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“We Are All Mozart”

Explore a year in the life of composer Dennis Báthory-Kitsz through diverse compositions, from solemn elegies to lively radio-ready tunes, capturing his daily inspirations and talents. Witness the evolution of melodies, harmonies, and rhythms across different genres and moods. Join this musical journey through a myriad of compositions, each crafted with passion and creativity.

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“We Are All Mozart”

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  1. “We Are All Mozart” A 365-Day Composition Project Dennis Báthory-Kitsz September 10, 2006

  2. What can you write in a day?

  3. What can you write in a day? Exequy on the Death of Igor Stravinsky (1971), Written on the day Stravinsky died.

  4. What can you write in a day? Exequy on the Death of Igor Stravinsky (1971), Written on the day Stravinsky died. Sultry Nights (2006), Written in a morning for a radio show the next day.

  5. What can you write in a day? Exequy on the Death of Igor Stravinsky (1971), Written on the day Stravinsky died. Sultry Nights (2006), Written in a morning for a radio show the next day. Chartrelian (2006), Written in a day for a website demo of electronic music.

  6. What can you write in a day? Exequy on the Death of Igor Stravinsky (1971), Written on the day Stravinsky died. Sultry Nights (2006), Written in a morning for a radio show the next day. Chartrelian (2006), Written in a day for a website demo of electronic music. In Brassy Splenda (2006), Written in an evening for my wife’s birthday party.

  7. What can you write in a day? Exequy on the Death of Igor Stravinsky (1971), Written on the day Stravinsky died. Sultry Nights (2006), Written in a morning for a radio show the next day. Chartrelian (2006), Written in a day for a website demo of electronic music. In Brassy Splenda (2006), Written in an evening for my wife’s birthday party. Clouds of Endless Summer (2006), Written for an ensemble of violin, cello and piano.

  8. What can you write in a day? Exequy on the Death of Igor Stravinsky (1971), Written on the day Stravinsky died. Sultry Nights (2006), Written in a morning for a radio show the next day. Chartrelian (2006), Written in a day for a website demo of electronic music. In Brassy Splenda (2006), Written in an evening for my wife’s birthday party. Clouds of Endless Summer (2006), Written for an ensemble of violin, cello and piano. Yer Attention Please (2006), Written in a very long day for an organist.

  9. What can you write in a day? Exequy on the Death of Igor Stravinsky (1971), Written on the day Stravinsky died. Sultry Nights (2006), Written in a morning for a radio show the next day. Chartrelian (2006), Written in a day for a website demo of electronic music. In Brassy Splenda (2006), Written in an evening for my wife’s birthday party. Clouds of Endless Summer (2006), Written for an ensemble of violin, cello and piano. Yer Attention Please (2006), Written in a very long day for an organist. Sweet Ovals (2005), Written in three hours to fill a last-minute slot on a concert.

  10. What can you write in a day? Exequy on the Death of Igor Stravinsky (1971), Written on the day Stravinsky died. Sultry Nights (2006), Written in a morning for a radio show the next day. Chartrelian (2006), Written in a day for a website demo of electronic music. In Brassy Splenda (2006), Written in an evening for my wife’s birthday party. Clouds of Endless Summer (2006), Written for an ensemble of violin, cello and piano. Yer Attention Please (2006), Written in a very long day for an organist. Sweet Ovals (2005), Written in three hours to fill a last-minute slot on a concert. The Warbler’s Garden (2003), Written in a day for an electronic concert.

  11. What can you write in a day? Exequy on the Death of Igor Stravinsky (1971), Written on the day Stravinsky died. Sultry Nights (2006), Written in a morning for a radio show the next day. Chartrelian (2006), Written in a day for a website demo of electronic music. In Brassy Splenda (2006), Written in an evening for my wife’s birthday party. Clouds of Endless Summer (2006), Written for an ensemble of violin, cello and piano. Yer Attention Please (2006), Written in a very long day for an organist. Sweet Ovals (2005), Written in three hours to fill a last-minute slot on a concert. The Warbler’s Garden (2003), Written in a day for an electronic concert. Lullaby for Justin (2002), Written as a birthday gift for a child’s parents to play.

