· Private foundation
The Aaron Copland Fund for Music Inc Co Alter Kendrick & Baron LLP
Its FY2025 filing reports that it accepted unsolicited grant applications.
What you funded, over time
By grantee IRS cause code (NTEE).
A cause breakdown isn’t shown here: 47% of THE AARON COPLAND FUND FOR MUSIC INC CO ALTER KENDRICK & BARON LLP’s grantee dollars fall outside its nine largest cause areas, whether because the recipient carries no IRS cause code or because its cause sits in the long tail. A chart would be mostly one residual band and misrepresent the portfolio.
Where the money goes
Your grants by size, and where they go.
By grant size · FY2025
- Under $10k165 grants · $686k
- $10k–50k36 grants · $633k
- $50k–250k2 grants · $165k
| Recipient | Amount |
|---|---|
| New Music USA | $90,000 |
| The Koussevitzky Foundation | $75,000 |
| Albany Symphony Orchestra | $43,000 |
| Cabrillo Festival | $38,500 |
| Copland House Inc | $37,600 |
| BMOP | $28,600 |
| Bang on a Can Inc | $28,000 |
| American Composers Orchestra Inc | $27,500 |
| American Composers Forum | $25,000 |
| International Contemporary Ensemble | $25,000 |
| Individual grant recipient | $23,000 |
| Trustees Of Columbia | $20,000 |
| Brooklyn Youth Chorus Academy | $20,000 |
| The Industry | $18,000 |
| Roulette Intermedium | $17,000 |
Do your dollars go where the need is?
Each grant placed by the hardship in its grantee’s ZIP, then read against the area’s typical level.
Dollar for dollar, your grants (FY19–25) land where the poverty rate runs at 16%, against an area that typically sits at 11%. 92% of your dollars go to grantees based in above-average-need neighborhoods. Most of your grants land in higher-need ZIPs.
Matched: human-services grants are those whose grantee’s IRS cause code is Human Services. Placed by people below the poverty linein the grantee’s ZIP, averaged from the tracts in that ZIP; grantee ZIP can differ from where services are delivered.
Which US states your grants reach
US grants placed by each grantee’s ZIP, which can differ from where services are actually delivered. Need from public data — U.S. Census/ACS, CDC PLACES, Eviction Lab, USDA — shown as context about the area, never attributed to your giving.
Who you back again
Which organizations you funded more than once, and which you funded a single time. Each grantee is matched to its own filings.
And the relationships you keep tend to grow: grantees you re-up on have seen median revenue of +19% since the first grant, against 0% for the ones you funded once.
336 repeat relationships — 158 still active in FY2025, 178 since wound down; 43 grantees were first funded in FY2025 (too recent to call).
How the two cohorts compare
Organizations
Total granted
Median revenue growth · since first grant
Still filing today
New vs renewed · share of each year
In FY2025, 88% of grant dollars renewed an existing relationship; $173k went to new ones.
Where new relationships form · theme of each grantee’s first grant
First-time = a grantee’s first year in your filing window; renewed = funded in an earlier year too. As a portfolio matures the renewed share naturally climbs — once funded, an org stays “renewable” — so the signal is the years that buck it (a new-grantee intake wave). The earliest year is left-censored: relationships that predate the data read as “new.” Theme is the grantee’s IRS cause.
Backed again, and grew
- NMNEW MUSIC USA INC7× · 2019–2025 · $597k · revenue +244%
- CHCOPLAND HOUSE INC7× · 2019–2025 · $285k · revenue +139%
- BOBANG ON A CAN7× · 2019–2025 · $173k · revenue +55%
Funded once
BOSTON MODERN ORCHESTRA PROJECT INCone grant, 2023 · $70k · revenue -41%- SKSERGE KOUSSEVITZKY MUSIC FOUNDATIONone grant, 2019 · $50k
- CFCABRILLO FESTIVAL OF CONTEMPORARY MUSICone grant, 2023 · $37k · revenue +25%
Repeat = funded in two or more distinct years; growth and survival are read from each grantee’s own subsequent IRS filings.
The map has a center of gravity: the average direction from the rest of the sector toward the organizations the foundation funds — the shape of its giving. Scoring every nonprofit along that direction surfaces the ones that look most like the portfolio. These are the closest matchesthat aren’t grantees — a resemblance in what they say they do, not a recommendation.
The American Chamber Ensemble is a consortium of distinguished musicians whose concerts explore the music for piano with strings, woodwinds and/or voice, presenting both great standard repertoire and living American composers.
Cantata Profana, Inc. (www.cantataprofana.com) is a vocal and instrumental chamber ensemble that presents concerts of classical and chamber music ranging from the Baroque to modern eras with a unique narrative style. Our purpose is to…
To present and promote contemporary classical music through innovative, interdisciplinary performances; to support living composers; and to engage diverse audiences through education, collaboration, and community-based programming.…
Advancement of the art of music and public knowledge therefor by producing performances. Featuring emerging conductors and musical soloists.
The purpose of CUT CIRCLE is to bring late-medieval and Renaissance music to life. Reimagining early music as a site of gritty, intense experiences, Cut Circle's performances are distinguished by their energy and emotional sensitivity.…
Engage audiences of new music
Constella Arts produces performances, educational presentations and digital content, along the way changing how people perceive classical music and the performing arts.
To present chamber music concerts in San Jose performed by top ensembles from the Bay Area, across America, and around the world. To enrich our audience experience through post-concert Q&As, program notes, and meet-the-composer…
For reference, the grantee most central to the portfolio’s shape is Third Coast Percussion Nfp and the most unlike its peers is John Simon Guggenheim Memorial Foundation. Resemblance is measured on each organization’s own IRS 990 mission text; it reflects how work is described, not its quality or impact.
