Daley is a member of Mu Phi Epsilon International Professional Music Fraternity and has twice won honorable mention in the fraternity?s International Original Composition Contest. She is a member of the National Pastoral Musicians and a professional artist member of the Creative Musicians Coalition.

Sally Daley is a vowed member of a Franciscan religious order called the Queenship of Mary (QM). She believes that helping people to relax and get in touch with the Lord is the greatest thing that anyone can do. Her music is intended to get people away from the hectic rat-race of today?s world, let them calm down, and put them in a mood to pray.

Professionally, Sally Daley a liturgical music minister serving Chicago area churches. Since 8/2007, she is music director and liturgist at St Mary Goretti Church/School in Schiller Park, Illinois.

SDaley7411@aol.com

As a singer, Ms. Dettbarn is a winner of the Friedrich Schorr Memorial Performance Prize in Voice, and has been an Artist-in-Residence with Toledo Opera. She has sung with orchestras and opera companies across the USA and has appeared in recital in the USA and Europe. As a pianist, she regularly performs as a chamber musician, orchestral pianist, vocal accompanist and concerto soloist. Ms. Dettbarn has also been an on-air classical music host for NPR Affiliate station WKNO in Memphis.

Dr. Dettbarn is on the Music faculty teaching Voice at the University of Findlay, Ohio. She currently serves as organist and Children’s Music Director at the First Presbyterian Church of Adrian, Michigan. She was on the faculty at Adrian College for 11 years where she taught in the Music and Theatre departments until May of 2001. Previous music teaching positions were at the University of Findlay, Appalachian State University and the University of Memphis as well as teaching music at the elementary school level in California.

She wrote I Wish You Peace for the Choraliers in the spring of 2001. It is a secular benediction specifically designed to celebrate the diversity so apparent in today’s choral ensembles. It is particularly appropriate for high school as well as for college and university ensembles. I Wish You Peace is written for four-part treble voices with a brief additional descant.

He remembers his musical mentors with much gratitude: Pearl Gunderson, charter member of the Madison Symphony Orchestra with whom he studied violin for five years. Doris McCaffrey, member of the Dubuque, Iowa, Chapter of the American Guild of Organists, with whom he studied classical organ for eight years. Dr. Rosemary Clarke, Prof. Emeritus of Organ and Composition at the University of Wisconsin-Platteville with whom he studied composition for nine years. Last but not least was Sr. Francine Rosen, O.P., violinist and composition mentor at the Dominican Motherhouse, Sinsinawa Mound Center, Sinsinawa, Wisconsin who provided invaluable assistance in proof-reading his scores and suggesting ways of improving the them for publication.

Dr. Drummond's publications include a book entitled A Portion for the Singers, choral editions, arrangements, compositions and a very successful program for teaching music reading, Death to the Dragon sSsingatsSsite. If interested in these publications, contact API. Alliance Publications publishes the Drummond Choral Series.

AS I WAS WALKING ALONG THE SEASHORE - TBB AP-1008 $1.25

AULD LANG SYNE - SATB AP-195 $1.25

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NONE OF US CARED FOR KATE - SATB AP-1011 $.25

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RIVER OF THE BIG CANOES - SATB AP-1013 $1.25

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THE LUTE IN WINTER - SATB/Flute AP-1016 $1.25

THREE LOVELY THINGS - TBB AP-1012 $1.25

During this time period, Dvorak tried to sort out some theories about the possibilities of music in the New World. He wanted to write music that would represent America, the New World. Many of his works from Bohemia were rooted in simple, half forgotten tunes of the peasants. Since America was a melting pot of nationalities and there was not a true folk culture to draw upon, he turned to the Negro spirituals and plantation songs to inspire him.

He missed his friends and younger children and was not happy in Manhattan, however. He complained frequently of poor health and preferred to spend his evenings with his English-tutor, secretary-friend, Josef J. Kovarik whom Dvorak met while Josef was studying music in Prague. His home was Spillville, Iowa. It was Josef who persuaded Dvorak when lonesome for Bohemia, to come to his hometown in Spillville to see the real America instead of taking his family back to Bohemia during the summer months. Dvorak accepted and gladly sent for the remainder of his family to spend the summer of 1893 together in the Czech-speaking village of Spillville.

Dvorak liked Spillville and the surrounding towns as they reminded him of his home. He had come from peasant stock, (the son of a butcher from Nelahozoves), and maintained a rural retreat south of Prague in Vysoka, near Pribram.

His health improved and he became quite content and productive. His day began at 4 a.m. when he would walk through the woods to listen to the sounds around him and watch the sunrise after which he would compose for a couple of hours. By 7:00 a.m., he was on the organ bench in Saint Wenceslaus Church playing for Mass. His first professional job in Prague was as an organist. The remainder of the morning was spent at his compositional tasks.

