The 365-Day Composition Project

"We Are All Mozart"

A project to create
new works and change
the perception of the
music of our time.

The Project is over as of 10:24pm, December 31, 2007. More soon here and in the blog.

The 365-day composition project "We Are All Mozart" (WAAM) was an idea I had had for years. I believed that productivity and excellence are not mutually exclusive, nor do they belong to the past alone. I believe that our ability to "be Mozart" (meaning any prolific composer) today is inhibited by lack of demand on our inherent productivity. In other words, the more we do, the better we get at it and the more new ideas we have. Humans are problem solvers, and for composers, it is the blank page that is to be solved.

But just as important to me was to do something intense to keep nonpop visible and to inspire ensembles, listeners and other composers. Kalvos & Damian's New Music Bazaar was my previous project, where David Gunn and I hosted the ASCAP/Deems Taylor Award-winning radio/web program that ran 537 shows from 1995-2005.

WAAM originally demanded a finished composition each day in 2007 -- on commission, not just the act of daily musing on the acoustic navel-value. This full-time work needed to have each piece commissioned for every day, but it hasn't worked out that way, so I made that goal 100 commissions for the year. As of November 17, the goal of 100 commissions has been met, and 75 are complete. Many below have demos, and some of the actual premieres are now posted.

WAAM is an insane idea, even if it is 'only' 100 compositions. Before WAAM's 2007 year, I had created some 730 compositions. (click here for the Big List!) I practiced mightily for 2007, finishing nearly 20 pieces in 2006 (already dwarfed by 75 in 2007).

This may feel like a vanity project or a gimmick. It is neither. Each piece must be wanted, commissioned, paid for. Also, I may fail at this project. I may not be able to dip deeply into the well for fresh ideas every day. So far, as of mid-November, it's worked -- but we shall see. Realizing how many compositions were possible in the past for composers who had the chance to do it, I figured the time is now. And above I wrote, "the more we do, the better we get at it and the more new ideas we have." Since I began WAAM, composers have been in touch, telling me that it has changed their view on composition -- that art and its place in the culture are not diminished if they pushed themselves to write more. And yes, they got better with the practice.

If you are here out of curiosity, welcome. If you are here to commission a work, let me know and we'll talk about next year's 'normal' schedule! (If you're from the media, please contact me.)

Also, two other projects have followed mine, but with very different approach. Daniel Wolf is doing a piece a day for November 2007, and David Morneau is doing a 60-second piece a day for a year. Welcome aboard! Fortunately, my train is coming into the station is six weeks!

My not-so-daily blog -- info you can use, argue with or laugh at! -- is in remission for now (too much to compose), but will return occasionally when I have the time, and then next year.

To learn more: My interview on WKCR New York (89.9 FM) with Anne Cammon is available. The show is "Arts & Answers" with special guest Robert Voisey (who also did the wonderful intro/outro music), and broadcast August 12, 2006. I sounded more like used-car salesman Milton Babbitt than I expected, but it was exciting and even revealing. You can hear it as a broadband stream or via download. Appearing on Anne's show was a great pleasure.

A summary of my September 10, 2006, presentation to the National Extension Tourism Conference is also available in my blog. Read about the presentation, download the PowerPoints, and use the recommendations in your community!

WAAM was brought to the brink by my friends, and composers Noah Creshevsky and Carson Cooman, who pushed me over the edge. I thank my wife, family and friends for their patience and understanding.

Mantra Canon score pages

Two pages from the score of Mantra Canon, composed in 1986. The 30-minute work is for descant soprano, chorus, orchestra, two pianos, and six percussionists.