  12. What can you write in a day? Exequy on the Death of Igor Stravinsky (1971), Written on the day Stravinsky died. Sultry Nights (2006), Written in a morning for a radio show the next day. Chartrelian (2006), Written in a day for a website demo of electronic music. In Brassy Splenda (2006), Written in an evening for my wife’s birthday party. Clouds of Endless Summer (2006), Written for an ensemble of violin, cello and piano. Yer Attention Please (2006), Written in a very long day for an organist. Sweet Ovals (2005), Written in three hours to fill a last-minute slot on a concert. The Warbler’s Garden (2003), Written in a day for an electronic concert. Lullaby for Justin (2002), Written as a birthday gift for a child’s parents to play. Stores, Main Title (2002), Written as part of a set of eight for a country stores video.

  13. What can you write in a day? Exequy on the Death of Igor Stravinsky (1971), Written on the day Stravinsky died. Sultry Nights (2006), Written in a morning for a radio show the next day. Chartrelian (2006), Written in a day for a website demo of electronic music. In Brassy Splenda (2006), Written in an evening for my wife’s birthday party. Clouds of Endless Summer (2006), Written for an ensemble of violin, cello and piano. Yer Attention Please (2006), Written in a very long day for an organist. Sweet Ovals (2005), Written in three hours to fill a last-minute slot on a concert. The Warbler’s Garden (2003), Written in a day for an electronic concert. Lullaby for Justin (2002), Written as a birthday gift for a child’s parents to play. Stores, Main Title (2002), Written as part of a set of eight for a country stores video. Mountain Dawn Fanfare (2000), Written to fill a last-minute slot on a concert.

  14. What can you write in a day? Exequy on the Death of Igor Stravinsky (1971), Written on the day Stravinsky died. Sultry Nights (2006), Written in a morning for a radio show the next day. Chartrelian (2006), Written in a day for a website demo of electronic music. In Brassy Splenda (2006), Written in an evening for my wife’s birthday party. Clouds of Endless Summer (2006), Written for an ensemble of violin, cello and piano. Yer Attention Please (2006), Written in a very long day for an organist. Sweet Ovals (2005), Written in three hours to fill a last-minute slot on a concert. The Warbler’s Garden (2003), Written in a day for an electronic concert. Lullaby for Justin (2002), Written as a birthday gift for a child’s parents to play. Stores, Main Title (2002), Written as part of a set of eight for a country stores video. Mountain Dawn Fanfare (2000), Written to fill a last-minute slot on a concert. Super Flumina Babylonis (1992), Written in a day after the Montpelier flood.

  15. What can you write in a day? Exequy on the Death of Igor Stravinsky (1971), Written on the day Stravinsky died. Sultry Nights (2006), Written in a morning for a radio show the next day. Chartrelian (2006), Written in a day for a website demo of electronic music. In Brassy Splenda (2006), Written in an evening for my wife’s birthday party. Clouds of Endless Summer (2006), Written for an ensemble of violin, cello and piano. Yer Attention Please (2006), Written in a very long day for an organist. Sweet Ovals (2005), Written in three hours to fill a last-minute slot on a concert. The Warbler’s Garden (2003), Written in a day for an electronic concert. Lullaby for Justin (2002), Written as a birthday gift for a child’s parents to play. Stores, Main Title (2002), Written as part of a set of eight for a country stores video. Mountain Dawn Fanfare (2000), Written to fill a last-minute slot on a concert. Super Flumina Babylonis (1992), Written in a day after the Montpelier flood.

  16. What can you write in a day?

  17. What can you write in a day? Within a few days of September 11, 2001, more than 60 composershad written chamber, vocal, and electronic music to commemorate the event, broadcast on the radio show and website, “Kalvos & Damian’s New Music Bazaar.” (Those compositions are still on line at kalvos.org.)

  18. What is Nonpop? Nonpop is the music that used to be called “classical.” Nonpop is a ‘meta-genre.’ It comprises the overlapping genres of modern music, avant-garde music, performance art, new music, art music, experimental music, contemporary classical music, and similar genres. Nonpop is ‘foreground music’—not ‘background music.’

  19. Why Mozart? • The publicity about his 250th birthday. • The number of his compositions—626. • The way he was expected to work—on demand! Our composers can “be Mozart” in more ways than you think—quality, quantity, demand, imagination!

  20. State of the Art • A disaster at the top. • Same “Top 40” classical pieces played over and over. • Orchestras going bankrupt in the U.S. and Canada. • National Public Radio canceling what’s left of its classical schedule.