For each theme you fund, this compares how the sector’s money is shifting with how your own giving is shifting.
Sector change and giving change are each shown relative to their own range, growing (right) or shrinking (left); both normalized, so inflation isn’t mistaken for growth.
Your grantees are a median of 24 years old; the field is 18. You back the established end — and your money leans older still.
The field is 19% startups (under 5 years old) — 6% of your grantees by number, and just 2% of your money.
The orgs you fund almost never close — 1% lost their exemption, against 10% of the field you don’t fund.
Age = years since IRS exemption (a founding proxy). “Closed” = auto-revocation for 3 years of non-filing — a floor on closure, not proof, and bigger established orgs lapse least. Association, not causation.
255 grantees tracked through their own filings, 2017–2025.
Each one resolved to its own IRS returns and tracked year by year — your grant beside their revenue from every source. Association, dated; never a causal claim.
Counted here: distinct organizations you funded across 2017–2025, not grant rows in a single year — so this will not match the grant count on the cover. 255 of the 609 grantees resolved in that span have returns of their own we could reconcile; the rest are funded organizations whose filings we could not track year by year.
Where your money sits — by cause, then by grantee
Showing your 200 largest grantees by grant value.
Each org by its size and your share of it — top-left is where you’re load-bearing
Go grantee by grantee — a decade per org, and how each moved after you funded them
A decade per grantee — revenue shaded, your grants as bars, all rows on one timeline.
- Who funds NEW MUSIC USA INC ↗
- Who funds COPLAND HOUSE INC ↗
- Who funds ALBANY SYMPHONY ORCHESTRA INC ↗
- Who funds BANG ON A CAN ↗
- Who funds ALARM WILL SOUND INC ↗
- Who funds AMERICAN COMPOSERS ORCHESTRA INC ↗
- Who funds JACK MUSIC INC JACK QUARTET ↗
- Who funds THE CARNEGIE HALL CORPORATION ↗
- Who funds THE JAZZ GALLERY ↗
- Who funds GLIMMERGLASS OPERA THEATRE INC ↗
- Who funds FRACTURED ATLAS INC ↗
- Who funds SO PERCUSSION INC ↗
- Who funds ROULETTE INTERMEDIUM INC ↗
- Who funds BOSTON MODERN ORCHESTRA PROJECT INC ↗
- Who funds AMERICAN COMPOSERS FORUM ↗
- Who funds CHAMBER MUSIC AMERICA INC ↗
- Who funds BROOKLYN YOUTH CHORUS ACADEMY INC ↗
- Who funds AMERICAN ACADEMY IN ROME ↗
- Who funds SEATTLE SYMPHONY ORCHESTRA INC ↗
- Who funds AMERICAN OPERA PROJECTS INC ↗
- Who funds BETH MORRISON PROJECTS INC ↗
- Who funds BOSTON SYMPHONY ORCHESTRA INC ↗
- Who funds OPERA AMERICA INC ↗
- Who funds NEW YORK YOUTH SYMPHONY INC ↗
- Who funds INTERNATIONAL CONTEMPORARY ENSEMBLE FOUNDATION INC ↗
- Who funds University at Buffalo Foundation Inc ↗
The grantmakers whose grantees overlap with yours far more than size alone predicts. Each orbits closer the stronger the alignment; the arcs between them show where they also fund each other. Here it reads as a tightly interlocked camp — most of these funders back each other's grantees too.
Open a dossier: The Amphion Foundation Inc Co Alter Kendrick & Baron LLP · New Music USA Inc · Mid Atlantic Arts Inc · Ann & Gordon Getty Foundation · The Howard Gilman Foundation Inc · Chamber Music America Inc · The Fan Fox and Leslie R Samuels Foundation Inc · The Andrew W Mellon Foundation · Opera America Inc · The Howard and Sarah D Solomon Foundation · The Map Fund Inc · The Gladys Krieble Delmas Foundation
Affinity is a Gamma-Poisson posterior co-funding rate, re-centered on the typical rate, so thin evidence shrinks toward no signal. A research starting point: overlap is association, not proof of shared intent.
Government reliance of your grantees
Every dot is one organization The Aaron Copland Fund for Music Inc Co Alter Kendrick & Baron LLP funds. Left–right is the share of its income from government; up–down is the share from you. Bigger dots raise more. Filter to federal or a single department — and drag the year to watch it move.
- Boulanger Initiative — 75% of income from government
- Baltimore Symphony Orchestra Inc — 11% of income from government
- Operadelaware Inc — 9% of income from government
- White Snake Projects Inc — 8% of income from government
- Guerilla Opera Inc — 7% of income from government
- Boston Modern Orchestra Project Inc — 4% of income from government
- The Celebrity Series of Boston Inc — 3% of income from government
- Boston Lyric Opera Company — 3% of income from government
- New Haven Symphony Orchestra Inc — 3% of income from government
- Third Angle New Music Ensemble — 3% of income from government
- Western Connecticut Youth Orchestra Inc — 3% of income from government
- Chamber Music Northwest — 3% of income from government
- Hermitage Artist Retreat Inc — 1% of income from government
- Boston Symphony Orchestra Inc — 0% of income from government
- Oregon Symphony Association — 0% of income from government
Government income is each org’s traced federal awards (USASpending — grants and contracts) plus state payments (open checkbooks) as a share of its total revenue (IRS Form 990); the self-reported government-grant line (990 line 1e) is carried for cross-check: a grantee that reports government grants we could not trace to a source is left off the chart rather than shown as receiving none. An association, not a claim that your grant caused the public funding. Coverage is precision-first — a floor, not a census; state records exist for 9 states, so a grantee outside them shows no state figure (dimmed) rather than a false zero. Federal award amounts are obligations, which can span years, so a single-year share is indicative. 990 filings lag 12–24 months.
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