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Status: Date Available Commissioned Completed Premiered


Waltz in No Time, January 1975
Waltz in No Time

January            

January in Vermont
DateComposition TitleForm/InstrumentationCommissionerStatusPremiere Date & Location
1Graffiti (A New Year's Celebration for Noah)electronic playbackNoah CreshevskyListen
2Toccata: Delle Montagne VerdipianoMarianna RosettListen (Demo) Score
3Candles of Red Skytheremin soloAnn CantelowScore
4_______________Customer engraving
5_______________Customer engraving
6I lift my heavy heartvoice, flute guitarBeth Griffith Score
S7_______________For days of
8_______________January 7-17:
9_______________Commissions
10_______________moved for prep
11_______________and attendance at
12_______________Chamber Music
13_______________America in New
S14_______________York as well as
15_______________engraving and editing
16_______________clients (see note).
17_______________Also see blog.
18coalescencetrumpet/organCarson CoomanListen (Demo) Score
19Lunar Cascade in Serial Time: Januarytenor guitarSeth GordonCover Score
20_______________Article writing
S21In het Donkere Bosviola & bass clarinetDarkwood ConsortListen (Demo) Score
22Pivot: The House of Cloves4-track MidiPatrick/Chris MayListen (Demo) Listen (Midi) Score
23Moving to Lullabytrombone soloMonique BuzzartéListen (Demo) Score
24Come, comeSATB chorus & accpt.Presb. Church, Sudbury, Mass.; Matthew Guerrieri, dir.Listen (Demo, no text) Score2/25/07, Sudbury MA
25Coarse Saltsoprano sax soloMichael StrausListen (Demo) ScoreApr. 13, Baltimore
26Earth, Air, Water, Sleepsong cello (or vocalise) & pianoCanary BurtonListen (Demo) Score
27_______________Unscheduled
S28Mountains of Spicesvn, vla, mezzo, pianoEleva Chamber PlayersListen Score4/14/07, Tulsa
29_______________Unexpectedly called away
30Deliverypiano/2 pianosJason ArmstrongListen (Demo) Scores: 1 piano 2 pianos
31Starry NightpianoPatricia GoodsonListen (Demo) Score
Note: Because WAAM did not fill in completely, outside work and activity is required for survival. I am working on a reasonable schedule in which to group commissions in a way that can still carry out the WAAM concept.

Incidental Music to Lysistrata, February 1971
Incidental Music to Lysistrata

February            

February in Vermont
DateComposition TitleForm/InstrumentationCommissionerStatusPremiere Date & Location
1Running the Traction Linebass/cello duoP. Kellach WaddleListen (Demo) Score
2_______________Unscheduled
3What to Do, Farmer Gray?4-mallet marimbaLuke HubleyListen (Demo) Score
S4_______________Unscheduled
5Return to Ninevehextended voiceTaylan SusamScore
6_______________Unscheduled
7CenteringSATB chorusJohnson State College ChoirListen (Demo) Score
8_______________
9Soundingsorgan prelude on "Sounding Joy"Carson CoomanListen (Demo) Score7/16/07, Ottawa
10_______________
S11_______________
12Compound Refractionsflute soloJohn McMurteryListen Score
13_______________Offsite photo shoot
14_______________
15The Idealvoice & pianoNora TombalakianListen (Demo) Score
16_______________
17Lunar Cascade in Serial Time: Februarytenor guitarSeth GordonCover Score
S18_______________
19_______________
20Turn Around, Bustle and Blazeviola, horn, cello, pianoBlaizing Calfe ButslersListen Score10/20/07, Burlington VT
21_______________
22_______________
24_______________
S25An Offering Borne AgainpianoNate FreemanListen (Demo) Score
26_______________
27_______________
28_______________