  21. State of the Art • A disaster at the top. • Same “Top 40” classical pieces played over and over. • Orchestras going bankrupt in the U.S. and Canada. • National Public Radio canceling what’s left of its classical schedule. • A grassroots revolution. • More working composers than ever—over 150 in Vermont alone. • More new nonpop ensembles across the U.S. • Web radio presenting the widest selection of new music ever heard.

  22. Other 365-Day Projects • Computer Art: Le 365 Jours de Stéphane Trois Carrés by the French artist (http://s.troiscarres.free.fr/) • Theatre: 365 Days / 365 Plays by Suzan-Lori Parks at New York’s Public Theatre (http://www.publictheater.org/365/) • Painting: A Painting a Day by Nick Jainschigg (http://www.nickjainschigg.org/APaintingADay_New_Main.html) • Painting: Palettes of Vermont initiated by Warren Kimble (http://www.vermontartscouncil.org/palettes/)

  23. Why It Can Work for You • Engages in a new approach to art in America. • Centers around local, grassroots activities. • Brings community together around something new. • Creates music entirely unique to the community. • Creates a repeatable artform of lasting value. • Uses a real-time participation artform. • Invests in a multiple-participant artform. • Helps groups cash in now—while it’s cheap!

  24. Why It Can Work for You • Engages in a new approach to art in America. • Centers around local, grassroots activities. • Brings community together around something new. • Creates music entirely unique to the community. • Creates a repeatable artform of lasting value. • Uses a real-time participation artform. • Invests in a multiple-participant artform. • Helps groups cash in now—while it’s cheap!

  25. Why It Can Work for You • Engages in a new approach to art in America. • Centers around local, grassroots activities. • Brings community together around something new. • Creates music entirely unique to the community. • Creates a repeatable artform of lasting value. • Uses a real-time participation artform. • Invests in a multiple-participant artform. • Helps groups cash in now—while it’s cheap!

  26. Why It Can Work for You • Engages in a new approach to art in America. • Centers around local, grassroots activities. • Brings community together around something new. • Creates music entirely unique to the community. • Creates a repeatable artform of lasting value. • Uses a real-time participation artform. • Invests in a multiple-participant artform. • Helps groups cash in now—while it’s cheap!

  27. Why It Can Work for You • Engages in a new approach to art in America. • Centers around local, grassroots activities. • Brings community together around something new. • Creates music entirely unique to the community. • Creates a repeatable artform of lasting value. • Uses a real-time participation artform. • Invests in a multiple-participant artform. • Helps groups cash in now—while it’s cheap!

  28. Why It Can Work for You • Engages in a new approach to art in America. • Centers around local, grassroots activities. • Brings community together around something new. • Creates music entirely unique to the community. • Creates a repeatable artform of lasting value. • Uses a real-time participation artform. • Invests in a multiple-participant artform. • Helps groups cash in now—while it’s cheap!

  29. Why It Can Work for You • Engages in a new approach to art in America. • Centers around local, grassroots activities. • Brings community together around something new. • Creates music entirely unique to the community. • Creates a repeatable artform of lasting value. • Uses a real-time participation artform. • Invests in a multiple-participant artform. • Helps groups cash in now—while it’s cheap!

  30. Why It Can Work for You • Engages in a new approach to art in America. • Centers around local, grassroots activities. • Brings community together around something new. • Creates music entirely unique to the community. • Creates a repeatable artform of lasting value. • Uses a real-time participation artform. • Invests in a multiple-participant artform. • Helps groups cash in now—while it’s cheap!

  31. Why It Can Work for You • Engages in a new approach to art in America. • Centers around local, grassroots activities. • Brings community together around something new. • Creates music entirely unique to the community. • Creates a repeatable artform of lasting value. • Uses a real-time participation artform. • Invests in a multiple-participant artform. • Helps groups cash in now—while it’s cheap!

  32. Thinking About Composers • Do you know any living composers? In your community? • Mozart existed in a milieu where his work was wanted. • Pressure can create brilliant work. Exploit the drama! • Distinguish integrity (‘art’) and value (‘commerce’). • Restore a sense of societal, not just commercial, meaning.

  33. Contacting Composers • Ask locally and search online—many composers have greater success online than in their own communities. • Visit “We Are All Mozart” http://maltedmedia.com/waam/ • Contact Dennis Báthory-Kitsz, bathory@bathory.org

  34. “We Are All Mozart” A 365-Day Composition Project Dennis Báthory-Kitsz September 10, 2006

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