Festival Concert II Thursday, June 5, 2008 7:30pm The American Composers Alliance presents:

New Piano

With Special Guest Artists:

Naomi Drucker, , Christopher Bruckman, piano, Nicole Pantos, soprano

Asuka Yamamoto, clarinet, Kathy Tagg, piano,

Chern Hwei Fung, violin, Jane Cords O’Hara, cello, Justin Berrie, flute,

Marijo Newman, piano, Jeannie Im, soprano, and more!

FIVE LIVE CONCERTS MORE THAN 30 COMPOSERS

Festival Schedule:

Wednesday, June 4 at 7:30pm Leonard Nimoy Thalia Thursday, June 5 at 7:30pm at Peter Norton Symphony Space Friday, June 6 at 7:30pm 2537 Broadway at 95th St. Saturday, June 7 at 4:00pm New York City Saturday, June 7 at 7:30pm

Complete festival schedule of works to be performed, and additional biographical information on the composers and performers, link at www.composers.com

The American Composers Alliance is a not-for-profit corporation. This event is made possible in part, with funds from the Argosy Foundation, BMI, the City University Research Fund, the Alice M. Ditson Fund of , NYU Arts and Sciences Department of Music, and other generous foundations, businesses, and individuals.

Steven Kemper Run from Fear (2007) Justin Berrie, flute Asuka Yamamoto, clarinet Marijo Newman, piano Jane Cords-O’Hara, cello Laurence Goldman, double bass

Marilyn Shrude Memorie de luoghi (2001) Maria Sampen, violin I. Tangled paths Marilyn Shrude, piano II. Water…still and disturbed III. Born of mountains

Nathan Bowen Cassia (2004) Justin Berrie, flute Sam Sadigursky, Bb clarinet & bass clarinet Chern Hwei Fung, violin Zsaz Rutkowski, cello Adam Forman, percussion Kathy Tagg, piano Paul Kerekes, conductor

André Brégégère Vol de nuit (2007) Justin Berrie, flute Asuka Yamamoto, clarinet Chern Hwei Fung, violin Zsaz Rutkowski, cello

Elliott Schwartz Suite for Viola and Piano (1962) Tawnya Popoff, viola Elliott Schwartz, piano

Intermission

Fred Cohen Four Episodes (2006) * Asuka Yamamoto, clarinet 1. Flash Kathy Tagg, Piano 2. Breath 3. Arioso 4. Pure

Anthony Lanman Il dolce stile nuovo (2001) Amie Weiss, violin Jane Cords-O’Hara, cello Kathy Tagg, piano 2

Gregory Hall The Waking (2007) * Jeannie Im, soprano Marijo Newman, piano

Joyce Hope Suskind Meditations on War and Peace (2007) Nicole Pantos, soprano 1. Chalk of Time Naomi Drucker, clarinet 2. We Start in the Sun Christopher Bruckman, piano 3. War 4. Peace 5. The Second Coming *world premiere

ABOUT THE COMPOSERS, PROGRAM NOTES, AND SUNG TEXTS (in program order):

TEXTS AND PROGRAM NOTES

Steven Kemper

Run from Fear (2007)

The title of this piece refers to a Bruce Nauman neon sculpture which contains the text “Run from Fear” above the text “Fun from Rear.” This piece is based on the minor third E-G which comes from the first song I learned to play on guitar: “About a Girl” from the Nirvana Unplugged album. As in Nauman’s sculpture, this piece strives to be both serious and light-hearted at the same time. This piece was commissioned by Bowdoin College in celebration of the opening of the Studzinski Recital Hall.

Marilyn Shrude

Memorie di luoghi… (Memories of places) (2001) is a nostalgic recollection of times remembered. This essay in sound could be about many places, but in this instance recalls my residency at the Rockefeller Study and Conference Center in Bellagio, Italy. These breath-taking and dramatic surroundings were the inspiration for the individual movements: I. Twisted paths, II. Water…still and disturbed, and III. Born of mountains. As is typical of my music, the work is “highly linear, featuring layered constructions, timbral contrasts and intervallic transformations in both tonal and atonal contexts” (Natvig, Grove). Memorie di luoghi… is dedicated to my daughter, Maria Sampen, who premiered the work with me in its entirety at the 22nd Annual New Music & Art Festival, Bowling Green State University in October 2001.

