Sample Greig first movement:

 

 

About Favorites:

"After my success with the Bach Easter Oratorio(CD15), I have found that working on multi track recordings like these hones my skills faster than anything I have done in my musical career. I chose these works because of the fine musicality of the compositions. To my great pleasure, I recently learned that the Bach Motet is the first work by Bach that Mozart heard. The Bach Motet was the first thing that I recorded for this CD (Early June 2006). After completing the rest of the music, I rerecorded this work. It'll be a while before I'll want to work on such a high piece again.

“Mozart knew Bach more by hearsay than from his works; at any rate he was quite ignorant of his motets, which had never been printed. Scarcely had the choir sung a few bars when he started up; a few bars more, and he called out: ‘What is that?’ And now his whole soul seemed to be in his ears. When the performance was over, he called out joyfully, ‘That is indeed something from which we can learn!’ He was told that this school, at which Sebastian Bach had been cantor, possessed a complete collection of his motets, and treasured them as sacred relics. ‘That’s right! that’s fine!’ he said. ‘Let me see them.’ As there were no scores of these works, he got them to bring him the separate parts; and now it was a joy to the silent observers to see how eagerly Mozart distributed the parts around him, in both hands, on his knees, on the nearest chairs, and, forgetting everything else, did not rise until he had carefully read through everything that was there of Bach’s. He begged and obtained a copy for himself, which he valued very highly.”

The Barber starts wobbly and a little out of tune, but it's definitely a favorite the way it builds and builds like no other piece I know.

The first movement of the Holberg Suite may be my finest single movement recorded so far. Overall this work is a great work to bring us through time back to the Bach.

Cantata #82 "Ich habe Genug" is one of the most sensitive and expressive works I know. To be able to play the entire piece as I have done is simply an amazing experience. I have learned from this project somthing about the depth of tonal contrast one can make with one instrument. When I had all the accompianment parts recorded and then went back to record the bass solo with the fullest bass sound I could, I had no idea I could do this. Never before has any composition inspired me to make such a sound quailty, nor has a conductor or any other music professional ever suggested this potential to me.

Almost inverse to the Cantata is the Motet, still with the depth of emotion that I find in Bach, but this time in a bright uplifing composition. A flashy ending for a CD that took me four months to record.

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The successes of this CD for me are:

1) The discovery of the signifcance of this Motet to Mozart and the history of music.

1) The cleanliness of the 1st movement of the Grieg.

2) The contrast of tone quality in the Bach Cantata (All on the same instrument & equipment).

3) Just the amount of time it took. If I average the number of tracks per piece it comes to 9 tracks of music. Nine tracks an hour long equals 9 hours of final takes! This takes way more than nine hours with chair squeaks, clicks, the phone ringing, and the usual horn player problems . . .

4) The range of the recording, in emotional content, tonal contrast, and yes, the actual range from horn in F pedal D to high g! (spelled gee!)

My work here brings me closer to confirming that I am correct in my beliefs that a horn should have a free and vibrating lead pipe and a stiff bell. The lead pipe, which is the first two feet, or so of the horn receives the vibration from the player and sets up the resonance in the instrument. The bell being heavy and stiff then projects the sound. The Lawson bell is the new addition to my instrument.