Bachiosaurus Studios

Audio Available

Component

Delivery

Ensemble

Eprint Folders

Grade

Instrument

Instrument Family

Instrument Type

Item Sequence

Large Print Edition

Marketed Status

Minimum Sell Quantity

MINTS Data Available

Product Line

Prop65

Score Available

Video Available

5 "Tales" of Passion and the Macabre for Piano Trio - PNO, VLN CEL: - The Raven - "Nevermore", "Lost Lenore" - Annabel Lee - "Angel's Envy", "Tomb by the Sea" - To Helen - "Beauty amongst the Roses" - Hop-Frog -"the Jester's Last Jest", "Hop-Frog Trippetta Waltz" - The Bells -"Intro", Var. 1 -"Golden Wedding Bells", Var. 2 -"Silver Sleigh Bells", Var. 3 - "Alarum / Iron Bells", Var. 4 - "Bells, Bells, Bells", "Finale" These movements are impressions of the selected Poe works rather than attempts to musically summarize them. I term the musical style "Ultra-Romantic Expressionism" - an appropriately Romantic Classical tonal sound palette featuring vibrant dissonances befitting of the moody mind of the author. Opening with the 3-note "Nevermore" motif (cello), "The Raven" ponders the angst and ultimate fury of the narrator, who feels sorrow over the fate of his beloved, departed Lenore while taunted by an enigmatic bird that perches in his apartments. The woody taps of the string players' bows represent the "tap-tap- tapping" on the chamber door. Spiky, dissonant chords signify the persistence of the ebony-plumed visitor. Anxious musical elements bring us to breathless turmoil. The slow "Lost Lenore" section features a somber cello theme poised over the piano's deep, languid, unfurling clouds of chords. A violin interlude bridges this piece with "Annabel Lee", a gothic, romantic ghost story. A lover forever pines over the loss of his lady, blaming the jealous angels for tragedy. "Angel's Envy" describes the stormy cliff at the sea they frequented, while the eerie middle section, "Tomb by the Sea" explores the man's supernatural obsessions. Solo violin brings us to "To Helen". Contrasting the typical conception of Poe's works as grotesque, morose and macabre, we hear more hopeful major tonality. "To Helen" is actually 2 distinct poems of the same title. In one version, Poe extols her beauty effusively. In the other, he speaks about her in a rose garden at midnight, wondering about what was and what could have been. We now pivot harmonically to whole-tone and chromatic madness in "Hop-Frog" - a Hobbit-sized court jester famous for his wit. He and his lovely Trippetta, were kidnapped from another land to serve at the whim of a boorish king. When the king unwisely insults Trippetta, the jester contrives a unique punishment involving a chandelier and masquerade ball gone very bad! The music here is quirky and sarcastic. The 2 heroes ecstatically escape back to their country. The carnival-like waltz describes their celebration. "The Bells" evokes the emotions and rhythms suggested by the ringing of the various bells (tinkling silver sleigh bells, golden wedding bells, alarm bells, iron tolling bells). There is an Intro, 4 Variations and Finale ending in a cinematic, celebratory flourish. The final iteration of the "Evermore" motif in the last measures is extolled in a victorious, even hopeful manner. Listen for the "bells, bells, bells, etc," and the indefatigable "Nevermore" motif haunting throughout the work...
mini-SCORES of this Trio are available from this webpage: http://www.richardaltenbach.com/poetic-reflections/

Poetic Reflections ~ FiveTales of Passion and the Macabre for Piano, Violin & Cello

