CALL FOR SCORES To Inherit the Wind

CALL FOR SCORES: To Inherit the Wind

To Inherit the Wind is a call for scores and a body of artistic research about listening to the wind. This call invites the submission of contemporary music scores exploring the sound of the wind and the imagined sounds of the Aeolian harp.

The aim of this call is to create a repertoire of sound compositions for public performance in semi-vacant outdoor spaces in the Alpine region of Valais, Switzerland in the spring of 2018. An Aeolian harp will be included in the performance programs, bringing together the imagined sound of the instrument, musical reflections on wind and the sound of the Aeolian harp.

More about the call:

Historically, the phrase To Inherit the Wind has been used in a political context as a warning to politicians of impending disastrous consequences, the consequence of being left with nothing. However, political consequences often have the greatest impact on community networks and individuals. In short, if politicians inherit the wind, we all inherit the wind. If we, as individuals, find something new in the wind and a fresh approach to nothingness, we can once again establish our own agency in a challenging situation.

The Aeolian harp is a wooden string instrument played without being touched by humans, the strings create sound as they are moved by the wind. The Aeolian harp is also the only string instrument to exclusively play harmonic frequencies. In tandem with this call for scores, an Aeolian harp of a traditional design from the Swiss Val d'Annivier from hundreds of years ago is under construction. Harps of this variety are exceedingly rare, as the sounds created by the untouched instrument have historically led to public accusations of witchcraft for those who possess the harps. The first recorded systematic persecution of witchcraft in Europe, beginning in 1428, took place in the Val d'Annivier. When the instrument currently under construction, a replica of a five hundred year old Swiss Aeolian harp, is finished, it will be the sole opportunity to hear the sound of this regional harp design and sound.

This call for scores invites composers to jump from an abstract expression into a concrete exploration of the sound of the wind, studying the dynamics of the invisible forces that surround us.

Potential themes for the composition:

• Without any knowledge of an Aeolian harp, or this specific instrument, what do you imagine an instrument would sound like if it was played by the wind?
• What does the wind sound like?
• Can you explore nothingness, vacancy, or empty space musically?
• Is there something specific or unique to be heard in the sound of the where you are that can’t be heard anywhere else?

• Composers of any age and nationality are invited to submit multiple works
• Works can be previously performed or published if permissions for the relevant copyrights and approvals are available
• Submissions can be comprised of recorded scores or project proposals
• Submission deadline is 14 February 2018


• Works will be chosen during two rounds of selection. The second round of selection will include an interview to discuss performance specificities and logistics. No works or submission files will be used without the consent of the artist.


• Please email your submission to
• Submissions should include:
• name
• address
• preferred contact method
• a brief written introduction to the work or project proposal
• sound files

• Deadline: 14 February 2018
• Entry Fee: 0.00

About The Artist:

Risa Horn is a performance and visual artist working with internal, collaborative and cultural narratives as poetic platforms for insight into lived social experience and nuance. She often works with performative methods and temporary site-specific installations in long- term multi-year projects. Risa is currently based in Sierre, Switzerland, where she is pursuing a Masters of Art in Public Space at École Cantonale d'Art du Valais.

14 Feb 2018