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; 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.

E-mail: Hmbarrr@aol.com

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/piano AP-1118

Berceuse - Lullaby for Cello/Piano AP-443 Vc

Berceuse - Lullaby for Cello/Piano AP-499 Viola

Berceuse - Lullaby for Cello/Piano AP-4091 Violin

Dependable Friends - unis choir/piano AP-1249

GOOD NIGHT, BELOVED / Dobru noc (Moravian-Slovak folksg in Czech & English) AP-1045 TTBB or SATB a cap with Vln or Bb clnt obligato .95

IF POPE JOHN AND MOTHER TERESA COULD RULE THE WORLD AP-1108 Voc Solo/Pno $3.00 AP-1167 Unis choir/Pno $1.25

LULLABY FOR A BEAR AP-443 Cello/Pno $5.95

MARCHING WITH THE RIVER - SA/Pno AP-1037 $1.50

MARY'S LAMB - Vocal/Pno AP-1044 Two-part Vocal/Pno $1.25 AP-1043 SATB/Pno $1.25

MEASURE ME, SKY! Vocal/Pno AP-1036 $1.25

MORNING STAR - Vocal AP-1034 SA/Pno $1.25 AP-1076 SATB a cap $1.50

Mothers' Magic - Unis Choir/Pno AP-1143 $1.25

ONCE A YEAR AT CHRISTMAS - Vocal/Pno AP-1042 Twp-part Voc/Pno $1.10

Quaker's Love Song - SATB a cap/flute AP-1421 $1.50

THE SONG OF MARY AP-1124 H High Voc Solo/Pno $4.95 AP-1124 L Med. Voc Solo/Pno $5.95

THE STONE AND THE LILY 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 folksg AP-249 Clnt Duet $8. AP-242 Flute 2 Duet $8. AP-353 Fr Hn 2 Duet $8. AP-358 Mxd Br 2 (Trpt/Trb) $8. AP-248 Sax 2 Duet $8. AP-357 Trbn 2 Duet $8. AP-346 Trpt 2 Duet $8.

TO THE THAWING WIND - Voc / Pno (Robert Frost poem) AP-1038 SA/Pno $1.25 AP-1039 SATB/ Pno $1.25 AP-1040 Vocal Solo/Pno $3.95

Trilogy for Tuba and Piano AP-375 $15.00

WERE IT NOT FOR THE CHRIST CHILD - Voc/Pno AP-1041 SAB/Pno $1.25 AP-1257 SATB a cap $1.25

Winter Lullaby Solo vocal/Pno AP-1163 $4.95 AP-1164 2-pt choral/pno $1.25 AP-1106 Unison choral/pno $1.25

Ejnar Krantz 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 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 concertizd 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, LA, at the Polytechnic Institute for one year, followed by three years in San Antonio, TX, 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 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 organist-directorMinister 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, IN, to help out over Christmas. Dr. Krantz ended up staying here for 10 years as organist-director, a part-time position. From 1960-63, Dr. Krantz was Assistant Professor of Music in two collegesinterim apointments while faculty members were on sabbaticalManchester College, North Manchester, IN. where, in March 1961, he performed the Rachmaninoff\s Concerto No. 2, followed by one year at Gosher College, IN. 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, eg. student convocations, formal evening recitals, club meetings, etc. besides lecture-recitals featuring major classical works, eg. 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 is enjoying 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

Choral

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 (Ps. 91) 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

Piano

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

Organ

Four Offertories for Organ AP-5014 Preludes on four Familiar Hymn Tunes AP-5009 (Nicaea, Matyton, St Gertrude, Lord of Spirits) Toccata Chromatica in A Minor AP-5008

Anita Smisek, OP Alliance Publications, Inc. 585 County Road Z Sinsinawa WI 53824-0157

608-748-4411 x124 asmisek@chorus.net

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 continues to serve as church organist. He has 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 remains an honorary member who attends rehearsals whenever he can get there. He continues to derive his greatest pleasure from the loves of his life—his wife, their four children and their families.

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 threeby 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.

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. (68:36m) DKP (CD) 9137

Vol. 2: SMETANA, Bagatelles & Impromptus; Czech Dances; DKP (CD) 9139 AP-010 CD $20. (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. (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. (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. (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. (78:35m) ; DKP (CD) 9152

Vol. 7: JANACEK, On an Overgrown Path; Piano Sonata; In the Mists AP-015 CD $20. (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. (74:07m) ;DKP (CD) 9159

DVORAK, CYPRESSES / BIBLICAL SONGS, Radoslav Kvapil, Pno; Philip Langbridge, T AP-018 CD $20. (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. ;CQ0014-2431 Clarton, CR

JANACEK, MORAVIAN FOLKSONGS, Radoslav Kvapil, Pno; Zdena Kloubova, S; Leo Vodicka, T AP-017 CD $20. (70:03m) ;DKP (CD) 9154

VIDEO CASSETTES

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.

During the 70s, 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. AP-265 Set $75. Grade 5 13:00