Ash Wednesday, March 1983
Ash Wednesday

March            

March in Vermont
DateComposition TitleForm/InstrumentationCommissionerStatusPremiere Date & Location
1Diese Welt ist so Schönvoice, clarinet, vibesDov SchillerListen (Demo) Score
2_______________
3Tuba MarcatofanfareGreen Mountain Youth SymphonyListen (Demo) Score
S4_______________
5_______________
6Three Tiny PrevaricationsukeleleLarry PolanskyListen (Demo) Score
7_______________
8_______________
9_______________
10_______________
S11New Granitefl., b.cl, vn., vcl., pnoVermont Contemporary Music EnsembleListen Score11/9/07, Montpelier VT
12_______________
13_______________
14_______________
15_______________
16_______________
17_______________
S18_______________
19_______________
20_______________
21Lunar Cascade in Serial Time: Marchtenor guitarSeth GordonCover Score
22Full House Resetpiano trioTrio TulsaListen Score10/14/07, Randolph VT
23_______________
24_______________
S25Hermit of the Furiescello soloBob BlaisListen (Demo) Score
26_______________
27Fortune in Her Eyespiano four handsEmily DoolittleListen (Demo) Score
28_______________
29_______________
30For the Beauty of the Earthviolin soloWen LiListen Score9/16/07, Waterbury VT
31_______________

Shahmat, April 2004
Shahmat

April            

April in Vermont
DateComposition TitleForm/InstrumentationCommissionerStatusPremiere Date & Location
S1_______________
2_______________For the days of
3_______________April 8 through
4_______________May 8, compositions
5_______________have been moved
6_______________due to a residency
7_______________at Binaural Media
S8_______________in Nodar, Portugal,
9_______________for the launch of
10_______________the Birth Song Project
11_______________with Stevie Balch.
12_______________She and I will be
13_______________working on the
14_______________project in Nodar
15_______________and later in Utrecht.
16_______________
17Lunar Cascade in Serial Time: Apriltenor guitarSeth GordonListen (Demo) Cover Score
18_______________
19_______________
20_______________
21_______________
S22_______________
23_______________
24_______________
25_______________
26_______________
27_______________
28_______________
S29_______________
30_______________

Thièle, May 1991
Thiele

May            

May in Vermont
DateComposition TitleForm/InstrumentationCommissionerStatusPremiere Date & Location
1_______________
2_______________
3_______________
4_______________
5_______________
S6_______________
7_______________
8_______________
9_______________
10Future Remembranceelectronic pieceRobert Voisey Munich ProjectListen6/15/07, Munich
11_______________
12_______________
S13_______________
14A Village on the Windelectronic pieceDartmouth CollegeListen5/15/07, Hanover NH
15_______________
16Lunar Cascade in Serial Time: Maytenor guitarSeth GordonListen (Demo) Cover Score
17_______________
18The Itch is Internalcello duoRobert BolyardListen (Demo) Score
19_______________
S20Détenteorgan prelude on "Amity"Carson CoomanListen (Demo) Score7/16/07, Ottawa
21_______________
22We're Running Out of Timetenor pan and celloEd EpsteinListen (Demo) Score
23_______________
24An Fold-In Roundcrab round for 14 partsLarry PolanskyListen (Demos) Full Folds: 1 2 3
Full Round Demo (47 minutes)
Score: Full Folds: 1 2 3
25_______________
26À Bout de Soufflethree oboesPam DeSimoneListen (Demo) Score
S27_______________
28_______________
29Romance: Mondo-Mandomandocello & pianoLarry PolanskyListen (Demo) Score
30_______________
31Vermont Chess Campcamp themeVermont Chess CampListen (Demo) Score

RatGeyser, June 2000
RatGeyser

June            

June in Vermont
DateComposition TitleForm/InstrumentationCommissionerStatusPremiere Date & Location
1_______________
2The Anvil of Clytemnestrasong voice/piano/anvilBarbara TouburgListen (Demo) Score
3_______________
4Sequenza Novahorn with piano overtonesLydia Busler-BlaisListen (Demo) Score
5_______________
6_______________
7Nine Lessons from "Flatland"round bookLarry PolanskyMelodies (Demo) Score Small Score
Full Listen (Demo) Expanded Score
8_______________
9_______________
S10_______________
11_______________
12Six Senses of Twilightorgan/electronicsCarson CoomanListen (Demo) Score
Screen shots: 1 2
13_______________
14_______________
15Lunar Cascade in Serial Time: Junetenor guitarSeth GordonCover Score
Score (TIFF) Rose
16_______________
S17_______________
18_______________
19_______________
20_______________
21_______________
22_______________
23_______________
S24At the Edge of Foreverclarinet & string quartetDavid GoodmanListen (Demo) Score
25_______________
26_______________
27_______________
28_______________
29_______________
30_______________

