Musical notes of every theme here come from sequences of letters A, B, C, D, E, F, G and H as they can be found in James Joyce's "Finnegans Wake". (Refer to individual files for details.)

1. Frederic Chopin: Etude in E Major (Op. 10 No. 3)
2. Sergei Rachmaninoff: Piano Concerto 3 in D Minor (Op. 30) [take 1]
3. Alec Rowley: Scottish March (Op. 47 No. 2) [take 1]
4. Gustav Holst: Jupiter, the Bringer of Jollity, 4th part of "The Planets" suite (Op. 32)
5. Joseph Haydn: String Quartet (Op. 76 No. 3) // Volkshymne
6. Witold Lutosławski: Wariacje na temat Paganiniego [Variations on a Theme of Paganini, for Two Pianos] (1941)
7. Alec Rowley: Scottish March (Op. 47 No. 2) [take 2]
8. Sergei Rachmaninoff: Piano Concerto 3 in D Minor (Op. 30) [take 2]
9. Sergei Rachmaninoff: Piano Concerto 3 in D Minor (Op. 30) [take 3]

Classical Music by James Joyce

Sequences of letters of the set {abcdefgh} were taken from James Joyce's "Finnegans Wake" and treated as sounds. Durations established, they were arranged into several variations on the tune of Hejnał Mariacki.
(More on Hejnał: http://en.wikipedia.org/wiki/St._Mary%27s_Trumpet_Call )
(1) intro
(2) Finnegans Wake 429.02-05 ("leg of his nightstride being pulled through, and to loosen (let God's son now be looking down on the poor preambler!) both of his bruised brogues that were plainly made"): 50 letters ["egfhghdebegedhghadeeGdbegdheeabebhfhbedbgehaeeaade"]
(3) Finnegans Wake 481.33-35 ("the brodar of the founder of the father of the finder of the pfander of the pfunder of the furst man in Ranelagh, fué! fué!"): 51 letters ["hebdafhefdefhefahefhefdefhefadefhefdefhefaaeaghféfé"] (note: "é" represents d#/eB)
(4) Finnegans Wake 481.33-35: reprise, 51 letters
(5) Finnegans Wake 570.13-17 ("place. Amen. // True! True! Vouchsafe me more soundpicture! It gives furiously to think. Is rich Mr Pornter, a squire, not always in his such strong health? I thank you for the best, he is in taken deal exceedingly herculeneous.): 61 letters ["aceAeeechafeeedcegefhcheaeaahchgheahhafhebeheaedeaeceedghecee"]
(6) Finnegans Wake 447.20-23 ("Bridge of Belches in Fairview, noreast Dublin's favourite souwest wateringplatz and ump as you lump it. What do you mean by Jno Citizen and how do you think of Jas Pagan? Compost liffe in Dufblin by Pierce"): 57 letters ["BdgefBecheFaeeaDbfaeeaegaadahadeabCeadhdhfaagaCffeDfbbece"]
(7) Finnegans Wake 621.15-19 ("cuppinjars cluttering round us, clottering for their creams. Crying, me, grownup sister! Are me not truly? Lst! Only but, theres a but, you must buy me a fine new girdle too, nolly. When next you go to Market Norwall. They're all saying I need it since the"): 58 letters ["cacegdcegfheceaCgegeAeebheeabbeafeegdeheegaeaheeaageedcehe"]
(8) Finnegans Wake 481.07-10 ["I dreamt of a somday. Of a wonday I shall wake. Ah! May he have now of here fearfilled me! Sinflowed, O sinflowed! Fia! Fia! Befurcht christ! -- I have"]: 53 letters ["deafadafadahaaeAhahehaefheefeafedefedfedFaFaBefchchha"]
(9) Finnegans Wake 142.31-33 ("they love laughing, they laugh weeping, they weep smelling, they smell smiling, they smile hating, they hate thinking, they think feeling,"): 45 letters ["heeaghgheagheegheeeegheegheehaghehaehghehfeeg"]
(10) Finnegans Wake 223.15-17 ("face a facing. They are set, force to force. And no such Copenhague-Marengo was less so fated for a fall since"): 45 letters ["faceafacgheaeefcefceAdchCehageaegaefaedfaface"].
(11) outro: craconaise (polonaise alla cracca)