Nathan Bowen

Cassia (2004) is an aromatic spice that, among other uses, is an ingredient for anointing oil. Having an interest in the rich history of anointing, I love how it is a tradition mainly associated with vitality and potential. 3

This piece is meant to be a celebration of things that are ennobling, constructive, and beneficial to growth and enrichment. As such, I wanted to write something that not only comes alive aurally, but also requires a bit of physical nimbleness for performance. I am increasingly drawn to durational issues and how rhythm can be used to create a sense of motion or stasis. In this piece I am conscientious of the interplay between sparse and rich textures, brittle and lush timbres, and abrupt dynamic and rhythmic contrasts.

André Brégégère

Vol de nuit was written during the Spring of 2007 and received its first performance in May of the same year. It is based on the interplay of two contrasting ideas: the first idea, stated in the opening gesture the opening gesture, is submitted throughout the piece to a process of orchestral and rhythmic re-interpretations; the second, contrasting idea is first stated as a simple accompanied melody. It later returns, unfolding in a slow, contrapuntal passage, leading to the primary climax of the piece. The pre-compositional material from which Vol de nuit is derived uses symmetry as its main structuring force, and is based on my—rather naïve— interpretation of the theoretical writings of George Perle, to whom this piece is dedicated. I am also indebted to my teacher, Bruce Saylor, for his attentive guidance and support; to the Second Instrumental Unit, David Fulmer and Marc Williams for their inspired first performances of many of my works during the past two years—including the present piece.

Elliott Schwartz

Suite for Viola and Piano (1962)

The /Suite for Viola and Piano /is among my earliest pieces -- composed in the mid-1960s -- and certainly among the very few works of that decade I still enjoy hearing! It was written for violist Louise Rood, and first performed by her on a Smith College recital. Other violists (notably George Grossman, Jacob Glick and Julia Adams) have played it as well over the years. The work attempts to project a range of contrasting moods and textures, via a series of brief (and occasionally interconnected) movements. Although all the material derives from a 12-tone row, the overall language of the /Suite/ is highly triadic and even "tonal."

Fred Cohen

Four Episodes (2006)

The titles for each movement originated as shorthand expressions intended to help the performers realize the underlying intentions of each episode. "Flash," for example, is a depiction in music of flickering, sparkling images. "Breath" celebrates the sheer beauty of long, melodic lines—an opportunity for the performers to display their artistry in weaving melodic contours from of simple musical materials. "Arioso" is a short, intense, lyric solo for clarinet, with the piano performing a largely accompaniment role. "Pure," the final episode, combines elements of the previous three within a mostly simple, unornamented texture, celebrating the pure beauty of the musical interaction of the two performers."Four Episodes for Clarinet and Piano" was commissioned by David Singer, Associate Principal Clarinet Orpheus Chamber .

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Anthony Lanman

Il dolce stile nuovo (2001)

This piece, for me, is just about the joy or writing and playing music. It brings together all of my major musical influences – rock, jazz, heavy metal, renaissance and baroque music, classical Japanese music, and modern concert music. Sure, the genesis of the piece came when a friend told me that, because I was a guitarist, I would never really be able to write for piano – I don’t like it when people tell me I can’t do something – but the piece became so much more than that for me. It embodies my style and my approach to composition and was written for and dedicated to Mandy Morris.

Gregory Hall

The Waking (2007)

The Waking is from a text by Theodore Roethke. Since the subject matter is somewhat farther-ranging than many other poems I have set, I have deliberately expanded my harmonic palette, and the work points not only to (what I hope are) some future developments in that vein, but also looks back to the language of some of my earlier music, and thus becomes a summation so far of what I have done in the art-song idiom.

The Waking Theodore Roethke

I wake to sleep, and take my waking slow. I feel my fate in what I cannot fear. I learn by going where I have to go.

We think by feeling. What is there to know? I hear my being dance from ear to ear. I wake to sleep, and take my waking slow.

Of those so close beside me, which are you? God bless the Ground! I shall walk softly there, And learn by going where I have to go.

Light takes the Tree; but who can tell us how? The lowly worm climbs up a winding stair; I wake to sleep, and take my waking slow.

Great Nature has another thing to do To you and me, so take the lively air, And, lovely, learn by going where to go.

