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MACHA, OTMAR - (1922-2006)
MACHA, OTMAROtmar Macha is a Czech composer born October 2, 1922 in Ostrava, Czech Republic. He was one of the leading pupils of RIdky at the Prague Conservatory (1945-1948). From 1947 he was music director and dramaturgist for Prague Radio until 1962 when he became a full-time composer. He was appointed secretary of the Czech Composers’ Union in the mid-1940's.

His early compositions from the end of World War II are deeply romantic. There is a strong feeling for folk style in the song cycles of 1945-1947, but the sonatas for violin and cello that followed are harder and harmonically more adventurous. He became known to the musical public in the middle of the 1950's with his oratorio composition, "The legacy of J. A. Komensky (Comenius)" (1955), in which he used Moravian folk intonations in an understandable and simple musical language. — Later on he achieved a completely characteristic expression especially in the symphonic poem "Noc a nadeje"/"Night and Hope" (1959) and in "Variations on Theme and Death of Jan Rychlik for Orchestra" (1964) for symphonic orchestra which were performed abroad several times with exceptional success. "Symfonietta No. 1" (1971) and the symphonic poem "Noc a nadeje"/"Night and Hope", which won prizes at the 1960 Jubilee Competition, are of greater originality though the "Variations on Theme and Death of Jan Rychlik for Orchestra" again draw on folk music. This is not the case in his two stage works: "Polapena nevera"/"Infidelity Unmasked" (1957), a piece based on 17th Century Czech farces and showing a keen sense of characterization, and "Jezero Ukereve"/"Lake Ukereve" (1963). The latter is a powerful piece in which, against the violent background of the colonization of Africa, German doctors and biologists unsuccessfully attempt to combat an epidemic of sleeping sickness. —The score makes an interesting use of tapes within the orchestral texture.

The principal starting point for Macha’'s symphonic, chamber, vocal and dramatic music has been and remains the tradition of Czech music from the first half of the 20th Century. He developed in the frame of a more generally understandable and approachable musical language which was in the course of time enriched by new possibilities offered to music by the development in the third quarter of the 20th Century. The pieces, "Four Monologues to the lyrics of F. X. Salda" (1965-66) and "Lasske heleckacky", a song cycle of mountain songs for SSAA, received awards in the Jubilee Competition for the 50th anniversary of the October Revolution (1967) and in the Jihlava International Choral Competition (1973). "Hoj, hura, hoj" and "Ho-ja-ja, ho-ja-ja" are two songs from this award winning song cycle of mountain songs for SSAA, "Lasske helekacky" published by Alliance Publications, Inc., Sinsinawa, Wisconsin. The Prague Philharmonic Children’'s Choir under the direction of Jiri Chvala have recorded and performed Macha’'s choral works with great success on their European and American tours.

Choral Music by Otmar Macha published by API:

Fortuna - SSAA a cap - AP-1543

Hel’pa - SSAA/Piano/Recorder - AP-1291

Ho-ja-ja, ho-ja-ja - SSAA a cap - AP-1127

Hoj, hura, hoj - SSAA a cap - AP-1134

Hymnus - SSA/Piano - AP-1160

Materska znamenka (Birthmarks) - SSAA a cap - AP-1273

Proverbia - SSAA a cap - AP-1465

Slavnosti jara (Spring Celebration) - SSA/Piano - AP-1290

Ta Moravska brana (The Moravian Gate) - SSAA a cap - AP-1298

Ten Czech Christmas Carols - SSA/Flute or Violin/Piano - AP-1159

Tece Voda (Water’s Flowing) - SSAA a cap - AP-1161

Chamber Music:

Capricci - Flute/Bassoon/Piano Trio - AP-258

Preludium Aria Toccata - Accordion - AP-586

Orchestra Music:

Concerto Grosso for Singers and Orchestra - AP-4017

Thalia - Sym Orch - AP-479

MACHAN, DEREK - (b. 1974)
MACHAN, DEREKDerek E. Machan, a Wisconsin composer and music educator, was born in 1974 to music educator parents, James and Suzanne Machan. Consequently, he had a childhood filled with classical and jazz music. After graduating from Waukesha South High School in Wisconsin, he attended the University of Wisconsin-Eau Claire where he was an in-demand accompanist and pianist. He also served on the faculty at the University of Wisconsin-Stout as Staff Accompanist and Assistant Choral Director. In December of 1997, Derek graduated from UW-Eau Claire with a Bachelor of Music Education degree.

