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The American Composers Alliance Music Catalog and Archives: A Essays e relationship between ACA and The American Composers Alliance music SCPA is a unique one, encompassing the catalog and archives: A collaborative effort normal functions of a music publisher as well as a music archive. For a number between ACA, BMI, and the University of of years SCPA has acted as custodian for ACA scores and parts. Maryland SCPA makes ACA scores available ac- cording to normal library policy, but it By Gina Genova also makes them available to ACA for In the first ACA Bulletin published in lection of scores and parts in collaboration digital scanning. 1938, the “Aims of the Alliance” were with the University of Maryland’s Special At ACA, we wish to preserve the ma- stated as: “To encourage the inclusion of Collections in Performing Arts (SCPA). terials entrusted to us as part of our his- American works in concerts.” In 2010, after an inventory of all scores tory for tomorrow’s generations. We e approach to fostering performan- was completed, we turned our atten- could not have moved forward in this ces of these American works over time has tion to processing the archival historical mission without the support of SCPA been to leverage ACA’s ability to provide files—the official records of ACA. is and the University of Maryland Libraries. access to its scores through publishing and ongoing project is now online at http:// When I first began working at ACA in distribution services. hdl.handle.net/1903.1/30672 the beginning of 2008, I knew about its Access to scores and performance mate- e official papers of ACA include all historic publishing catalog, but I didn’t rials is fundamental. Musicians need per- related materials that were produced in know what had happened to it. I learned formance materials quickly, and they need establishing, building, and running the that in early 2000, due to budget cuts, them in formats that are clean, ready to organization from the 1930s through the all of the scores had been moved from use, and economically priced. 1990s. ACA’s longtime New York offices to e American Composers Alliance Special Collections in Performing Arts at (ACA) was formed in 1937 by Aaron Copland, Elliott Carter, Marc Blitzstein, Colin McPhee, Douglas Moore, Marion Bauer, and others, and began collecting scores of its member composers in the early 1940s. e original mission was to make the music available to orchestras and per- formers, and to be sure that composers were compensated fairly and credited for performances of their work Over the years, the collection has grown to more than 12,000 pieces, the earliest from 1905, and for every year thereafter to the present. ACA accepted music from composers under-represented in the mainstream at that time. ACA also welcomed, and still does, un- usual, and smaller or lesser-known works by well-known composers that were not considered lucrative enough for commer- cial publication by other publishers. Since 2000, ACA has managed its col- NEW MUSIC CONNOISSEUR | 22 magazine NMC_Draft 4_Spring16.indd 22 8/16/16 9:13 AM Essays 23 | NEW MUSIC CONNOISSEUR magazine NMC_Draft 4_Spring16.indd 23 8/16/16 9:13 AM Essays NEW MUSIC CONNOISSEUR | 24 magazine NMC_Draft 4_Spring16.indd 24 8/16/16 9:13 AM Essays Music from the earliest days: Weigl–Five Songs from Phantasus (1905) and more current, Louis Karchin– Barcarole Variations (2015) build greater respect for the collection. ***** e birth of ACA marked a turbulent period in U.S. music history. e late 1930s to the early 40s is fascinating- ly well-documented in the letters of the ACA founders, the manuscripts of which are now at SCPA. ere is a great American story about business and creative enterprise waiting to be told about ACA and its history. Untapped primary sources of all kinds the University of Maryland (SCPA). When I first arrived at the tiny ACA of- My predecessors at ACA had made fice at 648 Broadway, I found a daunting the remarkable decision to partner with stack of unprocessed purchase orders that a library. ey transported ten thousand had been coming in— requests for scores, scores from New York to Maryland in var- parts, and mechanical licenses from mu- ious formats: single side printing masters sicians, record companies, stores and – the ozalid onionskins, copies, a collec- re-sellers around the world. tion of printed and bound scores for pe- I imagined that if ACA had a better way rusal, super oversized scores, operas, reel to make the scores more widely available to reel tapes and many sets of printed and and to properly represent the rights it still bound “rental” orchestra parts. held, more people would discover and use Initially I discovered two incredible as- the collection. We began by updating the sets to