Piano Trio- Violin, Cello, Piano Trio

Silent Night ("Stille Nacht")
- from the Original 1818 Melody

The story of the creation of the beloved Christmas song, "Stille Nacht" or "Silent Night" is well-known. In the postcard Alpine village of Oberndorf, Austria, Christmas Eve 1818, a Catholic priest named Father Josef Mohr had a dilemma: Mass was to be celebrated that evening, but the church organ was kaput, perhaps due to rats in the pipes! While gazing down at the village that day, the inspired Father Mohr jotted down the soon-to-be-famous lyrics to a new song. He then tasked his organist Franz Xaver Gruber to come up with a melody to be accompanied on guitar. After just a few hours, Gruber premiered the carol.
Weeks later, renowned organ builder Karl Mauracher arrived to repair the Oberndorf organ. When he finished, he asked Gruber to test the instrument. The church organist proceeded to play the tune that had so recently occupied his soul, "Stille Nacht". Greatly impressed, Mauracher took the words and music to his home village where eventually, two well-known families of singers, the Strassers and the Rainers, heard it. These "King Family" type ensembles loved the carol and spread it throughout Europe. The Strasser sisters ultimately performed it for King Frederick Wilhelm IV of Prussia in 1834. The king did much to boost the fame of the lovely tune. In 1838, The Rainers brought the song to the US, singing it in German at New York's Trinity Church.
What is perhaps less well-known is that the original character and even the melody itself have changed significantly from the original! The 1818 version fits the mold of a gentle, lilting folk dance (in 6/8) rather than a sentimental, slow hymn. Speculation is that the more angelic, languid approach proved more effective and fitting for a large singing ensemble such as those described above. In our modern rendition of the carol, the contour of the penultimate phrase soars, chorus-like, lingering upon the satisfyingly highest pitches and harmonies. These notes actually differ from the original tune, which also carries on more quickly and modestly, and is marked by a persistent dotted rhythm throughout. In addition, immediately at the end of the verse, Gruber repeats the final two phrases. This does not comport with the modern form of the song.
Richard's arrangement relies on the original 1818 version, with the violin at times adorning the revered melody with slight ornamentation at a higher register.
duration ~ 1'40"

Silent Night

Violin Solo with Piano

A medley of "Joy to the World” and “The Carol of the Bells”:
Joy to the World - Often attributed to G. F. Handel, this venerable song is actually the result of the “Frankenstein-ing” of several musical phrases together over the years by a series of English Methodist ministers, the final form arising from America. The tune we know today is the 1848 version composed by Lowell Mason, who admittedly utilized musical fragments from Handel’s Messiah and other oratorios! Perhaps this patchwork compositional approach accounts for the unusual and cumbersome pause which occurs after the second phrase, “Let Earth receive her King!" - usually resulting in a sudden metrical change from 4/4 to 2/4, and then back to 4/4 time.The Carol of the Bells - This dynamic, compelling tune from Ukraine, originally a pagan folk chant, tells the tale of a swallow flying into a household to proclaim a plentiful New Year for the family. The title,“Shchedryk” refers to “bounty”. The carol was sung on the eve of January 3rd, heralding the New Year according to the Julian Calendar. Of course now it is a favorite worldwide, can to be heard all through the Christmas season. duration ~ 2’20

Two Christmas Carols

The title of this solo piano song could easily describe the emotions that a couple might experience with an impending break-up or dissolution of marriage. In this case rather, the "Losing Love" THEME (from a 2013 film) illustrates the feelings between two lovers when one discovers that his partner has been concealing her bout with terminal disease. The song reflects their expectation of loss as they confront the illness's inevitable course. Cinematic in style, the nature of the song falls somewhere between Pop, Classical and New Age. duration ~ 3'30"
 
 
Richard Altenbach composes for film, video games and the concert stage. Some of Richard's live concert premiers include "Poe-etic Reflexions" (violin, cello piano), "Winter for Ivan" (cello, piano orchestra), "Scarecrow" (violin piano), "Bidwells Path" (orchestra), "The One Armed Man" (harpsichord), "Phantasy on 3 Ancient Christmas Carols" (violin alone), "Out of the Carpathian Mists" 7 Romanian Folk Tunes (violin, viola cello), arrangements of several Bach works (string duos and quartets), and "If" (piano, oboe / English horn, French horn, violin, cello narrator). "The Jester's Waltz" for solo piano won a prize in the international Opus Dissonus Composition Competition.
 
 
Commercial Music Credits include "the Dark" (horror feature film), "Stealing Time" (South African dramatic feature film), "The Killing of Mary Surratt" (docu-drama), "Raven Crest" (webseries pilot), "Star Trek Lexington" (webseries main theme), "Galahad" (TV episodic pilot), "Bloodspear" (Dark Age, Celtic video game), theme song to a family friendly Dinosaur video game, "Paint Me in the Opera House" (award winning short film, atmospheric ghost story), "The Plan" "Project 5" (short films) and "Cancer Man" (short film premiered at Comic Con). "Biting Personalities", a short film Richard scored won 1st Prize in the SoCal Cinema Grand Slam Competition in Hollywood and screened at SUNDANCE. Richard was also chosen among 12 composers worldwide to participate in the prestigious ASCAP Film Composers Workshop, composing, arranging, conducting and recording with the Hollywood Studio Orchestra at 20th C. Fox. He has composed string arrangements for Natasha Bedingfield.
 