Derek began his teaching career as a middle school vocal and general music teacher in Southeastern Wisconsin and functioned as an accompanist and pianist in the greater Metro-Milwaukee area. In 1999, he became a member of the Music Department of Kenosha-Tremper High School in Kenosha, Wisconsin. In 2001, he became head of the choral department at Waterford (WI) High School.

Compositions for both vocal and instrumental ensembles have been written by Derek Machan. He pieces combine traditional librettos and/or lyrics with exciting orchestrations, producing unique harmonies and voice combinations.

MACHAN, JAMES - (b. 1939)
MACHAN, JAMESJames "Jim" Machan, choral director, organist, music educator, is known in Wisconsin as choral director in the Waukesha Schools for 35 years. He received his undergraduate music education degree from the University of Wisconsin-Milwaukee, Masters degree in Organ and Sacred Music from Northwestern University, and has done advanced study at the Royal School of Church Music in England. He served the Wisconsin School Music Association as a Master Choral Clinician on the Workshop team for many years.

Machan continues to teach private music students in his home and serves as church music director and organist. Currently, Jim is Minister of Music at Dr. Martin Luther Church in Oconomowoc, WI. Professional memberships include WSMA, AGO and the Greater Milwaukee Synod of Evangelical Lutheran Church of America.

Machan’'s choral arrangements are the fruit of his choral experience and have proven to meet the needs of many ability levels while providing fresh, vibrant settings appealing to singers and audiences alike. He is the father of composer Derek Machan.

Editions of The Music of James Machan

ANGELS WE HAVE HEARD ON HIGH - SSAA a cappella - AP-1173 (SATB a cappella - AP-1174)


CLASSIC CAROL SUITE - Two-Part Vocal/Keyboard plus Unique instrumental options - AP-1171 (6 carols from Austria, France, Denmark, Germany, Poland and Hungary)

JUBILEE SONG - Peters-Machan - SATB/Organ/Brass Quartet/Timpani - AP-1241

ROCKING CAROL/Hajej, nynej (Czech) - SATB a cappella - AP-1190

TO BETHLEHEM (Basque Noel) - SATB/Percussion - AP-1168

TWO EASTER CAROLS (17th c Dutch/French) - SAB a cappella/Percussion - AP-1172

MAGRILL, SAMUEL - (b. 1946)
MAGRILL, SAMUELDr. Samuel Magrill is a Professor of Music and a Composer-in-Residence and at the University of Central Oklahoma where he has taught music theory and composition since 1988. Previously, he taught at the University of Wyoming and California State University, Long Beach. He obtained his Bachelor of Music in Composition from Oberlin Conservatory and his Master of Music and Doctor of Musical Arts degrees in Composition from the University of Illinois, Champaign-Urbana. He has received numerous awards and commissions including ones from the National Endowment for the Arts, the Illinois Arts Council, ASCAP (American Society of Composers, Authors and Publishers), the Oklahoma Music Teachers' Association, and faculty research grants and merit-credit awards from the University of Central Oklahoma. In addition to his work as a composer, he is an avid accompanist, both instrumental and vocal, participates in numerous student and faculty performances throughout the year. Magrill has written over one hundred compositions for a variety of instruments, from solo piano and chamber music to choir, wind ensemble, symphony orchestra and opera. His works have been performed throughout the United States and abroad and at many regional and national conferences, including the National Flute Association, Society of Composers, Inc. and the College Music Society.

MALEK, JAN - (b. 1938)
MALEK, JANJan Malek, born on May 18, 1938 in Prague, attended State Conservatory Prague in the years 1956-1961, where he studied composition with Miloslav Kabelac with whom he then consulted privately on modern composition trends (1963-1974). Since 1963 Jan Malek has been working as music and recording director for Czechoslovak (after 1992, Czech) Radio in Plzen and in Prague. Jan Malek has written chamber music and orchestral compositions but is best known for his vocal and vocal-instrumental music. After a period of experimenting with what is known as "New Music" (7 Studies for winds and percussion, 1st String Quartet Hallgato es tancnota, the electroacoustic invention Horror Alenae and especially the Three Stages for orchestra and two stereo recorders) two permanent inspiration sources crystallized in his work, namely folklore and history. For a number of years J. Malek devoted himself to the arrangement of folk songs, mostly for radio and to the interpretation of historic music by advanced amateur ensembles. The said two areas stimulated a number of very specific compositions.

