Composer's Voice Concert Love and Loss February, 15 2003 A.R.T South Oxford Space 138 South Oxford Street Brooklyn, New York 11217

A Composer's Voice concert on the weekend of Valentine's Day, this performance is another alliance concert with the Living Music Foundation.

Title Composers Performers In the Playground of Colors Robert Voisey Michele Smith, flute Our Friends at the Animal Fair (Duck, Tortoise, Whale, Cow, Seal,Turkey) Donna Kelly Eastman Holy Chang, voice and Pei-chun Chen, piano Second Psalm Dwight Winenger Holy Chan, voice and Andrew Kim, piano Epiclesis Juan Maria Solare Christine Perea, bass flute Love Letters Dorothy Hindman and Charles Norman Mason Jacquie Penfold, voice, Andrew Kim and Pei-chun Chen, piano The Birds of Sorrow Carl Byron Tiffany Chan, voice and Andrew Kim, piano Rains Alive Amy Scurria Jerry Jean, voice and Andrew Kim, piano Music in Motion (Heavy Clouds, Poetry Gone, and Blank Pages) Robert Voisey Holy Chang, voice andPei-chun Chen, piano Great Performances Noah Creshevsky Christine Perea, flute and Duo-Lin Peng, cello

Performers Tiffany Chan, soprano, is currently a sophomore at New York University where she studying Classical voice with Julianna James-Yaffe and is pursuing a minor in communications. In addition to her studies and performances of Classical music, Tiffany has increased the scope of her musical expression, embracing diverse genres from musical theater to jazz, and most recently, contemporary music. Ms. Chan has performed in productions of Guys and Dolls, Mame, Singing in the Rain, and as “Katherine” in Pippin. As a junior fellow for the non-profit organization, the Opera Music Theatre International, she was also selected to perform in the chorus of Madame Butterfly. Tiffany performs extensively as a soloist and has also attended jazz workshops hosted by Barry Harris. As a finalist for the New Jersey Governor's School for Voice, singing has played a tremendous role in her life. Tiffany stresses the importance of technique and creativity in her learning cycle and continues to incorporate it into her music and her voice. She believes in the value of education and would like to thank those who give her inspiration and the enlightening opportunity for her to study music at New York University. Holly Chang is an accomplished pianist, singer, and composer of children’s musicals in Taiwan. She is currently studying at New York University. She accompanies and coaches many students in their vocal endeavors. Patricia Pei-Chun Chen, pianist, was born in Taiwan and began her piano studies at the age of eight. She has been a prolific performer since that time, studying with such esteemed musicians as Lee-Hui Chen, pianist, and contemporary music virtuoso Esther Lamneck. In 1994, her hard work paid off, winning her a first place prize amongst her fellow piano students at the Theological College in Taiwan. In 1998, Patricia graduated from the Monash University in Melbourne, Australia with a Bachelor’s Degree in Music Performance where she studied piano with the highly regarded pianist, Nancy Chou. In addition to her studies while in Melbourne, she also taught piano at the Box Hill Music Studios. After receiving her degree, Ms. Chen then spent two years performing extensively in Melbourne at recitals, music festivals, and numerous fundraising and social events. Among her performances during this time, was a recital with harpist Olivia Lu at the National Recital Hall in Taipei. Ms. Chen completed her Master’s degree at New York University in 2002 where she studied Piano Performance. A diligent supporter of chamber music, Patricia plans to coordinate future concerts of chamber music in the New York area in addition to pursuing her career as a pianist and music educator. Y. Andrew Kim is a sophomore at NYU with a major in piano performance (Classical) and a minor in communications with a focus on mass media. He studies with Miyokko Lotto and Grant Wenaus. Duo-Lin Peng was born in Taiwan and started cello and music training at the age of five at the Kuan Jen School for the musically talented. At nine he picked up another instrument—French horn—because the school orchestra needed a horn player. Since then he has always carried two instruments to concerts. After graduating from the university and serving in the military in Taiwan, he went to the U.S. for further study. However, instead of accepting an offer from the Mannes School of Music, he decided to study arts administration for the performing arts at NYU. After graduation he was employed by the Taiwanese government’s Cultural Department, and soon became a diplomatic cultural officer in the U.S. Currently he is a Ph.D. student in music education at NYU and privately studies with Mr. Nathaniel Rosen. Christine Perea is a free-lance flutist and Phd candidate at New York University where she also earned her Masters degree in Music Performance. She is specializing in contemporary trends in flute performance involving electronics and the use of extended techniques. In addition to the concert flute, Christine regularly performs on the piccolo, alto, and bass flutes. She has appeared as a soloist, improvisor, and chamber musician in New York, as well as in Chicago, Detroit, Dallas, Washington D.C. and Pisa, Italy. In Chicago, Christine earned her BM in flute performance from DePaul University and also served as the principal flutist with the Classical Symphony Orchestra under Maestro Joseph Glymph. Her teachers have included Linda Chesis, Keith Underwood, Robert Dick, Mary Stolper, and Clem Barone. Michele Smith holds a performance degree from Kent State University and an MFA in Musicology from Brooklyn College. She currently lives in New York, where she studies flute with Bernard Goldberg. She has also studied jazz with Richard Davis, Mauricio Smith, Roland Hanna, and Patience Higgins. An active performer and Board Member of the New York Flute Club, she is a member of several ensembles, including Ramon Rodriguez's Salsa Ensemble, the Laika Dance/Theatre group, Ethos, and Duetti Brillanti.