 Richard teaches composition, notation and violin, and offers his two seminars entitled "A Century of Music in Film" and "Home Studio Recording on a Budget".
 
 As an active Hollywood recording musician and A-List violinist, Richard has participated in over 1000 film scores with such composers as Hans Zimmer, Danny Elfman (Principal 2nd Violin) and John Williams. He is featured in films such as "The Lion King", the "Jurassic Park" movies as well as the "Bourne", "Matrix", "Pirates of the Caribbean" and "Toy Story" series."

Losing Love

Piano Solo

Originally intended for a video game, this musical "phantasy" explores the dark moods evoked by the shadowy world of World War II Soviet espionage.  The 3 movements are drawn from various momentous events in the life of Ivan.  Our hero, symbolized by the multifaceted timbres of the cello, experiences everything from Russian ballet, dread and pain, longing and love, hope and futility, and ultimately betrayal.
   Often gloomily expressive, the score sometimes breaks through to reach epic emotional heights (hear the mp3*) as well as lyric beauty.  Piano accompaniment is derived from the orchestral score featuring low strings (violas on-down), percussion, male chorus and synth.
* (mp3 - Wolf Sebastian, cello solo)

duration ~ 9:00'

Winter for Ivan

Cello Solo with Piano

Inspired by the style of the English Virginalists (of which Queen Elizabeth R was one!), this set of variations joyfully fathoms the beauty, intricacies and eccentricities of the long-lost musical voice of the High Renaissance. The use of modal scales (especially Dorian and Mixolydian), ornamentations of the day, quixotic polyphonic flourishes bring fresh, sometimes dissonant yet delightful turns of phrase to our modern ear.
The subject for this set of variations is the jaunty French song, “L’Homme Armé”. First appearing at the time of the fall of Constantinople to the Ottoman Turks in 1453, there is stylistic evidence that the immensely popular tune may have originally emerged as far back as the late 1300’s. Being a military ditty, it may have been a tavern favorite of Crusaders at the time, being especially significant for the Order of the Golden Fleece.
The work begins with a simple iteration of the famous theme, followed by seven different settings intoning a variety of tempos, meters and moods. The last setting is especially bold with imitative techniques, the finale featuring florid and bombastic moments – only to end in a sort of calm exhalation. Musicians familiar with the “Fitzwilliam Virginal Book” may recognize a pattern in how the variations unfold, as well as the obvious influence of William Byrd, Orlando Gibbons and Giles Farnaby.
Intended for harpsichord, most effectively a double manual with a wide array of stops (see indications for lute stop and other settings in the music), the piece also plays well on piano and organ.

The Armed Mann

Keyboard Accompaniment Solo

Richard transcribed these 7 ballades and dances from a live recording of very talented Romanian buskers playing in a village market place. The pieces are based on traditional folk songs from three different areas along the Carpathian Mountain Range.
The haunting, evocative quality of the singing melodies interspersed with lively, sometimes wild dances inspired him to arrange these gems for string trio. The pieces can be played separately or as an entire suite, whether for weddings, incidental music for special events, or the concert stage. With familiar tropes and stylized Gypsy cadences as well as unexpected turns of phrase, poignant harmonies of the region, and manic accelerating pyro- technics, this music is sure to delight both players and listeners.
Be transported to the mysterious, fog-laden slopes of the Romanian landscape!
(duration ~ 16'00")

Out of the Carpathian Mists

String Trio String Trio

This waltz, originally a much longer work for solo piano, was composed when I was 14 years of age. The piece served as the theme to accompany a Halloween story on audio-cassette tape about an evil, marauding scarecrow that, well ... suffice to say the thing just wanted every part of itself to become human in the worst way! The phrase, if I only had a brain, comes to mind, but with a twist. I know, I know - dark right? But this was a time in my life when I considered the Edgar Allan Poe novella, the Narrative of Arthur Gordon Pym of Nantucket, light reading. This is an arrangement for violin and piano. (duration 2 mins.) HAPPY HALLOWEEN!!!

Scarecrow!

In 1720, J. S. Bach began composing his 2 and 3 Part Inventions, or Praeambula and Fantasiae, to be included in his Clavier Booklet for Wilhelm Friedemann Bach. Dedicated to his 9 year old son Wilhelm, these keyboard pieces were intended to teach him to play the harpsichord, and later J. S. Bach rewrote them as musical exercises for all his students. Papa Bach described these pieces as straightforward instruction, demonstrating to eager amateurs how to cleanly play in two and three voices and acquire a strong appreciation for composition. W. F. Bach did indeed master the keyboard and became a fine composer himself.
These short, beautifully crafted works have inspired generations of musicians of every ilk and instrumentation to come together as duos and trios, expressing the concentrated genius found within these musical forms.
This is an arrangement for violin cello.

