December 12th, 2005
Evening, or morning perhaps, depending on your location. Have just finished a second revision and recording of an arrangement I’ve been working on, the passacaglia of H.I.F. von Biber’s Rosenkranz Sonaten; originally for a solo violin, I’ve reworked the piece as a quintet for two violins, viola, violoncello and contrabass (also transposing, in the process, to Cm), working from Tufvesson’s transcription of the original from the unique manuscript (Mus. MS 4123, c. 1670s) in the Bavarian State Library in Munich. I think, if I can find the time, I will subject the work to at least one more revision/recording, as there are a few places where the ‘cello is more subdued than I would like it, but beyond that I think it’s very near its final form at this stage.
Should anyone wish to hear it, a preview recording may be heard on Last.FM and it may be voted on at the SixtyOne.
It’s about six seconds shy of 8 minutes in length. Comments on the work, good or ill, welcome and appreciated.
May 25th, 2005
Enchanted by Camille Saint-Saëns’s work for solo piano, “Carillon”, I recently decided to have a go at arranging the work for different instrumentations, resulting in both an orchestral arrangement and an arrangment for string quintet (2vn, va, vc, cb). In the end I think each, these as well as the piano original, has a certain charm of its own, though perhaps I’m biased: what do you think?
A third addition, I have also arranged Saint-Saëns’ Toccata (Op. 72, no. 3) as a work for string quintet (the original having been, again, for solo piano).
All three may, as usual, be heard on Last.FM: Carillon, Op. 72, no. 2 (for string quintet), Carillon, Op. 72, no. 2 (for orchestra) and Toccata, Op. 72, no. 3 (for string quintet).