{"title":"New Issue: 2026.07 | July","description":null,"products":[{"product_id":"bliss-huatzu-hill","title":"Huatzu Hill","description":"\u003cp\u003e\u003cstrong\u003eComposer's Note:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eHuatzu Hill\u003c\/em\u003e for soprano and chamber orchestra is a setting of four poems by Wang Wei, an 8th-century Chinese poet, as translated into English by G.W. Robinson. Three of the four songs depict landscapes near Wang's country retreat in the Wang River valley. The second song is a bittersweet farewell to a beloved friend. \u003cem\u003eHuatzu Hill \u003c\/em\u003eis scored for chamber orchestra and soprano soloist. It was premiered at the Composers Conference in Vermont and has been performed by the New England Philharmonic and the Berkshire Symphony.\u003c\/p\u003e\n\u003cp\u003e\"A series of rich landscapes - the colors sharp, the feeling powerfully concentrated, the expression concise...\" Boston Globe.\u003c\/p\u003e\n\u003cp\u003eNew engraved June 2026 edition from 1979 original manuscript.\u003c\/p\u003e","brand":"Marilyn Bliss","offers":[{"title":"Physical - Full Score","offer_id":45479266320604,"sku":"ACA-BLIS-011s","price":73.0,"currency_code":"USD","in_stock":true},{"title":"Physical - Set of Parts","offer_id":51790925070556,"sku":"ACA-BLIS-011p","price":400.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF) - Full Score","offer_id":51790925103324,"sku":"ACA-BLIS-011se","price":55.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF) - Set of Parts","offer_id":51790925136092,"sku":"ACA-BLIS-011pe","price":300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/PagesfromBliss_HuatzuHill2026ed-Score_Page_1.jpg?v=1782313922"},{"product_id":"mckinley-ring-of-fire","title":"RING OF FIRE","description":"\u003cp\u003e\u003cstrong\u003eComposer's Note:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThis work, commissioned by the SOLI Chamber Ensemble, is abstractly inspired by the effect known as the ring of fire (also known as Baily's beads and the Diamond Ring) effect during second and third contacts of a total solar eclipse. I observed the 2017 total solar eclipse on August 21, 2017 from the Agate Fossil Bed Monument in western Nebraska and was absolutely captivated by the experience. The \"Ring of Fire\" is breathtaking.\u003c\/p\u003e","brand":"Elliott Miles McKinley","offers":[{"title":"Physical","offer_id":45565051011292,"sku":"ACA-MCKE-019","price":49.5,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":51915816960220,"sku":"ACA-MCKE-019e","price":37.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/PagesfromMcKinley_RingofFire_TransposedScore__2026-06-24_Page_1.jpg?v=1783029605"},{"product_id":"zuckerman-assunpink-twilight","title":"Assunpink Twilight","description":"","brand":"Mark Zuckerman","offers":[{"title":"Physical - Score","offer_id":45598827610332,"sku":"ACA-ZUCM-011s","price":17.0,"currency_code":"USD","in_stock":true},{"title":"Physical - Parts (one each)","offer_id":52044182257884,"sku":"ACA-ZUCM-011p","price":30.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF) - Score","offer_id":52044182290652,"sku":"ACA-ZUCM-011se","price":13.5,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF) - Parts","offer_id":52044182323420,"sku":"ACA-ZUCM-011pe","price":24.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/ACA-ZUCM-011sZuckerman_AssunpinkTwilight-Score.jpg?v=1783979516"},{"product_id":"daisies-for-flute-and-string-orchestra","title":"Daisies for Flute and String Orchestra","description":"\u003cp\u003e\u003cstrong\u003eComposer's Note:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe work was composed in honor of John Russell Wiggins for the Bar Harbor Music Festival. The piece exists in two versions, one for flute and string orchestra, and one for flute, 'cello and piano.\u003c\/p\u003e","brand":"Beth Wiemann","offers":[{"title":"Physical - Score","offer_id":51929409192156,"sku":"ACA-WIEB-155s","price":17.0,"currency_code":"USD","in_stock":true},{"title":"Physical - Set of Parts","offer_id":51929409224924,"sku":"ACA-WIEB-155p","price":100.