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KANKA, JAN - (b. 1977)
KANKA, JANComposers' own words: "Here I am going to write about my musical background. I was born on December 17th 1977 in Sokolov. I spent my early years in Chodov. After that, my parents bought a house in Horní Slavkov. It is a small town in west Bohemia with the rich mining history. There, I was going to infant school (school for kids at the age three to six years). Mrs. Rybá, the director of this school was a wife of the director of elementary school of arts. She was singing with us children often while she was playing the piano. She cooperated with her husband as they had chosen the talents. So I was chosen, too. I wanted to play violin but my parents bought me a recorder. My first teacher was Mr. Sýkora, a good man. As my elder sister saw I was going to school of arts she wanted to go, too and chose the trumpet. While I was playing recorder for two years I decided to switch to the trumpet like my sister did. I see it in front of my eyes like it was yesterday: They took me to the depository of instrument and were searching for the trumpet to borrow. There was old junk in the shelves covered with dust but no trumpet. OK, I was told, you will play this. And they passed me a baritone. My teacher on baritone was Petr Icík. He was a good man, too but was somewhat lazy and did not know much about the brass instruments playing technique. I was eight or nine years old and was struggling with my baritone. The valves never worked and I was told it was my fault. I was very unhappy and wanted to quit. Fortunately, my mother spoke to the director of the school, Zdenk Rybá, and the school borrowed me a valve trombone. It was great! I was playing duets with my sister and we had a good time together. We were also sitting next to each other in the school band. In the same band was playing violin Dalibor Kaplan, a boy who had a big influence on my person. The base of this orchestra were violins. Zdenk Rybá was a violin player of Symphony in Karlovy Vary and he was writing for us the nice and clever arrangements of for example Sonny, Hungarian Dance no. 5 by Johaness Brahms, the melody of the cartoon movie "The Smurfs" and many others. For the talents of this band were the solos written and I was one of them. I really fell in love with music at that time and decided to go to the conservatory, when I grow up. My four years older sister decided so, too. But Petr Icík was not able to prepare her properly and sent her to the entrance examination to the conservatory without telling it to Zdenk Rybá, the director of the school. My sister was not accepted and when Zdenk Rybá came to know what had happened, he grow very angry and Petr Icík was fired. We had a new teacher, Jan Cízek. He is still playing trumpet in Karlovy Vary Symphony Orchestra. This man told me that if I really want to get to conservatory I have to switch from the valve trombone to the slide trombone. I was 13 years old at that time and it was not easy for me to accept the qualities of the slide. to me it seemed rather clumsy as I had had a good valves technique. And I also had to learn to read the bass clef (before I played the treble clef in Bb).

Jan Cízek taught me how to breathe properly and helped me to get rid of bad habits. I was for example playing with my cheeks inflated. He also sent me to Vlastimil Eichler, a professor of Plze conservatory for consultations. On the first lesson I was with my mother. We had been waiting in his classroom no.19 till the rehearsal of the trombone duet was over. The two boys were playing so excellent! I hung my head because I knew I was so much worse then they were. When I started to play, it was terrible. I wonder why Vlastimil Eichler had invited me to the doors open day of Plze conservatory. "What will it be like? asked my mother about that day. "The door will be open here.", answered he. It was at my eighth grade of the elementary school. After the finishing of the school year I spent a month in the covalescent homes in Mariánské Lázn because of the previous kidney surgery. In this town lived one of Eichler's students Jií Bichá (now he plays trombone in the State Opera in Praha). Vlastimil Eichler told him to give me the lessons there. So did he and it helped me a lot together with the work of Jan Cízek. Next year I was accepted to Plze Conservatory. I couldn't wait until the last (the ninth) elementary school year was over. A day or two before the school year started, Dalibor Kaplan was at my home. I had not seen him for some while before and I was staring at him in amazement. He wore the shabby black coat and there was something weird with his face. It was full of acne and ..... there were no eyebrows! Later while we were talking about it he told me he had a strage idea to shave it away. At that time my father worked in Germany, my mother was in Greece and my sister left for the USA (my mother did not know it yet). I was fifteen and home alone for the long time. My sister should have helped me with the start in Plze but she wasn't there anymore. Maybe she was the person who had asked Dalibor Kaplan to help me. I had known Dalibor for the longer time. We played in the art of school band and both of us had ATARI computer. We were exchanging games but there wasn't a close contact. He was three year older so it is no wonder. But from the moment of his visit we became a close friends. Dalibor showed me the students dormitory and as he took me to the school the gate-woman did not want to let me in. After we had conviced her that I am a new student of Conservatory, she yelled at me: "Dont be a friend of this one!" Dalibor fascinated me. He was wearing his violin in the ragged green cover with painted logo of the Ghostbusters (It was a movie with Bill Murray) on it. He did not went to school often. Instead of this he was spending his time in the hired flat and was composing and recording his own music on four track recorder and the ATARI computer. He was in his fifth grade, made a graduation (of the forth grade) in a alternate date. After he passed it, he left for Praha where he was studying the pop singing. We spent in Plze together only about one month. From here on we were mainly together on weekends in Horní Slavkov. When I saw how easy and amusing was to compose the music I started to do it myself. I was mainly writing the pop songs.