FW 429.02-05 [&] Hey Now, Craic-O [Joyce Variations on Hejnał Mariacki]

Expected imitation / soundalike: Witold Lutosławski's variation on a theme from Niccolo Paganini. First performed in Częstochowa, Poland, 2013: http://www.youtube.com/watch?v=t89xIoSYAiI

From James Joyce's "Finnegans Wake", the portion spanning from "There'd be no standing me, I tell you.” to „There is some thing more. A word appart[ing]" (FW 451.26-454.26), only the letters of the set {ABCDEFGH} were left, 1941 of them. 

Their sequence: ["heedbeadgeeAdagaebaagaaeChadeeaefehhabadedeachheaafeeeeeheedaGgaheeeccaheafechegchehadacaghefhedcaehbaaechabeadhegeaafheaafcadeaeadeehgfehghahefaeddbecedbeafadeadabheeadadeafheebefcabgadhhehedchecdaheehebghadehheDaeadhchaefaccdebeaaeahebeehaffacaheahcdegcafaadhahehfhecacgbagfefahehgeecdeheeefaehdhadhfgefcagaeaceehhaeachebdeaeaaeadgefegageFeacChehcedacebeaedadhgehahhgdeefbecedaHhedeeghefcadecgahbaeeecgeahhegdadcgafhheeheheaedhgefahghbeaaeebeadbhaafeheadgfhfaadhheehededfffehehbeedceeadbhcahegecefdhghaheaafafeeheeffefehaedbeafceeheecefhedeadfhahheefdaecheceheabhghecadgedaddeeheeebegaeaedbhecceadaaedbheeceefeeaeeeeefeaegaddfcaFfbeadhfdeabeeedbeheheahaefagadhgebbeggeeagaeeghgebgaebheegfHhehheEhefadeeagBefeheeaachaaeadheeedadacaeheeeaaefahghaedaeaefeehgheeefehabdfaageafahaeedehehaAdeheehedeaeheehefgedfAaeehheheabehbeFdecaeehabegggechafaafhghefeceeeaefaaheeaefaffaghhbecgeaedafeeceaeceeafeaedabebfghgbddadegbbegabbeeedeadafeedaceeffgcabaehegaddebaebaggafbaegechcgbehehbaegccegddeadceaeegedceaghbgadahagaeeeadheeahheaecechagecgcegbeafaadahafabbegagchaeBabefabedageadaceagHhbadaDeheeCgehghhedhhegaheghechebfGdbeadaBehghdgheceegaabeefbbgeaefaedbacfeefeeeechafaggaeeceadadafagddaadheefbaheeaahabhefefabeehheadaeeaaeaehgheefefheehaaeheaheagceadeeeaeadeheggadhadeagfheeaehacdaadeeaadeheaadeebegeggeffhghbghedhbeabeefheadaeeehdeffefegageaehechadfhebeeeeeehecdaedaedafehefeaheheddaeehaabehedadhaccaaghefedgheceaéefheeecheadffehabgaeeaDechedaahaeedecheeeffDadeeaeaaacaeheCahadFadebeadeheeacafeefaeheeeagfaehhegeheehdedhheefeaGdbeagdbeHaghHagheeaeaeeadebefehgheadgebeeeehadhaeeeaagefhchegfebAhhehbecedHcehgfadegaehaeccedeeaahafagadbgbheaeagheeDdgehaadgghghfeahefehedfhhaeabafedeheheadfadeefedahebaehghfhhedebeghhadafheeeaeaeeeagadhedhehheaghchechchgehgehgehghhghhghaabeadgeeheghhheahhgcaaafdehhheeHeaHaeehaeedheebaeBeaaheddeheaafeaecheheeghdaheeddehhgebagaheehhbacehdeeehaehedaddeedfheghedadhfeedadheeacedheafheeahafehchhedeedadfaheeedheeehgeAdaa"]
was translated into 1941 respectively pitched musical notes.
Barring "mirror" chords/clusters that read the same left-to-right and right-to-left (e.g. ACA, FAF, EE [octave interval] AAA [double octave interval]), no two (different) notes start at the same time. Duration attributed arbitrarily.