Jan Malek led a very interesting dialogue with folk songs in his 7 Women's Choruses with Solo Violin Yearnings; his 1st Symphony (Sinfonia su una cantilena) is exclusively built on melodic and rhythmic material of the eight bar folk ballad on brilliantly conceived contrast planes. The method of confrontation used in these compositions is one of the typical elements of his creative procedure. Other compositions which significantly reflects his folklore inspirations include the vocal cycles Amorous Flowers, Variations Quando io sarchiava'l lino... or the original Concerto for bagpipes. The history of fine art inspired Malek to compose his Tribute to Michelangelo' s Hammer written on the 500th anniversary of the artist's birth with the symbolic 5 trumpets, 5 trombones, 5 timpani and 5 tamtams and five-part male choir. The work was awarded at the 1975 UNESCO International Composers Tribune. As for literary sources, Malek was inspired by Dante in his Six Sonnets from Dante's Vita Nuova, and by old Czech love poetry in his tender "Svitanicka" (Aubades). Many of his compositions reflect his interest in early music, as wittnessed by his Divertimento for Strings entitled The Peacock's Feather which includes a pavane in Renaissance style, or the composition for two violas O Rosa Bella which is written as glosses of the cantus firmus of John Dunstable's Chanson. However, Malek's tendency towards synthesis of above-mentioned aspects is most obviously manifested in his Requiem super L'homme armé (1998), which is dedicated "to all victims of all wars of our just ending millenary." His Symphony No. 3 was premiered at the review of selected contemporary works 2001 - 2006 "Prague Premieres" 2007.

MARCHIONDA, OP, JAMES V. - (b. 1958)
MARCHIONDA, OP, JAMES V.Father James Marchionda is a Dominican priest living in Chicago who is a preacher, composer, conductor, singer and woodwind instrumentalist, who offers parish missions, concerts and workshops throughout the United States and abroad. He is the composer of many sacred music works among which is I Was Hungry which was sung at the funeral of Mother Teresa of Calcutta. His liturgical music and recordings may be obtained from World Library Publications.

Available from Alliance Publications, Inc. are the following works:

  • Joyful Friar, n. 1 & 2 AP-1315 Unison & Keybd 2 or 4-pt a cappella

  • Widen Your Spaces AP-1621 3-pt/pno (gtr) Caterina da Siena: New Hope for Our Lives AP-1915 2-pt /Pno Francesco! (St. Francis of Assisi) A Gospel Faith AP-1146 2-pt, descant/pno, 2 Bb instruments

MARES, MILOSMEMORIES - Vzpominani - Piano Solo - AP-500 - $2.00

MARTINCEK, DUSAN - (1936-2006)
MARTINCEK, DUSANDusan Martincek (born 19 June, 1936, died 30 August, 2006, Bratislava) was a prominent Slovak pianist, pedagogue and composer of contemporary classical music. He studied piano at the Conservatory of Bratislava (finished in 1956) and then at the university (School of Musical Arts in Bratislava, composition under Jan Cikker, finished in 1961). Then he stayed at the university as an assistent; he spent most of his life as a university teacher (professor since 1986). Simultaneously, he worked on his own compositions and performed as concert pianist both home and abroad. He composed mostly piano and chamber music, also several symphonic works.

MASKE, DAN - (b. 1971)
MASKE, DANDan Maske was born in West Allis, Wisconsin in 1971, being nurtured in music by two musician parents, Margo Krumnow and David Maske. Dan’s early musical background includes starting piano lessons at age 9, where he studied with Jerry Spang for eight years. He also started trumpet in school band at about the same time. Maske continued studying piano and trumpet through college. In addition, he learned to play drumset and has kept up with occasional performances and recording sessions on that instrument.

Composer Dan Maske holds BA and MM degrees in music theory/composition from the University of Wisconsin-Milwaukee, and a DMA in music composition from the University of Wisconsin-Madison. His works include a variety of chamber, symphonic, and some electronic compositions which have been performed around the world. He has received commissions from artists such as the Skyline Brass, the Umpqua Chamber Orchestra (Oregon), the St. Norbert College Wind Ensemble, the Milwaukee Youth Symphony Orchestra - Junior Wind Ensemble, the UWM Youth Wind Ensemble, and the UW-La Crosse Symphony Orchestra, among others. See the RECORDINGS page on this site for info on his recorded compositions.

