Adagio from Albinoni's Concerto in F for 2 Oboes, Op. 9/3, performed on virtual instruments: 2 oboes(Wallander Instruments), strings (Garritan, EWI edition), and positive organ (Sonokinetic). All parts played on a wind controller (Akai EWI USB).

Albinoni: Concerto in F for 2 Oboes, Op.9, No.3 - 2. Adagio (2014.11.15)

Second movement (Largo) of Bach's famous Concert for 2 violins in D minor, performed on virtual strings (Aria/EWI by Garritan) with the Viola from Samplemodeling on the viola part. Continuo includes theorbo from the Conservatoire Collection by SonicCouture.

Bach: Concerto for 2 Violins in D Minor, BWV 1043 - 2. Largo ma non tanto (2015.11.30)

First movement of Albinoni's lovely concerto for oboe in D minor (opus 9, number 2). Note that the movement is titled "Allegro e non presto," that is, "Joyfully and not fast". Many contemporary orchestras play allegros much too fast for my taste. After all, "allegro" means happy or joyful, not fast. In this case, the composer evidently wanted to be sure that it was not played fast. And I didn't (because I can't play it much faster than I have done here, and wouldn't have even if I could). Performed on virtual instruments: Baroque oboe (Wallander Instruments), strings, and harpsichord.

Albinoni: Oboe Concerto in D minor, Op.9, No.2 - 1. Allegro e non presto (2015.12.19)

Second movement of Bach's second Brandenburg Concerto, featuring a trio of recorder, oboe and violin with continuo. Performed on virtual instruments: recorder and oboe (Wallander instruments), violin and cello (Samplemodeling), and harpsichord (Soniccouture), using a wind controller (Akai EWI USB).

Bach: Brandenburg Concerto No. 2, BWV 1047 - 2. Andante - 2017.01.13

First movement of Joseph Bodin Boismortier's Concerto à Cinq, Opus 37, Number 6, performed on virtual instruments: flute, oboe, violin, bassoon, and organ. All parts played on a wind controller (Akai EWI USB). Flute and violin by Samplemodeling; Baroque oboe and Baroque bassoon by Wallander Instruments.

2017.03.19 - First release.
2017.04.01 - Changed reverb (from Spaces) to Reverberate 2. More ambience, aliveness.

Boismortier: Concerto à 5 in E minor, Op. 37, No. 6 - 1. Allegro (2017.04.01)

First movement of J.S. Bach's Cantata No. 35, featuring pipe organ with orchestra: 4 first violins, 3 second violins, 2 violas, 2 cellos, bass, 2 Baroque oboes, oboe da caccia (cor anglais), Baroque bassoon.

Bach: Cantata "Geist und Seele wird verwirret”, BWV 35 - 1. Sinfonia (2017.04.30)

Bach's famous Passacaglia (and Fugue) in C minor, featuring the Toccata virtual pipe organ from Sonokinetic (https://www.sonokinetic.net/products/classical/toccata/). A very relaxing snippet of classical music performed on piano caught my attention while watching a dystopian sci-fi movie the other night; it turns out it was an excerpt from this Passacaglia. I wanted to replicate that feel, but it was originally written for pipe organ, and I felt that only an organ could do it justice. (I tried a couple other possibilities, but wasn't satisfied with them.) Nonetheless, I wanted to maintain as much gentleness as possible, and not resort to pulling out all sorts of stops, as many modern pipe organ players are prone to do. Actually, the score hinted that the drama would build up just fine without adding anything to it (except for some careful interpretation, of course). So, I used a very simple flute registration, and maintained it throughout the piece. Although some judicious registration could enhance the piece, I wanted the composition to speak for itself, and I think it works just fine "as is". For a very tasteful interpretation, with delightful registration, check out organist Ulf Norberg on YouTube: https://www.youtube.com/watch?v=jfAzR2Ut-jM; and at the other extreme, pipe organ superstar Cameron Carpenter does his fast and highly registrated take at: https://www.youtube.com/watch?v=4UxIcKJyZZE

Castle Consort plays Bach

Bach: Passacaglia & Fugue in C minor, BWV 582 (2018.01.20)

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Silverwood Klezmer Flute and Clarinet

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THE BREATH OF SERUM / demo one

Baroque Explorations
Scarlatti / Telemann Sonatas

Ian Fritz, Wind Synthesizer

		Domenico Scarlatti (1685-1757) 

	Harpsichord Sonatas

1	L. 171 (K. 386) in F minor
2	L. 33 (K. 87) in B minor
3	L. 378 (K. 3) in A minor
4	L. 416 (K. 18) in D minor
5	L. 107 (K. 140) in D Major
6	L. 281 (K. 239) in F minor
7	L. 461 (K. 29) in D Major
8	L. 118 (K. 466) in F minor
9	L. 391 (K. 39) in A Major
10    L. 238 (K. 208) in A Major

		Georg Philipp Telemann (1681-1767)

	Trio Sonata in C minor  (From Essercizzi Musici)

11	Largo
12	Vivace
13	Andante
14	Allegro

	Sonata in F Major  (From Der Getreue Musikmeister)

15	Vivace
16	Largo
17	Allegro


Dominico Scarlatti, Harpsichord Sonatas:

Although the 550-odd keyboard sonatas of Dominico Scarlatti were written for harpsichord, they are widely regarded as highly coloristic renditions of the music and sounds that surrounded him in the Spanish court and countryside where he spent most of his working life.  They are ideal subjects for exploring the vast range of coloration and expression possible with electronic instrumentation.

Georg Philipp Telemann, Chamber Sonatas.

Telemann holds the record as the most prolific composer of all time.  Among the hundreds of his chamber works, the C-minor Trio Sonata is one of the most popular and well known.  The rendition given here begins with somewhat immitative voicings and progresses to more purely electronic sounds.

Although contemporaneous with J. S. Bach, Telemann generally worked in a brighter and sunnier style. The F major Sonata originally for flute and harpsichord is a perfect example of 
this happy disposition.


Reader,
Whether you be Dilettante of Professor, in these Compositions do not expect any profound Learning, but rather an ingenious Jesting with Art, to accommodate you to the Mastery of the Harsichord.  Neither Considerations of Interest, not Visions of Ambition, but only Obedience moved me to publish them!  Perhaps they will be agreeable to you; then all the more gladly will I obey other Commands to favor you with more simple and varied Style. Therefore show yourself more human than critical, and then your Pleasure will increase.  To designate to you the Position of the Hands, be advised that by D is indicated the Right, and by M the Left. Live Happily.

							D. Scarlatti, Essercizi, 1738

01 - ScarL171.WAV

Exploring the potential for using virtual instruments to create a realistic early music sound, with an emphasis on Baroque music. ¶ Esplorante la eblecon por uzi virtualajn instrumentojn por krei realisman fru-muzikan sonon, kun emfazo je baroka muziko.

Welcome all wind synthesizer players, I hope my work will inspire you to take your wind controller to new places!

Modular synth development. Wind controller applications. Chaos in experimental music. Ambient soundscapes.

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