Here are more MIDI Synth songs taken from archives that were uploaded 
to the Internet news group alt.binaries.sounds.music last fall.

The raw MIDI files were translated to MIDI Synth format by my program
MIDI Surgeon, which will be published in the Jan/Feb 1994 issue of GS+ 
magazine. To subscribe (magazine w/disk: 3 issues - $20; 6 issues - $36) or 
to purchase back issues ($9.50; $6.50 for disk only), write to
    GS+ Magazine, P.O. Box 15366, Chattanooga, TN 37415-0366
Electronic addresses--
    America Online: GSPlusDiz; Delphi: GSPlusDiz;  GEnie: JWankerl;
    Internet: gsplusdiz@aol.com
Phone numbers--
    (800) 662-3634     (615) 843-3988

The instruments in this group all use the Orch.Bnk instrument
file and Orch.Wav waveform file provided by Apple with synthLAB.

-- Dave Tribby (Internet: tribby@cup.hp.com   GEnie: D.TRIBBY)


===== From the original "About" file in the MIDI archive =====


Wolfgang Amadeus Mozart   Divertimento in F,  KV138

	Allegro
	Andante
	Presto

Mozart wrote KV138 along with KV136/125a-c in Salzburg early in 1772.  He
was preparing for a visit in Milan later that year. The city's rulers had
commissioned the grand opera seria Lucio Silla. Mozart was also required to
provide music at important social gatherings. Since his instrumental
resources at the time could not be predicted, he created three multi-purpose
compositions. These pieces could pass as divertimenti, serenades, quartets
or even symphonies. They were eventually performed at a soire in the
apartment of Count Karl Joseph von Firmian, and at Empress Maria Theresa's
plenipotentiary in Lombardy. It is unknown in what guise these pieces were
played under.
    Unfortunately, KV138 has been labeled by some, so called experts, as not
being an important piece by Mozart. Could possibly the word divertimento,
along with the quick preparedness by Mozart of this piece, have influenced
these experts? Also, the classical purists have forced this piece to be
played by string quartets which adds to the impression that this is a light
piece. However, if you listen to a symphonic form of KV138, perhaps opinions
will change.
      I've never been a fan of Mozart until I first heard KV138 by accident.
Years ago, at a swap meet, I purchased an untitled, 4 track cassette
containing classical pieces.  One of the passages was in symphonic form.
For years, I never knew the title of this piece until a friend identified it
for me. Wanting to replace my badly recorded tape with a fresh copy, I
purchased a CD version, but how disappointed I was.  It was in quartet form!
No wonder it was never considered an important piece. I have, since been
unable to find a copy of KV138 in symphonic form. This piece should be a
symphony.  Now that MIDI is here with all the fantastic synthesizers around,
the problem is solved.

I transcribed the complete KV138 from the original quartet version,
therefore the listing below reflects the instruments on the sheet music.
This makes it applicable for 4 voice synthesizers. I implore you, however,
to experiment with more instruments or with orchestral patches.

The original quartet assignments for the three movements are as follows:

		Track 1:		Violin I
		Track 2:		Violin II
		Track 3:		Viola
		Track 4:		Violoncello (cello)

If you have a 4 voice multitimbral synthesizer, try using multiple
instrument patches for the voices. If you're lucky enough to have an 8 (or
more) voice synthesizer, one approach might be to copy the four tracks onto
tracks 5 thru 8 and assign multi-strings to them leaving the solo
instruments on tracks 1-4.  You might find that If too many strings are
assigned, the quick passages (especially on the Presto) gets muddy. Some
orchestral patches on synthesizers use hall effects or reverb.  Assigning
solo violins on track 1 & 2 with the symphonic strings in back solves this
problem.

If you listen to nothing else, listen to the synergetic strings in the
second movement (Andante). This, is pure beauty.


Jim Walker
(GEnie: J.W. WALKER)
Flight Engineering
P.O. Box 661133
Miami Springs, FL 33266

23 March 1991 
end.