Another person who deeply influenced me was Vlastimil Eichler my conservatory professor. He was a member of J.K.Tyl theatre orchestra in Plze. To manage the both works (playing and teaching) he had to teach all Monday (in the theatre is Monday a day off) and on the other days in the week he was teaching before the rehearsal which was usualy from ten AM to one PM and between the rehearsal and show which usualy started at seven pm. I had three hours of the trombone a week. I had for five years a trombone lesson from 7 AM. When I went there for the first time I met Vlastimil Eichler at the school door. I greeted him and he, instead of greeting me back, told me: At this school we have a habit that the student is coming sooner then the teacher does. From this instant on I was there every day at 6.30 AM. That was the time when the school caretaker opened the building. Vlastimil Eichler had his theory that the only useful think that you can learn at the conservatory was playing the instrument. He was pressing realy hard on us. Than the student did not work properly and did not develop he usualy left the school by him self or was thrown out. The first year of school was terrible for me. Everything was wrong and as I was leaving the school building I was often surpised that the sun is always shining and I enjoyd to take a breath of the fresh air. In the second school year mr. Eichler recomended to me to switch to the bass trombone. He borrowed me an old king and later my parents bought me a Bach bass trombone with independent valves. In the mean time I started playing in Taras band, we played jazz and funky, we were playing several of my song, too. I was composing and arranging and playing in many orchestras and band, you can see it in my Vita, I made made Bc. degree at the AMU in Prague by Jirí Suaický, a great man. Now I am freelance trombonist and teacher in Music school in Klatovy. I am trying to be as good teacher as my teacher were."

KELPIN, GUY ALLEN - (b. 1976)
KELPIN, GUY ALLENGuy Allen Kelpin was born in Waukesha, Wisconsin on November 30, 1976. In early elementary school, he began piano lessons through Project Create, an arts program at Carroll College, and continued piano study through his late teens. Before he was ten, Guy had expressed a strong curiosity in composing. His first ambitions included several suites for piano, two highly imaginative operettas based on original stories, and a few small symphonic works that were decidedly Classical in style. The young Kelpin would have been first to admit a strong influence of his idle, Mozart. In sixth grade, Guy was recommended for the Waukesha Public Schools' Gifted and Talented Program. As a result, he met James Machan, with whom he began to study music theory, history, and composition. During his six-year term with Jim Machan, Kelpin continued to develop his interest in music of varied styles and traditions. Armed with new knowlege and composition skills, he produced many new pieces. His "Romanza" for woodwind choir was performed by an ensemble from Butler Middle School at the WSMA solo and ensemble contest. Stepping slowly away from the eighteenth century, he wrote a number of songs in the Romantic German Lied style. A set of these won Guy his first of several prizes from the WSMA composition contest. A more emotionally and technically advanced "Abendlied" provided him with yet another WSMA award.

Kelpin's first whole-hearted plunge into twentieth century music was his "Suite for Band," a large multi-movement composition that established the style for his work as a teenager. The suite was also given a 1st-prize award by WSMA and received several performances, including the Waukesha North H.S. Symphonic Winds, the UW-Milwaukee Youth Wind Ensemble (formerly known as GMYWE), and the Waukesha Area Symphonic Band. The suite features idiomatic wind writing and a collage of modern techniques that the composer had learned in recent years. It also forshadowed Kelpin's later efforts in its use of programmatic elements.

The works that followed the "Suite for Band" include "The Bell," a narrated piano solo based on a Grimm fairy tale and the "Symphonic Suite for Percussion: Of Gods and Goddesses." "The Bell" enjoyed frequent local performances and 1st-Place and National Incentive awards from the National Federation of Music Clubs. The percussion suite was written for the Project Create High School Percussion Ensemble, a group the composer joined in pursuit of broadened musical experiences. Like the "Suite for Band," it is a musical portrayal of various ancient Greek mythological figures and exhibits a creative use of twentieth century musical elements, owing allegence to Debussy, Prokofiev, Bartok, and Holst. In May of 1999, Guy graduated Magna Cum Laude from Illinois Wesleyan University with a Bachelor’s degree in music. He was elected as a member of Pi Kappa Lambda, the national music honor society, and served as the vice president of the Alpha Lambda chapter of Phi Mu Alpha. At IWU, he studied composition with Dr. David Vayo and Dr. Phillippe Bodin. His musical character continued to mature with compositions like "Navajo Windway" (a short orchestral tone poem), "Piano Sonatina," "Horizons" (a duet for viola and percussion), "Brass Quintet in Bb," "October's Bright Blue Weather" (mixed choral work), incidental music for Spoon River, a performance-art work for percussionists titled "Actuated by Selfish Motives," and several electro-acoustic projects. Most of his works of the time were performed on the IWU campus. Study at Illinois Wesleyan brought Kelpin into contact with such prestigious composers as Joseph Schwantner, John Coligliano, and Arvo Part.

As a musician, Guy Kelpin has led a double life as composer and performer. His experiences as a performing instrumentalist have had an enormous impact on his perception of composition. Guy began playing trombone a few years after he started piano, along with a fascination with music theory, history, and composition and his experiences performing choral, percussion, and string music, Kelpin's future was destined for a musical career. In High School, Kelpin was a member of Wisconsin State Honors ensembles (Band and Jazz), the Milwaukee Youth Symphony, and the Greater Milwaukee Youth Wind Ensemble (now UWM-YWE). His summers took him to camps including Interlochen, Birch Creek, and Indianhead Arts Center (where Guy received the Outstanding Camper Award from the National Band Association). At Waukesha North High School, Guy served as a drum major for the Rose Parade-appearing marching band and was presented with the Outstanding Musician and J. P. Sousa Band awards. He also won an Honorable Mention in the Milwaukee Symphony Orchestra Young Artist Competition.

