The Solo, Chamber, Ensemble & Orchestral Music ofRonald …

The Solo, Chamber, Ensemble & Orchestral Music of

Ronald Perera

ECS Publishing :: Music Associates of New York :: Pear Tree Press Music Publishers

“Ronald Perera is among the finest living combiners of words and music.”—John Story, Fanfare

RONALD PERERA’S (b. Boston, 1941) compositions include operas, song cycles, chamber, choral and orchestral works, and several works for instruments or voices with electronic sounds. He is perhaps best known for his settings of texts by authors as diverse as Dickinson, Joyce, Grass, Sappho, Cummings, Shakespeare, Francis of Assisi, Melville, Ferlinghetti, and Updike. Several major pieces are represented on compact disc. Reviewing CRI CD 796 for Fanfare magazine, critic John Story writes, “Three Poems of Günter Grass is, quite simply, one of the most haunting works of the last 25 years.” Reviewing The Outermost House on Albany Troy 314 he writes, “When he is on form, Ronald Perera is among the finest living combiners of words and music. . . . The music is simply lovely.”

Perera studied composition with Leon Kirchner at Harvard and electronic music with Gottfried Michael Koenig at the University of Utrecht. He also worked independently with Randall Thompson in choral music and with Mario Davidovsky in electronic music. He has received awards or fellowships from Harvard University, the Paderewski Fund, the Goethe Institute, the MacDowell Colony, the Artists Foundation of Massachusetts, the National Association of Teachers of Singing, the Bogliasco Foundation, Meet the Composer, the National Endowment for the Arts and ASCAP. In 1975 he co-edited The Development and Practice of Electronic Music for Prentice-Hall. His music is published by E.C. Schirmer (ECS Publishing), Boosey and Hawkes, Music Associates of New York, and Pear Tree Press Music Publishers, and is recorded principally on the CRI, Opus One, and Albany labels.

His String Quartet, commissioned by the South Mountain Association, was premiered by the Muir Quartet in 2004. His children’s opera, The Araboolies of Liberty Street, com-missioned by the Manhattan School of Music, was premiered in New York in 2002. His cantata, The Golden Door, based on Ellis Island archives, was premiered in New York by the New Amsterdam Singers in 1999. His choral work Why I Wake Early, on poems of Mary Oliver, was co-commissioned and premiered by the Chatham Chorale on Cape Cod in 2007 and by the New Amsterdam Singers in New York in 2008. His two-act opera, S., which is based on the novel by John Updike, received a fully staged workshop perfor-mance in Northampton, MA in 1995. In 1989 his two-act opera, The Yellow Wallpaper, with libretto adapted from the Charlotte Perkins Gilman novella by Constance Congdon,

About the Composer

premiered in Northampton. It received its New York premiere at the Manhattan School of Music in 1992 and was produced (Act 1) at the University of New Hampshire in 2003. The complete opera was produced by the Chicago College of Performing Arts in 2006.

His vocal chamber work Crossing the Meridian, commissioned by Boston Musica Viva, has been performed by Gerard Schwarz at Merkin Hall, by the Lontano Ensemble in London, and by the Eastman Musica Nova in Rochester and the Twentieth Century Consort in Washington. Some other significant performances include Bright Angels at the Almeida Festival, London (1986), Chamber Concerto at the 1984 Tanglewood Festival of Contemporary Music, Tolling at Alice Tully Hall (1980) and at the 12th Concours International de Musique Electroacous-tique at Bourges (1984), Three Poems of Günter Grass at the 1976 Holland Festival, in Berlin on the Boston Musica Viva’s European tour and at the Aspen Music Festival, and Reverbera-tions at the 1974 Avignon Festival. His Mass for chorus and orchestra, which premiered in 1973 at the Washington National Cathedral, received its New York premiere in a new version with two-piano accompaniment in 1994 with the New York Virtuoso Singers. The Outermost House was premiered on Cape Cod in 1991 by the Chatham Chorale. It was first performed in New York in 1994 by the New Amsterdam Singers. Visions received its premiere with the Boston Musica Viva in 1997. Music for Flute and Orchestra has had performances by the Cleveland Chamber Symphony (1997) and the Springfield Symphony Orchestra (1999).

