I decided to record this, even though I'm not that big of an ADTR fan, because this song means a lot to me and I decided to dedicate this recording to someone I love very much.

Feel free to email me for stems & multitracks, so you can mix it yourself!

Have Faith In Me (A Day To Remember Cover)

Recorded at Auditorio Leon de Greiff, Universidad Nacional de Colombia, Bogotá.

-Antonio Vivaldi (1678 - 1741)

Le quattro stagioni da Il cimento dell'armonia e dell'invenzione op.8

La Primavera, Concerto in mi maggiore op. 8 No. 1 RV 269.

1. Allegro: Giunt'è la primavera - Canto degl'uccelli - Scorrono i fonti - Tuoni - Canto degl'uccelli.

2. Largo e pianissimo sempre: Il capraro che dorme (violino principale) - Mormorio di fronde e piante (violini) - Il cane che grida (viola).

3. Danza Pastorale: Allegro.

L'estate, Concerto in sol minore op. 8 No. 2 RV 315.

1. Allegro non molto: Languidezza per il caldo -  Il cucco - La tortorella - Il gardellino - Zeffiretti dolci - Venti diversi - Vento borea - Il pianto del villanello.

2. Adagio - Presto: Mosche e mosconi.

3. Presto: Tempo impetuoso d'estate.

L'autunno, Concerto in fa maggiore op. 8 No. 3 RV 293.

1. Allegro: Ballo e canto de' villanelli - L'ubriaco - L'ubriaco che dorme.

2. Adagio molto: Dormienti ubriachi.

3. Allegro: La caccia - La fiera che fugge - Schioppi e cani - La fiera fuggendo muore.

L'inverno, Concerto in fa minore op. 8 No. 4 RV 297.

1. Allegro non molto: Agghiacciato tremar tra nevi algenti - Orrido vento - Correre e battere li piedi per il freddo - Venti - Battere i denti.

2. Largo: La pioggia.

3. Allegro: Camminar sopra il ghiaccio - Caminar piano e con timore - Cader a terra - Correr forte - Il vento scirocco - Il vento boreo e tutti i venti.

-Giuseppe Tartini (1692 - 1770)

Sonata in sol minore "Il trillo del diavolo"

1. Larghetto affettuoso.

2. Allegro moderato (Tempo giusto dell scuola tartiniana)

3. Andante (sogni dell'autore)

4. Allegro assai - Andante - Allegro assai - Andante - Allegro assai - Cadenza - Adagio

-Johann Sebastian Bach (1685 - 1750)

Concerti per violino.

Concerto in la minore, BWV 1041.

1. Allegro moderato.
2. Andante.
3. Allegro assai.

Concerto in mi maggiore, BWV 1042.

1. Allegro.
2. Adagio.
3. Allegro Assai.

Concerto in sol minore, BWV 1056.

1. Allegro.
2. Largo.
3. Presto.

Concerto per violino e oboe in re minore, BWV 1060.

1. Allegro.
2. Adagio.
3. Allegro.


Recital de grado - Felipe Esteban Hernández

Recorded at Teatro de Bellas Artes, Bogotá, Colombia.

Soloist: Felipe Hernández.
Accompanied by Orquesta Filarmónica de Bogotá, directed by Andrés Estrada.

00:00 I: Moderato: C minor

The opening movement begins with a series of bell-like tollings on the piano that build tension, eventually climaxing in the introduction of the main theme. In this first section, the orchestra carries the Russian-character melody while the piano makes an accompaniment made of rapid oscillating arpeggios. After the statement of the long first theme, a quicker transition follows until the lyrical second theme, in E flat major, is presented.

The agitated and unstable development borrows motives from both themes changing keys very often and giving the melody to different instruments while a new musical idea is slowly formed. The music builds in a gradual climax as if the first bars were to be repeated, but in the recapitulation the theme is presented as unique to the first statement.