In the afternoon he took solitary walks through the woods, fields and along the river banks or ride through the surounding countryside to nearby towns. Wherever he went, he carried a notebook to jot down notes from the natural music he heard.

While in Spillville, he touched up the orchestrations of the New World Symphony, completed a new work, the String Quartet in F Major and composed a chamber work in July, the String Quartet in E-flat. The second movement of this Quartet contained echoes of a group of Algonquin Indians who performed some of their native dances for Dvorak during his Spillville visit.

While in the Midwest, he also traveled to the Czech communities in Omaha, NE and St. Paul, MN. At Minnehaha Falls in Minneapolis, he was melodically inspired and wrote ideas down on his cuff for lack of paper. Once back in New York, Dvorak composed a violin and piano sonata for his children and used part of the notes he had written on his shirt cuff in the piece. It was later published as Sonatina in G, opus 100.

After the summer, Dvorak returned to New York and worked on the New World Symphony with Anton Seidl, the New York Philharmonic's German conductor. The piece was first performed December 15, 1893. It was reviewed as one of the great symphonies performed since the death of Beethoven and critics analyzed its Americanness. Dvorak did not use actual melodies of the Negro or Indian cultures, but adapted them to his own original constructions.

Dvorak spent the next summer in Prague and returned in the fall to complete his contract with Thurber. At the end of the season (April 1895), he went home to Bohemia. He lived nine more years til 1904 and concentrated his works on nationalistic themes.

Dvorak's greatest contribution to American music lay in the demonstration that great music was not restricted to Old World Europe but could be inspired and written in America as well.

GOIN' HOME, Antonin Dvorak/arr. Joel Blahnik AP-227 Bb & Eb Instr $4.95 (Trpt, Clnt, Tenr Sax & Eb Sax & Bari Sax) AP-410 Cello Qt$5. AP-337 Cello and Piano $4.95 AP-336 French Horn and Piano $4.95 AP-411 Mixed String Quartet $5. AP-124 SATB a cappella $1.25 AP-316 Trombone Quartet $ 5. AP-337 Trbn, Bsn, Bari or Tba & Pno $4.95 AP-425 Violin and Piano $4.95 AP-162 Vocal Solo and Piano $4.

LARGO AND FINALE, Antonin Dvorak/arr. Joel Blahnik AP-618 Band Set $40. Sc $5. AP-331 Brass Choir and Percusn, opt. $20. AP-319 Brass Quartet $8. AP-407 Orchestra Set $30. AP-211 Saxophone Quartet $8. AP-408 String Choir $15. AP-302 Trombone Quartet $8. AP-226 WW Quartet $8.

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THREE SLAVONIC DANCES, Antonin Dvorak AP-309 Brass Quartet $15. AP-412 Cello Quartet $15. AP-413 Mixed String Quartet $15. AP-331 Saxophone Quartet $15. AP-308 Trombone Quartet $15. AP-225 Woodwind Quartet $15.

It was an unexpected surprise when a career was offered with the Chicago Symphony Orchestra with whom Robert had frequently played extra horn parts. However, at this time, August 1941, and after only three years of conservatory were completed, a call to military service subverted his goals. He was drafted and assigned to West Point, New York, where he played solo first French horn in the United States Military Academy Band and served as organist and choirmaster at the Protestant Post Chapel. Composing vocal and instrumental music continued during this period until December 1945.

Following World War II, Master Sgt. Robert J. Dvorak returned to the Chicago Conservatory in 1946 and completed his Bachelor and Master degrees in composition and theory. During these student days, his music activities included singing second Bass with the Tudor Madrigal Singers. Under William Ballard’s scholarly direction, early and contemporary madrigals including some of Robert Dvorak’s (eg. Piping Down the Valleys Wild, The Life of the Year) were performed. Eventually the group travelled on concert tours to various colleges and universities in and out of Illinois and successfully recorded its endeavors. In 1947-1948, Dvorak founded and directed the Chicago Manuscript Society through which newly written choral and instrumental works were presented in Chicago’s downtown performance centers and judged by the city’s music critics. As a result, some of the talented composers whose manuscripts received performances went on to achieve prestigious awards and commissions to write new music.

For two years, Robert Dvorak taught music appreciation and music theory at Wilson Junior College in Chicago, taking extra church jobs to support himself and a family. At this time, he received his first commission —a Christmas cantata for soloists, chorus, and orchestra. In December of 1949, Robert Dvorak’s newly written cantata, The Nativity, was performed by soloists and 350 voices of the Christian Choral Club of Chicago and the Chicago Christian High School Choir at the annual Christmas concert at Orchestra Hall, assisted by members of the Chicago Symphony Orchestra. The choral conductor, James Baar, had commissioned the composer only six months prior to the Dec. 20th concert. The music received rave reviews and bravos. "Dvorak’s music was exhilarating...it was like a fresh breath of spring in the program." This success gave him a name and reputation as a composer.