His music has been performed by such artists as Phyllis Bryn-Julson, Sanford Sylvan, John Aler, Elsa Charlston, Leonard Raver, Scott Nikrenz, Samuel Sanders, Roman Totenberg, Jane Bryden, Karen Smith Emerson, Marni Nixon, James Maddalena, Douglas Perry, Jon Hum-phrey, and Linda Hirst and under the direction of conductors including Gerard Schwarz, Richard Dufallo, David Gilbert, Edwin London, Theodore Antoniou, Richard Pittman, David Stock, Christopher Kendall, Amy Kaiser, Odaline de la Martinez and Paul Callaway.

Perera taught at Syracuse University, Dartmouth College and, from 1971 until 2002, at Smith College, where he held the Elsie Irwin Sweeney Chair in Music. Information about Ronald Perera may be obtained from his website, www.ronaldperera.com.

Table of Contents

Aria 2Cry 2Dove Sta Amore 2Fantasy Variations 3Five Meditations on ‘Wondrous Love’ 3Full Sun 3Out of Shadow 4Piano Suite 4Reflex 4Reverberations 5Sun’s Rising 5Triptych 6Waypoints 6

3 Waltzes for 4 Hands 7Apollo Circling 7Augmented Forces 8Bright Angels 8De Profundis 8Fanfare 8Five Summer Songs (for voice and piano) 9Shakespeare Songs 9Sleep Now 10Sonatina for Viola and Piano 10Sonatina for Viola and Piano (arranged for violin and piano) 10Tolling 11Two Donne Songs 11

Music for One Performer

Music for Two Performers

Breathing 11

Children of the Sun 12

Piano Trio 12

String Quartet 13

Music for Three Performers

Music for Four Performers

Chamber Concerto 13

Crossing the Meridian 13

Five Summer Songs (for voice and chamber ensemble) 14

Three Poems of Günter Grass 14

The Writer (from Visions) 14

Visions 15

The White Whale 15

Music for Ensembles (five or more performers but fewer than full orchestra)

Chanteys 16

Music for Flute and Orchestra 17

The Saints 17

Music for Full Orchestra

IndexRecordings

Dove Sta AmoreFor soprano and tape. Written for soprano Phyllis Bryn-Julson. The text isfrom Lawrence Ferlinghetti’s A Coney Island of the Mind.

Music for One Performer

Detail Summary

Composed: 2005

Duration: 3 min.

Publisher: Pear Tree Press

Catalog No. PTM 151

Detail Summary

Composed: 2004

Duration: 4 ½ min.


Catalog No. PTM 141

Detail Summary

Composed: 1969, rev. 1971

Duration: 7 min.

Publisher: ECS Publishing

Catalog No. 149 (score)149A (CD)

2

AriaFor organ.

CryFor solo cello. Commissioned by cellist Matt Haimovitz for his 2004 “Anthem” Tour.

Fantasy VariationsFor piano and synthesizer(s).

Five Meditations on ‘Wondrous Love’For organ.

Detail Summary

Composed: 1986

Duration: 10 min.


Catalog No. 4145

Detail Summary

Composed: 1975

Duration: 23 min.


Catalog No. PTM 711

3

Full SunFor organ.

Detail Summary

Composed: 2011

Duration: 3:10 min.


Catalog No. 7857

Out of ShadowFor piano.

ReflexFor viola and tape.

Detail Summary

Composed: 1987

Duration: 6 min.


Catalog No. PTM 121

Piano SuiteFor piano.

Movements: 1. Prelude2. Nocturne3. Toccata

Detail Summary

Composed: 1966

Duration: 7 min.


Catalog No. 242

Detail Summary

Composed: 1973

Duration: 5 min.



4

ReverberationsFor organ and tape.

Detail Summary

Composed: 1970

Duration: 8 min.



Detail Summary

Composed: 1986

Duration: 6 min.


Catalog No. 4144

Sun’s RisingFor organ.

““Reverberations” is a sequence of continuous, large and small sections and gestures, sometimes repeating, that concentrate on one parameter, sound, or performance technique at a time.... Perera is to be commended for his clear, uncluttered score and simple, precise instructions.... Of all the organ and tape pieces discussed here, “Reverberations” offers the performer the greatest intellectual stimulation. .”

—Jeanie Rebecca Little, Serial, Aleatoric, and Electronic Techniques in American Organ Music Published Between 1960 and 1972

5

WaypointsFor piano.