Composers Carl Byron studied composition with Rule Beasley at Santa Monica College, and with Aurelio de la Vega at California State University, Northridge. He has served as composer-in-residence at the Elkhorn Music Festival and the Sun Valley Summer Symphony in Idaho. Commissions include his String Quartet (1992) for the Elkhorn Music Festival; Birds of Sorrow (1992) for William Parker's AIDS QUILT SONGBOOK; Arabesques (1993) for the California Trio, which presented the work's world premiere at the Carnegie Recital Hall; Musica Festiva (1994) for the Sun Valley Summer Symphony; the song cycle Trilogy (1995) for soprano Janet Williams; Sola (1996) for award-winning violist Karen Elaine; Intarsia (1998) for the renowned just intonation ensemble, Just Strings; and Fragments et Fenêtres (1999), a song cycle on texts of Rilke. Trained in composition by Nadia Boulanger in Paris and Luciano Berio at Juilliard, Noah Creshevsky is the former director of the Center for Computer Music and Professor Emeritus at Brooklyn College of the City University of New York. His musical vocabulary consists largely of familiar bits of words, songs, and instrumental music which are edited but rarely subjected to electronic processing. The result is a music that obscures the boundaries of real and imaginary ensembles though the fusion of opposites: music and noise, comprehensible and incomprehensible vocal sources, human and superhuman vocal and instrumental capacities. Creshevsky's work has been supported by grants and awards from the National Endowment for the Arts, the New York State Council on the Arts, and ASCAP. It has been published by Alexander Broude and the University of Michigan Press, released on records and compact discs, and performed and broadcast internationally. Formerly director of the Center for Computer Music and professor of music at Brooklyn College of the City University of New York, he has served on the faculties of the Juilliard School and Hunter College, and been a visiting professor at Princeton University. Donna Kelly Eastman has had a varied musical career, which includes keyboard and vocal performance, choral and chamber ensemble direction, studio and classroom teaching, and writing and arranging music for many settings. She received her undergraduate education at the University of Colorado at Boulder, and her Master of Music and Doctor of Musical Arts degrees from the University of Maryland. She has received composition awards from the Roodepoort International Eisteddfod of South Africa, the Florilege Vocal de Tours International Choral Competition, the Delius Competition, the International Alliance for Women in Music, the National League of American Pen Women Music Composition Competition, the Margaret Fairbank Jory Copying Assistance Program of the American Music Center, the Composer's Guild International Competition, and the National Federation of Music Clubs Glad Robinson Youse Competition; and commissions from Judith Lapple, Principal Flute -- US Air Force Band, Genevieve Fritter-Bieber, Concertmistress Emeritus -- National Ballet Orchestra, the Kirkwood Flute Ensemble, and Connor Smith, Soprano. Dorothy Hindman is a professional composer and music theorist whose works have been performed in concerts in the United States, Italy, Russia, Romania, and the Czech Republic. Her commissions include works for soloists, small and large ensembles, and commercial productions. She is a current recipient of an AMTA/MTNA Commission for their 2002 conference. She was a 1998-99 Alabama State Council on the Arts Individual Artist Fellowship recipient, and a finalist in the National Symphony Orchestra/Kennedy Center/ASCA commission competition. Her works are in the repertoire of such notable musicians as: cellist Craig Hultgren, hornist Paul Basler, cellist Hugh Livingston, the Alabama Symphony Orchestra, Alabama Operaworks, the Uncommon Practice new music ensemble, Thamyris new music ensemble, and the Gregg Smith Singers. Her works are available on five compact discs on the Living Artist Recordings label. Charles Norman Mason has received many awards for his compositions, including the 1999 Craig Hultgren Biennial Solo Cello Composition Competition, a1998 Premi Internacional de Composició Musical Ciutat de Tarragona Orchestra Music prize, a 1999-2000 Commission Award from the Alabama Music Teachers Association, a Margaret Fairbank Jory Copying Assistance Grant from the American Music Center, a 1999 Plymouth Music Orchestra Reading selection, a 1995 Delius Prize, a 1997 Honorable Mention in the Tampa Bay Excellence in Composition competition, a 1996 Dale Warland Singers Commission Prize, a Broadcast Music Inc. Award for Young Composers, First Prize in the Panoply of the Arts competition, First Prize in the City Stages Classical Music competition, and honorable