Chamber Series:
Our Composers Close to Home
Note from Chamber Series Director Allison Voth:
It has been my absolute pleasure to curate a program of some of Boston’s finest composers past and present for this season’s final Chamber Series Concert. You will hear songs by Amy Beach, George W. Chadwick, Peter Child, Marti Epstein, John Harbison, John Bailey Holland, Edward MacDowell, Omar Najmi, John Knowles Paine, Horatio Parker, Elena Ruehr, and Gregory Zavracky.
The first music department in the country was formed at Harvard University by John Knowles Paine. The New England Conservatory was put on the map both for composers and performers under George White Chadwick’s watch as Director. The intrepid Amy Beach broke new ground and paved the way for generations of women composers. In short, Boston’s ever rich musical environment provided a fertile playing ground for past composers and continues to do so for its here and now composers. This afternoon, sit back and enjoy today’s eclectic juxtaposition of works by some of Boston’s best!!!
About the Program
Meet the Chamber Series Director
Allison Voth, piano
Allison Voth is an associate professor of music at Boston University’s School of Music, and principal coach at Boston University’s Opera Institute. She widely concertized with Lucine Amara of the Metropolitan Opera. She is widely known as a diction coach in Boston and throughout the U.S. She has worked as diction coach and/or répétiteur with such companies as Opera Boston, Boston Lyric Opera, Emmanuel Music, Chautauqua Opera, Providence Opera, Granite State Opera, the Verismo Opera of New Jersey and Opera North. Festivals include Opera Unlimited, The Florence Vocal Seminar and the Athens Music Festival. Ms. Voth is well recognized for her supertitles, which have been used in both national and international opera productions including Washington Opera, the Chicago Symphony Orchestra, the Barbicon Festival in London, Opera Boston, Palm Beach Opera among many others. For several years she had a unique, ongoing collaboration with John Conklin as supertitle co-writer and designer for Boston Lyric Opera. Since 2023, Ms. Voth has been the pre-performance lecturer for Boston Lyric Opera. As a champion of new music, she has performed and assisted in many premieres with ALEA III, Collage New Music, The New Music Consort, The Group for Contemporary Players and The National Orchestra Association New Music Project. She is a specialist in the music of Paul Bowles and was on the cutting edge of the Paul Bowles revival movement in the 1990’s when she produced and performed in a multi-media production of music and readings entitled Paul Bowles: One Man, Two Minds at Merkin Hall in New York. The EOS Ensemble consequently invited her to participate in its Paul Bowles Festival in New York where she premiered a set of piano preludes. In 2011 as part of the Boston University Fringe Festival, she co-produced and music directed a Paul and Jane Bowles centennial celebration which included a multi-media performance entitled Two Stars in the Desert (also performed at BU’s yearly Incite Festival in New York), as well as a fully staged Boston premiere of his theatre work Yerma. Ms. Voth, recognized for her innovative programming, is the Chamber Series Music Director for the well-known Cantata Singers in Boston. She can be heard on CRI recordings.
Meet the Singers
Heming Cao, tenor
Heming Cao is a chorus director, tenor and composer based in Boston area. As a conductor, Heming has served as director of Student Choir of Nankai University, Tianjin Symphony Orchestra Affiliated Youth Choir and Tianjin Philharmonic Chamber Choir. He participated in and directed "Alexander Nevsky Cantata", "The Yellow River Cantata", "The Four Great Classical Novels of Chinese Literature Concert", "The Springtime of Bo Sea" and music recording works for the movie "108". As a music educator, he founded Jungle Children Voice and Alma Female Choir in Tianjin. He recently began tenure as Music Director of The New Moon Choirs in Boston area. As a tenor, Heming's voice is warm and bright. He has played the role of Nemorino from L'elisir D'amore, Ferando from Così fan tutte. He has also sung solo roles in much of the standard oratorio and concert repertoire, like "Messiah" by Handel, "Weihnachts-Oratorium", "Mass in B minor", "St. Matthew Passion" by Bach, etc. Recently he sang as a tenor soloist in Monteverdi's Vespers with Cantata Singers in Boston Choral Festival. Heming holds the M.M. degree from Longy School of Music of Bard College, and B.S degree from Nankai University.