While the orchestra restates the first theme, the piano, that in the other occasion had an accompaniment role, now plays the march-like theme that had been halfly presented in the development, thus making a considerable readjustment in the exposition, as the main theme, played by the orchestra has become an accompaniment. This is followed by a piano solo, which leads into a descending chromatic passage and concluding with an eerie French horn solo. From here the last minutes of the movement are placid until drawn into the agitated coda, and the movement ends in C minor fortissimo.

10:20 II: Adagio sostenuto – Più animato – Tempo I: C minor → E major

The second movement opens with a series of slow chords in the strings which modulate from the C minor of the previous movement to the E major of this movement. The piano enters, playing a simple arpeggiated figure. This opening piano figure was composed in 1891 as the opening of the Romance from Two Pieces For Six Hands. The main theme is initially introduced by the flute, before being developed by an extensive clarinet solo. The motif is passed between the piano and other soloists before the music accelerates to a short climax centred on the piano. The original theme is repeated, and the music appears to die away, finishing with just the soloist in E major.

21:13 III: Allegro scherzando: E major → C minor → C major

The last movement opens with a short orchestral introduction that modulates from E (the key of the previous movement) to C minor, before a piano solo leads to the statement of the agitated first theme. After the original fast tempo and musical drama ends, a lyrical theme is introduced by the oboe and violas. This second theme maintains the motif of the first movement's second theme. After a long period of development tension is built up considerably. Near the end, Rachmaninoff restates the second theme in loud, fortissimo orchestration. After this a fast, ecstatic and very triumphant coda draws the piece to a close, ending in C major.

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Sergei Rachmaninoff - Piano Concerto No. 2 in C minor, Op. 1

Recorded at Slowdeath Studios Ltd.

Soloist: Felipe Hernández.

The 24 Caprices for Solo Violin, Op. 1, were written by Niccolò Paganini between 1802 and 1817 and published in 1819.[1] They are also designated as M.S. 25 in Maria Rosa Moretti and Anna Sorrento's Catalogo tematico delle musiche di Niccolò Paganini, which was published in 1982. The caprices are in the form of études, with each number studying individual skills (double stopped trills, extremely fast switching of positions and strings, etc.)

Edition Peters first published them in 1819; Ricordi later published another edition in 1821. When Paganini released his caprices, he dedicated them "to the Artists" rather than to a specific person.

Unlike many earlier and later sets of 24 pieces, there was no intention to write these caprices in 24 different keys.

Caprice No. 1 in E major - Andante: Nicknamed "L'Arpeggio", this composition matches chordal playing with ricochet across all 4 strings. The piece opens in E Major and then quickly transitions into an E minor development section, where descending scales in thirds are introduced.

Caprice No. 2 in B minor - Moderato: The second caprice in B minor focuses on detache with many string crossings across non-adjacent strings.

Caprice No. 3 in E minor - Sostenuto - Presto - Sostenuto: Caprice No. 3 is a slurred legato exercise with octave trills in the introduction and conclusion.

Caprice No. 4 in C minor - Maestoso; Caprice No. 4 is an exercise featuring passages with many multiple stops.

Caprice No. 5 in A minor - Agitato: This caprice focuses on fast ricochet bowings. It begins and ends with a section of ascending arpeggios followed by descending scales.

Caprice No. 6 in G minor - Lento: Nicknamed "The Trill", the sixth caprice exploits the use of left-hand tremolo on the violin by quickly alternating between different notes in the chord in one of the voices. A melody is played in one line with a tremolo occurring on another.

Caprice No. 7 in A minor - Posato: This caprice focuses on slurred staccato passages, featuring many long slurred scales and arpeggios.

Caprice No. 8 in E-flat major - Maestoso: Caprice No. 8 focuses on sustaining a lower note while playing a higher melody at the same time, meanwhile incorporating many trills and double stops.

Caprice No. 9 in E major - Allegretto: Nicknamed "La Chasse" or "The Hunt", the violin's A and E strings imitate the flutes ("Sulla tastiera imitando il Flauto"), while the G & D strings imitate the horns ("imitando il Corno sulla D e G corda"). Primarily a study in double stops, with ricochet occurring in the middle section.