mention in the International Bourges Electro-Acoustic Composition Competition. Amy Scurria holds degrees in Music Composition from the Peabody Conservatory at Johns Hopkins University (Masters) and The Shepherd School of Music at Rice University in Houston, TX (Bachelors). She has also studied composition at La Schola Cantorum in Paris, France with Samuel Adler, Philip Lasser and Narcis Bonet, the Aspen Music Festival, and the Westminster Choir College summer composition program. Having had her first commission in 1994, Ms Scurria has since been commissioned by such groups as the Philadelphia Orchestra and the Minnesota Orchestra (co-commission), the Vermont Youth Orchestra, Shepherd College in WV, SHE (an a cappella women's choir in NYC dedicated to raising money for NYC charities through music), and the Bryn Mawr (PA) Presbyterian Church, as well as others. Juan María Solare was born in Buenos Aires on August 11th, 1966. He has completed studies and has diplomas in Piano, Composition, and Conducting from the Conservatorio Nacional. From 1986 until 1993 he taught Harmony, Morphology, and Chamber Music at the Conservatory of Tandil (Argentina). Since January 2002, he gives piano instruction at the Musikschule Bremen (Germany). Since October of 2002, he has conducted a chamber music group devoted to the tango at the University Bremen. Between 1993 and 1996, he undertook postgraduate studies on Composition at the Musikhochschule in Cologne (Germany) under the guidance of Johannes Fritsch, Clarence Barlow, and Mauricio Kagel, in the frame of a scholarship of the German Academic Exchange Service (DAAD). Between October 1997 and February 1999, he completed his postgraduate studies with Helmut Lachenmann in Stuttgart. Between 1999 and 2001, he studied electronic music with Hans Ulrich Humpert in Cologne, with Diploma. Besides his compositional activities, he also writes for diverse publications and for the radio Deutsche Welle. He gives courses and lectures on contemporary music and has obtained prizes and awards in Argentina, the United Kingdom, Austria, and Germany. In January 2002, jury (piano) in Jugend Musiziert. Between July 1998 and June 1999, he held a scholarship from the Heinrich-Strobel Foundation (Baden-Baden). From June 2001 until May 2002 he had a scholarship at the House of Artists in Worpswede. He has composed more than 150 works with about 50 of them performed. His pieces are broadcasted regularly on the Radio Nacional de España, Deutsche Welle, Radio Bremen, Radio Fabrik Salzburg, Radio Universitaria Sao Paulo. Robert Voisey values himself as a renaissance man. His disciplines include music, computer science, math, art, and poetry. In the midst of accomplishing his Bachelor of Arts at the State University of New York at Stony Brook, he traveled to Israel to study with the composers Oded Zehavi and Aiten Schteinberg. Voisey returned to New York two years later to resume his studies with Noah Creshevsky and George Brunner at the City University of New York at Brooklyn College. After a long hiatus, he returned to his background of computer science creating music with electronic media rather than limiting himself to conventional instruments. In Israel, Voisey debuted several compositions at Tel Hai, Bar-Ilan, and Jerusalem. He also enjoyed performances broadcasted on Kol Muscia (the voice of music) Israeli National Radio. Currently composing in Harlem, New York he has several compositions debut in venues in New York City as well as abroad. Recently his compositions have debuted in Buenos Aires, Argentina with La Scala de San Telmo. Dwight Winenger has received several scholarships and awards, Winenger studied music under Arthur D. Hill and Joseph Gremelspacher and art under Elmer J. Porter. Winenger's "Breeze for Band" was taken on tour by the University's Symphonic Wind Ensemble, and he wrote several chamber works for friends. His first position as an educator was at Indiana State University as a teaching graduate assistant. In the 1960's Winenger moved West, teaching in Colorado and Montana, exhibiting in several shows and writing two symphonies and other works. He was Chairman of the art department of C.M. Russell High School in Great Falls MT for several years and won the Olivet National Set Design Award. Winenger, encouraged by Arnaldo Trujillo and other imaginative musicians, founded and became Managing Editor of the Minuscule University Press, Inc. He began publishing his own works; the quarterly periodical for composers and performers of new music, LIVING MUSIC; and encouraging the work of colleagues. Minuscule University Press became The Living Music Foundation, Inc., and Winenger resigned as Executive Director and Chief Financial Officer. He is now the Publisher of LIVING MUSIC and the Webmaster of the Living Music Foundation Web Site.