In college, while studying low brass with Dr. Thomas Streeter, the young composer served as principle trombone in all of IWU's major ensembles, performed a Senior Honors Recital, and won the school's concerto competition. Perhaps his most important orchestral and contemporary music experiences were provided by three summers at the Aspen Music Festival, where Guy studied with the internationally acclaimed trombonist Per Brevig. Those summers also introduced Kelpin to many aspects of the contemporary music scene. He attended hundreds of performances and took courses in film music with Brane Zivkovic. As a performer, Kelpin has traveled between New York and L.A. and abroad to Germany, Austria, the Czech Republic and Japan. These numerous opportunies have supplied Kelpin with historical and cultural insight to fuel his compositions.

In 1999, Kelpin enrolled as a graduate student at the North Carolina School of the Arts, where he is persuing a degree in Film Music. He has aspirations to use his skills as a composer in the movie industry and his interest in music of a programmatic nature helped lead to that decision. Guy is active as a teacher of private trombone lessons, which he plans to continue in the future. His favorite hobby is collecting and listening to recordings, and he feels strongly that live performance is one of the most things our society has to cherish. Outside of music, his interests include reading, hiking, and astronomy.

email: Hmbarrr@aol.com

KENNAN, KENT - (1913-2003)
KENNAN, KENTKent Wheeler Kennan (April 18, 1913, Milwaukee, Wisconsin  November 1, 2003, Austin, Texas) was an American composer, author, educator, and professor.

He learned to play the organ and the piano and received degrees in composition and music theory from the University of Michigan and the Eastman School of Music in composition and music theory. At the age of 23, he was awarded the Prix de Rome, which allowed him to study for three years in Europe, primarily at the American Academy in Rome. He was the younger brother of the diplomat and historian George F. Kennan.

Kennan was a longtime professor at the University of Texas at Austin, also teaching briefly at Kent State University and for two years at Ohio State University during the 1950s.

His compositions include works for orchestra, chamber ensemble and solo instrument as well as songs and choral music. His Sonata for Trumpet and Piano is part of the standard repertoire for many collegiate trumpet studios. His Night Soliloquy was written in 1936 and is set for solo flute, piano and strings. Kennan composed his last major work in 1956 at the age of 43 and largely abandoned composition, writing only occasional small pieces and devoting himself to teaching and educational writing.

His books Counterpoint and The Technique of Orchestration have been widely used as classroom texts.

On May 5, 1957, Howard Hanson and the Eastman-Rochester Orchestra recorded Kennan's Three Pieces for Orchestra, a work composed in Rome in 1936 and premiered in 1939 by Hanson and the Rochester orchestra. It was released by Mercury Records on LP (SR90147) and CD (434307-2). The three movements are "Promenade," "Nocturne," and "Il Campo dei Fior" ("The Field of Flowers)."

KISTLER, VERA - (1929-2006)
KISTLER, VERAVera Kistler (born "Vera Polenova" March 23, 1929 - died August 3, 2006), music teacher, composer and writer, grew up in Volary, Czechoslovakia. She came to the USA as the teenage bride of Thomas C. Kistler of Darlington, South Carolina in 1947 and became a naturalized citizen in 1949. Her gift of music was nourished within her from her homeland's rich musical culture as well as at Music School. In the USA, Vera graduated in Music Education from both Coker College (BA in 1969) and the University of South Carolina (MA in 1973). In 1987, she obtained the D.M.A. in Music Composition from USC as well.

Her years of music teaching of all grades enabled her to write choral compositions suited for many singers. For her lyrics, she uses texts of well-known poets or is the author of original texts herself. Among her choral works are "Song of Myself," "Stopping By Woods on a Snowy Evening," "To the Thawing Wind," "Morning Star," "Measure Me, Sky!," "Once a Year At Christmas," "Mary's Lamb," "Marching With the River," "A Rilke Trilogy" and "Good Night, Beloved."

Of the 39 published choral and solo works, "Good Night, Beloved" is an old Czechoslovak folk song, a lullaby, which she carried in her head when she came to America fifty years ago. She had never seen it written down until she made her own four-part arrangement of it which was premiered in 1996. Her chamber and orchestral works have been receiving numerous public and private presentations.

Dr. Kistler is a published writer of three books of fiction, as well as of poems, essays and short stories in various magazines and literary quarterlies in the USA, Canada and Europe for which she has received distinguished awards.

  • A RILKE TRIOLOGY (The Solitary, Blue Hydrangeas, Evening) (Poems by Rainer Maria Rilke)
AP-1035 - Sop/Ten Voc Solo/Pno $7.95

  • A STAR CAME DOWN - 2-part Vocal/Piano - AP-1118

  • BERCEUSE-LULLABY - Cello/Piano - AP-443 Vc

  • BERCEUSE-LULLABY - Cello/Piano - AP-499 Viola

  • BERCEUSE-LULLABY - Cello/Piano - AP-4091 Violin

  • DEPENDABLE FRIENDS - Unison choir/Piano - AP-1249

  • GOOD NIGHT, BELOVED/Dobru noc (Moravian-Slovak folk song in Czech & English)
AP-1045 - TTBB or SATB a cap with Vl or Bb Cl obligato - $0.95