Two Bach Inventions - No.4 in dm and No.8 in FM

Violin, Cello Duet

Being of Viennese extraction, Richard has always had a soft spot for the beauty and elegance of the waltz. But this is not that! Rather than a reverential bow to Johann Strauss, “the Jester’s Waltz” owes more to the influence of Erik Satie, Cirque du Soleil, and the court jester from Edgar Allan Poe’s story, “Hop-Frog”. Richard’s farcical parody of the once-venerable dance form has been called “playful, hilarious, manic, irreverent, fiendishly fast”…all of which bodes well to be entrusted to the sleight of hand mastery of a willing virtuoso pianist! “The Jester’s Waltz” wins prize in composition competition! Judges' Notification: “Dear Mr. Altenbach, Please accept our sincere congratulations on your exceptional performance at the XVII Golden Key Piano Composition Competition. You have competed among 104 participants from Australia, Austria, Belgium, Brazil, Canada, China, Germany, Great Britain, Hong Kong, Indonesia, Japan, Kuwait, Malaysia, Poland, Romania, Singapore, South Korea, Switzerland, Taiwan, Thailand, The Netherlands, The United States and awarded 2nd Degree Diploma in National Professional Category. Your composition … has been recommended for the program of the World Composers Recital … in Vienna, on July 31, 2024, where the Diploma and Winner's Medal will be awarded to you on the stage of Vienna’s historic Ehrbar Hall during the Award Ceremony.” * Richard’s piece also received Honorable Mention (only American awarded) in the Dissonus Competition. World-renowned pianist, Artur Cimirro, will record the work and perform it on recital programs to disseminate the piece internationally. PROGRAM NOTES: “The Jester's Waltz” is a composition that defies convention and expectations, offering a refreshing departure from the elegance of Lehar's “Merry Widow's Waltz” or the grandeur of Ravel's “La Valse.” It presents itself as an antidote to the refined and stately waltzes of the past, injecting a dose of whimsy into the genre. From the first notes, it becomes apparent that this piece is anything but traditional. Its quirky melodies twist and turn unpredictably, entertaining the listener with unexpected harmonic shifts and playful rhythms. Altenbach's inventive use of musical language creates a world where the rules of the waltz are bent and stretched, allowing for moments of both mischief and exuberance, akin to a jester's antics in a royal court. Outrageous, satirical, sarcastic, and sardonic in its parody, it's a balancing act of juggling, tumbling, and occasional fumbling. The waltz is also a tour de force of technical skill and virtuosity. Throughout the piece, pyrotechnic displays of musical fireworks dazzle and delight, showcasing the composer's flair for the dramatic. Painting a picture of a surreal world, the composition captures the essence of Dali-esque absurdity, making it a singularly brilliant addition to the musical dreamscape. And indeed, with its infectious energy and unabashed charm, the waltz is destined to be the perfect showy encore. In summary, “The Jester's Waltz” is a delightful romp through a world of musical fancy, where the unexpected reigns supreme. REVIEW: “ … That’s just absolutely amazing… The piece (is) irreverent and singularly brilliant … Love it” – Taylor S"

the Jester's Waltz

Piano Accompaniment Solo

Format

A Baroque organ inspired 3 part fugue, marked Maestoso ma accademico,
  this piece demonstrates various contrapuntal techniques such as augmentation,
  diminution, retrograde, retrograde inversion and inversion. The
  fugue subject is derived from first phase of the very corny Whittier College
  Alma Mater put to the Hawaiian song, Ua Like No A Like, or Sweet Constancy 
  the exciting final stretto, featuring a completely new phrase in the pedalier
  quoting elsewhere from the original Polynesian tune, builds to the collegiate
  climax. The title Greenleaves is a reference to the middle name of the famous
  poet, the eponym of the college. The subtitle echoes back to that the song
  was played by the chapel bells at high noon. 
    
       A student at the school, Richard
  dedicated the work to his favorite, greatest teacher of music composition,
  theory and form: Dr. Orpha Ochse, organist extraordinaire!

