For two centuries the relationship between a music institution and its publisher was personal — the conservatory librarian who phoned Leipzig directly, the orchestra music director who corresponded with Casa Ricordi by letter. The institution received its standing-order parcel every Friday, opened it in the workroom, and the new editions went on the shelves before the next rehearsal.

That relationship still exists. It just runs through more publishers now — the urtext houses in Munich and Kassel, the operatic catalogue in Milan, the Conservatoire imprint in Paris, the modern American educational publishers, the contemporary composer presses. The Musicians Club is the modern aggregator: one account, one standing-order schedule, one librarian's contact — covering all sixty-three of the publishers we curate.

Our institutional partners include orchestras, conservatories, university music programmes, high-school band programmes, church music libraries, choral societies, and military bands across the United States and Canada. They use us because we hold dealer accounts with every major publisher and we run the institutional purchasing layer they used to run themselves.