Angelica Grau, mezzo-soprano
Angelica (Angie) Grau is a multifaceted vocalist that explores many different genres while specializing in classical music. She has fully self-produced two song recital programs: "Afterglow: Music of Lust and Love" explored the many facets of romance, while "MILESTONE: 30" celebrated her development as an artist upon turning 30. She has also performed with Mixtape Recital Series, the Cantata Singers Chamber Series, Boston Singers’ Resource, the St. Ignatius Concert Series and Calliope. Angie is a member of both Cantata Singers and Nightingale Vocal Ensemble, with solo credits alongside both ensembles and debuted as an assistant director in early 2023.
As an operatic singer, Angie has performed with Cambridge Chamber Ensemble in the role of Dorella in Richard Wagner’s Das Liebesverbot and Spirit in Gustav Holst’s Savitri. She has also appeared in scenes programs with Calliope, New England Opera Intensive, North Shore Summer Concerts, and Opera Theatres at the Longy School of Music and West Chester University of Pennsylvania.
Angie works full time at Northeastern University as the Administrative Officer of the Communication Studies Department, and runs a small private lesson studio out of her home. In her free time she loves powerlifting, playing video games, and traveling with her fiance, Chris and their dog, Oliver.
Jennifer Webb, alto
Mezzo-soprano Jennifer Webb appears regularly as a soloist and chorister in the Boston area. She joined Cantata Singers in 2011 and has been featured as a soloist with the ensemble on many occasions, including Mendelssohn’s Elijah, Bach cantatas, the Magnificat and B Minor Mass, Handel’s Israel in Egypt and Solomon, the world premiere of Peter Child's Lamentations, and Osvaldo Golijov’s Oceana. Other notable performances include Hildegard von Bingen’s Ordo Virtutum and the first staged performance of Elena Ruehr’s Cassandra In the Temples with Cappella Clausura, and Handel's Esther and Alexander's Feast with the King's Chapel choir. Ms. Webb has worked with composer Larry Thomas Bell on several recent projects including the premiere of his song cycle Parables of Love and Death. She appears on his album Thoughts and Prayers from Albany Records. For more, visit www.jenniferrachelwebb.com.
James Liu, baritone
Baritone James Liu is a physician with varied musical interests. He has announced and produced classical music programming at WHRB. He has sung with Cantata Singers, the King’s Chapel Choir, and other ensembles. He has sung solos in Handel’s Dixit Dominus, Mozart’s Solemn Vespers and Coronation Mass, Puccini’s Messa di Gloria, and Bach’s Mass in b minor. Operatic roles include The Magic Flute (Second Man in Armour, Papageno), The Marriage of Figaro (Antonio, Bartolo, Almaviva, Figaro), Così fan tutte (Guglielmo, Alfonso), Fledermaus (Dr. Falke), Ariadne auf Naxos (Music Teacher), Hansel and Gretel (The Father), Fidelio (Don Fernando), Turandot (Ping), and Tosca (Scarpia). He is indebted to his voice teacher, Frank Kelley, and to his infinitely patient wife who makes all of this possible. For more, visit jamescsliu.com.
Kayleigh Bennett, mezzo-soprano
Kayleigh Bennett is a Boston based mezzo-soprano and music instructor. Kayleigh has earned undergraduate degrees in Music Performance and Music Education from Moravian University and a master's degree in Vocal Performance from the New England Conservatory of Music.
Currently, Kayleigh serves as a staff singer and soloist at St. Cecilia’s Church. In addition to teaching voice and piano privately, Kayleigh is a faculty member at Onset School of Music. As one of ten members of the Boston NATS Mentorship Program, Kayleigh studies under Dan Callaway. Kayleigh is an active performer with Cantata Singers, Tutti Music Collective, and Berkshire Opera Festival. A notable recent performance in Kayleigh’s career was singing the Rutter Magnificat with Continuo Arts Foundation, under the direction of John Rutter.