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF) - Score","offer_id":51929409257692,"sku":"ACA-WIEB-155se","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF) - Set of Parts","offer_id":51929409290460,"sku":"ACA-WIEB-155pe","price":75.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/PagesfromWiemann_DaisiesforFluteandStringOrchestra-Score_Page_1.jpg?v=1783093137"},{"product_id":"daisies-for-trio","title":"Daisies for Trio","description":"\u003cp\u003e\u003cstrong\u003eComposer's Note:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA piece written in honor of James Russel Wiggins, for the Bar Harbor Music Festival. The work exists in two version, one for flute and string orchestra, and one for flute, 'cello and piano.\u003c\/p\u003e","brand":"Beth Wiemann","offers":[{"title":"Physical","offer_id":51929490260188,"sku":"ACA-WIEB-156","price":23.5,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":51929490292956,"sku":"ACA-WIEB-156e","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/PagesfromWiemann_DaisiesforTrio-Score_Page_1.jpg?v=1783095333"},{"product_id":"duo-concertante","title":"Duo Concertante","description":"","brand":"Dana Richardson","offers":[{"title":"Physical - Score","offer_id":51929849200860,"sku":"ACA-RICH-104s","price":61.0,"currency_code":"USD","in_stock":true},{"title":"Physical - Set of Parts","offer_id":51929849233628,"sku":"ACA-RICH-104p","price":275.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF) - Score","offer_id":51929849266396,"sku":"ACA-RICH-104se","price":45.5,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF) - Set of Parts","offer_id":51929849299164,"sku":"ACA-RICH-104pe","price":200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/PagesfromRichardson_DuoConcertante-FullScore_Page_1.jpg?v=1783099082"},{"product_id":"dust-and-shadow","title":"Dust and Shadow","description":"\u003cp\u003e\u003cstrong\u003eComposer's Note:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe title ‘Dust and Shadow’ comes from Book IV, Ode vii of the Odes of Horace. The original Latin is ‘Pulvis et umbra sumus. (We are but dust and shadow). It speaks to our ephemeral nature and suggests to me that of music as well – it is sent as a missive through the air, reverberates through our beings and dissipates. \u003c\/p\u003e\n\u003cp\u003e'Dust and Shadow' was commissioned by organist Gail Archer who toured it extensively. In addition to her collaboration, I want to thank organist Jeremy Thompson, Music Director of First Presbyterian Church in Charlottesville for his patient demonstrations of the beautiful Casavant Frere Organ at First Presbyterian Church, and organist Alice Layton for hers of the rebuilt Andover organ at the First Christ Episcopal Church, both in Charlottesville. And, both churches, for their generosity in allowing me  the marvelous experience of experimenting with such varied sonic combinations in these spiritual spaces.\u003c\/p\u003e","brand":"Judith Shatin","offers":[{"title":"Physical","offer_id":51930076217564,"sku":"ACA-SHAJ-051","price":18.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":51930076250332,"sku":"ACA-SHAJ-051e","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/PagesfromShatin_DustandShadow_Page_1.jpg?v=1783104712"},{"product_id":"three-ballads-and-a-gymnopedie","title":"Three Ballads and a Gymnopédie","description":"\u003cp\u003e\u003cstrong\u003eComposer's Note:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eEach of the three ballads and the \u003cem\u003egymnopédie\u003c\/em\u003e in this program were written for people who have been especially meaningful in my life.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe first ballad, \u003cem\u003eMel’s Song\u003c\/em\u003e, was composed in honor of the late Mel Strauss, a fine musician and dear friend, on the occasion of his 75th birthday.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe second, \u003cem\u003eSong for Judith\u003c\/em\u003e, was written for my wife, Judith Glaser.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe final ballad, \u003cem\u003eReturn to Star Lake\u003c\/em\u003e, was originally composed for my colleague, bassist Salvatore Macchia, with me at the piano; in this arrangement, it appears in an expanded version enriched by clarinets, saxophone, horn, and percussion.