A native of suburban Los Angeles, Mark Moya's story begins as a seven year-old violin pupil who, rather than practising the lessons assigned to him, took more interest in the history of the music he was playing. Captivated by the intricacy and precision of J. S. Bach's works, at age nine, he began trying his hand at writing counterpoint. Of course, he was no Amadeus, but even at this early stage, he showed an innate understanding of the Baroque musical vocabulary and a remarkable gift for the invention of melody.

By the time he turned 13, Mark's interests shifted to the music of Arcangelo Corelli, and that composer's impact upon Mark's nascent style was clear in the pieces he had written. Completely self-taught, it had also become evident that Mark had not received formal theoretical and contrapuntal training.

With the advent of the Internet in the early 1990s, Mark sought the help of two of the foremost composers of the contemporary Baroque Revival: Michael Starke and Giorgio Pacchioni. While they did not interfere with Mark's stylistic tendencies, they taught him the fundamentals of Baroque counterpoint and fugue, giving Mark the tools necessary to develop his music.

Today, Mark's output consists of several dozen concerti and sonatas, numerous incidental pieces for various instruments, and Christian Orthodox liturgical music. His highly polished style reflects the influence of Handel, Corelli, and Alessandro Scarlatti, but a very dense contrapuntal texture reveals the indelible imprint Bach has left on him.

Mark is now a dentist in his native southern California, but he still finds time to turn out some very convincing music in the old style.

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Download music score:

Sinfonia in c minor (2009)

 

Download sample works:

Fugue in c minor (2006) 

Sinfonia: Allegro (second number from a series of 16 movements commissioned by author R. Douglas Jacobs for his audiobook production Gethsemane: The Radio Theatre Experience. 2012, recorded 2013. More information available here, with an additional biographical profile for Moya to be found here.)

Postlude and Fugue (closing number from aforementioned commission. 2012; fugal section composed in 1996 and reworked for use here. Recorded in 2013.)