Another unexpected turn came to this aspiring music composer-educator. Because of the Korean War, he was again called into military service. This time it was for three years. 2nd Lieutenant Robert Dvorak was appointed Assistant Bandmaster of the US Military Academy Band at West Point, New York, under Captain Francis E. Resta. This special band, in addition to regular duties at academy functions, performed at prestigious ceremonies for American Presidents, Heads of Foreign Countries, Ambassadors, Generals, and Members of Congress. Since preparations were already beginning for the West Point Academy’s sesquicentennial year of 1952, Lt. Dvorak, along with a number of composers in America and abroad, was requested to write appropriate music for the band. His composition, although originally conceptualized for orchestra, was arranged for band. It was a three-movement symphony —West Point Symphony—based on themes of the Academy. Today the third movement, Allegro Spiritoso, has become a classic in band literature. Because of the music’s popularity and in anticipation of the Academy’s 200-year celebration in 2002, Mr. Dvorak has also orchestrated Movement III as well as Movements I & II for symphony orchestra. Upon returning to Chicago in 1952, he became a prominent music educator.

Robert Dvorak accepted a position in the Music Department at Chicago Teachers College. However, the untimely death in the summer of 1953 of his high school music director-mentor, Louis Blaha, precipitated his becoming the Head of the Music Department of J. S. Morton College and High School. This administrative-teaching position was paved by Bla;ha himself who with his students already had been performing many of Robert Dvorak’s band compositions, eg. Concerto for Trumpet and Concerto for Trombone and Band. And so, influenced by popular demand, Robert Dvorak became the Director of Fine Arts for the J. Sterling Morton College and High Schools of Cicero and Berwyn, Illinois, a post he held from 1953-1980. This was an instructional complex in the western suburbs of Chicago serving the six townships of Cicero, Berwyn, Lyons, Stickney, Fairview, and McCook. His Visual Arts and Music Staff consisted of full-time teachers plus vocal and instrumental specialists including Chicago Symphony players who gave private lessons and coached sections of the outstanding Morton District’s Symphony Orchestra and the Concert Band.

In 1955, Mr. Dvorak founded and directed a summer youth music camp at Camp Lake, Wisconsin, for in-coming first year music students and high school students. The project was co-sponsored by the district school board and an organization of the music parents, some of whom also served as counselors in the camp. The project continued to function successfully even following his retirement in 1980. For three summers, Dvorak also taught at the National Music Camp at Interlochen, Michigan. He conducted the National High School chorus and taught music theory and music appreciation.

From 1966-69, Robert Dvorak served two terms as President of the Illinois Music Educators Association. During that term, he encouraged and guided 300 specially selected Illinois All-State students to France to perform for the International Society for Music Education Conference held in 1969. The audience, representing over 50 nations, included many communist countries. This being 1969, it was not surprising that many in attendance suspected clever political motives and CIA connections after hearing the Illinois All-Staters superior performance of the music of living mid-western American composers. Following this experience, he was elected President of the Chicago and Midwest Chapter of the International Society for Contemporary Music and served for two terms (1970-74). Focusing on the Morton Schools once again, Dvorak enjoyed taking his students, as well as community members on a music appreciation and performance tour to Czechoslovakia, Austria, and Hungary in 1975.

Because Chicago was often the site of many conventions hosted by the professional organizations of which he was a part as well as other music groups, Mr. Dvorak usually assisted with some type of leadership role. He is a member of the American Society for Composers, Authors and Publishers (ASCAP). The recipient of numerous honors, he values most that the music educators and professional musicians of Illinois selected him to be their 1976 Illinois Bicentennial Composer.

Mr. Dvorak’s musical life included performing as pianist, French horn player, accompanist in vocal and instrumental recitals, and in theatre pit orchestras. As an organist and choir director, or both, he served in churches of different denominations. He guest conducted vocal and instrumental festivals of combined groups of high schools, and appeared in that capacity on many college campuses. He also lectured on various topics dealing with music and performance. Living in London for four summers brought much enrichment to him through contacts with musicians and enjoyment of symphony, opera, ballet, musicals, plays, band concerts in the park, and art exhibits. Composition studies in New York with Vittorio Giannini at the Juilliard School of Music and in Fontainebleau and Paris with Mlle. Nadia Boulanger, contributed much to his value as a teacher, as a practicing musician, and as a composer.

Since 1990, Robert J. Dvorak lives close to his family in Richmond, Texas—son, Robert H. and two grandchildren— and pursues his 'passion,' which is composing meaningful music and participating in the Czech Cultural Center Houston.