Icecut, July 2004
Icecut

July            

July in Vermont
DateComposition TitleForm/InstrumentationCommissionerStatusPremiere Date & Location
S1Fanfare:HeatorchestraVermont Youth OrchestraListen (Demo) Score
2_______________
3_______________
4_______________
5_______________
6Anticipation & StormtideaccordionNicholas MaggioListen (Demo) Score
7_______________
S8_______________
9_______________
10_______________
11_______________
12_______________
13_______________
14(*9/3)Lunar Cascade in Serial Time: Julytenor guitarSeth GordonCover Score Listen (Demo)
S15__________Because of the dearth of
16__________WAAM commissions during
17__________the second half of 2007, I have
18__________decided to put them into August
19__________when they will be linked by time
20__________and income. The remainder of
21__________July will be involved with music
22__________engraving and consulting on a
23__________new Linux digital audio project.
24__________I am still accepting commissions
25__________for the WAAM project, and hope
26__________to receive sixteen more before
27__________the end of the year. That will
28__________make 100, and the project
S29__________will have taken which I believe
30__________to be an effective and exciting
31__________course.

Cy-Gît, August 1976
Cy-Git

August            

August in Vermont
DateComposition TitleForm/InstrumentationCommissionerStatusPremiere Date & Location
1_______________
2_______________
3_______________
4The Nine Rabbits of Valladolidcello duoNati Plasencia and AmarilisListen (Demo) Score
S5_______________
6(*8/7)A Partial Summercello duoPaul PerleyListen (Demo) Score
7_______________
8_______________
9(*8/24-25)Meta-Dream Once
Meta-Dream Twice
violin soloThomas L. ReadOnce: Listen (Demo) Score
Twice: Listen (Demo) Score
10_______________
11_______________
S12(*9/24)Lunar Cascade in Serial Time: Augusttenor guitarSeth GordonCover Score Listen (Demo)
13_______________
14_______________
15(*9/2)Evidently Skittleschildren's flute-piano duetChristopher SmithListen (Demo) Score
16_______________
17(*9/25)From the Mountainsorgan prelude on "Honor to the Hills"Carson CoomanListen (Demo) Score
18_______________
S19_______________
20(*8/27)The Imagined Moons of Autumnpiano & fluteJohn SpeedeListen (Demo) Score
21_______________
22_______________
23(*9/1)Morning in Nodarstring bassThomas PetersListen Score9/29/07, Pasadena
24_______________
25_______________
S26(*9/8)Low Clouds and Evening WindpianoPatricia GoodsonListen (Demo) Score
27_______________
28_______________
29_______________
30_______________
31_______________
*actual completion date

In Bocca al Lupo, September 1986
In Bocca al Lupo

September            

September in Vermont
DateComposition TitleForm/InstrumentationCommissionerStatusPremiere Date & Location
1(*9/26)Candied Sweet Potatoesvocal trioDavid MahlerListen (Demo) Score
S2_______________
3_______________
4_______________
5(*10/6)Tangentstwo clavichordsEric SomersListen (Demo) Score
6_______________
7_______________
8_______________
S9_______________
10_______________
11(*10/9)Lunar Cascade in Serial Time: Septembertenor guitarSeth GordonCover Score
12_______________
13_______________
14(*10/2)Loss of Innocenceorgan prelude on Justin Morgan's "Amanda"Carson CoomanListen (Demo) Score
15_______________
S16_______________
17_______________
18_______________
19(*10/4)Toccata: The Tides of WalesorganPatricia GoodsonListen (Demo) Score
20_______________
21_______________
22_______________
S23(*10/8)Lowing in Coventry3 low hornsLydia Busler-BlaisListen (Demo) Score
24_______________
25_______________
26_______________
27_______________
28_______________
29_______________
S30(*10/24)Time's Arrowclarinet soloBill SallakListen (Demo) Score

