Track 1 Allegro moderato (Romantic Pieces, no. 1) A. Dvorak

Bach through an open window wending and weaving in lo-fi distortion before the turn of this century.  TARDIS coordinates? 44.9765° N, 93.2761° W/1992.  In other words? Central Free Church, downtown Minneapolis—a flute, violin and cello with yours truly playing mandolin, David Babcock (or, Gail Lundeen) playing piano…cassette tape archival shoebox.

Something from Bach

a sad song from hundred year old music, tremolo sense a little tattoo...

Track 12 - Lento Romantique - Raymond Samuelson

one hundred year old music arranged for mandolin and piano...soundtrack to ponder life's nuances...

Track 8  Sleep My Little Angel - Lullaby by Count Minaldi Sigillo 1915

Largo from Dvorak with mandolin (plenty of tremolo) and piano.

04 Track 4  Dvorak - Largo (Going Home)

a lovely piece from 1911 by F. A. Goulart arranged for mandolin and piano by H. F. Odell

Track 10  Love Knot (Idylle) - F. A. Goulart

A lovely pitter patter on the windowpane slicing through the space time continuum...mandolin and piano channeling Handel's Water Music circa 1717...one of the slower minuets from the second suite.

03 Track 3 Minuet from Handel's Water Music

A little minuet from Handel's Water Music...mandolin and piano move in and out of sync as sprocket and hedgehog veer through pastoral synchronicity...imagine a bassoon slurping an espresso, and that would be another tune.  Imagine walking into a room with mechanical devices strewn and scattered haphazardly with intent...now you're getting closer.  Tremolo?

02 Track 2 Little Minuet from Second Suite of Handel's Water Music

Excerpt from Minnesota Historical Society...
"Minnehaha enchanted Dvorak. He lingered
there for more than an hour before
he departed. 'It is so intensely beautiful
that words cannot describe it,' he said. If
he lacked words he nevertheless was inspired
to expression in a way that perhaps
no other visitor throughout all the years has 
been. He thought of a melody while watching
the sparkling waters. Suddenly turning
to his American secretary, Josef J. Kovafik,
Dvorak said, 'Quick, lend me paper and
pencil!' Kovafik had a pencil he handed the
composer but no paper, so Dvorak wrote
down the theme in rough form on the
starched cuff of his shirt. The following
November, in New York, he put the theme
to good use in the slow movement of his
charming Sonatina in G Major, opus 100,
for violin and piano."

Brian Western

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