This arrangement uses alto and bass melodicas. The scoring looks like this: Oboe I: alto melodica Oboe II: alto melodica Bassoon: bass melodica Violin I: alto melodica Violin II: alto melodica Cello / Bass: bass melodica Keyboard continuo: alto melodica Apologies for the out-of-focus moments. I got a new HD webcam which I am very [...]
Date: Sunday, November 22, 2009 Time: 7:30pm – 9:00pm Location: Det Fynske Musikkonservatorium, Koncertsal Islandsgade 2 500 Odense C Denmark Concert featuring works by Annette Ziegenmeyer, James Howard Young, Markus Zahnhausen, Bach, Van Eyck, Telemann, and others. In addition, the performers will be improvising their own works. This is the concert that will conclude a [...]
The first movement Allegro from Bach’s Brandenburg Concerto number 1 is built upon the conversational interplay among the 4 instrument groups: horns, reeds, high strings, and continuo. Bach mixes and matches them in all possible ways in between their simultaneous presentation and dismissal at the works beginning and end. It was therefore important for me [...]
With 10 solo parts divided into three trio groups and continuo, this semi-lengthy movement required the use of at least 9 individual video tracks in order to make it work. Because of the natural size restrictions that embedded video presents, I needed to make three sets of individual movies with 3 soloists each and then [...]
This is the first Bach project that can accurately be called an arrangement. There are several elements in Bach’s brief yet jubilant finale from the Fourth Brandenburg Concerto that are problematic for the purposes of direct transcription. First, the solo violin part is exceptionally virtuosic, with long roulades and distinct bowed arpeggios. This doesn’t transfer [...]
In this Fugue from “The Art of the Fugue“, Bach shows us what he can do with a theoretical countersubject. It’s theoretical because he starts the piece without the presence of the actual subject known so well from the rest of the book. Then, he introduces this real subject (in sustained half notes — see [...]