Waypoints for piano was written with intermediate to advanced piano students in mind. Each of the first eight little pieces exploits a particular pianistic and compositional technique, often making reference to classic works in the literature. The final set of variations has its own theme, but uses each of the previous eight pieces in turn as the basis for the variations. The title refers to the navigational points that satellite navigation systems use to guide us on a journey by land, sea, or air. In this case, the metaphorical journey passes points of reference that are at least somewhat familiar to every musician.

6

TriptychFor organ.

This three-movement suite was commissioned by the AGO chapter in Berkshire, Massachusetts. The first movement, “L’Annunziazione,” is a large-scale fantasy, the second, “L’Adorazione,” is a short arioso, and the third, “L’Ascensione,” is a large toccata. The movements are neither too long nor too difficult, and the pieces could be used individually in services or recitals.

Movements: 1. L’Annunziazione2. L’Adorazione3. L’Ascensione

“The musical materials and fervent mood of each movement superbly match the sacred theme in each case, but the piece also stands up perfectly well as “absolute” music.... A strongly expressive work of great formal clarity, written in an up-to-date tonal harmonic language.”

—The American Organist

Detail Summary

Composed: 1997

Duration: 8 min.


Catalog No. 5156

Detail Summary

Composed: 2011

Duration: about 16 min.


Catalog No. PTM 171

7

Apollo CirclingFor high voice and piano.

Commissioned by the Paderewski Fund. Based on James Dickey’s commemorative poem “For the First Manned Moon Orbit.”

Movements:1. So Long2. The Moon Comes Back3. You Lean Back4. You Hang Mysteriously

Detail Summary

Composed: 1972Duration: 15 min.


Catalog No. 151

3 Waltzes for 4 HandsFor piano four hands.

Movements:1. The Knucklecracker Waltz2. The Blues Danube Waltz3. Oh-De-Lady-Who? Waltz

Detail Summary



Catalog No. PTM 201

Music for Two Performers

“Ronald Perera has devised a set of songs, almost a cycle, that captures and conveys the cold, lone-ly, earth-longing, stream-of-thought text by James Dickey.... This is music of calculated spontaneity that commands the listener’s attention... Congratulations are due Ronald Perera for his creation of a musical setting of a text that is both timely and timeless. He and James Dickey have given us a work that lyrically pinpoints an historical milestone in this country’s exploration of space and delves into the minds of the men who experienced that fabulous adventure.”

—Music Library Association

De ProfundisFor two pianos.

FanfareFor viola and piano.

Detail Summary



Catalog No. PTM 231

Detail Summary



Catalog No. PTM 111

Bright AngelsFor organ, percussion and tape.

Movements:1. Messengers2. The Trumpet3. Hosannas

Detail Summary



Catalog No. 244 (score)

244A (CD)

Augmented ForcesFor piano and DX7 synthesizer.

Detail Summary



Catalog No. PTM 211

NOTE: Synthesizer cartridge available from the publisher.

8

“...Elegant, lyrical, compelling songs.” —A Singer’s Guide to the American Art Song

Five Summer SongsFor mezzo-soprano and piano.

Five songs on poems of Emily Dickinson. The poems included are New Feet Within My Garden Go, South Winds Jostle Them, I Know a Place, To Make a Prairie, and The One That Could Repeat the Summer Day.

Detail Summary



Catalog No. 161

“Perera has successfully assililated elements of the new neo-reomantic style into his own expressive, eclectic style.”

—The Daily News (Springfield, MA)

Shakespeare SongsTexts by William Shakespeare.

For high voice and piano.

Movements:1. Take, O take those lips away2. Hark, hark! The lark3. Full fathom five4. Where the bee sucks5. O mistress mine

Detail Summary



Catalog No. PTM 131

9

10

Sonatina for Viola and PianoFor viola and piano.

Movements:1. Dance2. Elegy3. Rondo

Detail Summary



Catalog No. PTM 101

Sonatina for Viola and PianoArranged for violin and piano.

Movements:1. Dance2. Elegy3. Rondo

Detail Summary



Catalog No. PTM 102

Sleep NowWinner of the 1990 NATS Art Song Competition. Text by James Joyce.

For high voice and piano.

Movements:1. I hear an army2. Ecce Puer3. She weeps over Rahoon4. The twilight turns from amethyst5. Sleep now

Detail Summary


Publisher: Boosey & Hawkes

Catalog No. VAB 301Available exclusively

through Hal Leonard

#48008488-H

“The five songs are written with exquisite sensitivity to the rhythms of speech.... The melodic lines, which have a floating, modal flavor, are usually quite long — the last note of a phrase is often held longer than one might expect, as if the singer is to create a sense of unending resonance. The sustaining pedal of the piano, with a few exceptions, is in constant use, contributing to the dreaminess....Though the songs are simple and direct in their expression, there is nothing simple about the writing,”

—The Morning Union (Springfield, MA)

11

TollingFor two pianos and tape.

