MUSIC ARRANGEMENTS

This page contains various music arrangements I’ve created.  It is a work in progress.

The MP3 files mentioned below can be played on any MP3 player.  But as always fidelity matters: driving earbuds directly from the audio output of your computer or iFun will likely disappoint.  So will driving the small speakers typically bundled with personal computing devices. Here’s my solution to the problem; many others are possible.  I routed the output  of the (3.5 mm phono) jack on my Dell Inspiron 545 computer to an RCA stereo phono cable.  I connected the other end of that cable to the “TAPE” input (RCA phono) jack on my Onkyo TX 8020 receiver/amplifier.   (The impedances  along this path are good enough to produce what I want, but audio purists might regard my lash-up as a crime against Nature.)   The TX 8020 drives Audio Technica ATH M-50 headphones.

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Click here for a rendering of Bach’s Toccata and Fugue in D-minor, BWV 565.  I created (by keyboard entry) a MIDI file from a score of the work, edited it in various ways, then exported the result to an MP3 file.  To stream this file, left-click on the underscored text shown.  To download a copy of this file to your local computer, left-click on the underscored text, then select “Save link as”.

Dedicated to the memory of Dr. Mark Holmberg, late professor emeritus of  music theory and organ at the University of Kansas.

Click here for an MP3 rendering of Bach’s Prelude and Fugue in D major (ca. 1708-1709, BWV 532).

Here’s some detail on my editing/transcription.  Under MuseScore3 (W. Schweer et al. (2019), MuseScore3, Version 3.3.4.9066, Revision 7684abe, www.musescore.org), I made some minor tempo edits to MIDI file organ_major_works_bwv-532_(c)lampe.mid (accessible at http://www.kunstderfuge.com/bach/organ.htm).  This MIDI file was sequenced by David Lampe (1996).  I selected the synthesized “Church Organ” from the MuseScore synthfont library file MuseScore_General.sf3 for the rendering, then exported the result to MP3 file organ_major_works_bwv-532_(c)lampe.mp3.

Dedicated to the memory of Dr. Mark Holmberg, late professor emeritus of  music theory and organ at the University of Kansas.

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An MP3 rendering based on a MIDI  file of Bach’s Goldberg Variations (BWV 988, first published in 1741), Var. 29 can be accessed here.

The original artist (the creator of the MIDI file) is unknown.

Here’s some detail on my editing/transcription.  Under SynthFont2x64 (https://www.synthfont.com/) , I made some minor edits to the original MIDI file (file var29.mid, accessible at http://www.bachcentral.com/midiindexcomplete.html):

  1.  Increased default tempo from 70 BPM to 98 BPM and tweaked the rubato at the end of the MIDI file.  We don’t know what tempo Bach assigned to this work.  70 BPM is a reasonable default for many Bach works with a “common” time signature.   I chose 98 BPM because is consistent with that of several modern performers.
  2. Reduced peak volume from 100% to 50% to suppress overdrive distortion.
  3. Changed instrument from Acoustic Grand to RetroMagix VSTi (https://en.wikipedia.org/wiki/Virtual_Studio_Technology) Classical Harpsichord (https://syntheway.com/Retromagix_Harpsichord.htm.  This VSTi  implementation created by Daniel Laiseca (https://syntheway.com/Daniel_Laiseca.htm), based on Flemish instruments circa 1700-1750).
  4. Increased instrument instances from 1 to 4  (i.e., to one instance per track in the original MIDI file) to provide better support of harmonics and inter-string and soundboard resonances.

I then saved the edited MIDI file as an MP3 file, var29.mp3.

 

Left click Prelude, Bach’s Unaccompanied Cello Suite No. 1, BWV 1007 for a recording of the same. I produced the recording under SynthFont2x64 (http://www.synthfont.com/) by editing a MIDI file, cs1-1pre.mid, sequenced by David Grossman (http://www.jsbach.net/midi/midi_solo_cello.html). I changed the original speed from 80 BPM to 70 BPM and added “Cupboard” (in relative terms, a little) reverb, then used the synthesized cello font cello_solo.sf2 from Ethan Winer’s Original Sound Fonts (http://ethanwiner.com/ewsf2.html) to generate the synthesizer output. The output was saved as a “.WAV” file.