Dan is also a founding member of the chamber rock ensemble Far Corner, a quartet in which he serves as composer and keyboardist, with occasional duties on percussion. The group’s recordings have been released on the Cuneiform Records label.

Maske has taught private lessons in composition, piano, trumpet, and drumset, and has been a classroom teacher of subjects such as music theory, music technology, orchestration, and progressive rock. He is currently a faculty member of Cardinal Stritch University, a liberal arts college in Milwaukee, WI, where he teaches music theory composition. Dan has also taught at Edgewood College (Madison, WI), and the University of Wisconsin-Madison. In addition, he performs on piano, trumpet, and drumset in a variety of musical styles, and has also worked as an editor and author for Hal Leonard Corporation, the world’s largest music publisher. His instructional book Progressive Rock Keyboard is available from local and online retails everywhere. Visit the Hal Leonard web site for more info, sample pages, and sound samples from the accompanying CD.

MASON, LUTHER WHITINGLuther Whiting Mason (3 April 1818 - 14 July 1896) was an American music educator who was hired by the Meiji period government of Japan as a foreign advisor to introduce Western classical music into the Japanese educational curriculum.

SING TO THE LORD/VENI CREATOR - Mason/arranged by Anita Smisek - 2-pt Vocal/Piano - AP-133 - .95

MAST, ANDREW - (b. 1967)
MAST, ANDREWAndrew Mast (born March 26, 1967, Mason City, Iowa) grew up in a musical town (the birthplace of Meredith Wilson of "The Music Man" fame) and in a musical home. His mother, being a pianist, organist and violinist, was a huge influence on Andrew's musical development. The bug for being a band conductor bit him in high school working with then-director of bands, Gil Lettow. Between him and his college mentor, Dr. Myron Welch, a remarkable standard was set .

Andrew Mast received his Bachelor of Music Education degree from the University of Iowa in 1989 and began teaching instrumental music in grades 5-12 in the Urbandale and Madrid, Iowa, schools. Moving to Minnesota in 1992, he became Director of Bands at Shakopee High School until 1997, during which time he worked on his Master of Arts degree in Music Education from The University of Minnesota under Craig Kirchhoff and Paul Haack. His master's degree thesis compared the effects of competitive and non-competitive chair placement procedures in school bands.

From 1997-1999, Andrew worked on his Doctorate of Musical Arts Conducting from The University of Iowa under his mentor, Dr. Myron Welch. His dissertation was, The History of the Mason City (Iowa) Commnity and High School Bands, 1920-1999.

Andrew Mast became the Director of Bands at St. Ambrose University Davenport, Iowa, in 1999. At the end of his fifth year of teaching at St. Ambrose, he was selected as the Outstanding Faculty member for the 2003-2004 year. There he conducted the Symphonic Band and University Community Orchestra, taught conducting and music education classes and served as department chair. He also conducted the Quad City Wind Ensemble and founded the Quad City Area Youth Wind Symphony.

During the summers of 2003-2004, Mast was on the conducting faculty of the Interlochen Arts Camp in Michigan. In the fall of 2004, Andrew Mast became the Assistant Professor Music and Director of Bands at the Lawrence Conservatory of Music in Appleton, Wisconsin. He conducts the Wind Ensemble and Symphonic Band while teaching courses in conducting and music education.

In May of 2006, Andrew Mast was a guest conductor for the Pilsen (Plzen ) Conservatory of Music in the Czech Republic. Bands under his direction have performed at several state music conferences.

Dr. Mast's professional affiliations include the College Band Directors' National Association (NCBA), the National Band Association (NBA), the Music in Educators' National Conference.

MENDELSSOHN, FELIX - (1809-1847)
MENDELSSOHN, FELIXJakob Ludwig Felix Mendelssohn Bartholdy a/k/a Felix Mendelssohn (3 February, 1809 - 4 November, 1847) was a German composer, pianist, organist and conductor of the early Romantic period. The grandson of the philosopher Moses Mendelssohn, Felix Mendelssohn was born into a prominent Jewish family, although initially he was raised without religion and was later baptised as a Lutheran Christian. Mendelssohn was recognised early as a musical prodigy, but his parents were cautious and did not seek to capitalise on his talent.