Program: Our Friends at the Animal Fair A Cycle of Songs - Poems by William Jay Smith I went to the Animal Fair, The birds and the beasts were there: From earth and sea and air They’d come from near and far, And there they were ~ And here they are. Duck On the farmyard pond it paddles around With its broad flat bill and its wide webbed feet; And it calls Quack-Quack to its friends on the ground And darts its head under for something to eat. Tortoise The Tortoise, when it makes its rounds, Does not proceed by leaps and bounds. It takes its time. It eats and sleeps, And then sets out, and on it creeps. Then stops again. And eats and sleeps. Sets out again. And on it creeps. Whale When I swam underwater I saw a Blue Whale Sharing the fish from his dinner pal, In an undersea park With two Turtles, a Shark, An Eel, a Squid, and a giant Snail. When dinner was over, I saw the Blue Whale Pick up his guests in his dinner pail, And swim through the park With two Turtles, a Shark, An Eel, a Squid, and a giant Snail. Cow Cows are not supposed to fly, And so, if you should see A spotted Cow go flying by Above a pawpaw tree In a porkpie hat with a green umbrella, Then run right down the road and tell a Lady selling sarsaparilla, Lemon soda and vanilla, So she can come here and tell me! Seal See how he dives From the rocks with a zoom! See how he darts Through his watery room Past crabs and eels And green seaweed, Past fluffs of sandy Minnow feed! See how he swims With a swerve and a twist, A flip of the flipper, A flick of the wrist! Quicksilver-quick, Softer than spray, Down he plunges And sweeps away; Before you can think, Before you can utter Words like “Dill pickle” Or “Apple butter,” Back up he swims Past Sting Ray and Shark, Out with a zoom, A whoop, a bark; Before you can say Whatever you wish, He plops at your side With a mouthful of fish! Turkey With his fantail spread as if for a show, The Turkey gobbler gobbles and struts. He’s a beautiful bird, he wants you to know – No if’s, no and’s, no but’s. Second Psalm Lyrics by David, King of Israel (New World Translation of the Holy Scriptures) Why have the nations been in tumult and the national groups themselves keep muttering an empty thing? The kings of earth take their stand…and high officials themselves have massed together as one against Jehovah and against his anointed one, saying “Let us tear their bands apart and cast their cords away from us!” The very one sitting in the heavens will laugh. Jehovah himself will hold them in derision. At that time he will speak to them in anger and in his hot displeasure he will disturb them, saying, “I even I, have installed my king upon Zion, my holy mountain.” Let me refer to the decree of Jehovah; He has said to me, “You are my son, I today have become your father. Ask of me, that I may give nations as your inheritance and the ends of the earth as your own possession. You will break them with an iron scepter as tho’ a potters vessel you will dash them to pieces.” And now, O kings, exercise insight. Let youselves be corrected, O judges of the earth. Serve Jehovah with fear, and be joyful with trembling. Kiss the son, that he may not…become incensed and you may not perish from the way. For his anger flares up easily. Happy are all those taking refuge in…him. Love Letters by composers Dorothy Hindman and Charles Norman Mason, was composed during a joint residency at the Hambidge Center (the first joint residency to take place at Hambridge). The result was a jointly composed work for soprano and two pianists. The texts are excerpts from love letters written between three different couples: Abelard and Heloise, Leos Janácek to Kamila Stösslová, and letters written between Hindman and Mason during their courtship. The various excerpts are grouped into six themes or topics: Letters; Symbols; Passion/Fire; Platonic Love; Separation; and Marriage. Each composer took three of the topics, organized the texts within the topic and composed the pieces separately. However, before proceeding, the two composers decided on the musical vocabulary and on what symbolic numbers to use throughout the pieces. I. Those postcards of yours! They’re like speech without speaking, like a song without words. We feel that we are loved. Feeling affects everything, and can cross space. A letter is a living soul, it is so faithful an echo of the voice which speaks in it that sensitive spirits count it among love’s richest treasures. Because thou writest to me often I thank thee. For in the one way possible thou shewest thyself to me. Never do I receive a letter from thee but immediately we are together. I have surrounded myself with your things in an effort to be near you. Your scores and letters and tapes and pictures are all over my room, covering the surfaces. This morning I composed a lot, touching things – and into it your dear image now falls, that face of yours full of tenderness. My symphony is