The title "redivivus of paganinism" comes from "Finnegans Wake". The number of letters (1941) is to symbolize the year of Lutosławski's composition in the year 1941, wartime Warsaw, Poland. The 8 opening and closing bars are taken from the founding opus. Example, 2 pianos (Argerich, Kissin): http://www.youtube.com/watch?v=PpU6jOgCoGg

A Redivivus Of Paganinism: Joyce Variations on Lutosławski on Paganinis Own Variations on Caprice 24

Some of my SC files were collected, arranged and remade by PAIDE. The remix was first uploaded here: http://www.radio-alternator.com/index.php/2014/01/28/2014-01-28-slow-audycja-audycja-w-wolnym-wymiarze-presents-gi-mcbart-miditape/
Enjoyce!
Web coverage (English): http://culture.pl/en/article/secret-code-in-joyces-finnegans-wake-cracked
(Polish): http://culture.pl/pl/artykul/finnegans-wake-remix-czyli-jak-polak-zlamal-kod-joycea

PAIDE PRESENTS JOYCE --- GI McBart MIDItape Finnegans Wake Remixed

The idea was to remix selected tunes from Krzysztof Bartnicki's soundcloud page. But they're not usual tracks as you may think:
"The sounds here are founded on sequences of 8 letters of James Joyce's 'Finnegans Wake'. As A's, B's C'd, D's, E's, F's, G's and H's of the world's weirdest book get to represent sounds, Joyce appears to have composed melodies we think others did. After he'd died."

'GI McBart MIDItape' is a recorded live mix version as a part of the showcase with Gerard Lebik and Robert Piotrowicz in Wroclaw, Poland on 14th February 2k14. 

note:
first track is: Oriol Rosell - Seidl 3(from [Crónica058-2011] Oriol Rosell - Ulrich Seidl EP)
last track is:  Paide - Szpaki / Starlings

more info:
https://soundcloud.com/gimcbart
http://culture.pl/en/article/secret-code-in-joyces-finnegans-wake-cracked

GI McBart MIDItape live mix

Expected imitation / soundalike: Witold Lutosławski's variation on a theme from Niccolo Paganini.

From James Joyce's "Finnegans Wake", the 451.26-454.26 fragment from "There'd be no standing me, I tell you.” to „There is some thing more. A word appart[ing]", only the letters of the set {ABCDEFGH} were left, 1941 of them.