AP-1108 - Voc Solo/Piano - $3.00 AP-1167 - Unison choir/Piano - $1.25

  • LULLABY FOR A BEAR - AP-443 - Cello/Piano - $5.95

  • MARCHING WITH THE RIVER - SA/Piano - AP-1037 - $1.50

  • MARY'S LAMB - Vocal/Piano

AP-1044 - 2-part Vocal/Piano - $1.25

AP-1043 - SATB/Piano $1.25

  • MEASURE ME, SKY! Vocal/Piano - AP-1036 0 $1.25

  • MORNING STAR - Vocal

AP-1034 - SA/Piano - $1.25

AP-1076 - SATB a cap - $1.50

  • MOTHER'S MAGIC - Unison Choir/Piano - AP-1143 - $1.25

  • ONCE A YEAR AT CHRISTMAS - Two-part Vocal/Piano - AP-1042 - $1.10

  • QUAKER'S LOVE SONG - SATB a cap/Flute - AP-1421 - $1.50


AP-1124 H - High Voc Solo/Piano - $4.95

AP-1124 L - Med. Voc Solo/Piano - $5.95


AP-441 - Violin/Pno Duet $9.95 (6:30)

AP-436 - Orchestra Ensemble/narr. - $45.00 set/$15.00 score

  • THREE VARIATIONS - Instrumental duet based on Czech folk song

AP-249 - Clarinet Duet - $8.00

AP-242 - Flute Duet - $8.00

AP-353 - French Horn Duet - $8.00

AP-358 - Mixed Brass Duet (Trumpet/Trombone) - $8.00

AP-248 - Saxophone Duet - $8.00

AP-357 - Trombone Duet - $8.00

AP-346 - Trumpet Duet - $8.00

  • TO THE THAWING WIND - Vocal/Piano (Robert Frost poem)

AP-1038 - SA/Piano - $1.25

AP-1039 - SATB/Piano - $1.25

AP-1040 - Vocal Solo/Piano - $3.95

  • TRILOGY - Tuba and Piano - AP-375 - $15.00


AP-1041 - SAB/Piano - $1.25

AP-1257 - SATB a cap - $1.25

  • WINTER LULLABY - Solo vocal/Piano - AP-1163 - $4.95

AP-1164 - 2-part Vocal/Piano - $1.25

AP-1106 - Unison choir/Piano - $1.25

KLAUDA, ZDENEK - (b. 1979)
KLAUDA, ZDENEKZdnek Klauda (born 7 January, 1979, Prague) is a Czech composer and theorist, accompanist for National Theatre and artistic director of the Association of amateur chamber and symphonic ensembles (ANKST). In addition, he is a conductor for Women's Chamber Choir Prague Radio.

After graduating from the Prague Gymnasium of Jan Neruda musical focus (1,994 -1998), he studied music theory with Vladimir Tichy (1998-2003). After this, he successfully graduated in music composition at the Prague Academy of Performing Arts .

KNIGHT, TIM - (b. 1959)
KNIGHT, TIMTIM KNIGHT started his musical career as a chorister at York Minster under the direction of Dr Francis Jackson; presently he is leader of chral activities at St Bartholomews church Armley, Leeds. He is also principal of the Yorkshire College of Music and Drama; Director of the York Rose Singers, founding director of The Heritage Singers, an acclaimed Anglican Music choir, and director of the Heritage Masterworks Chorale, a project of the Heritage singers. He has toured extensively with The Heritage Singers, having worked at most of the Northern English Cathedrals and overseas including two visits to the United States, and has produced six recordings with the group, including one mainly of his own music.

As a composer, Tims music is published by a wide range of publishers and has an extensive catalogue which is distributed by Spartan Press, and in the USA by Theodore Presser, the music ranges from beginner woodwind ensemble pieces to full orchestral and choral works. His works are currently published in the Unites states, Germany, Australia and the United Kingdom. He has won awards from the Royal School of Church Music, the World Music Foundation, the Oare International Composers Competition, and others.

Performance venues have ranged from Village Churches to most major Northern Cathedrals and in Ireland at the Cork International Organ festival; in Holland at the reopening of the concert hall in Leiden, and in the USA from Concert Venues to St Thomass Fifth Avenue New York and St Pauls Cathedral, Boston. In 2002 he was guest conductor at the Royal Canadian College of Organists Summer conference for the premiere of his oratorio Genesis and in 2011 travelled to Iowa for the premiere of Requiem aeternam at St Raphaels Cathedral in Dubuque.

This year he is involved as leader of several singing holidays and has a variety of commissions and guest conducting engagements both at home in the UK and overseas.

Contact Tim direct at: www.timknightmusic.com

KNUTSON, MICHAEL - (b. 1974)
KNUTSON, MICHAELMichael Knutson is on the music faculty of Buffalo Community Middle School in Buffalo, Minnesota, teaching instrumental music. As band director, his duties include directing seventh grade band and jazz band, teaching band lessons, a guitar class, and a music technology class. He is an active member of MENC and MBDA. Michael is a native of Wisconsin (born November 30, 1974) and received his bachelor degree in music education from the University of Wisconsin-Eau Claire and his masters in education from Cardinal Stritch University. He has written works for various ensembles and continues to compose between other creative endeavors that have included filming a movie, writing a children's book, designing energy efficient homes, and raising two pre-school children.

KOHOUTEK, CTIRAD - (1929-2011)
KOHOUTEK, CTIRADCtirad Kohoutek (18 March, 1929, Zábreh, Czech Republic  19 September, 2011, Brno, Czech Republic) was a contemporary Czech composer, music theorist, and pedagogue.