dedicated to you…because it was you I was trying to forget when I composed it… I want you in a way that only my music can express. There were two things…thou couldst at once captivate the heart of any woman: namely the art of making songs and of singing them. Think of my work as letters to you. I was crocheting… I’m writing to you because I don’t have anyone to send these lines so they’ll be read, and yet unread because unanswered… it’s like a stone falling into the water… like talking to myself, feeling sorry for myself, cheering myself up… My thoughts dwell on you… you’ve spoilt my holidays. But let it drop – like that stone into the water – unread, unanswered. Since I can’t talk to you, or make love to you, or run through the park hand in hand with you, or even lay on the couch with you in my arms listening to music with you, I decided to write you. II. On the moon everything will be pale blue with silver. Look at the moon tonight. I’ll be looking at it too and thinking of you. The sun is so high now that the dark blue perfect band stretching across the horizon of my vision was all that was left of night and now it’s over. Except the moon. She stays ‘til you are with me… you don’t know how close I am. Let the sun out as soon as I come. III. Fire I’d like to give you a solid gold circle and in it all around eleven tiny little Czech garnets… In those garnets there’s the blood of stones: They’ve sucked it in to themselves… That’s why stone is so cold and garnet is so hot: It would certainly warm you. What’s the thing that’s burning? That you say you’re afraid of me. And from your little finger it would go into your whole body. Oh that warmth of mine would pour over you. I am hungry but only for you. I am lonely but only for you. I am desirous like I am burning up but only for you. I am in pain waiting only for you. If you feel the same then our meeting will be explosive! If I’ve boiled over, please forgive me. You permeate everything. Can I handle this intensity? Will it diminish over time? Distance keeps it burning. IV. I met my soul’s joy! Never in my life have I experienced such intermingling! Myself with you. I was just your shadow. For me to be there, it needed you. For it is thou alone canst make me sad, canst make me joyful, or canst comfort me. Neither grieve that thou wert the cause of so great a good, for which thou needst not doubt that thou wert principally created by God. How apt your name means gift of God, for that is what I had wondered: if God was sending you to me. I suppose you know that mine means Man. We have to date so long that you discover what I cannot do for you but love me anyway. How much dearer and more honorable to be called Mistress than wife, that affection alone might hold me, and we, being parted for a time, would find the joy of meeting all the keener the rarer our meetings were. When we see each other it will be like that. My heart can’t stand to think anything else. For the chance to speak with you, I have given up all that I have and all that I am. The loss of you I can accept if it is what makes you happy, but please don’t go. V. Separation For not with me was my heart, but with thee. But if it be not with thee, it is nowhere. After your departure, It is empty here I whispered that I loved you, Did you hear? It is raining and gloomy and sad, but I am not so sad now because I know what we have ahead. If your heart recognizes me you will be mine. If it does not, then you were never mine to begin with. VI. Marriage Well you must have dreamt, dreamt at least that you were my wife, when I dreamt, perhaps the same day but also only dreamt that you were standing close to me in the same room…so close that I was unutterably hot; then I did not know, did I embrace you, or did I only want to embrace you? I always want to dream about you. I waited with out tiring for the words which you whispered. I whispered that I loved you, Did you hear? What would I have done were you my wife? Well, I think of you as if you were my wife… it’s as if the rays of a hundred suns were overwhelming me. What will I do when I catch you, Well, besides smother you with kisses, caresses, and flower petals I will make you my wife. For when ye have understood this, that there is not a better man nor a happier woman on the face of the earth; then ye will ever and above all things seek that which ye think the best; thou to be the husband of so excellent a wife, and she to be married to so excellent a husband. It is you and only you that I imagine a future with, imagine as a my partner forever, imagine trav’ling through time with (eternal return). The preceding texts come from the following sources: Intimate Letters: Leos Janacek to Kamila Stosslova; Brno, 30 April 1927; edited and trans. By John Tyrrell, Princeton University Press, 1994. Heloise and Abelard. Authorized translation by L.K. Shook. Gilson, Etienne, 1884-1978. Letters written by Charles Norman