Many 20th- and 21st,-century interpretations of this Prelude extend the duration of the first note of the quad-16th-note beams in the Prelude, especially if the first note of those beams is played on the C string, robbing that time from the duration of the remaining three 16th-notes in those beams (rubato; see, for example, Casals’ recordings). In my rendition, all notes in such a beam have equal duration. Bach’s manuscript of the Prelude (a) tells us nothing about the intended metronomic speed of the work, and (b) is silent on whether any rubato is desirable.

The spectral dynamics of note attack and release in typical cello playing (by humans) are more complex than those captured Winer’s sf2 cello synthesizer.

Click Scarlatti Harpsichord Sonata in C Major, K549 for a recording of the same.

The recording derives from the MIDI file sonatas_k-549_(c)sankey.mid (available at http://www.kunstderfuge.com/scarlatti.htm), copyright under a Creative Commons license by John Sankey. I edited Sankey’s file under SynthFont2x64 (v2.2.3.2 for Windows, Copyright 2002-2009 by K. Rundt; http://www.synthfont.com/), reducing the tempo from 120 BPM to 100 BPM and distributing Sankey’s original single track over 12 tracks. I applied “Cupboard” level reverb (relatively, a little), used the FluidR3 GM 2-2.SF2 (https://drive.google.com/file/d/0B4Psp5O5pxlLc0pXdUh5RVNfMjQ/view) harpsichord (= 006) sound font, and selected 24-bit “.WAV” file output to produce the file at the link above. All other SynthFont2x64 settings were the installation defaults.

 

Click Bach Chromatic Fantasia and Fugue in D Minor, BWV 903 for a recording of the same.  (Note: this is a large file, and it may take a few minutes for it to download before it begins playing.  For example,  in a 1 megabit/second transfer, it could take up to 5 minutes before this file begins playing.)

The recording was produced from the MIDI (https://en.wikipedia.org/wiki/MIDI) file chromatic_fantasia_and_fugue_bwv-903_(c)sankey (available at http://kunstderfuge.com/bach/harpsi.htm#Toccatas and Fantasias), copyright under a Creative Commons license by John Sankey. I edited Sankey’s file under SynthFont2x64 (v2.2.3.2 for Windows, Copyright 2002-2009 by K. Rundt; http://www.synthfont.com/), reducing the tempo from 120 BPM to 100 BPM and distributing Sankey’s original single track over 12 tracks. I applied “Cupboard” level reverb (relatively, a little) throughout. I also reduced the volume in about 10 measures to avoid some overdrive distortion that was present in the original. I selected the harpsichord sound (Harpsichord = 006) from the FluidR3 GM 2-2.SF2 font library. I then produced the 24-bit integer “.WAV” file that corresponds to the link above. All other SynthFont2x64 settings were the installation defaults.

I reduced the tempo of the original because the speed of some of the trills in the original cannot be realized in the mechanics of traditional harpsichords. The tempo I chose is consistent with Bach’s tempo annotation.

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Left click CPE Bach’s Sonata in A Minor for Solo Flute, Movement III, for a “MP3”-formatted rendition of the same.

Here  are some production notes on the rendition.

1. By MIDI (https://www.midi.org/) keyboard, I transcribed the score of the third movement of C. P. E. Bach’s Sonata in A minor for Solo Flute (Wq 132 (H 562)) from a printed facsimile manuscript (from Gieddes Samling (I, 26 mu 6210.2926)) and John Wummer’s editing of the sonata (International Music Company, Copyright 1956), saving the transcription to a MIDI file.

2. In MuseScore (W. Schweer et al. (2019), MuseScore3, Version 3.3.4.9066, Revision 7684abe, www.musescore.org), I converted the MIDI file produced in (1) to a MuseScore native “score” file, edited the result, and selected the MuseScore default synthesized flute soundfont (in MuseScore_General.sf3). All other settings were the MuseScore installation defaults. I exported the results as a “MP3” file.

Where the notes Giddes Samling and Wummer versions differed (about 3%, I tended to favor the Wummer edition).

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Click here for a new MIDI-based rendition of the third movement (Allegro) of J. S. Bach’s Sonata III for Flute and Harpsichord (Bach 1736).

Here are some production details:

1. Based on Bach/Wummer/de la Tournerie 1968 score for Movement 3 of Bach 1736, I created (by keyboard input) a MIDI file for the flute and harpsichord parts, setting the baseline volume of the harpsichord at 50% the baseline volume of the flute. While generating the MIDI file, I also corrected three minor errors in the Bach/Wummer/de la Tournerie score.