build on. ACA still held publish- website and working together with SCPA ing rights for most of the scores through staff to create an inventory that listed ev- its affiliation with Broadcast Music Inc. erything that had been shipped to Mary- (BMI), and the physical scores and parts land. were still owned by ACA under an expired ACA needed access to the score and library deposit agreement. parts printing masters at SCPA, to scan Because the score collection had been and provide copies on demand for per- sitting mostly unused in Maryland be- formers, and to establish a digital distribu- tween 2000 and 2008, my first goal was tion collection of scores for the future. It to create interest that would draw more also needed an expandable database where people to it – and encourage not only large amounts of information could be further study of this repertoire, but also stored, edited, and retrieved by ACA and performances and recordings. library staff. I wanted to convey to the university Creating an online listing and offering and SCPA the value of the collection that newly printed and digital editions made they had inherited, but in my role as ACA from the score masters seemed to me the Director, I also wanted to provide more best way to make direct connections with benefit – promotion and publicity – for performers and knowledgeable research- lie within the official papers, correspon- the American composers it represented. ers, to encourage performances, and to dence, archives and scores. 25 | NEW MUSIC CONNOISSEUR magazine NMC_Draft 4_Spring16.indd 25 8/16/16 9:13 AM Essays BMI initially started its classical music di- vision. With periodic renegotiations, this relationship between American Compos- ers Alliance and BMI remains, more or less, in force today. From its inception, ACA seems to have e original, lofty goal of Aaron Cop- Since the early 1940’s ACA composers land was to establish the right for all com- had been trying to join ASCAP, without posers to receive income when their music success. was performed. At the time these letters (pictured on Initially, ACA gave its attention to previous page) were written, ACA Direc- American composers not otherwise pro- tor Harrison Kerr was still hopeful that tected by the older performing rights soci- ACA composers might be accepted under ety, ASCAP. In essence, ACA began as an the ASCAP umbrella. Up to this time, alternative rights society, but it would re- ASCAP had offered its membership only quest and collect licensing fees from pre- to a select few ACA composers, includ- senters of concert music by living com- ing Aaron Copland, Douglas Moore, and posers. is had never been done before. Marc Blitzstein. In 1940, ASCAP was collecting as ASCAP had said “maybe” to the idea much as four million dollars a year in rev- of taking all ACA composers and kept enue for its songwriters and composers, ACA leaders on the hook for several years. but this was from radio station broadcast- When the deal fell through decisively and had a bit of an identity crisis. I believe we ing fees (New York Times, Dec. 15, 1940; there was no chance for all ACA members are still very much working to clarify the T. R. Kennedy “Radio Revamping Old to join into ASCAP as a group, Copland image of what ACA is and does. ere Favorites”). Now, presenters would have was justifiably concerned, and letters were multiple, simultaneous missions to pay for the right to perform music in in the ACA collection at SCPA contain over the years. a symphony hall if the music was not in much information on thee the public domain. is was a hard sell in complexity of the issue of duall some circles (and still is). memberships in ACA and AS- After much litigation and a stormy CAP. period of time, the radio broadcasters It was not until 1944 thatat organized themselves and set up BMI to Harrison Kerr established the license radio rights to their own catalog. agreement between ACA andd e problem was, they didn’t have one. BMI in which the broadcast- ey had to build it from scratch. ey ers would collect performance began by buying broadcasting rights to royalties for concerts in ad- music that was not registered to ASCAP, dition to the radio broadcastt which soon brought BMI together with rights for the music in thee ACA composers for like-minded reasons. ACA catalog. is is howw NEW MUSIC CONNOISSEUR | 26 magazine NMC_Draft 4_Spring16.indd 26 8/16/16 9:13 AM Essays In the 1940s and 50s, Aaron Copland to an individual or organization for their Oliver Daniel also revived the publica- and other ACA composers worked with “distinguished service in fostering Ameri- tion ACA Bulletin (see cover images on the US Information Agency and traveled can music.” (on bottom of previous page, next page) through the 1950s and 60s.
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