Sonata For Keyboard In D Minor, K. 32, Domenico Scarlatti 2

Tiesto & Samuel Barber - Adagio For Strings (Dynatonic & MR.V.ID Remix)

I recorded this for an audition back in 2017. Hope you enjoy!

Arabesque No. 1

Arabesque No. 1 from Deux Arabesques by Claude Debussy

Waltz in a Flat Major, Op. 34 No. 1 (Choir Rendition)

April

C. W. Gluck: Orfeo ed Euridice, Wq. 30 Act II: Dance of the blessed spirits (feat. Charlotte Norholt)

Bruckner: Symphony No. 4 in E-Flat Major, WAB 104

Symphony No. 4 in E-Flat Major, WAB 104: II. Andante quasi Allegretto (Live)

Requiem, Op. 48 - Pie Jesu

Gabriel Fauré, composer
Ryan Dodge, arranger
Trevor Nuckols, horn
David Ball, organ

When Gabriel Fauré sat down to write what he at first called his Petit Requiem in 1887, he could not have helped but think of settings by three of the nineteenth century’s most illustrious composers: Hector Berlioz (1837), Giuseppe Verdi (1874), and Johannes Brahms (1868). Two of these – by Berlioz and Verdi – are on an enormous scale and pack overwhelming dramatic punch. The kinder, gentler Deutsches Requiem by Brahms, composed following the death of his mother, is an outlier, avoiding altogether the Latin liturgical texts with its images of hell and eternal damnation and focusing more on the notions of release from suffering and eternal life.

Fauré’s approach is something of a hybrid, freely excerpting texts from the Requiem Mass and other liturgies according to his own aesthetic. In a 1902 interview, Fauré, who spent his career as an organist, said his goal was “to stray from the established path after all those years accompanying funerals! I’d had them up to here. I wanted to do something different.”

First performed in Paris’s Madeleine Church at the 1888 funeral of architect Joseph Lesoufaché, Fauré’s Petit Requiem initially used only the tender closing section, Pie Jesu, from the predominantly “fire and brimstone” Sequence (Dies irae, dies illa…) which evokes the “day of wrath, day of doom,” the “righteous Judge of vengeance” and “all of nature quaking” at the blast of the trumpet.

“Everything I managed to entertain by way of religious illusion I put into my Requiem, which moreover is dominated from beginning to end by a very human feeling of faith in eternal rest,” Faure said, shortly after completing the first of several versions he would write over a fifteen-year period.

Fauré’s original version, from 1888, was scored for a choir of about 40, accompanied by a small orchestra of solo violin, divided violas, divided cellos and basses, harp, timpani and organ. The use of lower strings with no brass was clearly intended to emphasize the gentle, comforting nature of the piece. When Fauré got around to preparing the score for publication in 1893, he made several revisions, adding portions from the liturgical Offertoire and the Libera me, which had begun life several years earlier as a separate work for baritone solo. He also added parts for two bassoons, four horns and two trumpets.

In the late 1890s Fauré’s publisher convinced the composer to expand the orchestration further to include full symphony orchestra. Although it seems to have rubbed against the grain, Fauré agreed and issued a third version, published in 1901, that was popular for much of the 20th century. However, in the 1970s and 1980s several Fauré scholars along with the English composer/conductor John Rutter worked to reconstruct Fauré’s original 1893 orchestration. This version is considered by many to be closest to Fauré’s original intent, although Fauré himself never renounced the larger version for full orchestra, stating that it was appropriate for certain “concert” situations.

Gabriel Fauré: Requiem, Op. 48 - Pie Jesu, arr. Ryan Dodge｜Trevor Nuckols, David Ball (Live)

Musical Masterworks, Season 33 | October 2023 performances recorded at the First Congregational Church of Old Lyme, CT featuring Amy Yang, Piano; Tessa Lark, Violin; Michelle Ross, Violin; Melissa Reardon, Viola and Alice Yoo, Cello. Learn more at musicalmasterworks.org/.

Clara Schumann, 3 Romances, Op. 11 (arr. for viola and piano)

SOUND TRACK Vol.1

Concerto for Strings in G major, RV 151 (Vivaldi, Antonio)

Conductor: Christopher Cheng
Violins: Christopher Myers, Rory Benton, Henry Adams, Adam Ali-Hassan
Violas: Krishna Amin, Adrian Cheng | Violoncelli: Joseph Zubier, Ralf Leggett
Double Bass: Tobias Schröder | Guitar: Fedor Misyura | Ukelele: Inigo Selwood
Flute: Carson White | Clarinet: Luke Thornhill | Saxophones: Rory Bedford, Richard Danylyuk Bassoon: Harry Rodgers | Horns: Johnnie Furse, InChan Yang
Trumpets: Edward McMillan, Ethan Horsfall, Nikita Lopatinsky | Trombones: Charlie McMillan, Tom Elliot Percussion: William Leung | Piano: Max Cheung, Gwilym Price

11. Waltz - Jazz Suite No. 2 - Dmitri Shostakovich - College Baroque

BACH, VIVALDI. CONCERTOS
Einar Steen-Nøkleberg, piano (1–3, 7–8, 13–15)
Alexander Zagorinsky, cello (4–6, 10–12)
The Chamber Orchestra of the Vologda Philharmonic Society
Conductor – Alexander Loskutov

Johann Sebastian Bach. Harpsichord Concerto No. 1 in D minor, BWV 1052
1 I. Allegro
2 II. Adagio
3 III. Allegro
Antonio Vivaldi. Cello Concerto in A minor, RV 422
4 I. Allegro
5 II. Largo cantabile
6 III. Allegro
Johann Sebastian Bach. Harpsichord Concerto No. 4 in A major, BWV 1055
7 I. Allegro
8 II. Larghetto
9 III. Allegro ma non tanto
Antonio Vivaldi. Cello Concerto in G major, RV 413
10 I. Allegro
11 II. Largo
12 III. Allegro
Johann Sebastian Bach. Harpsichord Concerto No. 5 in F minor, BWV 1056
13 I. [Allegro]
14 II. Largo
15 III. Presto

Recorded In 2018.
Sound engineer – Alexander Volkov
Editor – Dmitry Maslyakov
Design – Anna Kim
Cover photo – "Sky Of Vologda" By Tanya Sazansky
Translation – Nikolay Kuznetsov
Digital Release: Dmitry Maslyakov, Roman Tomlyankin

MEL CD 1002592

Sonata For Keyboard In D Minor, K. 32, Domenico Scarlatti 2

Raanan Robertson