Caprice No. 10 in G minor - Vivace: This caprice is primarily a study in up-bow staccato, with staccato notes punctuated by chords, trills and distant string crossings.

Caprice No. 11 in C major - Andante – Presto – Andante: The eleventh caprice starts and ends with sections that require multiple voices, containing a passage that consists of many dotted notes rapidly jumping up and down the scale.

Caprice No. 12 in A-flat major - Allegro: This caprice consists of a slurred pattern of a melody on an upper string alternating with a drone note on a bottom string, forcing the violinist to stretch great distances while keeping a finger on the drone string.

Caprice No. 13 in B-flat major - Allegro: Nicknamed "The Devil's Laughter", this solo violin piece starts out with scale like double-stopped passages at a moderate speed. The second part consists of high speed runs that exercise left hand flexibility and position shifting, and right hand high speed string changing and detache bowing. The piece then repeats back to the beginning and ends right before reaching the second part for the second time.

Caprice No. 14 in E-flat major - Moderato: The 14th caprice displays the violin's ability to voice chords. It contains many triple and quadruple stops. Stylistically, the piece imitates brass fanfares.

Caprice No. 15 in E minor - Posato: Caprice 15 starts with a short passage of high parallel octaves, continuing on to ascending arpeggios, descending scales, and broken thirds.

Caprice No. 16 in G minor - Presto: The first part shows the theme, requiring a player's ability of right-hand and left-hand bow control as it consists of arpeggios using either alternate adjacent strings or string jumping. The former requires the player the mastery of upper register, as it is difficult to control especially with the distance. The latter on the other hand requires the performer to master string skipping, where a player jumps from one string to another, rapidly over adjacent positions. The over-all required technique is detache.

The second part is continuous —the earlier part is a consequent passage. The next area differentiates itself by the continued use of a quieter feel, with chromatic passages executed in slur phrases. By analysis, the second part is smorzando legato. It returns with a series of up and down arpeggios and scales increasing in intensity until the caprice's conclusion. The caprice appears to be brief since its entire length is executed in presto.

Caprice No. 17 in E-flat major - Sostenuto – Andante: The "A" section contains numerous thirty-second note runs on the A and E strings that converse back and forth with double stops on the lower two strings. The middle section is famous for the incredibly difficult octave passage.

Caprice No. 18 in C major - Corrente – Allegro: The introduction to caprice 18 demonstrates playing on the G string in very high positions. This is followed by a rapid display of scales in thirds.

Caprice No. 19 in E-flat major - Lento – Allegro Assai: Here are a lot of octaves at the beginning; then there are string crossings between G and A strings; this is followed by quick changes of position on the G string.

Caprice No. 20 in D major - Allegretto: Caprice 20 is famous for the use of the D string as a drone, backdropping a lyrical melody on the A and E strings, imitating a bagpipe. This is followed by a rapid sixteenth note passage with trills and flying staccato.

Caprice No. 21 in A major - Amoroso – Presto: Caprice 21 begins with a very expressive, aria-like melody played in double-stopped sixths. This is followed by a section of rapid up-bow staccato.

Caprice No. 22 in F major - Marcato: Caprice 22 explores many types of double and triple stops with louré bowing, then implementing various elements of slurred staccato, slurred tremolos and strings crossings.

Caprice No. 23 in E-flat major - Posato: Caprice No. 23 begins with a melody in octaves in E-flat. The middle, contrasting section is a formidable exercise in string crossings: it requires the violinist to play patterns of 3 sixteenth notes on the G string and then cross quickly to play one on the E string, and then back to the G string, all at a quick tempo.

Caprice No. 24 in A minor - Tema con Variazioni (Quasi Presto): Caprice No. 24 in A minor is the final caprice of Niccolò Paganini's 24 Caprices, and a famous work for solo violin. The work, in the key of A minor, consists of a theme, 11 variations, and a finale.