This shaking keeps me steady. I should know. What falls away is always. And is near. I wake to sleep, and take my waking slow. I learn by going where I have to go. 5

Joyce Hope Suskind

Meditations on War and Peace

When I came upon an untitled poem in the collected poems of Gerard Manley Hopkins that began, “The times are nightfall”, I gasped and said to myself, “Oh my God! We are living in those times”. A profound feeling of desolation, of despair, came over me. I sat down at the piano and started to play what became the song “War”. The line “Or what is else?” revealed a shift in consciousness in the poet that required a corresponding shift in the music. I accomplished that by going from minor to major (pentatonic), which let the light come in. This is the only section in the entire suite that is in a major key.

That shift of consciousness in the poem came from the spiritual depths of Hopkins, who was a Jesuit priest. Seeking and possibly finding “the world within” resides in the great mystic traditions. It is difficult to find a secular parallel to this. A notable exception was the response of Viktor Frankl, the great psychiatrist who survived the tortures of incarceration in a concentration camp. He said, “It is not what happens to a person that affects them, but how they choose to look at what happens to them. The last of the human freedoms is to choose one’s attitude”. He was able to save his sanity because of that choice.

Yeats doesn’t deal with the personal, but with a civilization out of control. The Irish and Russian Revolutions, and the First World War have devastated Europe. The Christian god cannot hold it together. An era is coming to an end. The old god will be replaced by another, unknown and terrifying.

Meditations on War and Peace

Chalk of Time Morgan Alexander and Joyce Hope Suskind

The bomb shatters the dream The cry curdles the lullaby The wail ferments the sunbeams And you stand alone In the chalk of time.

The knife pierces the flesh The scream voices the agony The troops tumble the dust And you stand alone In the chalk of time.

When the mist turns winter cold, quiet; Cover me with a blanket of dawn; Out of the silence is woven a warmth As the threads of the days wear on. The truce announces the birth The earth heralds the future The sun beckons the journey And you stand alone In the chalk of time.

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We Start in the Sun Morgan Alexander

In the quiet morning Bring me sleep in a wooden bowl; In the eagle dawning Cover me with strawberry vines. We start in the sun With kisses and sand; We end when the raindrops fall One by one.

In the naked sunlight Gather wood for a blazing fire; On the jagged skyline Hawks with bloody claws. We start in the sun With banners and emblems; We end when the monarchs fall One by one.

In the smoky twilight Set the wild dogs free in the wood; Hear the sky’s warning; Hide in caves from charcoal death. We start in the sun With kisses and sand. We end when the bombs fall One by one.

War Gerard Manley Hopkins

The times are nightfall, look their light grows less; The times are winter, watch, a world undone; They waste, they wither worse; they as they run Or bring more or blazon man’s distress. And I not help. Nor word now of success; All is from wreck, here, there, to rescue one – Work which to see scarce so much as begun Makes welcome death, does fear forgetfulness.

Or what is else? There is your world within. There rid the dragons, root out there the sin. 7

Your will is law in that small commonweal

Peace. Gerard Manley Hopkins

When will you ever, Peace, wild wooddove, shy wings shut, Your round me roaming end, and under be my boughs? When, when, Peace, will you, Peace?—I’ll not play hypocrite

To my own heart: I yield you do come sometimes; but That piecemeal peace is poor peace. What pure peace allows Alarms of wars, the daunting wars, the death of it?

O surely, reaving Peace, my Lord should leave in lieu Some good! And so he does leave Patience exquisite, That plumes to Peace thereafter. And when Peace here does house He comes with work to do, he does not come to coo, He comes to brood and sit.

The Second Coming William Butler Yeats

Turning and turning in the widening gyre The falcon cannot hear the falconer; Things fall apart; the centre cannot hold; Mere anarchy is loosed upon the world, The blood-dimmed tide is loosed and everywhere The ceremony of innocence is drowned; The best lack all conviction, while the worst Are full of passionate intensity.

Surely some revelation is at hand; Surely the Second Coming is at hand. The Second Coming! Hardly are these words out When a vast image out of Spiritus Mundi Troubles my sight; somewhere in sands of the desert A shape with lion body and the head of a man, A gaze blank and pitiless as the sun, Is moving its slow thighs, while all about it Reel shadows of the indignant desert birds. The darkness drops again; but now I know That twenty centuries of stony sleep Were vexed to nightmare by a rocking cradle, And what rough beast, its hour come round at last, Slouches toward Bethlehem to be born? 8

ABOUT THE COMPOSERS

Nathan Bowen is currently pursuing a doctorate in music composition at the CUNY Graduate Center, studying primarily with Amnon Wolman and Tania León. As a member of the Handcart Ensemble, he created sound scores tightly integrated with kinetic dance movement and spatialization for New York premieres of Pulitzer Prize winner Seamus Heany's Burial at Thebes as well as Ted Hughes's Alcestis. His music for Handcart Ensemble's Two Yeats Plays garnered a nomination for a New York Innovative Theater Award for best original music. His most recent projects involve networked performance and are geared toward audiences helping to make compositional decisions in real-time. As a co-founding member of the Intermedia Arts Group, Nathan has performed computer laptop improvisations using signal-processing and 3D graphics.