2. In the composing-assistance software MuseScore (Schweer et al. 2019), I then
a. Edited the flute dynamics and trills of (1) to conform more or less to Bach/Wummer/de la Tournerie 1968.
b. Edited the tempo of (1) in various ways
c. Set the default harpsichord dynamics to p whenever both instruments were playing and set the harpsichord dynamics to mf whenever the harpsichord was playing alone for more than one measure. Left the harpsichord dynamics at p if the harpsichord was playing alone for one measure or less.
d. Used the default MuseScore soundfonts (in file MuseScore_General.sf3) for both the harpsichord and flute. All other MuseScore settings were the installation defaults.
e. Converted the MIDI file resulting from the above steps to an MP3 file.

The resulting performance, though entirely computer generated, sounds almost human.

Dedicated to the memory of my father, Charles K. Horner, a cellist.

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Bach JS. (1736, first published in 1860). Sonate III für Flöte und obligates Cembalo. BWV 1032. Schmitz H-P (ed.). Neue Bach-Ausgabe, Serie VI. Kammermusik, Band 3. Kammermusik 3: Werke für Flöte (pp.54-68). Kassel: Bärenreiter Verlag, 1963. Plate BA 5022.

Bach JS, Wummer J, and de la Tournerie JA. (1968). Revision of Bach 1736. Southern Music Company.

Schweer W et al. (2019). MuseScore, v3.3.4.9066, Rev. 7684abe. http://www.musescore.org.

Click here for a new MIDI-based rendition of Movement 1 (Allegro) of Mozart’s piano trio in G-major (K496).

Here are some production details:

1. Based on Mozart/Goldschmidt et al. 1879 and Mozart/Herrmann/Gruemmer, I created (by keyboard input) a MIDI sequencing for all parts.
2. In the composing-assistance software MuseScore (Schweer et al. 2019), I changed the MIDI file in (1) as follows:
a. Set the default volume of the violin part to 100%, the default volume of the cello to 75%, and the default volume of the piano to 75%.
b. Edited the tempo, dynamics, slurring, and articulations of (1)
c. Used the soundfonts Soundfonts4U file Nice_Strings_Plus_Orchestra-V1.6.sf2 (https://sites.google.com/site/soundfonts4u/) for all parts. From that sf2 file, I selected
“All Around Violin” for the violin, “Cello 1” for the cello, and “Grand Piano” for the piano. All other MuseScore settings were the installation defaults.
e. Converted the MIDI file resulting from the above steps to an MP3 file.

The resulting performance, though entirely computer generated, sounds nearly human.

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Mozart/Goldschmidt et al. (1879). Trio for piano, violin, and cello in G-major, K496 (composed 1786), Movement 1. In Wolfgang Amadeus Mozarts Werke, Serie XVII: Pianoforte-Quintett, -quartette und -trios, Bd.2, No.6 (pp.2-23 (46-67)). Ed. by one or more of O. Goldschmidt, J. Joachim, C. Reinecke, E. Rudorff, and P. Waldersee, 1879. (Note: this edition does not indicate which specific editor edited this trio). Leipzig: Breitkopf & Härtel. Plate W.A.M. 496.

Mozart/Herrmann/Gruemer.  Trio for piano, violin, and cello in G-major, K496 (composed 1786), Movement 1. Edited by C. Herrmann and P. Gruemmer.    Frankfurt: C. F. Peters.  The edition and printing are undated.  Gruemmer died in 1965.

Schweer W et al. (2019). MuseScore, v3.3.4.9066, Rev. 7684abe. http://www.musescore.org.

Click here for a new MIDI-based arrangement of the Kyrie of Palestrina’s Missa Ave regina coelorum.

Click here for the Gloria of the same mass.

Here are some production details:

1. Based on Palestrina/Breitkopf 1599/1886, I created (by keyboard input) a MIDI sequencing for all parts.
2. In the composing-assistance software MuseScore (Schweer et al. 2019), I changed the MIDI file from (1) as follows:
a. Edited the tempo and dynamics of (1) in various ways
b. MIDI does not capture the human voice well. I used the soundfonts Soundfonts4U file Nice_Strings_Plus_Orchestra-V1.6.sf2 (https://sites.google.com/site/soundfonts4u/) for all parts. From that sf2 file, selected “Choir Ahs” for each of the four parts. All other MuseScore settings were the installation defaults.
c. Converted the MIDI file resulting from the above steps to an MP3 file.