Detail Summary



Catalog No. PTM 721, 721cd

Two Donne SongsText by John Donne

For medium voice and piano.

Movements:1. Go, and catch

a falling star

2. Sweetest love, I do not go

Detail Summary

Composed: 1961,1962Duration: 6 ½ min.


Catalog No. PTM 161

Music for Three Performers

BreathingText based on the poem “Breathe Into Me” by Gary Lowery. A piece especially appropriate for a wedding.

For soprano, baritone and keyboard.

Detail Summary



Catalog No. PTM 221

Piano TrioCommissioned by Joel Pitchon. The second movement is based on the third movement from The White Whale (“The Symphony”).

For violin, cello and piano.

Movements:1. Incisivo2. Adagio cantabile e sostenato (“The Symphony”)3. Scorrevole

Detail Summary



Catalog No. PTM 301

Children of the SunWritten for soprano Gretchen d’Armand. Text by Robert Louis Stevenson.

For soprano, horn and piano.

Movements:1. The Sun’s Travels2. Rain3. The Swing4. At the Sea-Side5. Auntie’s Skirts6. Happy Thought7. Summer Sun

Detail Summary



Catalog No. 167

12

Crossing the MeridianCommissioned by Boston Musica Viva. Text by Ruth Whitman, Lawrence Ferlinghetti, Hart Crane, William Carlos Williams, and James Dickey.

For tenor and chamber ensemble.

Instrumentation: Flute (doubling alto flute), clarinet (doubling bass clarinet), percussion (one player), violin, viola, cello, piano

Chamber ConcertoCommissioned for ALEA III and the Empire Brass Quintent, Chamber Concerto does not follow the tra-ditional three-movement Baroque concerto form, but is instead a set of six variations. It pays homage to the Baroque and Classical styles in its concern for symmetry, traditional chord structures, felt meters, uncluttered textures, and solo instrumental writing that demands virtuosity without recourse to the non-traditional play-ing techniques and special effects prevalent in much contemporary music

Instrumentation: Solo brass quintet, 2 flutes (2nd doubling piccolo), oboe, 2 clarinets (2nd doubling bass clarinet), bas-soon, horn, trumpet, bass trombone, percussion (2 players), piano

Detail SummaryComposed: 1983Duration: 20 min.Publisher: ECS Publishing

Catalog No. 4096 (rental)

String QuartetCommissioned by South Mountain Concerts. Premiered in Pittsfield, MA on September 16, 2004 by the Muir Quartet.

Instrumentation: Two violins, viola and cello.

Detail SummaryComposed: 2004Duration: 18 min.Publisher: Pear Tree PressCatalog No. PTM 311 (score)

PTM 311-a-d (parts)

Music for Four Performers

Music for Ensembles (five or more performers but fewer than full orchestra)

“Perera’s instantly accessible music compels attention through its sheer visceral impact.”

— Boston Globe

Detail SummaryComposed: 1982Duration: 20 min..Publisher: ECS Publishing


13

Three Poems of Günter GrassCommissioned by Boston Musica Viva. Three poems by the German author reflecting on Germany after World War II. The first poem, Gleisdreieck, was inspired by the train station of the same name on Berlin’s elevated rail-way. The second poem, Klappstühle (“Folding Chairs”), uses the chairs as a metaphor for the impermanence of home caused by the war. The final poem, Schlaflos (“Sleepless”), is the nightmarish vision of a man with insomnia counting himself to sleep by recounting his own life. Eventually he confronts his own and his nation’s guilt, for which it seems there is no atonement.

For mezzo-soprano and chamber ensemble.

Instrumentation: Flute (doubling piccolo, alto flute), clarinet (doubling bass clarinet, alto sax), violin, viola, cello, piano and tape (CD)

NOTE: Performance materials available on rental. Study score for sale.

Detail Summary



Catalog No. 160

The Writer (from Visions)The Writer is the second movement of the larger work, Visions (see page 15). It is based on Richard Wilbur’s narrative poem and concerns a young writer—the poet’s daughter—who is writing her first story. The set-ting and the poem capture the writing process, from the tapping of fitful typing to the frenzied attempts to express a throught to the lyrical soaring of clear expression.