Born in Paris, France, in 1975, André Brégégère came to the United States in 2003. He spent two years in Boston, where he studied Jazz composition with Ken Pullig, Greg Hopkins, earning his BM at the Berklee College of Music in 2005. In 2006, he moved to New York and has been since studying privately with Bruce Saylor at the Aaron Copland School of Music, where he is currently working towards his MA in composition. In 2008, Mr. Brégégère has been awarded the prestigious Chancelor’s Fellowship from the City University of New York, and will start his doctoral studies in composition at CUNY beginning next Fall.

Fred Cohen's music has been commissioned by such organizations as the Richmond Symphony, the Cleveland Chamber Orchestra, the Manhattan School of Music Orchestra, the Shanghai String Quartet, the 21st Century Ensemble, the Paul Hill Chorale, as well as numerous chamber ensembles and individual musicians. His works have been performed throughout the Americas, and in Northern and Eastern Europe. Recent performances include his String Quartet No. 1 during the Chamber Music America National Conference in New York; Great Scott!,a concerto for and wind ensemble, commissioned by the Montclair State University Wind Ensemble and soloist Jeffrey Scott; Smiling Dennis, a concerto for bass clarinet and orchestra premiered by Dennis Smylie, bass clarinet, and the Colonial Symphony Orchestra; Dances and Meditations, commissioned for Susan Palma, flute, and the Borromeo String Quartet; and Fred's Fancies, a trio for , and piano trio commissioned by the University of Amherst, Massachusetts.

Composer Gregory Hall (b. 1959) was passionate about harmony even before he began composing in the late 1970’s. As a result, much of his work has been concentrated on developing a contrapuntally-based musical language emphasizing neither harmony nor melody, but the successful blending of both. Recordings include Water: 2 Poems of W.S. Merwin for Soprano and Orchestra released in Vol. 15 of ERMMedia's Masterworks of the New Era CD series in March of 2008 and Quartet for Saxophones which will be featured in an upcoming Capstone Records recording of new quartets for saxophone, also featuring the premiere release of Lukas Foss' Saxophone Quartet. His MAX computer music algorithm 21st Century Baroque for computer and sampling device(s) appeared on the internationally distributed MAX list CD-ROM. Hall’s works are published by the ACA.

Originally from Baltimore, Steven Kemper studied composition with Elliott Schwartz and Vin Shende during his time at Bowdoin. Upon graduation he moved to Chicago where he worked as a sound engineer for the Chicago Shakespeare Theater and the Apple Tree Theatre. Steven completed a master of music degree in composition at Bowling Green State University where he studied composition with Marilyn Shride and worked as a teaching assistant for music technology. Currently, Steven is a second year doctoral student at the University of Virginia

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in the composition and computer technologies program, studying with Matthew Burtner.

Anthony Joseph Lanman, a native of Houston, Texas, received his BM in composition at the University of Texas, and an MM and DMA in composition from Indiana University. Mr. Lanman was lucky enough to be taught and inspired by Adam Holzman (classical guitar), Dan Welcher (composition), Nigel North (renaissance lute) and Sven-David Sandström (composition). Mr. Lanman is also an active performer on both the classical guitar and 8-string electric guitar.

Chicago-born composer Marilyn Shrude received degrees from Alverno College and Northwestern University, where she studied with Alan Stout and M. William Karlins. Among her more prestigious honors are those from the American Academy of Arts and Letters, , Chamber Music America/ASCAP, Meet the Composer, National Endowment for the Arts and the Ohio Arts Council. She was the first woman to receive the Kennedy Center Friedheim Awards for Orchestral Music (1984) and the Cleveland Arts Prize for Music (1998). Since 1977 Shrude has been on the faculty of Bowling Green State University, where she teaches and currently chairs the Department of Musicology/Composition/Theory. She is the founder of the MidAmerican Center for Contemporary Music (at Bowling Green), an international organization for the promotion of contemporary music, and past director of its Annual New Music & Art Festival. She continues to be active as a pianist and clinician with saxophonist John Sampen. In 2001 she was named a Distinguished Artist Professor of Music.

