{"title":"New Issue: 2026.05 | May","description":"\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/New_Issue_Monthly_Banner_2026.05.jpg?v=1772966556\" alt=\"\"\u003e\u003c\/p\u003e","products":[{"product_id":"borroff-five-whitman-songs","title":"Five Whitman Songs","description":"\u003cp\u003e\u003cstrong\u003eNote from the composer:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIn 1989 I was asked to compose a group of songs on poems by Walt Whitman. In 1990 the cycle was completed.\u003c\/p\u003e\n\u003cp\u003eThe challenge of composing a setting for texts written so long ago is a great one: violently modern settings seem completely at odds with the thought and the style, while going back to an earlier musical diction seems to leave the poems in the nineteenth century rather than bringing them forward into the twentieth.\u003c\/p\u003e\n\u003cp\u003eThe answer for this set of songs was to turn to simple configurations and use them in a new way, having then a part of both worlds. I decided upon a classic declamation for the voice, operatic in \"Tears!\" and more straightforward in the other songs; the piano counter-part of each song would be based in its own trichord (or, in one case, tetrachord) relationship. In schematic form, the five songs are based on the five schemata: C-G-A [and a chordal C-G-D); D-Eb-A-Bb, C-F-Bb and C-E-F; Eb-G-A; and an alternation of C-E-F_ and C-E-B. The limitation proved as limitation always does, to be highly energizing, while giving the songs a variety of sound within the unity of aesthetic commitment.\u003c\/p\u003e","brand":"American Composers Alliance","offers":[{"title":"Physical","offer_id":45479272906972,"sku":"ACA-BORR-034","price":19.5,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":50469420630236,"sku":"ACA-BORR-034e","price":17.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-BORR-034eBorroff_FiveWhitmanSongs_Page_1.jpg?v=1779563269"},{"product_id":"gannon-nashville-lower-broad","title":"Nashville, Lower Broad","description":"\u003cp\u003e\u003cstrong\u003eComposer's Note:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eNashville, Lower Broad\u003c\/em\u003e refers to an area of Broadway in Nashville, Tennessee. It is a street which runs down a steep hill to the Cumberland River and is lined with many small \"honky-tonks\" where many young singers have tried to start a career in Country music. Though there are no references to Country music in this work, there are references to two particular landmarks that draw the boundary of this area of town. At the top of the hill is the First Baptist Church which is represented by the hymn \"Jesus Lover of My Soul\". At the bottom of the hill is the Silver Dollar Saloon which is represented by a rag-like section. In between, are the more colorful bars and hangouts which are expressed using some highly chromatic materials including several themes which are very \"sly\" and \"slimy\" in nature. This work was first written in 1983 and revised in 1993.\u003c\/p\u003e","brand":"Lee Gannon","offers":[{"title":"Physical","offer_id":45518122189020,"sku":"ACA-GANL-008","price":34.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":45518122221788,"sku":"ACA-GANL-008e","price":29.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-GANL-008eGannon_NashvilleLowerBroad-Score_Page_1.jpg?v=1779563911"},{"product_id":"silsbee-journey","title":"Journey","description":"\u003cp\u003e\u003cstrong\u003eNote from the composer:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe music for the duo Journey is drawn from the dance\/music work \u003cem\u003eInside\/Journey\u003c\/em\u003e (1982) for which the choreography was created by Saga Ambegaokar. The larger work was co-produced by the composer and the choreographer under the auspices of The Troika Association, and was presented in December, 1982. \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eJourney\u003c\/em\u003e has been revised and shortened to a work with five short movements with different characters and moods, followed by a brief epilogue, with the intent of making the music available to flute and percussion players for performance.\u003c\/p\u003e","brand":"American Composers Alliance","offers":[{"title":"Physical","offer_id":45598093869276,"sku":"ACA-SILS-027","price":21.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":50608394404060,"sku":"ACA-SILS-027e","price":18.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-SILS-027eSilsbee_Journey_Page_1.jpg?v=1779737628"},{"product_id":"sollberger-riding-the-wind-1","title":"Riding the Wind 1","description":"\u003cp\u003eRiding the Wind I is dedicated to the Da Capo Chamber Players. It was commissioned for them by the Walter W. Naumburg Foundation and the New York State Council on the Arts.\u003c\/p\u003e","brand":"Harvey Sollberger","offers":[{"title":"Physical","offer_id":45598124310748,"sku":"ACA-SOLL-026","price":70.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":50609109041372,"sku":"ACA-SOLL-026e","price":58.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-SOLL-026eSollberger_RidingtheWind1_Page_1.jpg?v=1779737900"},{"product_id":"weber-fantasia-variations","title":"Fantasia (Variations), Op. 25","description":"\u003cp\u003e\"In 1939 a young pianist called William Masselos made his debut at New York’s Town Hall playing, amongst other works, Copland’s \u003cem\u003ePiano Variations\u003c\/em\u003e. When Copland had finished writing his monumental \u003cem\u003ePiano Fantasy\u003c\/em\u003e in 1957, he admitted in a letter to Benjamin Britten that giving the first performance would be beyond him, and he decided to ask Masselos to play the premiere: ‘After hearing Bill play through the piece one day while he was testing pianos in Steinway’s basement, I really got excited: Masselos was a composer’s dream.’ (\u003cem\u003eCopland since 1943\u003c\/em\u003e; Aaron Copland and Vivian Perlis. St Martin’s Press, 1989)\u003c\/p\u003e\n\u003cp\u003eAround a decade earlier Ben Weber had been similarly thrilled with the playing of William Masselos and decided to write him a serious piece for piano which became the Fantasia (Variations), premiered in March 1949 at Carnegie Hall, New York. Weber wrote in his unpublished autobiography:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eI write pieces for my lovers […] when I dedicate a piece I don’t do it idly. I never did it with success on that level except with Billy Masselos, though it was not physical […] The Fantasia is a kind of bond between us, and when I wrote it deliberately, note for note, I was really making love to him through the avenues of sound. (How I took 63 years to commit suicide; with Matthew Paris)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e(On a personal note I had the privilege of playing this piece for Masselos in the 1980s before he died.)\u003c\/p\u003e\n\u003cp\u003eBen Weber was born in 1916 in St Louis and was largely self-taught. His music was highly regarded by many composers of the time such as Copland, Carter, Cage and Babbitt, and he worked as a copyist for many, including Virgil Thomson and Artur Schnabel, both of whom became admirers and close friends. He was the first American composer to use the twelve-note technique consistently, and he made the following comments on his music (quoted by Oliver Daniel in an article for \u003cem\u003eBroadcast Music Inc.\u003c\/em\u003e in 1965):\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBy and large since 1938 my music has been usually atonal […] but sometimes I have written pieces which have strong functional and tonal impetus, or at least implication. However my use of ‘techniques with twelve-tones’, i.e. serial music, has been consistent over a period of now twenty-two years, and most of what I and some others consider to be my most important work is accomplished within these means.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eThe work is titled with a certain precision: \u003cem\u003eFantasia (Variations)\u003c\/em\u003e, the latter word in both brackets and smaller letters. Thus, like the Corigliano, this piece is principally a fantasy—a large form with smaller units creating a framework to hold the piece together. (As it is a piece using the twelve-note technique, it is by default ‘variations’—any twelve-note row can be seen as a ‘theme’ which is varied.) The overall structure of the work is three sections: first, a theme with four variations followed by a five-bar interlude; second, three variations in passacaglia form; finally, a free fantasy section based on earlier material which culminates in a climax surging with emotion. In contrast to the cool objectivity of the Copland work, the Weber revels in the sun of its post-Romantic harmony, and is freckled with tonal implications, in spite of the Second Viennese School ‘umbrella’. In fact there is even a whiff of Brahms’s cigar in the loose folds of the arpeggiated figuration, as well as the more exotic fragrance of Scriabin.\"\u003c\/p\u003e\n\u003cp\u003e -- Notes on the work by Stephen Hough, 1998, \u003ca href=\"https:\/\/www.hyperion-records.co.uk\/dw.asp?dc=W8566_GBAJY9800507\"\u003eHyperion Records\u003c\/a\u003e\u003c\/p\u003e","brand":"American Composers Alliance","offers":[{"title":"Physical","offer_id":45598519886044,"sku":"ACA-WEBE-031","price":17.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":50246197903580,"sku":"ACA-WEBE-031e","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-WEBE-031eWeber_FantasiaVariations_Page_1.jpg?v=1778249476"},{"product_id":"woollen-five-pieces-for-organ","title":"Five Pieces for Organ","description":"","brand":"Russell Woollen","offers":[{"title":"Physical","offer_id":45598752932060,"sku":"ACA-WOOL-005","price":25.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":45598752964828,"sku":"ACA-WOOL-005e","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-WOOL-005eWoollen_FivePiecesforOrgan_Page_1.jpg?v=1777301480"},{"product_id":"fanfare-and-anthem-op-23a","title":"Fanfare and Anthem, Op 23b - For Brass Band and Percussion","description":"\u003cp\u003e\u003cstrong\u003eComposer's Note:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFanfare and Anthem Opus 23a was created from the original material found in Opus 23, \"America Singing\" for TTBB chorus for men. Inspired by \"I hear America Singing\", poetry by Walt Whitman.\u003c\/p\u003e\n\u003cp\u003eNew revised 2026 version orchestrated by Joseph Hasper.\u003c\/p\u003e","brand":"Roger Stubblefield","offers":[{"title":"Physical - Score","offer_id":47506136105180,"sku":"ACA-STUB-030s","price":27.5,"currency_code":"USD","in_stock":true},{"title":"Physical - Parts","offer_id":51055341633756,"sku":"ACA-STUB-030p","price":75.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF) - Score","offer_id":47506136137948,"sku":"ACA-STUB-030se","price":23.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF) - Parts","offer_id":51055341666524,"sku":"ACA-STUB-030pe","price":60.