Early success in Germany, where he also revived interest in the music of Johann Sebastian Bach, was followed by travel throughout Europe. Mendelssohn was particularly well received in Britain as a composer, conductor and soloist, and his ten visits there  during which many of his major works were premiered  form an important part of his adult career. His essentially conservative musical tastes, however, set him apart from many of his more adventurous musical contemporaries such as Franz Liszt, Richard Wagner and Hector Berlioz. The Leipzig Conservatoire (now the University of Music and Theatre Leipzig), which he founded, became a bastion of this anti-radical outlook.

Mendelssohn's work includes symphonies, concerti, oratorios, piano music and chamber music. His most-performed works include his Overture and incidental music for A Midsummer Night's Dream, the Italian Symphony, the Scottish Symphony, the overture The Hebrides, his Violin Concerto, and his String Octet. After a long period of relative denigration due to changing musical tastes and anti-Semitism in the late 19th and early 20th centuries, his creative originality has now been recognised and re-evaluated. He is now among the most popular composers of the Romantic era.

MODARELLI, SEBASTIÁNSebastián Modarelli was born October 16, 1972 in Buenos Aires, Argentina, where he later studied piano at the National Conservatory of Music with Graciela Beretervide (Claudio Arraus student), earning his piano degree with the second best average in his graduation class. At the same time, he studied choral conducting in the same Conservatory with Antonio Russo and composition with Fernando Albinarrate, Eduardo Checchi and Virtú Maragno. In 1998 he won Second Prize in the National Composers Competition Promociones Musicales and in 1999, First Prize in the triennial Composers Contest of the National Academy of Arts in Argentina. In 2001 he was awarded a scholarship from the Italian government and then a second one from the Mozarteum Argentino in order to continue his composition studies in the Conservatory Giuseppe Verdi in Milan. In Italy in 2004 he earned a degree in Composition and participated in several master classes with composers including Karlheinz Stockhausen, Luis de Pablo and Marco Stroppa.

Sebastián also studied organ in Argentina at the National Conservatory of Music in Buenos Aires with Jesús Segade (often Karl Richter's collaborator in the country) and Luis Caparra. He held the position of Organist and Music Director for six years and of Music Professor the last two at the Seminary of the Archdiocese of Buenos Aires. He worked as an organist also in several churches of that city for more than ten years, and he created and conducted Scholae Canctorum and choirs both in Buenos Aires and in Milan.

Like many other young students, his first attempts at music composition were completely drawn into the baroque and romantic styles. Serialism and atonality would later take the preponderant place in Modarelli's works and studies, learning from composers that go from the second school of Vienna to Olivier Messiaen or Pierre Boulez. Later on, his interest leaned toward neoclassical composers, such as Igor Stravinsky or Dmitri Shostakovich.

In recent years, Modarelli experienced a profound crisis as a contemporary composer. The current European axioms for writing music didn't match the deep emotions that he still had when listening to his favourite composers from his youth, nor did they kindle his desire to continue writing music for the same reason he had started doing so since he was 12 years old, i.e. a dialogue with "Infinite Beauty."

He left Milan in 2005 to come to the United States where he found the land of freedom he was looking for. An openness rarely found elsewhere persuaded him to pursue his original path, trying to humbly learn from Russian composers like Rachmaninof, Stravinsky, Shostakovich and Prokofiev. In particular, Prokofievs harmonic language has fascinated Modarelli in past years, and continues to be an endless fountain of inspiration to him. At the same time, Argentine folk music has had and continues to have a growing influence in compositions.

Sebastián Modarelli is the Organist and Director of Music and Liturgy at St. John the Evangelist Church in Rochester, Minnesota since 2005. He performs organ concerts every year and since 2008 serves as the Southeast Minnesota Chapters Executive Board of the American Guild of Organists.

REPERTOIRE published by API:

BORN IN BUENOS AIRES - Chamber Orchestra - AP-4160


I'LL MEET YOU AGAIN - Violin and Piano - AP-4151



MOERSCHEL, BLANCHE - (1915-2004)
MOERSCHEL, BLANCHEBlanche Moerschel is one of Wisconsin's musical treasures - teacher, piano and organ performer, accompanist and composer. "I started composing before I took my first piano lessons. It was like late 20th century music: wherever my fingers fell on the keyboard, there was my music." Moerschel, born December 2, 1915 into a musical family, began taking piano lessons at the age of 5. Her tastes were influenced by the classical music of the late 19th and 20th centuries she listened to on the family Victrola, winding it up to hear beautiful music, eg. Rachmaninoff's "Prelude in G minor" or the "Miserere" from one of Verdi's operas on 78's.