Elliott Schwartz was born 1936 in New York City and studied composition with Otto Luening and Jack Beeson at Columbia University. He has recently retired from the faculty at Bowdoin College, where he served for 43 years, twelve of them as department chair. His many extended residencies and/or visiting professorships include , the University of California (San Diego and Santa Barbara), Harvard, Oxford, and Cambridge. Schwartz’s compositions have been performed by such groups as the Minnesota Orchestra, Cincinnati Symphony, Indianapolis Symphony, St. Paul Chamber Orchestra, Chicago Chamber Orchestra, and numerous others. Over the course of his career he has served as president of The College Music Society, president of the Society of Composers, Inc, vice-president of the American Music Center, and board member of the American Composers Alliance.

Schwartz has also written or edited a number of books on musical subjects. These include Music: Ways of Listening, Electronic Music: A Listener’s Guide, Music since 1945 (co-author with Daniel Godfrey) and the anthology Contemporary Composers on Contemporary Music (co-editor with Barney Childs).

During 2006, Schwartz’s 70th birth-year was celebrated with concerts and guest lectures at Oxford, the Royal Academy of Music (London), Butler University, Concordia College, the University of Minnesota, the ACA Festival (NYC) and the . The last-named also celebrated the Library of Congress acquisition of his collected papers and archives.

Joyce Hope Suskind has enjoyed a varied career as composer, concert singer, oboist, pianist, and teacher. After completing her studies at Juilliard as a scholarship student in oboe and voice, Suskind discovered her talent for composing while playing improvisational piano at the Martha Graham School. She received a

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commission from Lehman College to compose a score for a Balinese dance which was written for gamelons, flute, and percussion. She went on to specialize in vocal music, composing a score for a musical comedy, a revue, a feminist anthem, which was her first published song, cabaret songs, and numerous art songs, most of them set to the poems of WB Yeats. She is currently interested in composing vocal chamber music. She resides in Manhattan, her hometown.

ABOUT THE ARTISTS

Please visit http://acafestival.blogspot.com for more information and photos

Flutist Justin Berrie enjoys a diverse musical career as an orchestral flutist, chamber musician, and teacher. Formerly Solo Flutist of the Symphonica Toscanini in Italy under Maestro Lorin Maazel, Mr. Berrie frequently performs as an extra in the New York Philharmonic, as well as appearing as guest Principal Flutist with the symphonies of St. Louis, Buffalo, Vermont, Albany, New Haven, and Springfield (MA). He holds degrees from the Eastman School of Music, the Juilliard School, and Yale University.

A native New Yorker, graduate of the Upper West Side's Mannes College of Music, and proud resident of Inwood in Upper Manhattan, Christopher Bruckman enjoys a varied career in the performing arts from English Morris dancing to opera conducting.

New York City based Irish cellist Jane Cords - O’Hara has performed extensively in Ireland, the UK, Europe and the United States. Concerto appearances have been with Philomusica of Gloucester (Elgar concerto) and the Hibernian Orchestra (Saint-Saens and Haydn D major concerti). As a recitalist, she has played at such venues as the National Concert Hall, Dublin, the Goethe Institute, Dublin and New York, and the Irish Consulate in Brussels.

Naomi Drucker, clarinetist, co-director of the American Chamber Ensemble, has performed, recorded and toured with the New York Philharmonic. She has performed in Japan, Great Britain, Russia, Sweden, France, Canada and Argentina, and has appeared as soloist with the Nassau Symphony Orchestra, New York Virtuosi, Philharmonia Virtuosi, Massapequa Symphony, Long Island Baroque Ensemble. Long Island Symphony and West Islip Orchestra.

Born and raised in Kuala Lumpur, Malaysia, Fung Chern Hwei absorbed a large amount of musical information since young in his diversed surroundings: Chinese pop and classical music, Indian Bollywood tunes, Malay dance music, and Western classical music. He insisted to learn the violin since he was 4 or 5 years old, but couldn't find a teacher until he was 8 years old. Since then Chern Hwei thrusted himself into the world of violin and never looked back.