In 1948-1949 he studied composition, musical theory and conducting under the famous composers Vilém Petrzelka, Jan Soupal, and Jaroslav Kvapil at the Brno Conservatory, later at the Janácek Academy of Music and Performing Arts in Brno. In 1963, he attended the Summer School of Music in Dartington, he attended also courses of Pierre Boulez and György Ligeti in Darmstadt (1965). He worked as a teacher at the JAMU in Brno. Since 1980 he was appointed the director of the Czech Philharmonic. He has served as Professor of composition at the Academy of Music Arts in Prague (1980-1990), Artistic Director of the Czech Philharmonic (1980-1987), and Senior Lecturer of composition, theory and conductor at the JAMU (1953-1980). In his first creative period, Kohoutek coped with the classical and romantic heritage as well as the influence of folklore. He gradually arrived at the critical unorthodox application and synthesis of modern composition principles which, in 1957, crystallized in his own project composition method. This method consists in drawing up a composition plan in graphic form with a time axis which is realized in concrete sound form in the process of creation. Every composition is given its individual form and stratification of expression in agreement with its message. Since 1965, Ctirad Kohoutek has written most of his works in this manner. His latest period in the work is characterized by a simplification of compositional means and the effort for communicativeness of the music.

KOSLER, MIROSLAV - (b. 1931)
KOSLER, MIROSLAVMiroslav Kosler (born 25 July, 1931 in Prague) is a prominent figure in Czech choirmaster representation, conductor and educator. He comes from a musical family, his father was a member of the orchestra of the National Theatre. Older brother Zdenek (1928-1995) was a Czech conductor.

Miroslav Kosler is a distinctive leading personality of Czech conductors scene. He has been working as Music Director of the Prague Mixed Choir since 1951. The choir has been subjected outstanding successes already in 23 European countries, Japan, Israel and USA under his baton.

In artistic circles, is known for his discovery dramaturgy. With the Prague Mixed Choir first performed a variety of works by contemporary Czech composers Petr Eben, Zdenek Lukas, Anton Tucapský and Zdenek Pololanik . Excellent criticism accompanies his concerts at leading music festivals Prague Spring, Dresdner Musikfestspiele, Linz Bruckner Musikfestival, Bodensee Festival, Bratislava Music Festival, and Holland Festival.

Among the heights of his career belongs his successful cooperation with world-famous conductors as Zubin Mehta, Ricardo Mutti, Giuseppe Sinopoli, Kent Nagano, Jirí Blohlávek and Vladimír Válek and their interpretation of oratorios of Dvorák, Wagner, Berlioz, Mahler, Schönberg and Stravinsky.

As a respected expert Miroslav Kosler is often asked to participate in juries of many international choral competitions and he also works as music director of choral courses in Pamplona and Avila. Miroslav Kosler is artistic director of an international choral competition "Praga cantat" and a prestigious Prague opera and symphonic festival "Prague Winter".

Since 1993 Miroslav Kosler works as professor of choral conducting at Prague Conservatory and also at Pedagogical Faculty of Charles University in Prague. He works as permanent guest choirmaster of Prague Philharmonic Choir.

KOVARICEK, FRANSITEKThe composer Frantisek Kovaricek was an author of vocal and instrumental music and was born in Liteniny on the 17th May, 1924.

KRANTZ, EJNAR - (1915-2007)
KRANTZ, EJNAREjnar Krantz, Concert Pianist, Organist, Teacher, Composer was born August 3, 1915, the second-born son of Swedish immigrants, Sam and Hannah Krantz, on their family farm two miles from Mears, Michigan, north of Muskegon. At an early age, he learned to play the mouth-organ and then a small accordion purchased from the Sears & Roebuck catalog, gradually graduating to a larger accordion loaned to him by a friend on which he learned to improvise and delight his school mates, family (he had one brother), and friends.

By the time Ejnar was twelve, his mother discovered a used Carlyle player piano for sale for $100 for which he pitched in working hard at picking cucumbers that summer to pay for the instrument. Before the season was up, his mother surprised him with the instrument one day having had it secretly delivered to the house. He was so overjoyed and he played and played, growing in his ability to improvise music. His Dad, seeing the musical gift his son had so innately been given, sacrificed to bring a teacher to the farm home each week for half-hour piano lessons paying $2.00 for every three lessons. In winter, Mrs. Greiner would be picked up and returned to her home by horse and sleigh. His next teacher, Mrs. Noret, during his attendance at Hart High School in Michigan, charged 75 cents a lesson but was not as good as the first one. However, Mr. West compensated for this by giving Ejnar organ lessons making him very adept in playing with both hands and feet. Loving to practice, Ejnar would devote hours to his music for the rest of his life.

In 1933, Ejnar moved to Chicago with his maternal uncle to continue his real formal music education in piano, music theory and composition at Sherwood Music School made possible through the kindness of the its director, Prof. Scanlon, offering him a scholarship. With only one transfer, Ejnar thoroughly enjoyed the daily 7-cent street car rides to and fro from school. After three years of study and due to the need to make money to afford the completion of his collegiate music studies, Ejnar accepted a partnership with professional violinist, Alexander Kaminsky from Russia, to be his piano accompanist and soloist, as well as being his driver. At his son-in-law's recommendation, Kaminsky purchased a Model A Ford which enabled the duo to give concerts all over the USA (East, South and Midwest America) and Canada for the next two years. After this time, having earned $75.00 a week, Ejnar was ready to return to Sherwood Music School and where he finished his Bachelor's Degree in 1939.

