OUR COMMISSIONING PHILOSOPHY
We see our role in the commissioning process as facilitators, giving the composer as much freedom as possible while
giving the work extensive exposure through multiple international premieres. This policy was inspired by Sofia Gubaid-
ulina’s comments on the occasion of her 90th birthday back in 2021. When asked if she was looking forward to writ-
ing new commissions, Gubaidulina responded that now that she was 90, she was going to write what she wanted. This
rang true to us and we adopted it as our official commissioning policy. While we do discuss with the composer the
general terms of the commission such as the length of the work, the budget, and the performing medium — we leave
much of the rest alone.
ICCM has also developed a unique promotional strategy for new compositions: We strive to ensure multiple perfor-
mances of the work on the international music scene by scheduling them at several major music centers, engaging
different major ensembles and soloists, and by reserving the right to record the piece. By taking this approach we have
found that the benefits are much greater than if we used the traditional approach. We are proud of having brought to
the world some outstanding pieces of contemporary music — and more is to come . . .
OUR COMMISSIONING PHILOSOPHY
We see our role in the commissioning process as facilitators, giving the composer as much freedom as possible while giving the work extensive exposure through multiple international premieres. This policy was inspired by Sofia Gubaidulina’s comments on the occasion of her 90th birthday back in 2021. When asked if she was looking forward to writing new commissions, Gubaidulina responded that now that she was 90, she was going to write what she wanted. This rang true to us and we adopted it as our official commissioning policy. While we do discuss with the composer the general terms of the commission such as the length of the work, the budget, and the performing medium — we leave much of the rest alone.
ICCM has also developed a unique promotional strategy for new compositions: We strive to ensure multiple performances of the work on the international music scene by scheduling them at several major music centers, engaging different major ensembles and soloists, and by reserving the right to record the piece. By taking this approach we have found that the benefits are much greater than if we used the traditional approach. We are proud of having brought to the world some outstanding pieces of contemporary music
— and more is to come . . .
COMMISSIONS 2025/26 Season
Newly minted music
after Kulenty & Sadlkova
CURRENT COMMISSIONS
List of composers currently working on major
ICCM commissions:
Hanna Kulenty (Poland)
Carrés Noirs – Double Concerto
for piano four hands, two string orchestra and percussion.
Infinilninfini
for large orchestra
Aziza Sadikova (Uzbekistan)
Concerto for Bayan and Orchestra
Riccardo Riccardi (Italy)
Ricercar for Chamber Orchestra
Avner Dorman (Israel/USA)
Double Concerto
for violin, bayan, and orchestra
Wojciech Błażejczyk (Poland)
Sinfonia Concertante (working title)
for rock trio and orchestra
Hanna Kulenty
ICCM Commission No. 1: Carrés Noirs – Double Concerto
for piano four hands, two string orchestras, and percussion
Length: ca. 20 min.
Commissioned for: Bizjak Piano Duo & the Orchestra of St. Luke’s (NY)
Premiere anticipated: in 2025, London, New York, Warsaw
ICCM Commission No. 2: Infinilninfini — for large orchestra
Length: ca. 24 min.
Commissioned for: Orchestras tba
Premiere anticipated: in 2026, London, New York, Warsaw
Hanna Kulenty is a distiguished Polish composer whose philosophy
about art and life find expression in mesmerizing, spirit-infused musical
scores. She brands her style as Surrealistic and her quest for artistic truth
as a search for the metaphysical. Through controlling and taming the
phenomenon of time, she seek to purify both the soul – through cathar-
sis, and the body – and through emotions.
Aziza Sadikova
ICCM commission: Concerto for Bayan and Orchestra
Length: ca. 25 – 30 min.
Commissioned for: Geir Draugsvoll, bayan
Orchestra(s): tba
Premiere anticipated: in 2025/26 Season, London and New York
Uzbek composer of international renown, Aziza Sadikova uses a unique musical language with which she inevitably draws her listeners into her musical universe. She is a direct descendent of Shostakovich, Schnittke,
and Gubaidulina, and more specifically, belongs to the musical trend defined by Stravinsky.
Avner Dorman
ICCM commission: Double Concerto
for violin, bayan, and orchestra
Length: ca. 25 – 30 min.
Commissioned for: Viktoria Mullova, violin; and Geir Draugsvoll, bayan
Orchestra(s): tba
Premiere anticipated: in 2025/26 Season, London, and New York
Award-winning, internationally aclaimed Israeli composer. Here is how Anne Midgette of Washington Post sums up his work:
Wide-ranging, appealing, breathtakingly virtuosic, sophisticated enough to appeal to an audience of classical aficionados, and approachable enough to appeal to people who have never been to an orchestra concert.
Riccardo Riccardi
ICCM commission: Ricercar for Chamber Orchestra
Length: ca. 20 min.
Orchestra(s): tba
Premiere performances anticipated in 2025 in London and in Portland,
Oregon (USA) at the Oregon Music Festival
Represented by the Universal Edition, Riccardo Riccardi is an Italian composer, playwright as well as a painter and architect — in short, a Renaissance man. While his many activities keep him constantly engaged, Riccardo thrives on playing the role of a Jack of all trades…
“Normally,” he states, “I just do one thing at a time”. Riccardi’s Quartetto per archi, Op. 80 will be given its world premiere at
the closing of the ICCM’s 2024/ 25 season at Carnegie Hall, New York, by the Manhattan String Quartet.
Wojciech Błażejczyk
ICCM commission: Sinfonia Concertante
for rock trio, electronics, and orchestra
Length: ca. 25 min.
Orchestra(s): tba
Premiere anticipated in 2025/26 Season in London, and Los Angeles
Wojciech Błażejczyk is a composer, guitarist and sound engineer. He teaches at the Composition and Sound Engineering department of the F. Chopin University of Music in Warsaw being the head of the Computer Music Studio. He writes both acoustic and electroacoustic music, as well as works for the theatre and film. Known internationally as a cutting- edge composer, he has appeared with many orchestras. Most recently he premiered his Concerto for El. Guitar and Orchestra at Queen Elizabeth Hall in London to high acclaim and subsequently recorded the piece with London Sinfonietta on Signum Label.
