the following instrumentation categories.

INSTRUMENTATION

FEATURED DIVISION:

• Compositions for Horn Ensemble (two or more players, all horns) 

VIRTUOSO DIVISION:

• Solo Horn featured with large ensemble. (The large ensemble may include any group of electronic, acoustic instruments and/or voices.)
• Horn with chamber ensemble of three or more performers (one horn part only)  (The chamber ensemble may include any combination of electronic instruments, acoustic instruments and/or voices.)
• Compositions for solo horn and keyboard instrument. (Keyboard instruments may include piano, harpsichord, organ, electronic keyboard, or mallet percussion. 
• Compositions for Solo Horn (alone/unaccompanied)
• Compositions for Solo Horn with Vocal Ensemble

For more information, rules, and electronic submission see the Composition Contest Portal at The International Horn Society website.

ENTRIES MUST BE RECEIVED by DECEMBER 1, 2020

If you have any questions about any of the rules, write for clarification: re-faust@wiu.edu.

Randall E. Faust, COORDINATOR, COMPOSITION CONTEST