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| If you want download only, you can have the first 10 tracks for only $4.99. If you buy the CD here through mail, you can instantly download the first 10 tracks, plus you also get 4 bonus tracks, including Ravel's Bolero, Faure's 2 songs, plus Sulit's new Sinfonietta sketch, for $15
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| This is the first of three parts, of a form similar to the early concertos and symphonies (A, B, C) (Fast, Slow, Fast), but played entirely on the "symphony" of the solo organ. Bach wrote six Trio Sonatas, of which IV is my favorite, to instruct his children in "Sonata" form, which is the foundation for practically all symphonic writing, including Beethoven's famous "5th" (heard on another of my CD's). This is the "A" movement, normally fast, but unique here in that it opens with a short, slow intro, a "French" Adagio, then turns fast in the 'Vivace' main body. Highly dextrous
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| nice, slow middle movement using "small organ" stops. The stops I chose here are typically of wooden square pipes of no more than 4' in length, which have an ancient sound preceding the large metal pipes which evolved much later just before Bach's time. The bass notes are actually played by the feet on 4' stops, which sound more mid-range flutie rather than bassy, while the left and right hands play up higher on 2' and 1' stops. All have a kind of "reed" or "clarinet" character to them, indicating a wood-blown pipe not metal.
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| very "high sounding" theme statement at beginning, then builds up rapidly to a complex intertwining of themes like a Fugue
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| Fuga means "Flight" in latin. Musically, it means a very complex interweaving of one simpler main theme, which is stated alone at first, and then rapidly transposed through many changes as in master basket-weaving, thus "taking flight" musically. This Fugue is in 6/8 "Jig" meter, like an Irish dance. Yes you can dance to it!
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| This is the "little brother" to the G Major Fugue, a slower, more serene prayer piece of sublime beauty. It too states the main theme plainly, then builds up or "takes flight" as the piece progresses.
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| My first completed pipe organ work. Preludes serve as good "introductions" to a worship service, or can serve also as a Postlude during exit. I plan on adding a Fugue to it, so it will be called 'Prelude and Fugue in A'. However, Fugues are the "highest art", which even Mozart & Beethoven did not master very well. We'll have to ponder this one a little longer.
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| A very grand concert work for organ…uses the Trumpet Pipes (in my case, both the Chamades and Spanish Trumpets) in a grand spectacle
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| This is Chorale #43 'Wer nur den Lieben Gott Laast Walten' from the 'Orgelbuchlein', or "little organ book" for the Liturgical year. Chorales were ususally simple hymns sung by church choir accompanied by the organ. Here, Bach embellishes the simpler, slower theme on the high notes with a flurry of faster notes on the low-midrange, suggesting "support" and "divine intelligence" working to uplift our souls.
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| Bach's famous version of a very ancient and still-popular Latin Chrismas carol. The original, simple tune is hardly recognizable the way Bach transformed it, or "elevated" it to more complex form. However, if you listen carefully, not to the "fast" notes in between, but the slower ones, then you will readily recognize the tune!
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| The famous "Dracula / Phantom" theme. This is really TWO songs rolled into one: an opening Tocatta, the famous one, and a lengthy Fugue in D Minor, also quite famous for its "worm" motif in the middle, where notes from the diminished 7th chord are used throughout like a worm weaving through your soul. This last motif of diminished 7ths in the Fugue is taken from the same but faster motif introduced first in the Tocatta, but now elevated to "Fugue" form as discussed on tracks 4 & 5.
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| Ravel repeats the main theme some 18 times over the course of 15 minutes, starting out very soft, building gradually to fff (triple-forte, very loud) with gongs crashing in the end. This music was featured in the movie "10", starring Bo Derek, Julie Andrews (of 'Sound of Music' and 'Mary Poppins') and Dudley Moore as "Arthur" (that's my name!). Bolero is actually a spanish dance of a long, drawn-out, repeated pattern, of ancient Spanish-Moorish influence. One can imagine a Torreador (Bullfighter) and his Dame, circling each other in an erotic mating ritual. Bo Derek also starred in a highly erotic movie of the same name, 'Bolero' (filmed by her husband, John Derek), featuring not Ravel's score here, but a very similar one in the same time signature composed just for that film. Ravel calculated this piece to come out to exactly 15 minutes, sparking some controversy because it is timed and structured well to coincide orgasm. Of course, being quite single, and a lover of cats, that wasn't his intent. This is by far his most popular piece, although Ravel himself didn't think too highly of it, even got sick of it after a while. It has been observed that when he wrote this, he was in the advanced stages of mental disease, which took away some of his former musical agility heard in other larger works. But the very droning nature of this piece is also part of what made it so popular, because it "sounds simple", although it is definitely not. This is my electronic orchestra you are hearing…I entered in over 40,000 notes.
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| Gabriel Faure was the Choirmaster at France's Notre Dame Cathedral, and his peer Camille Saint-Saens was the Organist. Faure was a master at simpler song form, whereas Saint-Saens the master of instrumental and orchestral virtuosity. Here, Faure shows a dreamy side, very typical of his most popular songs. Victoria Sherr is coloratura (high colorful) soprano soloist here. Lyrics are in French.
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| This is my "pop" re-mix of 'Apres Un Reve', with English lyrics.
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| My first sketch of large orchestral score, after studying KORNGOLD's Sinfonietta. Erich Korngold, the "boy wonder" of Vienna, as a teen far exceeded giants like Richard Strauss, even Wagner with his hour-long 'Sinfonietta' ("small symphony", which isn't small at all). Being Jewish, he was forced to flee Austria-Germany in the late 30's, and established himself as the biggest name in Hollywood as a composer during the Golden Age of Film (scoring to Errol Flynn movies, like 'Robin Hood', 'Captain Hood' and 'Antony Adverse'). He gave us the "big screen sound", later imitated by John Williams. Here is just my small attempt at the dextrous key-changes and stylisms which made his music so ideal for switching from one movie scene to the next, effortlessly.
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| The first 10 tracks (main part) download all for only $4.99
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