Mason and Dorothy Hindman The Birds of Sorrow Dedicated to William Parker for the AIDS Quilt Songbook In memory of Steven DeLancie and John W. MacDonald, Jr. Text by Ron Schreiber Music by Carl Byron The birds of sorrow have almost all migrated now, The Canada geese, a roar of noise, the hawks stopping over the Cape. All gone South like the satyrs, their yellow and black wings a whoosh of noise. We, we cannot prevent, we cannot prevent, we cannot prevent, the Chinese sage says (in the passage my mother sent me from Florida) the birds of sorrow from flying over our heads. I put on my winter clothing T-shirt, flannel shirt- as the weather changes. But we We can refuse, We can refuse (against the cold comes suddenly into my body now John is gone) To let them, to let them build nests (my cats protect me; eyeing the birds; salivating) In our hair. Rains Alive Text by Jonathan Pearle Music by Amy Scurria I love to walk in torrent rain And watch the people run. I love to talk in torrent rain To myself or anyone. I love the colors streetlights shine Against the blackish sky. Where sovereign clouds direct our eye To view the heavens fly. I love to taste the rainy air And puff a misty sigh. I love receiving zany stares From sober passersby. To me is rain a miraculous sight, Mysterious and proud The drops that bend unbending light The clouds the sun enshroud. A miracle presented once Allowed my thoughts to thrive. I saw Death Valley rainy once. I’ve seen the rains alive! Music in Motion Heavy Clouds Sleep Heavy puffy clouds Leak into your mind Bring thoughts unseen to the light But are nocturnal To frolic at night Fall and slumber To slow Onto deep Engulfing Slee… Poetry Gone Poetry gone Lost in the tracks of time Sleeping alone Hiding in the shadows of my mind Lost memories Words in rhythm that I will never find Feelings I used to see But now I am forever blind Blank Pages Blank pages of the mind Walk orderly in time To a life that is mine But the same in kind Am I waking from a dream Or am I falling asleep I drift in and out of reality Not knowing which is fantasy Vox Novus exists to promote the composers, musicians, and producers of contemporary music. To accomplish this, Vox Novus sponsors concerts and a core group of musicians who perform New Music. The Vox Novus community also allies itself with other organizations to hold many concerts in different regions throughout the world. Through these alliances, we promote concerts in an exchange of talent, ideas, and resources. The music community has a long tradition of being pan-geographic, and this idea has only reinforced the concert process. Eager audiences are recruited from different areas of the world and thus further the exposure of contemporary music. The Internet is the new frontier for the contemporary composer. The ability to connect a single individual to billions around the world is among the greatest inventions to come to the human race. Vox Novus is connecting our members with interested individuals throughout the world via the Internet. Through its website, Vox Novus provides resources to the contemporary composer, public access to the new music of its members and an effective means to distribute their work. Our website, which attracts hundreds of visitors each day, is offered in both English and Spanish, and will soon offer French and Portuguese to include all of the official languages of the Americas. While this has been accomplished on a limited budget, our vision for the future is almost without limit. We are creating a community in which contemporary music in accessible scores is easy to find, listen to, read, and procure. This community also provides composers with the opportunity to promote music easily while allowing them to choose to make entire works free for the public to listen to and read, make excerpts available with the complete score restricted for purchase or request, or to keep their scores completely restricted, with only the description and instrumentation available with inroads as to how the composition can be acquired. Our goal to distribute music is not only for the benefit of the composers, but also to support musicians and audiences. In the 21st century, musicians and composers use the technologies of contemporary society. Reliance on royal patronage, or academia is no longer viable for the contemporary artist. As society and technology change, we too must change. All over the world, composer collectives are bringing vitality and creative opportunities to contemporary composers and the audiences they wish to reach. These exciting new works of art must be performed and heard for the cycle of creativity to be completed. A society thrives when musicians are free to express themselves through their work. Just as Robert Schumann, in his time, championed Chopin and Brahms, we to are championing the work of our composer members.

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