Their sequence ["heedbeadgeeAdagaebaagaaeChadeeaefehhabadedeachheaafeeeeeheedaGgaheeeccaheafechegchehadacaghefhedcaehbaaechabeadhegeaafheaafcadeaeadeehgfehghahefaeddbecedbeafadeadabheeadadeafheebefcabgadhhehedchecdaheehebghadehheDaeadhchaefaccdebeaaeahebeehaffacaheahcdegcafaadhahehfhecacgbagfefahehgeecdeheeefaehdhadhfgefcagaeaceehhaeachebdeaeaaeadgefegageFeacChehcedacebeaedadhgehahhgdeefbecedaHhedeeghefcadecgahbaeeecgeahhegdadcgafhheeheheaedhgefahghbeaaeebeadbhaafeheadgfhfaadhheehededfffehehbeedceeadbhcahegecefdhghaheaafafeeheeffefehaedbeafceeheecefhedeadfhahheefdaecheceheabhghecadgedaddeeheeebegaeaedbhecceadaaedbheeceefeeaeeeeefeaegaddfcaFfbeadhfdeabeeedbeheheahaefagadhgebbeggeeagaeeghgebgaebheegfHhehheEhefadeeagBefeheeaachaaeadheeedadacaeheeeaaefahghaedaeaefeehgheeefehabdfaageafahaeedehehaAdeheehedeaeheehefgedfAaeehheheabehbeFdecaeehabegggechafaafhghefeceeeaefaaheeaefaffaghhbecgeaedafeeceaeceeafeaedabebfghgbddadegbbegabbeeedeadafeedaceeffgcabaehegaddebaebaggafbaegechcgbehehbaegccegddeadceaeegedceaghbgadahagaeeeadheeahheaecechagecgcegbeafaadahafabbegagchaeBabefabedageadaceagHhbadaDeheeCgehghhedhhegaheghechebfGdbeadaBehghdgheceegaabeefbbgeaefaedbacfeefeeeechafaggaeeceadadafagddaadheefbaheeaahabhefefabeehheadaeeaaeaehgheefefheehaaeheaheagceadeeeaeadeheggadhadeagfheeaehacdaadeeaadeheaadeebegeggeffhghbghedhbeabeefheadaeeehdeffefegageaehechadfhebeeeeeehecdaedaedafehefeaheheddaeehaabehedadhaccaaghefedgheceaéefheeecheadffehabgaeeaDechedaahaeedecheeeffDadeeaeaaacaeheCahadFadebeadeheeacafeefaeheeeagfaehhegeheehdedhheefeaGdbeagdbeHaghHagheeaeaeeadebefehgheadgebeeeehadhaeeeaagefhchegfebAhhehbecedHcehgfadegaehaeccedeeaahafagadbgbheaeagheeDdgehaadgghghfeahefehedfhhaeabafedeheheadfadeefedahebaehghfhhedebeghhadafheeeaeaeeeagadhedhehheaghchechchgehgehgehghhghhghaabeadgeeheghhheahhgcaaafdehhheeHeaHaeehaeedheebaeBeaaheddeheaafeaecheheeghdaheeddehhgebagaheehhbacehdeeehaehedaddeedfheghedadhfeedadheeacedheafheeahafehchhedeedadfaheeedheeehgeAdaa"] was translated into 1941 respectively pitched musical notes.

Barring 'mirror' clusters that read the same left-to-right and right-to-left (e.g. ACA, FAF, EE [octave interval] AAA [double octave interval]), no two (different) notes start at the same time. Duration attributed arbitrarily.

The title "redivivus of paganinism" comes from "Finnegans Wake". The number of letters (1941) is to symbolize the year of Lutosławski's composition in the year 1941, wartime Warsaw, Poland. The 8 opening and closing bars are taken from the founding opus.

Here is a revised version of my 2012 upload:
https://soundcloud.com/gimcbart/a-redivivus-of-paganinism
CHANGES:
(Technical) Piano => Rock Organ
(Technical) Ostinato Piano => Church Organ
(Score) 1/256th notes removed
(Score) 1/128ths usually replaced by 1/64ths
(Score) Octave balancing
(Score) Many volta/repeat sections turned into one-time sections. Hence a change in duration:  original 6'50" time reduced to 5'40". That new number may symbolize the "Restored Finnegans Wake" edition--which is ca 540 pages long.

Bartnicki's Joyce Variations on Lutosławski on Paganinis Own Variation on Caprice 24 (Redivisedus)

an old track of mine : badalamenti(Twin Peaks) + kosheen(Hide You) + oh brother where art you soundtrack .

around 2006 

It's ok Bob - twin peaks, kosheen, o brother where art thou?

I wish I was in Dixie's Land - acoustic guitar solo

Words by Rokusuke Ei, music by Hachidai Nakamura.

All sounds by Jimi Inc.

Ue o Muite Arukou

‘Fieldworks’ is a series of recordings made during the summer and autumn of 2010 in Wroclaw. The idea was to register single events whose musical aspects reveal the uniqueness of its space-time anchorage.

All photos were taken by Pawel Kaminski during the recoding process.

All rights reserved by Pawel Dunajko and pawlacz perski tapes © 2012
All rights reserved by Pawel Kaminski and pawlacz perski tapes © 2012

These works are licensed under a Creative Commons Attribution-ShareAlike 3.0 Unported License

http://pawlaczperski.org/pl
http://www.photoblog.com/PawKam

02 language

Expected imitation / soundalike: Haydn's original "Kaiserlied".