Max Rydqvist, baritone
Max Rydqvist, baritone, graduated magna cum laude with a Master of Music degree in Vocal Performance from the College of Fine Arts at Boston University (2018) and holds a Bachelor of Music degree in Vocal Performance from the State University of New York at Binghamton (2016). Recent stage roles include Guglielmo in Mozart’s “Cosi fan tutte,” Figaro in Mozart’s “Le nozze di Figaro,” the Sacristan in Puccini’s “Tosca,” Ping in Puccini’s “Turandot,” and Papageno and Der Sprecher in Mozart’s “Die Zauberflöte” with Opera51 in Concord, Melchior in Menotti’s “Amahl and the Night Visitors” with both Carlisle Congretational Church and Church on the Hill, Barone Douphol in Verdi’s “La Traviata” with MassOpera, “Ben in Menotti’s “The Telephone”, David in Samuel Barber’s “A Hand of Bridge” and A-Rab in Leonard Bernstein’s “West Side Story” at the Bay View Music Festival. Recent concert appearances include Philistine bass soloist in Handel’s “Samson,” with the Cambridge Chamber Ensemble, chorus and bass soloist in Handel’s “Messiah” and baritone soloist in Brahms’ “Liebeslieder Waltzes” with Church on the Hill. He is additionally a former soloist with Opera on Tap Boston and intermittent ensemble member with Odyssey Opera, MassOpera, and Tri-Cities Opera.
Residing as a voice teacher and freelance singer in the Boston area, Max presently engages as ensemble member and soloist in both the Concert Series and Chamber Series of Boston’s Cantata Singers, and as section leader and soloist at the Boston Society of the New Jerusalem; he is also an associate member of the National Association of Teachers of Singing, a Professional Member of the Voice Foundation, and holds a membership with the American Musicological Society. In the upcoming months he is endeavoring to produce an independent art song recital that will delve into a continued exploration of the canon of Nordic song repertoire that he specializes in.
About the Composers
John Knowles Paine (1839-1906)
John Knowles Paine is one of the first American born classical composers of major works. He was born in Maine and descended form a family of music teachers.
His formal studies were organ and composition. He spent time in Germany where he furthered his studies in organ and orchestration. During that time, he also toured Europe giving organ recitals. In 1861 he moved to Boston where he began teaching music appreciation and theory classes for free at Harvard University. His courses became the curricular foundation for the first music department at Harvard and in America. He taught there until 1905, shortly before he died. He also taught at the New England Conservatory. As a composer he was the oldest member of the Boston Six which included Amy Beach, Arthur Foote, Edward MacDowell, George Chadwick and Horatio Parker. Paine also guest conducted for the Boston Symphony Orchestra in its first season. His featured works in that season were well received. Paine was the founder of the American Guild of Organists and he partook in some of the first recordings with Teho Wangemann who developed the phonograph.
Horatio Parker (1863-1919)
Horatio Parker (1863-1919) was an organist and composer like John Knowles Paine. He spent three years in Munich furthering his studies before heading to New York. There, he held several organist and choirmaster positions before he was awarded an honorary doctorate and the Battell Professorship of the Theory of Music from Yale. He eventually became Dean of Yale and through his leadership the composition department became highly recognized. He composed mostly vocal and choral music, but curiously, he also delved into writing theater music and even two operas. His first opera, Mona, was performed at the Metropolitan Opera for which they awarded him a prize. Despite teaching at Yale, he maintained a position as organist and Choirmaster at Trinity Church in Boston and remained very active in the New York music scene. His constant train travel between the three cities, afforded him the time to compose. He was a high respected composer during his time and was recognized for his craftsmanship.
George White Chadwick (1854-1931)
George White Chadwick (1854-1931) had an interesting and somewhat independent path. He was born in Lowell, MA and dropped out of high school to work at his father’s insurance company. This afforded him the chance to spend a great deal of time in Boston where he immersed himself in the arts attending concerts and arts events. He eventually attended the New England Conservatory as a “special student” which allowed him to study with the faculty, without the burden of course work. As as young musician, he taught at Olivet College where he founded the Music Teachers National Association. It was during his years at Olivet that he became interested in composition. Recognizing his need to bo abroad to study, he went to Leipzig to study for 2 years with Carl Reineke. He then joined a group called the “Duveneck Boys” with whom he spent considerable time in Munich and Paris. He returned to New England where he was an active composer, organist and conductor, as well as music director of the Springfield Worcester Music Festivals. In 1897 he was appointed Director of the New England Conservatory. Under his leadership, he hired Boston Symphony Orchestra musicians to teach, established more ensembles and created music history and theory course requirements. Most likely his experience at the German hochschules was the inspiration behind the changes he made at NEC. These changes established NEC as a highly respected music institution. While at NEC, he taught Horatio Parker and William Grant Still among many other prominent composers. As a composer, he composed in all genres, including opera and large choral works, but his passion was orchestral music.