The resulting performance, though entirely computer generated, sounds nearly human.

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Palestrina GP/Breitkopf. (1599). Kyrie, Gloria of Missa Ave regina coelorum. Opera omnia Ioannis Petraloysii Praenestini, Tomus XVIII. Leipzig: Breitkopf & Härtel, 1886. Plate 17276.

Schweer W et al. (2019). MuseScore, v3.3.4.9066, Rev. 7684abe. http://www.musescore.org.

 

Click here for a rendering of J. S. Bach’s Contrapunctus I from Bach 1750. The recording was made by sequencing, in Wolfram Research 2020, the score of Bach 1750, then exporting the resulting file to MP3 format.

In memory of David Davin (1946-2017).

Bach JS. (1750). Contrapunctus I.  In J. S. Bach, The Art of the Fugue.  Dover reprint,  1992. pp. 57-60.

Wolfram Reseach, Inc.  (2020).  Mathematica v12.

Click here for a rendering of Movement 3 of Beethoven’s Moonlight Sonata (Beethoven 1801).

Production notes.  I:

1. Transcribed Movement 3 of Beethoven 1801 by keyboard (MIDI) from an OpenSource score (Beethoven 1801) to four-track MIDI.
2. Edited the MIDI file from (1) under MuseScore (Schweer et al. 2019).
3. Edited the MIDI file from (2) under SynthFont2 (Rundt 2019), assigning the Yamaha Grand (piano) from the FluidR3 GM2-2.SF2 soundfont file, then exported the result to MP3 format.

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Beethoven. (1801). Piano Sonata 14, Op. 27, No. 2.

MuseScore.  (2018). Score for Movement 3 of Beethoven 1801.   https://musescore.com/openscore-transcriptions/scores/5313325.

Rundt, K. (2019). SynthFont2. V2.3.1.0 (64-bit). http://www.synthfont.com/.

Schweer, W. et al. (2019). musescore V3.3.4.9066.

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Click here for an organ transcription of Haendel’s Fugue in G Major, HWV 606.

Some production notes.  I:

  1. Sequenced on an AKAI MPK249 MIDI controller (AKAI 2021) the Händel/Best 1970 score.
  2. Edited and transcribed for organ the MIDI file from (1) in MuseScore3 (Schweer et al. 2019).
  3. Instrumented the result of (2) with the “Church Organ” contained in the default MuseScore3 soundfont.
  4. Exported the result of (3) in MuseScore3 (Schweer et al. 2019) to MP3 format.

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AKAI.  (2021).  MPK249.    https://www.akaipro.com/mpk249.  Accessed 31 January 2021.

Händel GF/Best T.  (1970).  Fugue in G Major. HWV 606. (first published circa 1735).  Hallische Händel-Ausgabe, Serie IV: Instrumentalmusik, Band 6: Klavierwerke III, einzelne Suiten und Stücke, No.1 (pp.4-8).  Kassel: Deutsche Händelgesellschaft.  Plate BA 4028.

Schweer W et al.  (2019).  MuseScore3.  Version 3.3.4.9066; Rev 7684abe.  https://musescore.org.  Accessed 31 January 2021.

In memory of John Wesley Stewart (1945-2021).

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Click here for a rendition of Corelli’s Sonata in A major for violin, Op. 5, Sonata VI.

Some production notes.  I:

  1. Obtained a MIDI (MIDI Organization 2021) sequencing of the Sonata from Kunst der Fuge 2021. The keyboard (cembalo) part of this sequencing is scored for piano and is  allocated three MIDI tracks;  in fact, only two tracks are used.  The violin part is assigned one track.
  2. In MuseScore3 (Schweer et al. 2019)
    1. deleted the third cembalo track from (1), then
    2. reduced the baseline volume of the cembalo  tracks of (1) 20%
    3. corrected some of the violin notes in (1), based on Corelli 1730
    4. increased the dynamic level of the violin part in a few passages in (1) from pp to p
    5. instrumented the cembalo tracks of (1) with  “Harpsichord”, and the violin track of (1) with “All around Violin”, both from the default MuseScore3 soundfont
    6. exported the results of (2.5) to MP3 format

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Corelli A.  (circa 1730).  Sonata VI (in A Major) in Corelli, 12 Sonatas for Violin.  Publisher: John Walsh, London, 1730.  A facsimile of this edition can be found at 12 Violin Sonatas, Op.5 (Corelli, Arcangelo) – IMSLP: Free Sheet Music PDF Download.  Accessed 2 February 2021.