For a full year, Ejnar was a scholarship pupil of Rudolph Ganz studying piano with him as he attended the Chicago Musical College where in 1943, he obtained his Master of Music degree. He here studied composition with Max Wald and gave piano recitals annually and had the opportunity of playing concerti with the orchestra supplemented with the players from the Chicago Symphony at Orchestra Hall. Supporting himself by being organist-choir director at a church on weekends, teaching high school French and S[panish during the week, and having a few private students, this energetic, enterprising and talented musician was able to take on doctoral study at Chicago Musical College of Roosevelt University which he completed in 1954. His doctoral thesis was An Approach to Fingering in Piano Playing. (AP-0830)

Concert pianist Ejnar Krantz made his debut in New York's Town Hall and has concertized for several years in the USA and abroad with violinists, singers and as a soloist under art agency. As a result of a nationwide contest, he represented the state of Michigan in concert in Carnegie Hall. His professional teaching career began in Ruston, Louisiana at the Polytechnic Institute for one year, followed by three years in San Antonio, Texas where he set up a large private Piano Studio in the old opera building downtown and was choral director at Grace Lutheran Church. At the same time, for one year, while in San Antonio, he played 15-minute weekly radio broadcasts of the classical piano repertoire on KMAC AM radio.

Ejnar Krantz had a broadmindedness about himself, others and the world, wanting to feel at home with all nationalities and religious groups. His wanderlust took him to share his music in Sweden. December of 1950 saw him make his formal debut as Pianist in the Konserthus in Stockholm followed by a 3-month tour of twenty piano and organ concerts there. Denmark, France, Holland, Spain and Germany were countries where he vacationed while speaking their native languages. He served Methodist, Presbyterian and Lutheran churches in Michigan, Illinois, Texas, Washington, DC and Indiana.

For three years, beginning in 1957, Dr. Krantz served the First Presbyterian Church in South Bend, Indiana, as the organist-director Minister of Music. In addition to rehearsing five choirs, he played a series of 27 organ concerts on the last Sunday of each month. He also conducted several oratorios with his choir augmented by singers from other churches and a guest organist. However, since this was a full time position, and since his first love was piano performance, private teaching and composing, he left this position but only long enough to answer the urgent request of the pastor of Trinity Grace Methodist Church in South Bend, Indiana to help out over Christmas. Dr. Krantz ended up staying here for 10 years as organist-director, a part-time position. From 1960-1963, Dr. Krantz was Assistant Professor of Music in two colleges interim apointments while faculty members were on sabbatical Manchester College, North Manchester, Indiana where, in March 1961, he performed the Rachmaninoff's "Concerto No. 2," followed by one year at Gosher College, Indiana. In 1970, Dr. Krantz became an adjunct professor of Piano and Music History at the University of Indiana-South Bend, the position he held for more than 20 years until his retirement in 1995 while maintaining a private piano studio. This venue became the hub of his mature musical life.

Since 1964, the public could count on Dr. Krantz to play an annual piano recital. His last recital took place at UI-SB in 1996. He loved to practice and did so for 4-5 hours a day. Twice in his life, he recalls practicing all night long! Dr. Krantz developed an extensive piano repertoire for solo or orchestral appearances from which he has designed many programs to suit various occasions such as student convocations, formal evening recitals, club meetings, etc., besides lecture-recitals featuring major classical works like the 24 "Piano Etudes" of Chopin.

Dr. Krantz served the National Guild of Piano Teachers for over 30 years as an Adjudicator who knew how to enable students to perform their best by making them comfortable with him.

Mr. Krantz enjoyed his golden years at his home in South Bend, Indiana, grateful for the thousands of audiences and church services he was privy to enthrall with and through music.

Composer, Dr. Ejnar Krantz has provided the music world with compositions for piano, organ, voice and choir as need and inspiration dictated throughout his life. They are now published by Alliance Publications, Inc. See: www.apimusic.org

Music by Ejnar Krantz

Vocal Solo

  • Israel's Lament - AP-1725 - High Voice
  • Restoration Snow - AP-1667 - Low Voice
  • The Highlands Sing - AP-1885 - Medium Voice
  • The Mesa Trail - AP-1776 - High Voice
  • Vocal Solos by Ejnar Krantz (8) - AP-1690 - High Voice


  • Come Unto Me - SATB a cap - AP-1726
  • Hear My Cry, O God (Ps. 61) - SAB a cap - AP-1687
  • In Him Will I Trust - Festival Anthem for SATB, Soprano & Contralto soli, Organ - AP-1724
  • Lo, I Am With You Alway - SATB/Org - AP-1723
  • Psalm 100: Make a Joyful Noise Unto the Lord - SATB/Org - AP-1478
  • Psalm 121: I Will Lift Up Mine Eyes - SATB/Org, optl. - AP-1689
  • Radiance: The Thing Most Beautiful - SSAA a cap - AP-1688


  • All Kinds of Pieces for Little Fingers - AP-5011
  • An Approach to Fingering in Piano Playing - AP-830
  • Two Tone PicturesMelancholy & Capriccio - AP-5014
  • Four Little Mood Pictures - AP-5010
  • Sonorous Sketches from the Four Winds - AP-5016
  • Three Greetings - AP-5012


  • Four Offertories for Organ - AP-5014
  • Preludes on four Familiar Hymn Tunes - AP-5009
  • Toccata Chromatica in A Minor - AP-5008