In the 1930's, Moerschel attended the Oberlin Conservatory of Music to study organ, music theory and piano, but due to the Depression, she had to return to her parents' home in Chicago after one year. Blanche began her life of service as organist in 1936. A ministry she continued till 1973, having served four churches in the Wesern suburbs of Chicago in that period. She continued her studies at the Cosmopolitan School of Music in Chicago completing degrees in composition (1940) and piano (1941). Then she joined the faculty of Cosmopolitan School of Music teaching collegiate level piano and music theory from 1941-1943. Graduate piano work was pursued with Mollie Margolies, understudy for Rudoph Ganz, at Chicago Musical College. She studied composition privately for three years under Dr. Rosetter G. Cole of Chicago.

While working at a war plant in the Chicago area, Moerschel met her husband, Eugene Moerschel, a German immigrant who shared Blanche's love of music, art and culture. He played clarinet in the Moerschel family orchestra. After their marriage, she lived with her in-laws in the Ozarks where they shared much music while she awaited her husband's return from the army and a return to Chicago where most of her time was devoted to raising five sons to whom she taught piano: Richard, a violist; Paul; Eugene, who became a baritone with the Lyric Opera but now is owner of a construction business in Waupaca, Wisconsin; Joel, a professional cellist with the Boston Symphony; and Daniel.

She died on November 30, 2004 in Waupaca, Wisconsin where she resided and was an active participant in musical life.

Music published by Alliance Publications include:

  • Flutiano - AP-2006 - Flute and Piano
  • Improvised Hymns for Piano with Tenor Soloist - AP-588
  • Psalm 139: A Psalm of David - AP-1402 - High Voice and Piano
  • The Song of Songs - AP-1436 - Solo Duet for Soprano and Baritone with Piano
  • Three Cradle Songs - AP-1699 - Vocal Solo with Piano
  • Ticha voda do Dunajka padala/Quiet Water (Slovak) - AP-1768 - Vocal Solo with Piano
For 14 years, from 1958-1972, Blanche faithfully served as a music teacher to the Timothy Christian Grade School in Cicero, Illinois. Since 1974 to 2001, she has been a private piano, organ and music theory teacher in the Waupaca, Wisconsin area.

A life-long learner, Blanche pursued graduate piano work at the University of Wisconsin at Stevens Point under Michael Keller and served as accompanist in the University from 1979 to 1983. During these years, she toured the state with the Central Wisconsin Composers Forum, playing several of her compositions. Blanche, a founding member of the Wisconsin Alliance for Composers, has been sponsored in WAC recitals playing her compositions - 1997 (Green Bay), 1998 (DePere), 1999 (Green Bay), and 2001 (Madison). She has also performed as Piano Soloist in recitals throughout Wisconsin and Illinois as well as in Boston, Chicago and Los Angeles. While studying at the Cosmopolitan School of Music in Chicago, Moerschel became taken with the music of the Russian composer Sergei Prokofiev. "There were groups of new national composers like Delius and Vaughan Williams in England, and Prokofiev and Shostakovich in Russia, and listening to their music was like going to a different country." She also liked the music of Stravinsky and revels in the memory of meeting him in Chicago in the late 1930's. "Our eyes met as we passed. I looked at him. He looked at me. Then he went into Orchestra Hall."

She uses traditional musical idioms in her compositions, but continues to grow and learn as a composer. She likes to work with progressions and the whole-tone scale of Debussy. She revels in chromaticism. "It's very rich harmonically because you're able to get through all the keys quickly. It's based on half steps and in the strings, it can even be quarter tones. Chromaticism can take you into atonality because you can begin in one key and end in another key."

"I can't take credit for my music. I'm just using what the Lord has given me." Her repertoire includes 3 cello sonatas, ensemble chamber works, piano pieces, songs and hymns.

MOORE, DAVID - (b. 1968)
MOORE, DAVIDDavid W. Moore, Instrumental Music Educator and Composer, was born in Plymouth, Iowa, on December 27, 1968. Attending North Central High School in Manly, Iowa, where he played the euphonium, it was his band director, Russ Phillipps, whose inspiratin led him into pursuing a career in music education. After receiving his Bachelor of Music Education degree from Drake University in 1992, he taught instrumental music in LeMars, Iowa. Since 1999, Moore has been teaching Grades 5-12 instrumental music at Homer Community Schools in Homer, Nebraska.

