5 "Tales" of Passion and the Macabre for Piano Trio - PNO, VLN & CEL - Impressions from selected Poetry & Short Stories of Poe:

- The Raven -  "Nevermore", "Lost Lenore"
- Annabel Lee - "Angel's Envy", "Tomb by the Sea"
- To Helen - “Beauty amongst the Roses"
- Hop-Frog -“the Jester's Last Jest”, "Hop-Frog & Trippetta Waltz"
- The Bells -“Intro”, Var. 1 -"Golden Wedding Bells”, Var. 2 -“Silver Sleigh Bells”, Var. 3 - “Alarum / Iron Bells”, Var. 4 - "Bells, Bells, Bells”, “Finale”

Composed by Richard Altenbach

These movements are impressions of the selected Poe works rather than attempts to musically summarize them. I term the musical style “Ultra-Romantic Expressionism” - an appropriately Romantic Classical tonal sound palette featuring vibrant dissonances befitting of the moody mind of the author.
Opening with the 3-note "Nevermore" motif (cello), "The Raven" ponders the angst and ultimate fury of the narrator, who feels sorrow over the fate of his beloved, departed Lenore while taunted by an enigmatic bird that perches in his apartments. The woody taps of the string players' bows represent the "tap-tap- tapping" on the chamber door. Spiky, dissonant chords signify the persistence of the ebony-plumed visitor. Anxious musical elements bring us to breathless turmoil. The slow “Lost Lenore” section features a somber cello theme poised over the piano’s deep, languid, unfurling clouds of chords. 
A violin interlude bridges this piece with "Annabel Lee", a gothic, romantic ghost story. A lover forever pines over the loss of his lady, blaming the jealous angels for tragedy. "Angel's Envy" describes the stormy cliff at the sea they frequented, while the eerie middle section, "Tomb by the Sea" explores the man's supernatural obsessions.
Solo violin brings us to “To Helen”. Contrasting the typical conception of Poe’s works as grotesque, morose and macabre, we hear more hopeful major tonality. “To Helen” is actually 2 distinct poems of the same title. In one version, Poe extols her beauty effusively. In the other, he speaks about her in a rose garden at midnight, wondering about what was and what could have been.
We now pivot harmonically to whole-tone and chromatic madness in “Hop-Frog” -  a Hobbit-sized court jester famous for his wit. He and his lovely Trippetta, were kidnapped from another land to serve at the whim of a boorish king. When the king unwisely insults Trippetta, the jester contrives a unique punishment involving a chandelier and masquerade ball gone very bad! The music here is quirky and sarcastic. The 2 heroes ecstatically escape back to their country. The carnival-like waltz describes their celebration.
“The Bells” evokes the emotions and rhythms suggested by the ringing of the various bells (tinkling silver sleigh bells, golden wedding bells, alarm bells, iron tolling bells). There is an Intro, 4 Variations and Finale ending in a cinematic, celebratory flourish. The final iteration of the “Evermore” motif in the last measures is extolled in a victorious, even hopeful manner. Listen for the “bells, bells, bells, etc,” and the indefatigable “Nevermore” motif haunting throughout the work...

Poetic Reflections

Tailwind

for an amazing website dedicated to uplifting terminal cancer patients, "Jesus Loves Larry", this is music to underscore inspiring biblical verses; This New Day Montage_Prayerful Meditation, Reverence, Contemplation through Joy, This New Day ( votum theoricus, reverentia, intuitus per tripudium, is novus dies )

This New Day MONTAGE

Originally composed for solo cello, percussion, male chorus and low brass & strings, the Phantasy is a distillation of Richard's ballet-like musical themes from various moments of a darkly creative, sophisticated video game about Russian espionage. The WWII-era story finds our noble hero weaving through such events as the Nazi occupation of Kiev, KGB-style justice, escapes, love and ultimate betrayal, despair and true audacity of hope. 

from "Winter for Ivan"
https://www.youtube.com/watch?v=VmgtFEtXKFA
Movements include:
Cadenza Prologue (Adagio) 
Ballet in the Dark (Allegro agitato) 
Stefans Song (Andante) 
of Borscht & Blood (Allegro)


Wolf Sebastian's in-studio recording on cello with orchestra, electronics & male chorus prerecords. 

Stefan's Song

one of the most gut-wrenching questions in history; DEMO CUE for a Christian film. Richard on Violin ...

Father, Why Hast Thou ...?

Pre-Concert talk explicating the genius of the 5 literary masterpieces of Poe chosen for Richard's musical setting for Piano Trio, "Poe-etic Reflexions" ...

Intro - Poe Talk

Wiener Jeunesse Orchester / Herbert Böck

Synfonie

Symphonia für grosses Orchester | Symphonia for big Orchestra

Pater Noster Für Chor a cappella | Pater noster for choir a cappella

Trio Gassenhauer: Vera Karner, Dominik Wagner, Aurelia Visovan

Fantasy Piece for Clarinet, Double-Bass and Piano

Fantasiestück für Klarinette, Kontrabass und Klavier

The 3 Last Days - Good Friday through Easter

STILLE NACHT, HEILIGE NACHT
for Violin & Piano 
comp. by Franz Xaver Gruber; arr. by Richard Altenbach, ASCAP 

   The story of the creation of the beloved Christmas song, “Stille Nacht” or “Silent Night” is well-known. In the postcard Alpine village of Oberndorf, Austria, Christmas Eve 1818, a Catholic priest named Father Josef Mohr had a dilemma: Mass was to be celebrated that evening, but the church organ was kaput, perhaps due to rats in the pipes! While gazing down at the village that day, the inspired Father Mohr jotted down the soon-to-be-famous lyrics to a new song. He then tasked his organist Franz Xaver Grüber to come up with a melody to be accompanied on guitar. After just a few hours, Grüber premiered the carol. 
   Weeks later, renowned organ builder Karl Mauracher arrived to repair the Oberndorf organ. When he finished, he asked Grüber to test the instrument. The church organist proceeded to play the tune that had so recently occupied his soul, “Stille Nacht”. Greatly impressed, Mauracher took the words and music to his home village where eventually, two well-known families of singers, the Strassers and the Rainers, heard it. These “King Family” type ensembles loved the carol and spread it throughout Europe. The Strasser sisters ultimately performed it for King Frederick Wilhelm IV of Prussia in 1834. The king did much to boost the fame of the lovely tune. In 1838, The Rainers brought the song to the US, singing it in German at New York’s Trinity Church. 
   What is perhaps less well-known is that the original character and even the melody itself have changed significantly from the original! The 1818 version fits the mold of a gentle, lilting folk dance (in 6/8) rather than a sentimental, slow hymn. Speculation is that the more angelic, languid approach proved more effective and fitting for a large singing ensemble such as those described above. In our modern rendition of the carol, the contour of the penultimate phrase soars, chorus-like, lingering upon the satisfyingly highest pitches and harmonies. These notes actually differ from the original tune, which also carries on more quickly and modestly, and is marked by a persistent dotted rhythm throughout. In addition, immediately at the end of the verse, Grüber repeats the final two phrases. This does not comport with the modern form of the song. 
   Richard’s arrangement relies on the original 1818 version, with the violin at times adorning the revered melody with slight ornamentation at a higher register.
Performed by Richard Altenbach, Violin & Nancy McCrae, Piano

Stille Nacht or Silent Night (ORIGINAL 1818 Melody!) for Violin & Piano

Richard Altenbach

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