For soprano and chamber ensemble.

Instrumentation: Flute, clarinet, violin, viola, cello, piano

Detail SummaryComposed: 1993Duration: 6 min.Publisher: Pear Tree Press

Catalog No. PTM 502 (full score)

Five Summer SongsFive songs on poems of Emily Dickinson. Arrangement of the 1972 songs for medium voice and piano (ECS Publishing #161). The poems included are New Feet Within My Garden Go, South Winds Jostle Them, I Know a Place, To Make a Prairie, and The One that Could Repeat the Summer Day. This arrangement was commissioned by the Cleveland Chamber Symphony.

For mezzo-soprano and chamber ensemble.

Instrumentation: Harp, piano (doubling celesta), percussion (one player), and strings

Detail SummaryComposed: 1991

Duration: 12 min.



14

VisionsWritten in memory of Phillips Perera, the composer’s brother, a talented amateur painter. The work celebrates the creative artist in painting, poetry, and sculpture. Text by Susan Snively, Richard Wilbur, and Carol Edelstein.

For two sopranos and chamber ensemble.

Instrumentation: Flute, oboe, clarinet, bassoon, horn, 2 violins, viola, cello, contrabass, piano

Movements:1. Sky Above Clouds2. The Writer3. After Brancusi

Detail SummaryComposed: 1992Duration: 15 min.Publisher: Pear Tree Press

Catalog No. PTM 501

The White WhaleThe White Whale is a musical projection of Ahab’s mad-ness as revealed in fragments of solioquy and dialogue from nine different chapters of Herman Melville’s Moby Dick. The four movements do not attempt to mirror Melville’s continous narrative. Instead, they reflect some of the novel’s greatest discontinuities by juxtaposing paradoxical aspects of Ahab’s character—which are revealed one by one in non-successive chapters strung out like beads on a chain throughout the book—in a radically compressed time frame. The compression heightens awareness of the depth and complexity of Ahab’s personality and of his relationship to the whale while creating a particular dramatic tension.

For baritone and chamber ensemble.

Detail SummaryComposed: 1981Duration: 30 min.Publisher: ECS Publishing


Instrumentation: Flute (doubling piccolo), oboe, 2 clarinets (2nd doubling bass clarinet), bassoon, contrabas-soon, horn, trumpet, trom-bone, harp, piano (doubling celestra), percussion (two players), strings

Movements:1. The Prisoner2. In Nomine Diaboli3. The Symphony4. A Hump Like a Snow-Hill

15

Music for Full Orchestra

ChanteysChanteys, a celebration of ships and the sea, was inspired by the 1976 gathering of tall windships from around the world in honor of the U.S. bicentennial. Supported by a grant from the National Endowment for the Arts.

The piece consists of two movements. The first is a fantasy on the beautiful capstan chantey Lowlands, while the second introduces four short-drag chanteys, develops them independently, then combines them in a quodlibet finale.

Instrumentation: 2 flutes and piccolo, 2 oboes and English horn, 2 clarinets and bass clarinet, 2 bassoons and contrabas-soon, 4 horns, 3 trumpets, 3 trom-bones, tuba, 3 percussion (includes 2 timpani), celesta, harp, accordion, strings

Movements:1. Slow and suspended; free2. With propulsive energy

Detail SummaryComposed: 1967, rev. 1979Duration: 13 min.Publisher: ECS Publishing

Catalog No. 278

“A remarkably eclectic, coloristic study integrating folk melody, minimalist repetition, many unsettling dramat-ic thrusts, and a sure hand for orchestration (including, appropriately, an accordion) into a satisfying whole.”

— Musical America

Movements:1. Slow and suspended; free2. With propulsive energy

16

The SaintsThree Pieces for Orchestra with Audience Participation

The Saints is based on When the Saints Go Marching In, a Dixieland classic that tradition holds was played at funerals in New Orleans around 1900—slowly on the way to the cemetery and quickly coming back.

Each of the three movements in The Saints is designed to explore and illustrate a musical idea. The opening, Choirs, shows off the musical families of the orchestra. The second, Joyful Noise, presents many extended in-strumental sounds and special effects. The third, March-ing In, evokes the slow march to the cemetery and the jazzed-up procession home.

This work was commissioned by the New York Chamber Symphony of the 92nd Street Y in New York City for its Sidney A. Wolff School Music Series. Printed materials and a teaching recording are available for use by class-room teachers.