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe ballads draw inspiration from the rich tradition of American musical theatre—Gershwin, Porter, Bernstein, Berlin, Rogers and Hammerstein, Eubie Blake, Noble Sissle, and so many others. Each is connected to the next by a brief transition, creating an unbroken musical arc.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe \u003cem\u003egymnopédie\u003c\/em\u003e belongs to a different lineage altogether. The form was introduced by French composer Erik Satie in his T\u003cem\u003erois Gymnopédies\u003c\/em\u003e—quiet, languid pieces in 3\/4 time that avoided dramatic contrasts in tempo or intensity.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMy own \u003cem\u003egymnopédie\u003c\/em\u003e, written for my friend Elaine Bowdich, begins in the spirit of Satie’s model, but gradually diverges—gathering momentum, building to a large climax, and finally returning to the calm simplicity of its opening.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eI am grateful to Lynn and Laura Klock, who patiently awaited this work, and for whom it has been my pleasure to rework and link these pieces into the form presented here.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cem\u003eNew engraved 2nd edition from Michael Golzmane.\u003c\/em\u003e\u003c\/p\u003e","brand":"Robert Stern","offers":[{"title":"Physical - Score + 7 Parts","offer_id":51930223214812,"sku":"ACA-STER-016","price":78.5,"currency_code":"USD","in_stock":true},{"title":"Physical - Score Only","offer_id":51930223247580,"sku":"ACA-STER-016s","price":44.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF) - Score + 7 Parts","offer_id":51930223280348,"sku":"ACA-STER-016e","price":59.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/PagesfromStern_ThreeBallads-Fullscore_Page_1.jpg?v=1783108152"},{"product_id":"string-quartet-no-6","title":"String Quartet No. 1","description":"\u003cp\u003e\u003cstrong\u003eEditor's Note:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eRobert Stern’s \u003cem\u003eString Quartet No. 1 \u003c\/em\u003ewas composed between 1958 and 1960 and is dedicated to Lukas Foss, who served as Stern’s mentor during his studies at UCLA in the late 1950s. Stern had earned his bachelor’s degree in music—composition and piano—from the College of Arts and Science of the University of Rochester in 1955, and his master’s in composition and piano from the Eastman School of Music in 1956. In the interim before his doctorate, he fulfilled his Army service and then moved to Los Angeles for approximately two years to study with Foss, afterward returning to Rochester to complete his Ph.D. in composition at the Eastman School of Music under Bernard Rogers in 1962. The quartet, written during this interim period, is in many respects a product of both relationships. Stern’s connection with Foss developed into a lifelong one, with Foss offering continued encouragement and support throughout Stern’s career.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eString Quartet No. 1\u003c\/em\u003e is the only string quartet Stern ever wrote.\u003c\/p\u003e\n\u003cp\u003eThe quartet received its premiere on May 2, 1960, at Kilbourn Hall at the Eastman School of Music in Rochester, New York. The first performance was given by Richard Kilmer and Dorothy Kaplan, violins; John Hamilton, viola; and Donna Magendanz, cello; and was coached by John Celentano. A recording of that premiere performance exists in the Sibley Music Library at Eastman. The premiere presented the original version of the work, the score of which has since been lost. The present edition represents a later revision by the composer—substantially the same in structure and content, but with certain seams tightened and a revised ending to the first movement. The premiere program listed the movements as \u003cem\u003eAdagio, Semplice, and Introduzione—Allegro giusto\u003c\/em\u003e; the revised edition retitles them \u003cem\u003eAdagio espressivo, Semplice, and Agitato—Allegro giusto.