Edward MacDowell (1860-1908)
Edward MacDowell (1860-1908) was a composer, pianist and teacher. He studied with Teresa Carreño who ultimately became a great promoter of his music. In 1876 his mother took him to Paris to attend the Conservatoire. Not happy with the teaching, he moved to Germany to study piano with Carl Heymann and composition with Joschim Raff. After completing his studies, he remained in Germany for several years teaching, performing and composing. He performed several times for Listz who eventually promoted his compositions for publication to Breitkipf & Härtel which helped establish him as a composer in Europe. Despite his success, he was forced to return to America in 1888 for financial reasons. He lived in Boston until 1896 where performed many concerts of his own music, including his concertos with the Boston Symphony Orchestra. He soon became highly respected as both a pianist and composer outside of Boston and in 1896 was offered a position as Columbia University’s first music professor. He devotedly built Columbia’s music department until 1904 when he was forced to resign due to a falling out with the new President Nicholas Murray Butler. He remained in New York until his death. Although MacDowell was mostly known for his piano music, he composed 42 solo songs and published 14 partsong collections mostly for male chorus many of which were for the Mendelssohn Glee Club. MacDowell was a member of the National Academy of Arts and Letters, the American Academy of Arts and Letters and the American Academy in Rome. Together with his wife, Marian MacDowell, they establish the MacDowell Colony to foster “enduring works of the imagination.”
Amy Beach (1867-1944)
Amy Beach (1867-1944), composer and pianist was the first American woman to compose and be recognized for large scale works. She was considered the foremost woman composers of her time. She too was a part of the Boston Six. She was born into an affluent family. Her father was a paper manufacturer, and her mother, an amateur singer and pianist. Early on, she revealed her musical talents: she could sing 40 tunes at the age of one and at four years old, she was composing piano pieces in her head. She was truly the Mozart of her time with the ability to play anything she heard at a very young age. Beach gave her first concert at age of seven playing Handel, Beethoven, Chopin and her own pieces. The family moved to Boston when she was eight where her talents were soon recognized. Experts encouraged her parents to send her to Europe to study, but they chose to keep her in Boston surrounding her with a carefully hand picking a group of mentors, to guide her, including Oliver Wendell Homes, William Mason and Percy Goetschius.
She debuted with the Boston Symphony Orchestra in 1885 and was on her way to a brilliant career. Unfortunately, her husband looked unfavorably on her busy performance schedule. In deference to him, she cut back on her performances giving only annual recitals donating the proceeds to charity. Not surprisingly, she turned her attention to composition. She delved into a 10-year independent study using the masters as her mentors. During that time, she also translated treatises by Hector Berlioz and François-Auguste Gevaert.
Beach had little trouble getting her compositions performed, especially her songs and choral pieces, and she was quickly signed on by publisher Arthur P. Schmidt. Composer and friend George W. Chadwick wrote to her after hearing the premiere of her “Gaelic” Symphony Op. 32, “I always feel a thrill of pride myself whenever I hear a fine new work by any one of us, and as such you will have to be counted in, whether you will or not—as one of the boys.” After her husband’s death in 1910, she moved to Europe and began performing once more, especially her own works which established herself as both a renowned pianist and composer. She returned to America at the outbreak of WWI and re-established herself as a performer, as well as composer. She composed all genres of music and to this day, her works are regularly performed. She mentored many women composers and was leader of organizations such as the Music Teachers National Association and the Music Educators National Conference and in 1925 she co-founded the Society of America Women Composers. Heart Disease curtailed her career in 1940 and ultimately caused her death in 1944.
Gregory Zavracky
(b. 1980)
Gregory Zavracky (b. 1980) is an active performer and composer in the New England area. He received his Doctorate of Musical Arts from Boston University and received two degrees from the New England Conservatory in voice performance and opera studies. As a singer he has sung with Odyssey Opera, the Rhode Island Philharmonic, the American Repertory Theater, Townsend Opera, Aurea Ensemble, , Boston Lyric Opera, the Henry Purcell Society of Boston, Harvard Radcliffe Collegium Musicum the Back Bay Chorale, Opera in the Heights, Cape Cod Opera and Chautauqua Opera. He has taught at the University of Connecticut, Brown University and Eastern Connecticut State University and recently joined the voice faculty at Boston Conservatory in 2024. He is a board member and American art song editor for the website, SongHelix, and has published articles in the Journal of Singing on Libby Larsen, Tom Cipullo, harry R. Burleigh, John Musto, Rebecca Clark and Margaret Bonds. As a composer, he has received commissions and awards for his music, which can be heard on his Soundcloud page: soundcloud.com/gregzavracky/sets. An album of his arts songs will be release by Navona Records later in 2025.