In addition to his full-time teaching duties, David is also very active as a composer and clinician. He has been commissioned numerous times by various school organizations to compose music for specific ensembles or events, and is often called upon as a guest clinician to work with those groups on his music.

MORLEY, THOMAS - (1557-1602)
MORLEY, THOMASThomas Morley is a famous 16th century English composer (born 1557, died 1602) who as a youth was a pupil of William Byrd. He was schooled at Oxford University (1588) and became organist at St. Pauls Cathedral. In 1592, he was named Gentleman of the Chapel Royal. He composed many vocal and instrumental works both sacred and secular. They are unusually melodious and many of his madrigals and ballets are still popular, among which are the three chosen for this collection. He was the most famous composer of secular music in Elizabethan England and an organist at St Paul's Cathedral. He and Robert Johnson are the composers of the only surviving contemporary settings of verse by Shakespeare.

MOYER, JAMES - (b. 1959)
MOYER, JAMESJames Moyer holds a Bachelor of Music Education degree from Susquehanna University. He earned his Masters and Doctorate degrees at the University of Oklahoma. While attending graduate school, Dr. Moyer was a member of the nationally renowned University of Oklahoma Percussion Orchestra He appeared with this group at numerous national and international conventions and is a featured soloist on the group's first compact disc, Laser Woodcuts. His teachers have included Dr. Richard Gipson, nationally respected percussion teacher; John Bannon, timpanist of the Florida Orchestra; Stan Leonard, retired timpanist of the Pittsburgh Symphony; Gordon Stout and Leigh Howard Stevens, internationally renowned marimba virtuosos. He has also studied conducting under Dr. William Wakefield. His articles have been published in Percussive Notes and School Band and Orchestra. He is the author of Four-mallet Method for Marimba, a standard text used in college percussion programs. The book is available through Studio 4 Productions. Marimba Productions, Studio 4 and C. Alan Publications publish his guitar transcriptions for marimba. Dr. Moyer is currently Director of Bands and Music Technology at Lafayette College.

MOZART, WOLFGANG AMADEUSWolfgang Amadeus Mozart, baptismal name Johannes Chrysostomus Wolfgangus Theophilus Mozart (27 January, 1756 - 5 December, 1791), was a prolific and influential composer of the Classical era. He composed over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is among the most enduringly popular of classical composers.

Fugue from Quartet K 173, Mozart / arranged by Ray Ostwald

String Orchestra/Choir - AP-424 $30.00

Quintet K 515, Mozart / arranged by Kay Gianacopulos

Saxophone Quintet - AP-0293 $15.00

Strahower Improvisation, Mozart / arranged by Jiri Ropek

Organ - AP-0574 $20.00

Il Re Pastore K 208, Mozart / arranged by Joel Blahnik

Woodwind Choir - AP-2054 Sc $12.00

Woodwind Choir - AP-2054 Set $35.00

Clarinet 2/Bassoon - AP-2194 $15.00

Saxophone Trio - AP-2186 $15.00

Parthia, Mozart / arranged by Louis Sacchini

Woodwind Ensemble - AP-2070 Sc $15.00

Woodwind Ensemble - AP-2070 Set $60.00

Menuettto, Mozart / arranged by Jaroslav Jezek

Woodwind Trio - AP2152 $15.00

Menuetto, Mozart / arranged by Karel Belohoubek

Flute 2/Clarinet 2 - AP-2164 $12.00

Three German Dances, Mozart / arranged by Joel Blahnik

String Quartet - AP-4051 $15.00

String Quartet - AP-4051 Sc $8.00

MYSLIVECEK, JOSEF - (1737-1781)
MYSLIVECEK, JOSEFJosef Myslivecek (pron. MIHS-lih-veh-chek) was born in Prague on 9 March 1737 and died at Rome on 4 Feb 1781. He must be counted among the most interesting musical personalities of eighteenth-century Europe. This Czech composer, the son of a well-to-do miller, is believed to have attended the Normalschule of the Dominicans at St. Giles and the Jesuit Gymnasium in Prague along with his identical twin brother before entering Charles University in the 1752-53 school year. Musical training was an integral part of elementary and secondary education throughout Bohemia in the eighteenth century, and it is likely that he became proficient in violin at an early age. Due to a lack of academic success, Myslivecek dropped out of the university in March of 1753 and was apprenticed with his brother in the millers’ trade in May of the same year. They achieved the status of master millers in October of 1761. Apparently, it was just after this time that Myslivecek made the decision to abandon manual labor and become a composer.