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eThe work soon entered wider circulation. It was performed in 1962 at the Festival of American Music in Rochester. In 1964 it received a special citation in the Spoleto Festival-Competition for the Creative Arts—the jury included Samuel Barber, Gian-Carlo Menotti, Walter Piston, Gardner Read, and Charles Wadsworth—and was selected for performance at the Festival of Two Worlds in Spoleto, Italy, where it was played by the Beaux-Arts String Quartet, then quartet-in-residence at the festival.\u003c\/p\u003e\n\u003cp\u003eOn March 27, 1965, the quartet was selected for the New York City Composers' Forum at the Donnell Library Auditorium, moderated by Gene Bruck. That concert was devoted equally to the music of Robert Stern and Charles Dodge and concluded with a public question-and-answer session with the composers. Stern's quartet was performed by the Kohon String Quartet—Harold Kohon and Andrew Svilokos, violins; Eugenie Dengel, viola; and Leonard Stehn, cello—and appeared alongside two other Stern works: \u003cem\u003ePlayground\u003c\/em\u003e, a divertimento for flute, contrabass, and percussion, and \u003cem\u003eThree Songs\u003c\/em\u003e, for soprano and piano—settings of texts by unidentified Jewish prisoners in the Nazi death camps—performed by Dorothy Ornest with the composer at the piano. The Kohon Quartet repeated the work the following month in Yonkers, New York, on April 23, 1965, on a program with quartets by Mozart and Smetana.\u003c\/p\u003e\n\u003cp\u003eBoth \u003cem\u003ePlayground \u003c\/em\u003eand\u003cem\u003e Three Songs\u003c\/em\u003e are published by the American Composers Alliance.\u003c\/p\u003e\n\u003cp\u003eThe Beaux-Arts String Quartet (Charles Libove and Stephen Clapp, violins; John Graham, viola; Bruce Rogers, cello) continued to champion the work after Spoleto. Around this time the ensemble won the $20,000 Walter W. Naumburg Foundation Award and was hailed by the New York Times critic Harold Schonberg as \"one of the most polished string quartets before the public.\" They programmed the quartet on their concert series, performing it at the University of Massachusetts on December 7, 1966, and at SUNY Fredonia on March 7, 1967. During this period the quartet appeared on programs alongside works by Haydn, Mozart, Mendelssohn, Smetana, Copland, and Beethoven.\u003c\/p\u003e\n\u003cp\u003eOn July 23, 1969, the work was performed by the Hollander String Quartet—Francine Nadeau Walsh and Thomas Buffum, violins; Denyse Nadeau Buffum, viola; and Richard Walsh, cello—at Mahar Auditorium during their summer residency at the University of Massachusetts, Amherst, on a program with Mozart and Glazunov.\u003c\/p\u003e\n\u003cp\u003eThe quartet continued to be performed in later decades. In the spring of 1983 it received two performances as part of the University of Massachusetts' American Music Festival III, both given by the same players: Julian Olevsky and Linda Laderach, violins (Laderach appearing as a guest artist from Mount Holyoke College); Carol Hutter, viola; and Leopold Teraspulsky, cello. The first, on April 12 at Bezanson Recital Hall in Amherst, prompted the composer to write to his son Aaron Michael on his copy of the program: \"Dear Aaron, it went very well. After 23 years, I still like the work. Love, Dad.\"The work was repeated on April 24 at Jordan Hall at the New England Conservatory in Boston, after which Stern wrote to Aaron again: \"Dear Aaron, it was a 'near-perfect' performance. Jordan Hall sound is luxurious—great for strings. Attendance poor; lousy night, rain! rain! Had a great dinner at Joyce Chen in Cambridge. Love, Dad.\"\u003c\/p\u003e\n\u003cp\u003eAfter the composer's death, the score of \u003cem\u003eString Quartet No. 1\u003c\/em\u003e was believed to be lost, as no copy was found among Stern's manuscripts. The present editor was able to locate what appears to be the only extant copy in the New York Public Library, with crucial assistance from David Peter Coppen, Special Collections Librarian and Archivist at the Sibley Music Library, Eastman School of Music, who used his specialized resources to trace the work's whereabouts. Within a day of its identification, an employee of the New York Public Library scanned the score and provided a digital copy. That single source forms the sole basis for this new edition.