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/PagesfromStubblefield_FanfareandAnthemforBrassBand-FullScore-2.jpg?v=1777397121"},{"product_id":"shadow-of-dawn-for-high-voice-and-orchestra","title":"Shadow of Dawn - For High Voice and Orchestra","description":"","brand":"Richard Thompson","offers":[{"title":"Physical","offer_id":50114988048604,"sku":"ACA-THRO-013s","price":74.5,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":50114988081372,"sku":"ACA-THRO-013se","price":55.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/PagesfromThompsonRO_TheShadowofDawnforHighVoiceandOrchestra_Page_1_14fbe500-6e62-4858-8378-feb69eba8f2b.jpg?v=1777055765"},{"product_id":"pilgrimage-book-3","title":"Pilgrimage: Book 3","description":"","brand":"Dana Richardson","offers":[{"title":"Physical","offer_id":50211424698588,"sku":"ACA-RICH-103","price":36.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":50211424731356,"sku":"ACA-RICH-103e","price":29.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/PagesfromRichardson_PilgrimageBook3_Page_1_4b5d9860-ed78-49af-9d4e-cb449b36e7c1.jpg?v=1777392270"},{"product_id":"snap-for-wind-ensemble","title":"Snap for Wind Ensemble","description":"\u003cp\u003e\u003cstrong\u003eComposer's Note:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe intensity and excitement of “Snap” will likely belie its brevity. At 160 beats per minute (that’s 2.666 beats per second!), the ensemble is instructed to play fast, precise and tight. Hold on. Have fun.\u003c\/p\u003e","brand":"David Lipten","offers":[{"title":"Physical - Full Score","offer_id":50211592110300,"sku":"ACA-LIPN-018s","price":40.0,"currency_code":"USD","in_stock":true},{"title":"Physical - Set of Parts (One Copy Each)","offer_id":50211592143068,"sku":"ACA-LIPN-018p","price":125.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF) - Full Score","offer_id":50211592175836,"sku":"ACA-LIPN-018se","price":32.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF) - Set of Parts (License for One Copy Each)","offer_id":50211592208604,"sku":"ACA-LIPN-018pe","price":100.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/PagesfromLipten_SnapforWindEnsemble-FullScore_Page_1.jpg?v=1777394925"},{"product_id":"symmetry-for-clarinet-quartet","title":"Symmetry for Clarinet Quartet","description":"\u003cp\u003e\u003cstrong\u003eComposer's Note:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eBased on a 12-tone row created with interesting symmetrical properties, \u003cem\u003eSymmetry\u003c\/em\u003e develops from chaos into order, expressing as it does moments of beauty, virtuosity, and humor.\u003c\/p\u003e","brand":"Catherine Neville","offers":[{"title":"Physical","offer_id":50243544088796,"sku":"ACA-NEVC-012","price":38.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":50243544121564,"sku":"ACA-NEVC-012e","price":31.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/PagesfromNeville_SymmetryforClarinetQuartet-Score.jpg?v=1778187197"},{"product_id":"symmetry-for-saxophone-quartet","title":"Symmetry for Saxophone Quartet","description":"\u003cp\u003e\u003cstrong\u003eComposer's Note:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eBased on a 12-tone row created with interesting symmetrical properties, \u003cem\u003eSymmetry\u003c\/em\u003e develops from chaos into order, expressing as it does moments of beauty, virtuosity, and humor.\u003c\/p\u003e","brand":"Catherine Neville","offers":[{"title":"Physical","offer_id":50243550511324,"sku":"ACA-NEVC-013","price":38.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":50243550544092,"sku":"ACA-NEVC-013e","price":31.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/PagesfromNeville_SymmetryforSaxophoneQuartet-Score_Page_1.jpg?v=1778187012"},{"product_id":"parley-for-flute-and-cello","title":"Parley for Flute and Cello","description":"\u003cp\u003e\u003cstrong\u003eComposer's Note:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eI was on a train and listening to a very animated conversation taking place in a language I don’t speak. It occurred to me that that is what listening to atonal music is to some people: a language they do not recognize, that holds familiar shapes and contours that help them make sense of what they are hearing, but in the end the details are unrecognizable. “Parley” as a title contains this idea: a deliberate misspelling of the French word ‘parler,’ it is both familiar and yet ‘wrong.’ So too the music of this duet: it is loosely based on a 12-tone row, but freely goes off course, it has some consonances that give hints of tonality, but isn’t really tonal either. \u003c\/p\u003e\n\u003cp\u003eAs in the original conversation, the two voices of this duet at times try to speak over each other, get excited, ramble, and then come back to make an emphatic point. The conversation ended in an amicable agreement, which here I’ve represented with the same pitch in both voices, two octaves apart. \u003cbr\u003e\u003c\/p\u003e","brand":"Catherine Neville","offers":[{"title":"Physical","offer_id":50247691829468,"sku":"ACA-NEVC-014","price":17.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":50247691862236,"sku":"ACA-NEVC-014e","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/PagesfromNeville_ParleyforFluteandCello_Page_1.jpg?v=1778272169"},{"product_id":"textiles-for-solo-piano","title":"Textiles for Solo Piano","description":"\u003cp\u003e\u003cstrong\u003eComposer's Note:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTextiles for Solo Piano\u003c\/em\u003e is inspired by the 2-part inventions of J.S. Bach. 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