Instrumentation: 2 flutes (2nd doubling piccolo), 2 oboes, 2 clarinets (doubling saxophones), tenor saxophone (or bass clarinet), 2 bassoons, 2 horns, 2 trumpets, 2 trombones, tuba, timpani, 1 percussion, optional banjo, piano, strings, audio playback system

Music for Flute and OrchestraCommissioned by flutist William Wittig and premiered by him with the Cleveland Chamber Symphony, Edwin London, director, in 1997. Recorded by Witting and the CCS on Albany Records (Troy 298).

Instrumentation: 2 flutes (2nd doubling piccolo), 2 oboes, 2 clarinets (2nd doubling bass clarinet), 2 bassoons, 2 horns, 2 trumpets, 2 trombones, tuba, tim-pani, 2 percussion, harp, piano, solo flute, strings

Detail SummaryComposed: 1990Duration: 10 min.Publisher: Music Associates of New

York

Detail SummaryComposed: 1990Duration: 9 min.Publisher: Music Associates of New

York

Movements:1. Choirs2. Joyful Noise3. Marching In

17

3 Waltzes for 4 Hands 7Apollo Circling 7Aria 2Augmented Forces 8Breathing 11Bright Angels 8Chamber Concerto 13Chanteys 16Children of the Sun 12Crossing the Meridian 13Cry 2De Profundis 8Dove Sta Amore 2Fanfare 9Fantasy Variations 3Five Meditations on ‘Wondrous Love’ 3Five Summer Songs (voice & piano) 9Five Summer Songs (voice & ensemble) 14Full Sun 3Music for Flute and Orchestra 17

Alphabetical Index of Works

Out of Shadow 4

Piano Suite 4

Piano Trio 12

Reflex 4

Reverberations 5

Shakespeare Songs 9

Sleep Now 10

Sonatina for Viola and Piano 10

Sonatina for Viola & Piano (arr. violin) 11

The Saints 17

String Quartet 13

Sun’s Rising 5

Three Poems of Günter Grass 14

Tolling 11

Triptych 6

Two Donne Songs 11

Waypoints 6

The White Whale 15

The Writer 14

Visions 15

American Music for Flute, Voice, and StringsA collection of American music by various composers. Includes Ronald Perera’s Five Summer Songs performed by mezzo-soprano Carole Wilson. On Albany Records, Troy 519.

Crossing the MeridianA CD of Ronald Perera’s chamber music with voice, including Crossing the Meridian, Three Poems of Günter Grass, Visions and Alternate Routes. Performed by the Boston Musica Viva. Soloists include Elsa Charlston, John Aler, Jane Bryden, and Karen Smith Emerson. On CRI 796.

The New American SceneIncluding Ronald Perera’s Music for Flute and Orchestra, performed by the Cleveland Chamber Symphony, William Wittig, flute; Edwin London, con-ductor. On Albany Records, Troy 298.

The Unquiet Heart: American Song CyclesFour American song cycles by Libby Larsen, Stephen Paulus, Bruce Adolphe, and Ronald Perera. Includes Perera’s Sleep Now. Karen Smith Emerson, soprano, and Arlene Shrut, piano. On Albany Records, Troy 909.

Recordings of Ronald Perera’sSolo, Chamber, Ensemble, and Orchestra Music

Visit Ronald Perera’s website at www.ronaldperera.com foraudio excerpts, score excerpts, reviews and recordings of his music

March 2012

ECS Publishing615 Concord StreetFramingham, MA 01702Phone: (508) 620-7400 or (800) 777-1919FAX: (508) 620-7401Email: [email protected]: www.ecspublishing.comSole Distributor:Canticle Distributing1727 Larkin Williams Rd.Fenton, MO 63026-2024Phone: (800) 647-2117Email: [email protected]

Music Associates of New York224 King StreetEnglewood, NJ 07631Phone: (201) 569-2898FAX: (201) 569-7023Email: [email protected]: www.musicassociatesofamerica.comSole DistributorJerona Music CorporationBox 671, Englewood, NJ 07631(201) 568-8448 FAX: (201) 569-7023

Pear Tree Press Music Publishers (Winter)703 Fairway VillageLeeds, MA 01053Phone: (413) 727-8614Email: [email protected]

Pear Tree Press Music Publishers (Summer)P.O. Box 397Yarmouth Port, MA 02675Phone: (508) 744-7335Email: [email protected]

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