By Still Waters, October 2004
By Still Waters

October            

October in Vermont
DateComposition TitleForm/InstrumentationCommissionerStatusPremiere Date & Location
1_______________
2_______________
3_______________
4(*11/30)UpReach Over DownSlideclarinet and string quartetRichard FredetteListen (Demo) Score
5_______________
6_______________
S7_______________
8_______________
9_______________
10_______________
11(*10/29)Lunar Cascade in Serial Time: Octobertenor guitarSeth GordonCover Score Listen (Demo)
12_______________
13_______________
S14_______________
15_______________
16(*10/16)In My Roomacoustic/electric guitarAnonymous Listen (Demo) Score
17_______________
18_______________
19_______________
20_______________
S21(*11/14)Scalar RainbowspianoAndré Posman, De Rode PompListen (Demo) Score
22_______________
23_______________
24(*10/27)In Search of the Seven Blue Starsviola sonata (I)Robert BonottoListen (Demo) Score
25_______________
26_______________
27_______________
S28(*11/18)Aisle Fivepercussion and voiceBill SallakScore
29_______________
30_______________
31_______________

Beepers (Overture), November 1986
Beepers Overture

November            

November in Vermont
DateComposition TitleForm/InstrumentationCommissionerStatusPremiere Date & Location
1(*11/19)She Who Savestwo natural horns and sopranoMichael H. DixonListen (Demo) Score
2_______________
3_______________
S4(*10/31)In Search of an Exitenergetic pianoReena EsmailListen (Demo) Score
5_______________Another unexpected
6_______________bunch of other work
7_______________has arrived, along with
8_______________family and animal stuff.
9(*11/20)Lunar Cascade in Serial Time: Novembertenor guitarSeth GordonCover Score
10_______________so a stack of pieces
S11_______________have been moved back
12_______________and they'll start appearing
13_______________more frequently now.
14_______________
15_______________
16_______________
17_______________
S18_______________
19(*11/24)Cithara-Cantus Cantorisjew's harpSamuel VriezenListen (Demo) Score12/16/07, Amsterdam
20(*11/23)Toccata & Tryptophantenor pan soloEd EpsteinListen (Demo) Score
21_______________
22(*12/31)Horizon (Ocean)wind quartet, string quartet & pianoAnonymousListen (Demo) Score
23_______________
24(*11/28)Events and Horizonsclarinet and string quartetFran Richard / ASCAPListen (Demo) Score
S25_______________
26(*12/5)Thirteen Triple Xpiano etudeCarson CoomanListen (Demo) Score
27_______________
28(*12/4)O Vox Popbass clarinet/bassoonSteve KlimowskiListen (Demo) Score
29_______________
30_______________

Suite for Recorders, December 1970
Suite for Recorders

December            

December in Vermont
DateComposition TitleForm/InstrumentationCommissionerStatusPremiere Date & Location
1Walking the Flatalto saxPeter HamlinListen (Demo) Score
S2_______________
3_______________
4(*12/10)XLII: Adeste Hendecasyllabisong, voice/pianoDavid BremnerListen (Demo) Score
5_______________
6(*12/9)Vexation Bluespiano pieceDante OeiListen (Demo) Score
7_______________
8Morning Steps (to Parnassus)electronic miniatureRob VoiseyListen
S9(*12/11)Lunar Cascade in Serial Time: Decembertenor guitarSeth GordonCover Score Listen (Demo)
10_______________
11_______________
12(*12/13)In Search of the Lightness of Horizonviola sonata (II)Elizabeth ReidListen (Demo) Score
13_______________
14(*12/20)Framing the Sum of Threepiano piecesMichael ArnowittListen (Demo) Score2/20/08, Ghent
15_______________
S16(*12/25)Curious Crimson Glowbass trombone pieceChristopher SmithScore
17_______________
18(*12/16)Counting Myselfyoung cello duo with teacherLydia Busler-BlaisListen (Demo) Score
19_______________
20(*12/17)It's Mine, I Tell You!piano duoDavid MahlerListen (Demo) Score
21_______________
22_______________
S23_______________
24_______________
25(*12/26)Strong to Savepiano prelude on "Eternal Father, Strong to Save"Eleanor FisherListen (Demo) Score
26_______________
27(*12/30)To the Secretary of Good Fortunecello and guitarJeremiah ReillyListen (Demo) Score
28_______________
29(*12/27)Incantasolo lineAlex ShapiroListen (Demo) Score
S30(*12/29)99 Events for the Found, the Made and the Naturalperformance events for found instrumentsZona HostetlerScore
31Voices in My Nightelectronic/voiceNoah CreshevskyListen