Omar Najmi
(b. 1987)
Omar Najmi (b. 1987) is an active tenor and composer in New England and beyond. He is equally adept at both standard and contemporary repertoire and his voice has been praised as “a world class voice in every respect.” Najmi has sung with such companies and organizations as Boston Lyric Opera, Bulgaria’s State Opera Rousse, Opera Steamboat, Portland Opera, Guerilla Opera, MassOpera, Emmanuel Music, Opera Colorado, Chautauqua Opera, Annapolis Opera, Opera Saratoga, Opera Maine, Opera Fayetteville, Opera NEO, Opera North, Odyssey Opera and the American Lyric Theater. His long-standing relationship with Boston Lyric Opera began as an Emerging Artist featuring him in over 15 productions, and later as their first ever Emerging Composer. As a composer, Najmi’s first work was his opera, En la ardiente oscuridad in 2019. He has since composed numerous vocal works, including a motet The Last Invocation for Emmanuel Music, my name is Alondra for BLO’s Street Stage, and More Than Our Own Caves for Juventas New Music. He is currently working on jo dooba so paar, a short opera exploring the intersection of queer and Muslim identity. In 2022. Najmi and his husband, Brandon Shapiro (an equally talented pianist, vocal coach and conductor) co-founded Catalyst New Music, an organization dedicated to fostering, developing and producing new works. Najmi’s opera This Is Not That Dawn, a drama set during and after the Partition of India was presented in a concert performance in Catalyst New Music’s inaugural season.
John Bailey Holland
(b. 1974)
John Bailey Holland (b. 1974) is a well-known composer in the US and around the world. As an undergrad he studied with Ned Rorem at the Curtis Institute of Music, and with Bernard Rands, Mario Davidovsky, Andrew Imbrie and Yehudi Wyner at Harvard where he received his PhD. His orchestral commissions include: Atlanta, Baltimore, BBC, Cincinnati, Detroit, Indianapolis, Kalamazoo, Los Angeles, Minnesota, New World, Philadelphia, San Antonio, South Bend Orchestras. Chamber commissions include: the Abeo Quartet, Da Capo Chamber Players, der/gelbe/klang, Left Coast Chamber ensemble, Network for New Music, Present Music, Radius Ensemble, and the Plymouth Series. Holland has served as composer-in-residence with the Cincinnati, Detroit and South Bend Symphonies, the Plymouth Music Series of Minnesota, Ritz Chamber Players and the Radius Ensemble.
His works have been recorded by the Cincinnati Symphony, University of Texas Trombone Choir, Radius Ensemble, Transient Vancas, as well as by pianist Sarah Bob and flutist, Christopher Chaffee. He is currently the dean of the Henry and Leigh Bienen School of Music, as well as the Kay Davis Professor of Music at Northwestern University. He has served on the faculty of Berklee College of Music, Boston Conservatory, Curtis Institute of Music, Vermont College of Fine Arts, and Carnegie Mellon University. Festivals include: Bowdoin International Music Festival, the Lake George Music Festival and Eighth Blackbird’s Blackbird Creative Lab.
Elena Ruehr
(b. 1963)
Elena Ruehr (b. 1963) has had works commissioned performed and recorded by major artists and ensembles including the Arneis, Biava, Borromeo, Cypress, Delgani, Lark, Quarte Nouveau, Roco and Shaghai string quartets, BMOP, Trinity Choir, Metamorphosen Chamber Ensemble, The New Orchestra of Washington with Marcus Thompson, QuartetES, and Stephen Salters. Awards include an MIT faculty award and a Guggenheim Fellowship, as well as a fellowship at Harvard’s Radcliffe Institute. Of her music, Ruehr says, “the idea is that the surface be simple, the structure, complex.” Publications have said: “The sound world is wholly Ruehr: it never sounds like anyone else and the effect is exhilarating…her output is unified by her desire to communicate effectively without compromise…” and “unspeakably gorgeous”(Gramaphone Magazine); and “sumptuously scored and full of soaring melodies” (New York Times). Ruehr has been on faculty at MIT since 1992.
