PianoTrax CD - 2013

SKU: HL.49045519

ISBN 9790001161510. 9.0x12.0 inches.

The transcription of the Sinfonietta remains as closely to the original as possible while fully exploring the accordion's possibilities of registration, tonal colouring and playing techniques. The rhapsodic first movement and the dance-like, virtuoso second movement, so contrasting in character and yet so consistent in their compositional devices, are perfectly suited to this versatile instrument.

SKU: P2.40010

Little Suite is a short work for bassoon and bass clarinet that I wrote in 2013-2014 as a gift for my friends Shannon Lowe (bassoon) and Peter Geldrich (clarinet). The movements are written in three distinct musical styles: the first movement is inspired by clarinet lines in the opening section of Stravinsky's Symphonies of Wind Instruments, and the second movement by the Passacaglia in Krzysztof Penderecki's Symphony No. 3. The third movement is an original dance tune that I sometimes jokingly like to refer to as a 3/4 rhumba. The version for two bassoons came as an afterthought after I had performed the piece for the first time with a bass clarinetist. The two bassoon iteration not all that different from the original, but sounds remarkably different because of the same instrumental timbre. I have since wondered what the piece would sound like if the second part were played on a cello, or the first part (with some obvious octave transpositions) on a viola...

SKU: P2.30139

Little Suite is a short work for bassoon and bass clarinet that I wrote in 2013-2014 as a gift for my friends Shannon Lowe (bassoon) and Peter Geldrich (clarinet). The movements are written in three distinct musical styles: the first movement is inspired by clarinet lines in the opening section of Stravinsky's Symphonies of Wind Instruments, and the second movement by the Passacaglia in Krzysztof Penderecki's Symphony No. 3. The third movement is an original dance tune that I sometimes jokingly like to refer to as a 3/4 rhumba. The version for two bassoons came as an afterthought after I had performed the piece for the first time with a bass clarinetist. The two bassoon iteration not all that different from the original, but sounds remarkably different because of the same instrumental timbre. I have since wondered what the piece would sound like if the second part were played on a cello, or the first part (with some obvious octave transpositions) on a viola...