The beginning of my arrangement of Ticheli's incredible piece for wind ensemble, "Vesuvius." Let's just say...I have my work cut out for me.

Vesuvius by Frank Ticheli (arr. for woodwind quintet) (excerpt)

In celebration of the recently released remaster (English is crazy), I'm uploading one of my many passion projects involving video game music: selections from Suikoden II for woodwind quintet. Both this game and Higashino's music have had a major impact on my life, and I hope I've done this beautiful music justice.

Check out the scrolling score video here: https://www.youtube.com/watch?v=Jh8NXK71rsE

SUIKODEN II - selections for woodwind quintet

The Illinois premier of my award-winning work "Introduction and Tarantella" for woodwind quintet.

Flute, James Brinkmann
Oboe, Jonathan Thompson
Clarinet, Brady Richards
Horn, Melanie Erena
Bassoon, Nick Ritter

Live recording at Lutkin Hall at Northwestern University, December 6, 2014

Introduction And Tarantella

Dream Suite for Piano is a re-scoring of a work originally for harpsichord that received an honorable mention at the Alienor Awards a while back.  After listening to it again, I realized it had potential to be something bigger, and while the harpsichord rendition is fine, this piano version is much more fleshed out.  It also includes a completely new cadenza movement written specifically for piano.  The work will also eventually be arranged for orchestra.

The suite is broken up into seven movements, some of which also originally went by different names:

I. The Sylph (Con brio, alla danza)
II. The Mirror (Largo, rubato, senza espressione)
III. The Forest (Andante affuetoso) 
IV. The Siren (Lento e teneremante, quasi un cadenza)
V. The Moth (Frenetico, allegro possible)
VI. The Monarch (Moderato e semplice)
VII. The Assassin (Agitato)

Dream Suite For Piano

Selections from Tchaikovsky's Nutcracker, arranged for woodwind quintet from full orchestra.

I. Miniature Overture
II. March
III. Arabian Dance
IV. Chinese Dance
V. Trepak

Selections from "The Nutcracker"

The rebirth of my Piano Sonata, recorded with the EWQL Bosendorfer 290.

I. Presto - cantando, tranquillo, tempo I

A sprightly first movement eventually gives way to the main theme of the sonata, a somber melody which is redistributed and used throughout the rest of the piece.  The melody is a bit of a departure from the scintillating bits and bobs around the presto sections of the piece, encasing it and making it very fragile.  The last measure of this movement is one of my favorite things I have ever written.

Piano Sonata - I.

The rebirth of my Piano Sonata, recorded with the EWQL Bosendorfer 290.

I. Pesante

A moody movement, filling the space with walls of sound using the pedal rather than focusing on specific melodies or motifs.  The opening is quite murky and swampy, but quickly gives way to an air, almost cold sound.  The opening then returns, much more desperate and explosive.  A mysterious intermezzo continues to play with the space, bringing us to the Recititavo/Cadenza.  After a dramatic build up, the piece ends in a similar fashion in which it began, but with much more hope and gentleness.

Piano Sonata - II.

The rebirth of my Piano Sonata, recorded with the EWQL Bosendorfer 290.

III. Allegro Vivo

The final movement of the piano sonata is a bit of a carnival ride - it was written fully intended to have a modern sonata honky-tonk merry-go-round like vibe, giving way to false "endings" and eventually revisiting the main melody of the sonata in another intermezzo, coupled with the A ostinato in the right hand and the left shifting both octaves and moods.  The ending very rousing and final, and was inspired by the ending of Ravel's Alborado de Gracioso, without go so far as to directly quote it.

Piano Sonata - III.

One of my earliest works, my five preludes for piano, reworked and remastered with EWQL.

The work as a whole is a mish-mash of musical vignettes that, while a bit convoluted at times, I think show a real sort of comedy and lightness, even when slow and dramatic.  The piece never takes itself too seriously and is full of surprises while still being formulaic in nature.  A work like this was in my sort of "unbridled" stage that I miss so much -- I was outside of my own head, not second guessing my musical choices, and going with my instincts no matter whether or not they "made sense," and in a work like this I believe it really pays off.

Five Preludes for Piano

The first movement from my sonata for two pianos.

Originally the first of two solo piano sonatas, this work was actually too ambitious (read: impossible) for one player, but I basically refused to edit down my ideas and instead expand upon them to create a full-fleshed out four movement sonata.

The first movement is full of energy, constant changes in key and tempo, and always circling back to, essentially the first two measures, but also reiterates itself in different and unique ways.  There's also a smattering of Mozart-esque classical flair that appears a handful of times to bring extra levity to the piece.

Sonata For Two Pianos, I.

A pet project that is finally...finally...FINALLY FINISHED.

One of Stravinsky's most celebrated works and ballets, Petrushka, arranged for wind ensemble, from the beginning to the concert ending.  

I'm extremely pleased to have this finally "done" (the actual score and parts need cleaning up), and I hope I have done the music justice.

PETRUSHKA - The Shrovetide Fair, The Magic Trick, Russian Dance (arranged for wind ensemble)

World premier of my opus 1, Symphonic Dance for flute and piano at Southwestern University in Georgetown, Texas
Adrienne Inglis, flute
Kiyoshi Tamagawa, piano

Symphonic Dance for flute and piano, Op. 1

Hi! I'm a 35-year-old writer living in Chicago who dabbles in classical music. I've been writing music since I was 18, amassing a good amount of chamber works and a few orchestral pieces, too, though I now primarily focus on arranging pieces for woodwinds. I'm particularly fond of video game music and have spent much of my free time creating suites for classic 90s JRPGs. I've been fortunate to have my music performed worldwide, and I'm always looking to connect and collaborate with other musicians to help bring a new life into neo-classical music.

CJ Darnieder

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