He first sought training from the Prague choirmaster Frantisek Habermann, but dissatisfied with his slow pace of instruction, he turned instead to the organist Josef Seger. Reputedly he was able to compose symphonies within six months’ study with Seger. His earliest surviving symphony, dated 1762, is preserved in the collection of Count Vincenz von Waldstein who sponsored performances of Myslivecek’'s symphonies in his Prague palace.

Myslivecek’'s true ambition was to achieve fame as a composer of Italian opera, and so he left Prague in November of 1763 to study vocal composition in Venice with G. B. Peschetti. He was able to get his first opera performed within two and a half years after his arrival in Italy. By the time of his death, his operas had been performed in all of the principal theaters of Italy.

After moving to Italy, Myslivecek mainly spent his time traveling at will as a "rake" and adventurer. He shunned institutional employment, preferring instead to finance a self-indulgent lifestyle with his earnings as an independent musician and composer. The effects of a lifetime of financial irresponsibility and other discreditable behavior unfortunately proved inescapable. He became quite ill in the mid-1770's, and in 1777 during one of his few trips back to northern Europe, he underwent an operation in Munich that resulted in his nose being burnt off. After a long period of physical decline, he died destitute in Rome in 1781.

The importance of Myslivec“ek's close friendship with Wolfgang Mozart during the period 1770-78 remains little appreciated. As a matter of fact, Mozart frequently used Myslivecek’'s works as compositional models, and Mozart’'s account of his visit to Myslivecek'’s sickbed in Munich in 1777 is without precedent in the Mozart correspondence for the tenderness it shows for the welfare of another composer. Tragically, Myslivecek ruined his friendship with Mozart shortly after this time when he failed to make good on a boastful promise to arrange an operatic commission for him in return for help from Mozart’'s father in obtaining patronage from the archbishop of Salzburg. Few persons succeeded in bamboozling the shrewd Leopold Mozart, but Myslivecek was one.

As a composer, Myslivecek occupied himself chiefly with the composition of operas and symphonies, but like most major composers of the 1760's and 1770's, he also produced chamber works intended for amateur performance. What mainly filled publisher’s catalogs in those days were duets, trios, etc., for various combinations of string and wind instruments— nothing was expected of them except that they be pleasing to the ear, enjoyable to play, and well suited to the technical capabilities of the amateur musicians who formed the principal market for music publishing.

The largest category of chamber music by Myslivecek consists of trios in three movements for violins, flutes, and bass. He produced several sets of trios for two violins and bass (which could also be performed as "orchestra trios"), one set of trios for two flutes and bass, and one set of trios for flute, violin, and bass. Myslivecek'’s contributions exhibit unusually attractive melody lines and a good deal of compositional ingenuity.

The trios edited for this collection constitute the complete trios for flute, violin, and bass known to have been written by Josef Myslivecek. All are found in an Italian print of the late 1770's published by Ranieri del Vivo in Florence, the Sei Trii per flauto, violino, e violoncello. The only known copy is preserved in the Biblioteca Musicale Greggiati in Ostiglia. Four of the trios were also published in an undated eighteenth-century print brought out by J. Schmitt in Amsterdam (nos. 1, 2, 3, and 6) and two more (nos. 3 and 6) were published by John Bland in London ca. 1795 in a collection entitled Six Trios for a German Flute, Violin, Bassoon or Violoncello and Three for Two German Flute, Bassoon or Violoncello by Myslivecek, Venturini, and Leo.

Myslivecek’'s "Trios" can be performed successfully by almost any combination of instruments whose range is appropriate for the parts. Probably the best scoring for this set is the one specified in the Del Vivo print (flute, violin, and cello), but the flexibility available to performers is confirmed in the Bland print, which leaves open the possibility of performance with bassoon. The flute is clearly intended to be the featured instrument, whereas the violin has a dual function. Sometimes the violin is merely given rhythmic busywork to help support the melodies of the flute part— at other times, it is treated as a co-soloist.

Myslivecek clearly understood that one of the most important principles of chamber music composition in the eighteenth century was that there should be something enjoyable for all of the participants to play, even if some of the parts could be subordinated at times in the interest of musical variety and textural richness.

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