Composition 1970 Spectral Rendering

Spectral rendering of Electronic Construction, composed in 1970.






Sample Fee Grid: Fees Can Be Flexible
 Number of Minutes / Number of Measures (very approximate, depends on tempo, etc.)
Number of Parts30" / 10mm1' / 20mm1'30" / 30mm2' / 40mm2'30" / 50mm4' / 80mm5' / 100mm7'30" / 150mm10' / 200mm
solo unaccompanied$50$50$50$50$50$80$100$150$200
duet, piano, keyboard, harp$50$50$60$80$100$160$200$300$400
solo accompanied, song, trio, organ$50$60$90$120$150$240$300$450$600
quartet, piano trio, SATB chorus$50$100$100$160$200$320$400$600$800
quintet or piano quartet$100$100$150$200$250$400$500$750$1000
electronic (playback only)$60$120$180$240$300$480$600$900$1200
electronic and solo instrument$110$170$230$290$350$560$700$1050$1400
string orchestra (9 parts), chamber opera$100$180$270$360$450$720$900$1350$1800
medium ensemble (16 parts)$160$320$480$640$800$1280$1600$2400$1800
film/video score (unsynchronized)$220$340$460$580$700$1120$1400$2100$2800
large orchestra (30 parts), opera$300$600$900$1200$1500$2400$3000$4500$6000
Preliminary Terms (subject to revision)

  1. I reserve the right to reject any commission request without explanation.
  2. A new piece will not be composed from beginning to end each day. One piece will be completed each day.
  3. I will keep as close as possible to the commissioned length or number of measures, in keeping with the commission agreement.
  4. "Completion" means the completion of the composition. Engraving of score and parts or CD production may take place at a later time.
  5. The calendar of pieces may change due to travel or family obligations. I will move less demanding compositions to those days.
  6. 30% refund for pieces completed after the scheduled date, except due to illness, announced changes, or previous arrangements.
  7. Commissioners may request but not require styles, and should provide information about performer skill level and limitations.
  8. Commissioners requesting music for unusual instruments must provide an information sheet with performance practice notes.
  9. I am happy to negotiate requests for longer pieces, but all long pieces will be on a "first-come, first-served" basis.
  10. Vocal commissions must include text and performance/publishing clearances for texts.
  11. Electronic commissions including samples must be original and include performance/publishing clearances for the samples.
  12. First performances are reserved to the commissioner for a period of 12 months following receipt of the engraved score and parts.
  13. First performances must be recorded. Where recording is impossible, I need to know before I accept the commission.
  14. All pieces will carry my copyright, be published by Westleaf Edition, and carry the dedication to the commissioner.
  15. The commissioner will receive the manuscript or, in the case of music composed directly to software, a signed copy of the printout.
  16. Two copies of electronic commissions will be provided to the commissioner on CD only. Source files will be provided on request.
  17. At least 20 commissions each month must be scheduled during 2006 for the project to go ahead in 2007.
  18. I reserve any other terms and conditions, and the right to negotiate special terms and conditions for individual commissions.

The goal of 100 commissions has been met. Updated December 31, 2007.
100