From James Joyce's "Finnegans Wake" [434.09-13 "coloured pantos instead of earthing down in the coalhole trying to boil the big gun's dinner. Leg-before-Wicked lags-behind-Wall where here Mr Whicker whacked a great fall. Femorafamilla feeled it a candleliked but Hayes, Conyngham and Erobinson sware it's an egg. Forglim mick aye!"]
only the letters of the set {ABCDEFGH} were left, 105 of them.

Their sequence
["cedaeadfeahgdhecahegbhebggdeegbefecedagbehdaheeheehcehacedageafaFeafaafeeedacadeedbHaeCghaadEbaeaeggFgcae"]
was translated into 105 respectively pitched musical notes.
No two (different) notes start at the same time. Duration attributed arbitrarily.

The sequence was arranged differently 5 times into 5 instrument lines. The 6th line goes with Haydn's original "Kaiserlied", then the 6 were paired as follows:
--------- Instrument 1 (acoustic bass, Joyce) + Instrument 2 (bass, Haydn)
--------- Instrument 3 (reed organ, Joyce) + Instrument 4 (violin, Joyce)
--------- Instrument 5 (contrabass, Joyce) + Instrument 6 (predistorted/overdrive guitar, Joyce).

FW 434.09-13 [Take a Haydn] Wort Erhalte Joyce den Reiser

Here's a short variation on the opening of Chopin's Etude in E Major (Op. 10 No. 3) called "Tristesse" or "Farewell".

From James Joyce's "Finnegans Wake" [060.08-10 "enjoining such wicked illth, ehim! Well done, Drumcollakill! Kitty Tyrrel is proud of you, was the reply of a B.O.T. official (O blame gnot the board!) while the Daughters Benkletter murmured in uniswoon: Golforgilhisjurylegs! Brian Lynsky, the cub curser, was questioned"]
only the letters of the set {ABCDEFGH} were left, 72 of them.

Their sequence ["egchcedhehedeDcaedfaheefaBffcabaeghebadheheDagheBeeeedGfghegBahecbceaeed"] was translated into 72 respectively pitched musical notes - distributed for a set of pipes, a fife of flute, with a base of brass.
No two (different) notes start at the same time. Duration attributed arbitrarily;  the tempo cranked up a bit.

FW 060.08-10 [Chopin] Etude in E Major Op. 10 # 3 (Pifes R Brass)

Expected imitation / soundalike: Gustav Holst's "Jupiter, the Bringer of Jollity", 4th part of "The Planets" suite (Op. 32), in Britain also known as "I Vow To Thee My Country".

From James Joyce's "Finnegans Wake" [378.18-30 "time. Bang! Partick Thistle agen S. Megan's versus Brystal Palace agus the Walsall! Putsch! Tiemore moretis tisturb badday! The playgue will be soon over, rats! Let sin! Geh tont! All we wants is to get peace for possession. We dinned unnerstunned why you sassad about thurteen to aloafen, sor, kindly repeat! Or ledn us alones of your lungorge, parsonifier propounde of our edelweissed idol worts! Shaw and Shea are lorning obsen so hurgle up, gandfarder, and gurgle me gurk. // You can't impose on frayshouters like os. Every tub here spucks his own fat. Hang coersion everyhow! And smotthermock Gramm's laws! But we're a drippindhrue gayleague all at ones. In the buginning is the woid, in the muddle is the sound-dance"]
only the letters of the set {ABCDEFGH} were left, 207 of them.

Their sequence ["eBagacheageegaeBaaaceagheaacheeebbaddaheagebeeaeGehAeageeacefeededeedhaadabheeaafedeeaedaefggeafedefedeeeddhaadheaaegbehgegadfadeadggeegcaefaheeEebheechfaHagceeehAdhecGaaBeeaddhegaeageaaehebgghedheddeheddace"] was translated into 207 respectively pitched musical notes.
No two (different) notes start at the same time. Duration attributed arbitrarily.

FW 378.18-26 [Holst] Jammiejoy, the Bringer of Drollity

The melodies here are found in James Joyce's "Finnegans Wake". When sequences of its A's, B's C's, D's, E's, F's, G's and H's represent sounds, Joyce appears to have composed melodies we think others did.

FW 378.18-26 [Holst] Jammiejoy, the Bringer of Drollity

GI McBart

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