KRCEK, JAROSLAV - (b. 1939)
KRCEK, JAROSLAVJaroslav Krcek (born 22 April, 1939) is a Czech radio producer, conductor, inventor of musical instruments and composer of classical and folk music. Jaroslav Krcek was born in Ctyri Dvory near Ceské Budejovice in southern Bohemia. He studied at the B. Jeremiás School of Music in Ceské Budejovice before studying composition with Miloslav Kabelác and conducting with Bohumír Liska, both at Prague Conservatory. Krcek was the musical director for Plzen Radio and the music editor for the recording company Supraphon. He is the artistic leader and performer in the folklore group Chorea Bohemica (founded 1967), for which he has composed and adapted a number of songs and dances. Musica Bohemica, a chamber ensemble specialising in Czech (Bohemian) Christmas songs, was created in 1975 by Krcek as an offspring of Chorea Bohemica. Some of Krcek's music is inspired by early Czech music, medieval and Renaissance songs, 16th century hymn books and baroque music. Also interested in folk music of the 18th and 19th centuries, Krcek has arranged several hundred folksongs and folk dances. He has done extensive and systematic individual, creative work in the realisation of folklore and anonymous musical works. Krcek has recorded more than fifty albums of his own compositions and folk songs.

KRICKA, JAROSLAV - (1882-1969)
KRICKA, JAROSLAVJaroslav Kricka was born in 1882 in Kelc, Moravia, bordering Bohemia in the Czech Republic. He studied music composition at the Prague Conservatory with Karel Stecker. His first professional experience was gained in Dniepropetrovsk, Russia, where he was active as a teacher and concert organizer. After his return to Prague, he served as the conductor of several choral organizations, eventually becoming choirmaster of the Czech Philharmonic Choir. He also served for many years as professor of composition at the Prague Music Conservatory, where he influenced an entire generation of Czech composers. While Kricka composed several successful symphonic and chamber works, he was most at home with vocal forms. In addition to song cycles and small choral pieces, he composed several Masses, sacred and secular cantatas, and operas. He had a great flair for the effective use of humor in music, and is still regarded as an important figure in the rejuvenation of Czech musical comedy and operetta.Perhaps his most significant contributions, however, were his numerous operas and song cycles for children, which are considered classics in the Czech Republic. Rolnicka is the opening work from the song cycle, opus 58, for children's treble voices singing a cappela.

KRUNNFUSZ, DAN - (b. 1955)
KRUNNFUSZ, DANDAN KRUNNFUSZ holds a Master's and Bachelor's degree in Music Education from the University of Wisconsin-Madison. The past eighteen years Dan has taught music in the public school system, including ten years in Baraboo, Wisconsin. Dan has conducted clinics and honors choirs in Wisconsin, Minnesota, Alaska, Florida and Mississippi. As an active composer and arranger, several of his works are in print with various publishers.


AP-228 - Alto Recorder Duet - $4.50

AP-341 - Brass Duet - $8.95

AP-233 - Clarinet Duet - $4.95 AP-236 - Saxophone Duet - $5.00

AP-111 - Voc Duet a cap - $1.00

KRUNNFUSZ, GORDON - (1931-2011)
KRUNNFUSZ, GORDONGordon Krunnfusz (July 22, 1931 - July 8, 2011) was an avid musical student from his early years. He began with the accordian at age 5. The piano was added at age 8 and trumpet the following year culminating with the organ at the age of 11. He had his first regular church organist job when he was in high school.

Gordon received his Bachelor of Music Education in 1952 from North Central College in Naperville, Illinois. He spent two years playing French Horn in the Army band, and received his Master of Music Education from Northwestern University in Evanston, Illinois in 1958.

He taught choral music in grades 7-12 in Michigan for one year before being drafted into military service. Following service, he taught choral music for three years in Ohio, and thirteen years in Wisconsin, finishing his professional school career as a Junior High counselor.

Although retired from school, Mr. Krunnfusz continued to serve as church organist. He had directed various church choirs and sung in different community groups throughout the years. He was a member of the Trelawnyd Male Choir in Wales during the time they won two national competitions, and remained an honorary member who attended rehearsals whenever he could get there. He continued to derive his greatest pleasure from the loves of his life - —his wife, their four children and their families. He was the father of composer Dan Krunnfusz.

KURZ, IVAN - (b. 1947)
KURZ, IVANIvan Kurz (pron. Koorts), a Czech composer born in Prague on November 29, 1947, has had a thorough musical preparation. In 1964-1966, he studied music theory privately with Karel Risinger. Then he was a student of the Faculty of Music of the Prague Academy of Performing Arts, in Emil Hlobil’ composition class (1966-1971). After a year of military service at the Army School of Music in Roudnice nad Labem, he completed his postgraduate studies with Vaclav Dobias at the Academy of Performing Arts (AMU) from 1973-1976. Since 1977, he is on the faculty of AMU in Prague where from 1991-1998 he had been Dean of the Musical Faculty .

Ivan Kurz, as a composer, considers expression as the substance of the musical message and the simplest means as the most effective one. He prefers a simple motivic basis, a trim concordant system, and clean-cut formal division to complexity and sophistication. Interesting is the range of Kurz'’s literary, natural and artistic inspirations. He is also interested in theology and philosophy. His work strives for simplicity and the achievement of a minimum of expressional elements used without reducing them by the spectrum of his message. This musical aesthetic ideal is in accordance with Kurz’'s great sense of plasticity of expresion and very strong contrast, that being a dynamic factor in the free form of Kurz’'s compositions.

Kurz believes that if a work of art is to be original, its creator, too, must be capable of taking an ususual view of things and unusualness in music cannot be bound up with musical style. He perceives musical style as something which comes about rather consequentially.

