Pyotr Ilyich Tchaikovsky's The Nutcracker Suite. All tracks are electronic representations of the instruments that I imagined he would have used had he had an impressive recording studio. 

This is the complete orchestral work with all instruments and all of their notes represented. I used the score from D. Rahter's reprint of the original P. Jurgenson 1892 printing. I obtained this score from IMSLP.  

Any mistakes are my own.

The Nutcracker Is Oh So Suite!

All credit to -https://www.tiktok.com/@austincfarwell/video/6908083598180551941?lang=en&is_copy_url=0&is_from_webapp=v3&sender_device=pc&sender_web_id=6945035635359270401
This is just my extended track, Enjoy :)

Austin Farwell - The Feeling of Being in Love

Tchaikovsky's Dance of the sugar plum fairy from the Nutcracker Suite. All instruments synthesized. 17 Tracks mastered with the mid side technique..

II. b) Danse de la Fée Dragée - (Dance of the Sugar Plum Fairy)

This is the Arabian Dance, or Coffee, from Pyotr Ilyich Tchaikovsky's Nutcracker Suite.  It consists of 20 tracks and is a preliminary mixdown of my version of the composition. I used several different synths to achieve the feel I want for the piece and I used the mid side mastering technique to render this.

Coffee (Arabian Dance)

II. d) Danse arabe - Coffee - (Arabian Dance)

This is 20 tracks of synthesized Russian Dance from the Nutcracker Suite, each note lovingly entered from the . It is mastered using the Mid Side technique.

It is tempo di Trepak, molto vivace and I interpret that as 155 BPM in the beginning and then at measure 73, marked stringendo, starting to increase the tempo to an ending at 176 BPM.

II. c) Trepak, danse russe - (Russian Dance)

This is 13 tracks of my interpretation of the Ouverture Miniature from Tchaikovsky's Nutcracker Suite. It is mastered using the Mid Side technique. The tempo is Allegro Gusto which is about 105 beats per minute. 

An overture is meant to whet the appetite of the audience for the performance and relay pieces of the performance to the audience to help them anticipate the performance to come. Unfortunately, this Overture does not whet the appetite, it dims it because, in my opinion, it is just not that great a piece of music. I did what I could, these are all the original notes included, there was just nothing I could do dress it up any more than I did. I am happy with the work, just not thrilled.

I. Ouverture Miniature

13 tracks of interpolation and rumination on the March. This is an all electronic interpretation of the Marche from Tchaikovsky's Nutcracker Suite.

II. a) Marche

This is my interpretation of the Pas De Deux from the Nutcracker Ballet. I included this piece because I felt my album, "The Nutcracker is oh so Suite" was not quite long enough. Though this piece is not in the suite, I have always found it to be a wonderful piece of music so I hope that you enjoy my take. I used 16 tracks of instrumentation to achieve this and mastered the track using the Mid Side technique.

Pas De Deux

10 夜市の料理人 11 CATACOMBAE. 12 Adagio Lamentoso.

WinterJourney 24 The Hurdy - Gurdy Man

Winterjourney 06 Life Cycle

JS Bach: Wachet Auf Ruft Uns Die Stimme, BWV 140 (arr. Francesco Tristano)

A Human’s Touch is not the only TWRP song please guys

Ladybug - TWRP

In tribute to one of my favourite composers.
A fresh remix for an appearance with dignity ;)

Modest Mussorgski: The old castle - Cover by Spektralfarben (Remix 2017)

I found an old box of cassettes with a couple of gems in it. One actually has my final project from an electronic music composition class I took in 1979. I was poking my nose into dusty corners in the basement of the music building at the University of Arizona, and found a rack of wire wrapped circuit boards with a terminal, a couple of 8" floppy drives, and an 88 key keyboard attached! I started asking around, and learned that it was one of the 5 prototypes of the Micor Coupland digital synthesizer. It had been left by a professor who had retired, and no one knew anything about it. So being me, I asked if I could play around with it. They made me take the 400 level class (as a sophomore) to get access to it, and I happily obliged, and got a couple of friends to help me haul it out of the basement and set it up in the 8-track studio. Now keep in mind that in 1979 no one had even considered a digital synthesizer, and you could count the polyphonic synths in the WORLD on one hand. Here was a FULLY (88-note) polyphonic DIGITAL synth! So I set about putting it all back together, started sticking floppies in until I found one that actually booted up, and I was off and running.
It was based on the TI-9900 microprocessor. Sounds were created by entering an equation that gave voltage as a function of time. It had 2 oscillators, the main oscillator and a modulation oscillator, and an ADSR that controlled the amplitude. The keyboard was the only "performance" control - all other real-time changes to the sound had to be commanded on the terminal. I learned to type with one hand while playing with the other.
Anyway, this is what came out of a fun-filled semester playing with this beast. I am putting it up here strictly for its historical significance; to showcase what this synth could have become if Micor hadn't pulled the funding.
There is a little bit of info on it at http://en.wikipedia.org/wiki/Coupland_Digital_Music_Synthesizer - but the story I heard (from a girl I was dating, who's father was a friend of Rick Coupland) was that Rick was so mad when Micor pulled the funding that he destroyed all of the documentation, and wouldn't even talk about the project to anyone after that. This MAY be the only surviving recording of this magnificent instrument.

Micor Coupland (first digital synthesizer)

When I Looked Up 🙌
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We Dream Of Eden - When I Looked Up

Cavatina by Stanley Myers. The famous John Williams arrangement.
This piece was recorded for Jean from the Booterstown Guitar Circle.

Eimear kindly gave me a loan of her David Adams guitar for this recording. It has a lovely woody, mellow tone that really suits this piece.

Cavatina- Stanley Myers (arr. John Williams)

I create electronic music in the spirit of Tomita and Wendy Carlos. I also like to rock and am into Pink Floyd. I have been a user of Cakewalk since version 1.0 and currently use Reason, Cakewalk and Audacity along with a studio full of electronic instruments and effects. I play with local musicians and I work at composing electronic renditions of classical music.

Pas De Deux

Howard F. Arner, Jr.

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