It is widely considered one of the most difficult pieces ever written for the solo violin. It requires many highly advanced techniques such as parallel octaves and rapid shifting covering many intervals, extremely fast scales and arpeggios including minor scales in thirds and tenths, left hand pizzicato, high positions, and quick string crossing.

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Niccolò Paganini - 24 Caprices for solo Violin, Op. 1.

1. Allegro non troppo e molto maestoso – Allegro con spirito (B flat minor → B flat major)

The first movement is initiated with four emphatic B-flat minor chords, which leads to a lyrical and passionate theme in D-flat major. This subsidiary theme never appears again throughout the movement. The main theme of the concerto is a Ukrainian folk theme which is contrasted with a romantic theme, both in B-flat minor and featuring some of the melodic contours from the introduction. They are followed by a consoling orchestral A-flat major theme over a pedal point, which is repeated at the end of the exposition after a tumultuous climax in C minor. The development section juxtaposes the folk theme with the romantic theme. The recapitulation features the primary theme in the tonic key, leading into a transposition of the romantic theme and climax in the tonic major, before the excitement is cut short by an interrupted cadence and a piano cadenza. Surprisingly, the movement does not revert to the tonic minor, but instead leads to a triumphant and optimistic coda, concluding in B-flat major with a drum roll.

2. Andantino semplice – Allegro vivace assai/Prestissimo (D flat major)

The second movement, in D-flat major is marked "andantino semplice", which lends itself to a range of interpretations. 

The movement is in ternary form (ABA). After a brief pizzicato introduction, the flute carries the first statement of the theme. The flute's opening four notes are A-flat–E-flat–F–A-flat, while each other statement of this motif in the remainder of the movement substitutes the F for a (higher) B-flat. The British pianist Stephen Hough suggests this may be an error in the published score, and that the flute should play a B-flat. After the flute's opening statement of the melody, the piano continues and modulates to F major. After a bridge section, two cellos return with the theme in D-flat major and the oboe continues it. The "A" section ends with the piano holding a high F major chord, pianissimo. The movement's "B" section is in D minor (the relative minor of F major) and marked "allegro vivace assai" or "prestissimo", depending on the edition. It commences with a virtuosic piano introduction before the piano assumes an accompanying role and the strings commence a new melody in D major melody. The "B" section ends with another virtuosic solo passage for the piano, leading into the return of the "A" section. In the return, the piano makes the first, now ornamented, statement of the theme. The oboe continues the theme, this time resolving it to the tonic (D-flat major) and setting up a brief coda which finishes ppp.

3. Allegro con fuoco (B flat minor → B flat major)

The third movement is marked "allegro con fuoco", and involves the interchange between two principal themes roughly in an ABABAB structure. The "A" theme in B-flat minor, based on a Ukrainian folk song, is principally carried by the piano on each occasion. On the first two occasions it develops into a subsidiary theme, in a major key, played by the orchestra. The "B" theme also appears three times, although in very different guises. On the first occasion it is a lyrical string melody in D-flat major, which the piano develops. Its second appearance is in an abridged form and in E-flat major. Its third and final appearance is in B-flat major, after a long and climactic bridge passage. This time it is triumphal, rather than lyrical, and played fortissimo by the orchestra and piano together. This final appearance leads into a B flat major coda marked "allegro vivo".

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Pyotr Ilyich Tcháikóvski - Piano Concerto No. 1 in B-flat minor, Op. 23.

Red Forest's sophomore  album Drowning in Shifting Sands is finally out. Combining sounds ranging from new wave, pos-t rock to black metal, it comprises months of hard work put into every track onto a 43 minute masterpiece.

Tracklist:
1. Deification of a King: 12:58
2. The Art of Losing: 8:03
3. Ruby (The Jewels in my Chest Part I): 5:34
4. Gold (The Jewels in my Chest Part II) 8:22
5. Drowning in Shifting Sands: 8:23

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℗ 2015 Red Forest

Have Faith In Me (A Day To Remember Cover)

Felipe Esteban Hernández

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