KVAPIL, RADOSLAV - (b. 1934)
KVAPIL, RADOSLAVRadoslav Kvapil (born 15 March 1934 in Brno) is an internationally acclaimed Czech pianist and composer, considered by some to be the among the finest exponents of Czech piano music. However, at the end of the 20th century, he devoted his concert programmes to works by Frederic Chopin, particularly in France, in the Chopin International Piano Festival in Nohant.


ANTHOLOGY OF CZECH PIANO MUSIC recorded by Radoslav Kvapil Unicorn-Kanchana Records Vol. 1: DVORAK, Poetic Tone Pictures, op. 85; Theme with Variations, op. 36 AP-009 CD $20.00 (68:36m) DKP (CD) 9137

Vol. 2: SMETANA, Bagatelles & Impromptus; Czech Dances; DKP (CD) 9139 AP-010 CD $20.00 (73:13m)

Vol. 3: MARTINU, Three Czech Dances; Borova (7 Czech Dances); Four Movements; Esquisses; Ritournelles; Window onto the Garden DKP (CD) 9140 AP-011 CD $20.00 (73:12m)

Vol. 4: VORISEK, Impromptus, op. 7; Fantasie, op.12; Variations in Bb, op. 19; Piano Sonata in Bbm, op. 20 AP-012 CD $20.00 (71:56m) DKP (CD) 9145

Vol. 5: FIBICH, Moods, Impressions and Reminiscences, op.41, 44, 47, 57; Studies of Paintings, op.56 AP-013 CD $20.00 (69:50m) DKP (CD) 9149

Vol. 6: SMETANA, Macbeth and the Witches, Dreams, Salon and Poetic Polkas, op.7/8, Polkas, op.12/13 AP-014 CD $20.00 (78:35m) DKP (CD) 9152

Vol. 7: JANACEK, On an Overgrown Path; Piano Sonata; In the Mists AP-015 CD $20.00 (69:50m) DKP (CD) 9156

Vol. 8: SUK, Piano Pieces, op. 7, Spring and Summer Impressions, op. 22, About Mother, op. 28 AP-016 CD $20.00 (74:07m) DKP (CD) 9159

DVORAK, CYPRESSES / BIBLICAL SONGS, Radoslav Kvapil, Pno; Philip Langbridge, T AP-018 CD $20.00 (61:11m) DKP (CD) 9115

DVORAK/LUKAS, MASS IN D MAJOR, op. 86; REQUIEM for a cappella choir, op.252 Sung by the Nova Ceska Pisen Choir (62:30m) AP-019 CD $20.00 CQ0014-2431 Clarton, CR

JANACEK, MORAVIAN FOLKSONGS, Radoslav Kvapil, Pno; Zdena Kloubova, S; Leo Vodicka, T AP-017 CD $20.00 (70:03m) DKP (CD) 9154


MASTER CLASS SERIES OF CZECH PIANO WORKS (5 Videos), narrator and pianist Radoslav Kvapil AP-807 VHS $225.00 Set of 5 video cassettes

PIANO MUSIC OF JAN VACLAV (HUGO) VORISEK (1791-1825), classical to romantic, 'In the Middle of the Bridge,' narr and pnist Radoslav Kvapil (60 min.) Sonata in Bb Minor, Impromptus AP-808 VHS $49.50

PIANO MUSIC OF BEDRICH SMETANA (1824-1884), narrator and pianist Radoslav Kvapil (60 min.) Bagatelles & Impromptus,Czech Dances, Polkas, Dreams AP-809 VHS $49.50

PIANO MUSIC OF ANTONIN DVORAK (1841-1904), narrator and pianist Radoslav Kvapil (60 min.) Silhouettes AP-81 VHS $49.50

PIANO MUSIC OF LEOS JANACEK (1841-1928), narrator and pianist Radoslav Kvapil (60 min.) On An Overgrown Path AP-811 VHS $49.50

PIANO MUSIC OF ZDENEK FIBICH (1850-1900) AND BOHUSLAV MARTINU, (1890-1959), narrator and pianist Radoslav Kvapil AP-812 VHS $49.50 (60 min.) Moods, Impressions, and Reminiscences-F, Puppets-M

*** Sheet Music showcased in these videos is also available through Alliance Publications.

KVECH, OTOMAR - (b. 1950)
KVECH, OTOMAROtomar Kvech is a classically trained musician from the Czech Republic (born May 25, 1950) who is presently professor of music at the Academy of Music (AMU) in Prague where he earlier also obtained his degrees in composition and organ performance.

During the 1970's, he was influenced by the so-called "New Music," especially by contemporary Polish composers. But then he experienced a style reversion for himself. Instead of trying to write interesting and modern music, he returned to his center and to his belief that an expressive melodic line, distinct harmony and well-arranged composition were the foundation stones of musical speech in the Europeam musical tradition from the early baroque to the present. For him, sound color is an important component of composition which cannot be replaced by rhythm, line, etc. Sound is a carrier of the musical idea but not its substance.

Otomar Kvech has consciously tried to develop his own musical speech as many masters of the past have done. He has received a number of prizes in domestic and foreign competitions for composers for his compositions which include orchestral, chamber and vocal works. His music is performed throughout Western and Eastern Europe, the USA, and Australia.

Kvech's past professional experiences include being the music producer for Czechoslovak Radio as well as its dramaturgist and editor of contemporary music, secretary for the Union of Composers, and assistant at the National Theatre Opera in Prague.

NOCTURNALIA / NOKTURNALIE (Night Ceremony in 3 movments)

Woodwind Choir - AP-265 - Score $25.00 / AP-265 Set $75.00 - Grade 5 - 13:00

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