\u003c\/p\u003e\n\u003cp\u003eThe quartet is in three movements: \u003cem\u003eAdagio espressivo, Semplice, \u003c\/em\u003eand\u003cem\u003e Agitato—Allegro giusto.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eIn her program note for the 1983 American Music Festival III at the University of Massachusetts, Miriam Whaples—professor of music history there throughout Stern's years on the faculty—described the work as follows. The first two movements are very brief. The \u003cem\u003eAdagio espressivo\u003c\/em\u003e opens with a viola solo characterized by wide, melodically dissonant intervals; this material is taken up contrapuntally by the other three instruments, reaches a climax, and dies out quickly. The second movement has the character of a \u003cem\u003esiciliano\u003c\/em\u003e: an opening duet for viola and cello is answered by a duet in the two violins, and the rest of the movement is marked by a rising whole-tone scale, played three times by the cello. The third movement is prefaced by a large tripartite introduction in which an \u003cem\u003eagitato\u003c\/em\u003e unison passage frames an elaborate cadenza for the cello. The movement proper is a fugue that returns to the wide, angular intervals of the first movement and is interrupted at one point by the agitato music of the introduction. It ends brilliantly, with a coda marked \u003cem\u003epresto assai\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eNew engraved July 2026 edition from 1960 original.\u003c\/p\u003e","brand":"Robert Stern","offers":[{"title":"Physical","offer_id":51973316378844,"sku":"ACA-STER-017","price":49.0,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF)","offer_id":51973316411612,"sku":"ACA-STER-017e","price":37.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/PagesfromStern--StringQuartet--2026Golzmaneed-Fullscore9_Page_1.jpg?v=1783455122"},{"product_id":"babel","title":"Babel","description":"\u003cp\u003e\u003cstrong\u003eComposer's Note:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eI am troubled by the state of the world and the general \"post-truthiness\" of things.  \u003cem\u003eBabel\u003c\/em\u003e is the latest in a series of large ensemble pieces composed as coded responses to current events.  The amorphous, brittle textures are a product of our uncertain present: I wanted to sonify the paranoia and disquietude characterizing the current moment.  I wanted to give a voice to the anxieties of my students, my colleagues, friends, and family.\u003c\/p\u003e\n\u003cp\u003eA sonata form shattered upon recapitulation, most of the musical material is derived from a microtonal cantus that shrinks the diatonic scale to the span of a minor third. Rhythmicized as a garish ostinato on the piccolo, I was thinking about the evolution of marching bands from institutionally-sanctioned sounding boards to megaphones for civil disobedience.  \u003cem\u003eBabel\u003c\/em\u003e is dedicated to Francesca Zambello.  Words are real.  How we respond to them is real, too.  \u003c\/p\u003e","brand":"Ryan Chase","offers":[{"title":"Physical - Score","offer_id":52095572082908,"sku":"ACA-CHAR-008s","price":78.0,"currency_code":"USD","in_stock":true},{"title":"Physical - Set of 13 Parts","offer_id":52095572115676,"sku":"ACA-CHAR-008p","price":154.5,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF) - Score","offer_id":52095572148444,"sku":"ACA-CHAR-008se","price":58.5,"currency_code":"USD","in_stock":true},{"title":"Digital (PDF) - Set of 13 Parts","offer_id":52095572181212,"sku":"ACA-CHAR-008pe","price":115.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/files\/10X13ASCAP-2022Newcover.jpg?v=1784750894"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/8198\/2428\/collections\/New_Issue_Monthly_Banner_2026.07.jpg?v=1784749510","url":"https:\/\/composers.com\/collections\/new-issue-2026-07-july.oembed","provider":"American Composers Alliance","version":"1.0","type":"link"}