Kunst der Fuge.  (2021).  Classical Music in MIDI files – MIDI: C (kunstderfuge.com).  Accessed 2 February 2021.

MIDI Association.  (2021).  https://www.midi.org/.   Accessed 2 February 2021.

Schweer W et al.  (2019).  MuseScore3.  Version 3.3.4.9066; Rev 7684abe.  https://musescore.org.  Accessed 31 January 2021.

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Click here for a transcription for organ of Haendel’s “Zardok the Priest” coronation anthem. This work has been played as a processional at the coronation of every British monarch from George III (1727) to Elizabeth II.

 

Here are some production notes.  I:

  1. Sequenced (via MIDI keyboard) Händel 1727/MuseScore 2015 to a MIDI file (MIDI Organization 2021)
  2. In Schweer et al. 2021a
    1. Mapped all instruments and voices (total of 21) to “Church Organ”
    2. Edited the baseline volumes of the parts
    3. Edited dynamics
    4. Exported the result to an MP3 file.

 

Enjoy.

 

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Händel GF. (1727).   Coronation Anthem I: Zadok the Priest.  MuseScore.  (2015).  https://musescore.com/hmscomp/scores/1248731 .  Score.  Accessed 30 March 2021.

MIDI Organization.  (2021).   https://www.midi.org/ .  Accessed 30 March 2021.

Schweer W et al.  MuseScore.  (2021).   https://musescore.org.   Software.  Accessed 30 March 2021.

Click here for a GPT-2-generated variation of Bach’s Goldberg Variations 29.

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Click here for a rendition of Telemann’s Fantasy in g-minor for harpsichord, No. 8.

Benedetto Marcello (1686-1739) was a Baroque-era Italian composer (Selfridge-Field 1990).

 

Click here for a new rendition of  Movement 2 (Allegro) of Marcello’s Sonata for Flute in G-major_Opus1_No7 .

 

It’s easy listening.

 

For best results, I recommend you direct, to a good audio system, the output of the device you use to download the item at the link above.  Earbuds and the tiny speakers on iFun’s are likely to disappoint.  I happen to route the audio output of my desktop computer, via RCA phono cable,  to the “Tape” input of an Onkyo 8020 receiver/amplifier; the output of the amplifier, to a pair of Audio Technica ATH-M50 headphones.

 

 

Here are some production notes:

  1. Downloaded the score for the sonata  from Marcello/Classical Archives 2021.
  2. Edited (1) in Schweer et al 2019.
  3. By keyboard input ( AKAI 2021), created a MIDI file (MIDI Organization 2021) from (2).  Mapped the flute part to the “Flute 2”, and the piano part to the “Harpsichord”, soundfonts in the default soundfont library in Schweer et al. 2019.
  4. In Schweer et al 2019, exported the results of (3) to an MP3 file.

 

 

Recordings of Marcello’s Opus 2 flute sonatas are widely accessible (e.g., Rampal has recorded most of them), but I have been unable to locate any commercial recordings of his Opus 1 flute sonatas.

 

Compared to Bach’s flute works, Marcello/Classical Archives 2021 has a relatively simple structure.

 

Although entirely machine-generated (apart from my keyboard-entry and editing), the rendition at the link above is comparable to a human performance.

 

Enjoy.

 

 

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AKAI.  (2021).  MPK249 Professional keyboard controller.  https://www.akaipro.com/products/keyboards .  Accessed 10 April 2021.

 

MIDI Organization.  (2021).   https://www.midi.org/ .  Accessed 30 March 2021.

 

Marcello B.  Sonata for Flute in G-major, Op. 1, No. 7. Movement 2 (Allegro). Score is available at Classical Archives.  (2021).  https://www.classicalarchives.com/midi/composer/2954.html .  Accessed 10 June 2021.

 

Schweer W. et al.  (2019).  MuseScore 3.  V 3.3.4.9066, Rev. 7684abe.  www.musescore.org.  Accessed 17 June 2021.

 

Selfridge-Field E.  (1990). The Music of Benedetto and Alessandro Marcello. A Thematic Catalogue, with Commentary on the Composers, Repertory and Sources. Oxford.