Percussionist Adam Forman will be entering his senior year at the Aaron Copland School of Music at Queens College. He currently studies with Michael Lipsey and has studied under Joe Gramley and Matt Ward. He has performed the Daniel Adams Concerto for Marimba, and also enjoys playing the music of Carter, Cage, Takemitsu and many others. In addition to classical music, he has studied Afro-Cuban percussion with Carlos Gomez and has played in many rock, jazz, and theater groups.

Since obtaining an M.A. in Musicology and a Certificate in Early Music Performance from New York University, 11

Jeannie Im has been busy performing in opera and concerts in the United States and Europe. Recent operatic highlights include the lead role of Beatrice/Antiope in the world première of excerpts of Egon Lustgarten's Dante im Exil in Bernried, Germany.

Paul Kerekes is a sophomore at Queens College, the Aaron Copland School of Music. He is a wonderful young pianist and composer and has provided enormous and valuable help in setting up this festival. He makes his professional conducting debut this evening at Thalia.

An avid performer of new music, soprano Nicole Pantos collaborates regularly with composers to perform chamber and recital programs. Formally trained as a concert pianist, harpist, and flutist, Ms. Pantos brings instrumental sensibility to chamber performance.

Canadian violist Tawnya Popoff enjoys a versatile career as a chamber musician, soloist and teacher. She is a founding member of the Athabasca String Trio and the Solo Quartet, and was a prizewinner in the 2000 Lionel Tertis International Viola Competition. Ms. Popoff is a member of Chamber Dance Project, New York Miniaturist Ensemble, VisionIntoArt, Gotham Chamber Opera and Vancouver Opera.

Zsaz Rutkowski is a native of Long Island, New York. She began playing cello at the age of ten and started private lessons at the age of 16. She received her bachelor of music degree from the Manhattan School of Music where she studied with Marion Feldman. She is now in the master’s degree program in performance with Marcy Rosen at the Aaron Copland School of Music.

Sam Sadigursky plays the saxophone mostly, but can often be seen with flutes and as well. He composes music, mostly based on poetry, and has just released an album of compositions called The Words Project on New Amsterdam Records, which was just named one of the ten best releases of 2007 by Steve Smith in Time Out New York.

Kathleen Tagg is a South-African pianist based in New York City. Since moving to New York in 2001, she has established herself as a sought-after soloist and chamber musician. She has performed recently at Carnegie Hall, , and the Cornelia Street Café.

Violinist Maria Sampen is in demand as a performer of new and experimental works and has premiered dozens of compositions both as a soloist and with Brave New Works. Ms. Sampen has appeared as a concerto soloist with throughout the United States and is particularly known for her performances of William Bolcom’s virtuosic .

Amie Weiss has performed internationally with the Bill T. Jones/Arnie Zane Dance Company, Ensemble 21, Youth Orchestra of the Americas, and the Knights Chamber Orchestra. She has played with singer/songwriter Teddy Thompson around NYC as well as on the Late Show with David Letterman and Late Night with Conan O'Brian.

Born and raised in Osaka, Japan, Asuka Yamamoto began playing piano at the age of 3 and clarinet at the age of 9. In 1999 she won 1st prize at the Japan Junior Instruments and Percussion competition. Ms. Yamamoto came to New York to study with Charles Neidich at Queens College in 2004 and has just, a few days ago, completed her Bachelor of Music degree. She will continue her studies at The Juilliard School pursuing a Master of Music degree in the Fall of 2008.

About the American Composers Alliance

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The American Composers Alliance was founded in 1937 by Aaron Copland to support American composers and to foster interest in contemporary classical music. Today, ACA is a tax-exempt 501(c)(3) organization dedicated to providing its composer members a unique variety of services including promotion and publication, registration of works, and library archiving, while bringing fresh and vibrant American music to performing artists and the general public through its searchable online database and exciting program of concerts.

As a non-profit organization dedicated to American classical music, ACA is a publisher, archivist, custodian, and concert presenter with a history dating back to 1937. Its catalog of works is one of the most unique and diverse collections of music in the world and includes compositions by Otto Luening, Vladimir Ussachevsky, Robert Helps, Dane Rudhyar, Karl and Vally Weigl, Halsey Stevens, Miriam Gideon, Hall Overton, and many, many others.

New Music Matters.

www.composers.com

*All donations to ACA are fully tax-deductible charitable contributions and are used to continue ACA programs and preservation projects. We thank everyone who has made this festival possible. www.composers.com

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