Marti Epstein (b. 1959)
Marti Epstein (b. 1959) is a well-known composer and educator in Boston. She received degrees from the University of Colorado and Boston University where she studied with Cecil Effinger, Charles Eakin, Joyce Mekeel, Bunita Marcus and Bernard Rands. As a young composer she was a fellow at the Tanglewood Music Center and worked with Oliver Knussen and Hans Werner Henze. Henze subsequently had her invited to Munich to composer her puppet opera, Hero and Leander for the 1992 Munich Biennale for New Music Theater. Two years later she served on the jury for the 1994 Biennale. Her many commissions include: the Paul Jacobs Memorial Commissioning Fund, the CORE Ensemble, ALEA III, Sequitur New Music Ensemble, The Fromm Foundation, guitarist David Tanenbaum, the American Dance Festival, the A*Devant-garde Festival of Munich, the New England Brass Quintet, the Iowa Brass Quintet, CrossSound New Music Festival of Juneau, Alaska, the Pro Arte Chamber Orchestra of Boston, the Radius Quartet and countless soloists. Her music has been widely performed and recorded around the world by such ensembles as the San Francisco Symphony, the Radio Symphony Orchestra of Frankfurt, the Atlantic Brass Quintet and Ensemble Modern. In 1998, 1999 and 2022 she was a resident at the MacDowell Colony and was a recipient of the 1998 Fromm Foundation Commission, the Lee Ettleson Composition Prize, the Massachusetts Cultural Council, Chamber Music of Am and was a 2020 Guggenheim fellow to compose works for Hinge Ensemble, loadbang and soundicon. Epstien teaches composition at the Berklee College of Music and continues to be an active pianist and blogger.
Peter Child
(b. 1953)
Peter Child (b. 1953) was born in East Anglia. His early years were devoted to studying the piano and violin, but at the age of 12 he discovered composition through working with Bernard Barrell which left him with a decided love of writing music for children. He began his formal studies at Keele University in England, then transferred to Reed College in Oregon through an exchange scholarship. During that time, Child was granted a Thomas J. Watson Fellowship which allowed him to study Karnatic Music in Madras and he ultimately received his PhD from Brandeis University in composition studying with William Albright, Arthur Berger, Marin Boykan, Jacob Druckman and Seymour Shifrin. He joined the music faculty at MIT in 1986 where he taught theory, composition and analysis until his recent retirement in the spring of 2024.
Child’s music has been performed regularly by Boston soloists and ensembles including BMOP, the New England Conservatory Contemporary Ensemble, the Cantata Singers and Collage New Music to name only a few. Of his music, one wrote: “Child wraps the vocal line around the text with uncommon skill and the kind of naturalness that should be a model for would-be opera composers.” Child is a regular collaborator and performer with his wife, Norwegian artist Lina Vist Grønli. He is the recipient of three Artists Fellowships from the Massachusetts Cultural Council and can be heard on BMOP/sound, Lorelt, New World, Naxos, New Focus, Albany, Innova, CRI, Neuma, Rovoalto and Centaur Labels.
John Harbison (b. 1938)
John Harbison (b. 1938) is currently one of America’s most prolific and highly recognized composers. He studied at Princeton and Harvard and teaches at MIT. He has close to 300 works in his catalog, including 3 operas, seven symphonies, twelve concerti, a ballet, six string quartets, numerous song cycles, chamber works and a large body of sacred music. He also has a deep interest in jazz which has produced a substantial body of jazz works, arrangements, and candenzas for major violin and piano concertos. Harbison’s commission are too numerous to list, but they include the Metropolitan Opera, Chicago Symphony, Boston Symphony, New York Philharmonic, and the Chamber Music Society of Lincoln Center. His numerous awards include a MacArthur Fellowship and a Pulitzer Prize. His music is performed all over the world and has been recorded by major soloists, chamber ensembles and orchestras on labels such as Albany and Naxos among others. He is a member of the Academy of Arts and Letters and is a trustee of the Boliasco Foundation. His music is exclusively published by Associated Music Publishers.