 

 

Click here for a new arrangement of Part 1 of Vivaldi’s Concerto in C Major for Mandolin.

Vivaldi/Malipiero (1725/1950) is orchestrated for mandolin, Violin I, Violin, II, Viola, Cello, Contrabass, and Harpsichord but can easily be arranged for other instruments.  In this arrangement I transcribed the  Violin I part to Harp, the Violin II and Viola parts to 12-string guitars, and dropped the harpsichord part.  I  preserved the Mandolin, Cello, and Contrabass parts. .

Here are some production notes:

  1. Downloaded the score for Vivaldi 1725/Malipiero 1950  from free-scores.com 2021.
  2. By keyboard input (AKAI 2021), created a MIDI file (MIDI Organization 2021) from Part I of (1).
  3. Edited (2) in Schweer et al 2019, transcribing the Violin I part to Harp, the Violin II and Viola parts to 12-string guitars, and dropping the Harpsichord part.
  4. In Schweer et al 2019, exported the results of (3) to an MP3 file.

Recordings of this concerto are widely accessible.

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AKAI.  (2021).  MPK249 Professional keyboard controller.  https://www.akaipro.com/products/keyboards .  Accessed 10 April 2021.

free-scores.com. (2021). Score of Vivaldi 1725/Malipiero 1950.   https://www.free-scores.com/download-sheet-music.php?pdf=81748.   Accessed 14 July 2021.

MIDI Organization.  (2021).   https://www.midi.org/ .  Accessed 30 March 2021.

Schweer W. et al.  (2019).  MuseScore 3.  V 3.3.4.9066, Rev. 7684abe.  www.musescore.org.  Accessed 17 June 2021.

Vivaldi A.  (1725).  Concerto in C Major for Mandolin.  RV 425.  Part I.    Ed. by Gian Francesco Malipiero (1950).  Le Opere di Antonio Vivaldi, Tomo 98.  Milano: G. Ricordi & C., 1950.  Plate P. R. 460.

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Click here for a rendition of Scarlatti’s Sonata for Harpsichord, K-002.

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Click here for a rendition of Scarlatti’s Sonata for Harpsichord in f# minor, K067.

Click here for a rendition of Mendelssohn’s Allegro brilliant in A major for piano, 4-hands, Op. 94.

 

Click here for a rendition of the Allegro of Mozart’s Piano Sonata in C major, K545.

Click here for a rendering of Mozart’s Piano Sonata in C major for four hands, K521.

Click here for a rendition of Bach’s Sinfonia in G Major, BWV 796

Click here for a rendition of Bach’s Prelude and Fugue for organ, BWV 552 (St. Anne’s)

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Click here for a rendition of Mozart’s Piano Sonata in G major, K283.

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Click here for a rendition of Movement 1 of  Mozart’s Piano Sonata Number 14 in C Minor, K457.

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Click here for a rendition of Bach’s Contrapunctus V (from  The Art of the Fugue, BWV1080), arranged for organ.

Click here for a rendition of Bach’s Contrapunctus V (from  The Art of the Fugue, BWV1080), arranged for piano.

Click here for an MP3 rendition of Movement 1 of Beethoven’s Piano Concerto No. 3 in C minor.

Click here for a WAV rendition of Movement 1.

Click here for a WAV rendition of Movement 3.

Click here for a WAV rendition of Bach’s Goldberg Variations

Click here for a WAV rendition of Mozart’s Piano Sonata No. 10 in C major.

Click here for a WAV rendition of Mozart’s Piano Sonata No. 17 in B-flat major, K570.

Click here for a WAV rendition of Movement 1 of Mozart’s Bassoon Concerto in B-flat major, K191/186e.

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Click here for a WAV rendition of the Kyrie from Palestrina’s Missa Papae Marcelli.

Click here for a WAV rendition of Movement 1 of Mozart’s Piano Concerto 21, K.467.

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Click here for a WAV rendition of Movement 1 of Mozart’s Flute Quartet No. 1, KV285.

Click here for a WAV rendition of Movement 1 of Mozart’s Piano Sonata No. 8, K310.  In memory of Bradford Alan Tyler (1954-2017), teacher, philosopher, and friend of the Earth.

Click here for a WAV rendition of Mozart’s Allegro in B-flat, K400.  In memory of Drew Anderson (1947-2020), a gifted pianist and friend to many.

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This page was last updated on 26 March 2023 US Central Time.