'Fled is that music: —Do I wake or sleep?' -for String Quartet

String Quartet 2: 'From Ireland'

String Quartet 3: Scéalta cois Tine (Fireside Tales)

Aquarelles, Books 1 & 2

Third and last movement of the most recent quartet for A Congeries. All titles are quotes from Keats' 'Ode to a Nightingale'.

'Fled is that music: —Do I wake or sleep?' Mvt3: 'I have been half in love with easeful Death'

1st movement completed 20 Aug 2021. The somewhat subdued ending points toward the 2nd mvt, which incorporates a plaintive (and famous) Irish song from Donegal.

String Quartet 2 ('From Ireland'); Mvt. 1 'Anamúil' (Lively) (Completed)

This second movement of 'String Quartet 2' includes 3 complete iterations of the tune from Donegal known as 'She Moved Through the Fair,' as well as variations and echoes of the tune in other passages.

String Quartet 2 ('From Ireland'), Mvt 2, 'Cinniúnach' (Tragic) (Completed)

"Offrande" ("Offering") for piano solo, beautifully performed and recorded by the amazing Phil Best, to whom I give my profound thanks.

Score available for purchase at: http://www.swirlymusic.org/music/solo-piano/r-a-moulds-offrande-for-solo-piano/

Offrande (performed and recorded by Phil Best)(Op. 88, 2013)

An arrangement (NOT a 'reimagining') of the well-known song from Donegal known as 'She Moved through the Fair', written for the Irish pianist, Fiachra Garvey.

A Song from Donegal

Aquarelles: II. Chevreaux

Pasos del Ayer - arrangement for orchestra

Pasos Del Ayer - original piano solo

String Quartet 3: 'Scéalta cois Tine' (Fireside Tales). Mvt 1 'Eachtra' (An Adventure)

Piano Set, #1

Piano Set, #2

Piano Set, #3

Piano Set, #4

Piano Set, #5

String Quartet 3: ' Scéalta cois Tine' (Fireside Tales) Mvt. 2 'Scéal Brónach' (A Tragic Tale)

Égloga: el Sauce que se enamoró de la Caricia del Viento (Leyendas Místicas I); recorded by the Moravian Philharmonic, conducted by Joel Suben [Mystic Legend #1, "Eclogue: the Willow that fell in love with the Wind's Caress."]

Égloga: el Sauce que se enamoró de la Caricia del Viento (Op. 78, 2002)

String Quartet 3: 'Scéalta cois Tine', Mvt 3: 'Scéal Grianmhar' (A Cheerful Tale)

String Quartet 3: 'Scéalta cois Tine'. Mvt 4: 'Eachtra Eile' (Another Adventure)

Aquarelles: III. Au Pic de Bugarach

The last piece of the first book of Aquarelles.

Aquarelles: VI.  Entr'acte (à l'Ombre rêveuse de C.-A.D.) - Completed

Aquarelles: I. Chrysanthèmes (Chrysanthemums) performed by the amazing Phil Best. So beautiful.

Aquarelles: I. Chrysanthèmes (performed by Phil Best)

Aquarelles: IV. Hirondelles au Crépuscule (Swallows at Dusk) performed by the tremendously gifted Phil Best. Available for purchase of download or hard copy at https://www.swirlymusic.org/music/solo-piano/r-a-moulds-aquarelles-book-i-solo-piano/

Aquarelles: IV. Hirondelles au Crépuscule (performed by Phil Best)

Aquarelles: V.  Kermesse Villageoise (Complete)

A fantastical milonga for Johan de Cock. Sheet music for this selection may be purchased at: https://www.swirlymusic.org/music/solo-piano/r-a-moulds-la-recoleta-milonga-fantasiosa-solo-piano/

La Recoleta: Milonga Fantasiosa (Complete)

'Pensif' = 'Thoughtful.' These small doodles, or ‘paper improvisations,’ if you will, began as just that—scribbles that went down without the usual planning devoted to so much of my preceding music for solo piano. As such, they probably sound much different from the Aquarelles or even the more ‘open’ Piano Set, and the player may note some features that are a bit experimental—at least for somewhat conservative me. This is not a set, but the pieces may be played together if desired. They are dedicated to my friend and supporter, Johan de Cock. Available for download: https://doc.co/T5T5qn

Printemps: Pensif (Completed)

'The Ghosts of the Plaza Mayor' - four sections: 1-Morning (0:00), 2-The Greatness of Life (2:25), 3- Processions (9:15), and 4-The Ghosts of Midnight (15:15). Produced with Note Performer 3.1

los Fantasmas de la Plaza Mayor

A drama for string quartet conveying the combined pathos and lightheartedness that characterizes much of Irish life and art. The piece itself, through its dramatic arc, shares a similar diversity.

He Laughed on his Way to the Gallows... (Op. 97, 2019)

Completed. This incorporates two Irish reels, 'The Country Girl's Fortune' (a Connemara reel) and a shorter reel from Clare, as well as some reeling strains added by myself. It's very short, but would serve well as an amusing and exciting encore.

Reeling at Mourne (Completed)

A somewhat ambiguous fandango for string orchestra. Performed by the Czech Philharmonic conducted by Robert Ian Winstin. [Mystic Legend #2, "Danza: The One who danced with the Devil."]

Danza: El que bailó con el Diablo

The first movement is completed. The title and titles for each movement are lines from Keats' 'Ode to a Nightingale'.

'Fled is that music:—Do I wake or sleep?' Mvt. 1: 'And with thee fade away into the forest dim'

'Dancing In Plague Time' was completed on July 22, 2020. Its predecessor, 'Reeling at Mourne', was based on actual Irish reel tunes, whereas this one is original stylized Irish dance music (slip jig and reel) with occasional quirky divagations. The title refers to the time of lockdown in 2020, when the piece was written, and reflects both my interest in Irish traditional musics and the need to keep up our spirits during this difficult time.

Dancing In Plague Time (Op. 101, July 2020)

A short collection of piano miniatures, written for my dear friend, Rob Haskins. Note that the set is presented in order of composition, but the performer has the option of rearranging the order in any way that suits him or her. (Note: this is a MIDI realization of the score.)

Sheet music may be purchased at: https://www.sheetmusicplus.com/title/21142973

Piano Set (Complete)

String Quartet, Mvt. 2. The overall title and the movement titles are quotations from Keats' 'Ode to a Nightingale.'

'Fled is that music:—Do I wake or sleep?' Mvt2: 'O for a beaker full of the warm South' (Completed)

R.A. Moulds studied composition with William Presser at the University of Southern Mississippi. His early music exhibited an idiosyncratic, non-dogmatic post-tonal style, which was soon abandoned in favor of a more eclectic manner.

R.A. Moulds

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