Greenleaves

Organ Score

"Crazy IceCream Truck!" for Medium Easy Level Piano by Richard Altenbach, ASCAP
Overview:
"Crazy IceCream Truck!" is a lively and playful piece crafted for easy/intermediate pianists. Inspired by the world of clowns and ice cream trucks, this composition is brimming with surprises.
What Makes It Special:
 Playful and Funny: The silly melodies, unexpected notes and off-kilter meters make it a joy for both performers and listeners.
 Engaging for Beginners: Its lively character exercises rhythmic skills and encourages self-expression, making it a delightful choice for novice pianists to explore their musicality.
Imagery: Imagine a colorful ice cream truck coming around to your neighborhood! The music captures this whimsy that brings smiles and laughter to all who hear it.
Why Listen: With its quirky charm, "Crazy Ice Cream Truck!" is a fantastic addition to any recital. It's sure to uplift the audience and impress, making it a perfect choice for budding pianists
to showcase
their abilities.
Summary:
"Crazy Ice Cream Truck!" is a joyful, imaginative piano solo, chock-full of fun. It invites players and listeners on a cheery musical journey.
Enjoy the ride!

Richard Altenbach composes for film, video games and the concert stage. Some of Richard's live concert premiers include "Poe-etic Reflexions" (violin, cello &amp; piano), "Winter for Ivan" (cello, piano &amp; orchestra), "Scarecrow" (violin &amp; piano), "Bidwells Path" (orchestra), "The One Armed Man" (harpsichord), "Phantasy on 3 Ancient Christmas Carols" (violin alone), "Out of the Carpathian Mists" 7 Romanian Folk Tunes (violin, viola &amp; cello), arrangements of several Bach works (string duos and quartets), and "If" (piano, oboe / English horn, French horn, violin, cello &amp; narrator). "The Jester's Waltz" for solo piano won a prize in the international Opus Dissonus Composition Competition. 

Commercial Music Credits include "the Dark" (horror feature film), "Stealing Time" (South African dramatic feature film), "The Killing of Mary Surratt" (docu-drama), "Raven Crest" (webseries pilot), "Star Trek Lexington" (webseries main theme), "Galahad" (TV episodic pilot), "Bloodspear" (Dark Age, Celtic video game), theme song to a family friendly Dinosaur video game, "Paint Me in the Opera House" (award winning short film, atmospheric ghost story), "The Plan" &amp; "Project 5" (short films) and "Cancer Man" (short film premiered at Comic Con). "Biting Personalities", a short film Richard scored won 1st Prize in the SoCal Cinema Grand Slam Competition in Hollywood and screened at SUNDANCE. Richard was also chosen among 12 composers worldwide to participate in the prestigious ASCAP Film Composers Workshop, composing, arranging, conducting and recording with the Hollywood Studio Orchestra at 20th C. Fox. He has composed string arrangements for Natasha Bedingfield. 

As an active Hollywood recording musician and A-List violinist, Richard has participated in over 1000 film scores with such composers as Hans Zimmer, Danny Elfman (Principal 2nd Violin) and John Williams. He is featured in films such as "The Lion King", the "man (Principal 2nd Violin) and John Williams. He is featured in films such as "The Lion King", the "Jurassic Park" movies as well as the "Bourne", "Matrix", "Pirates of the Caribbean" and "Toy Story" series.

Crazy IceCream Truck!

Overview: "Crazy IceCream Truck!" is a lively and playful piece crafted for beginner pianist students. It is a duet for student and teacher! Inspired by the world of clowns and ice cream trucks, this composition is brimming with surprises.
What Makes It Special:
 Playful and Funny: The silly melodies, unexpected notes and off-kilter meters make it a joy for both performers and listeners.
 Engaging for Beginners: Its lively character exercises rhythmic skills and encourages self-expression, making it a delightful choice for novice pianists to explore their musicality.
Imagery: Imagine a colorful ice cream truck coming around to your neighborhood! The music captures this whimsy that brings smiles and laughter to all who hear it.
Why Listen: With its quirky charm, "Crazy Ice Cream Truck!" is a fantastic addition to any recital. It's sure to uplift the audience and impress, making it a perfect choice for budding pianists
to showcase
their abilities.
Summary:
"Crazy Ice Cream Truck!" is a joyful, imaginative piano duet, chock-full of fun. It invites players and listeners on a cheery musical journey.
Enjoy the ride!

Richard Altenbach composes for film, video games and the concert stage. Some of Richard's live concert premiers include "Poe-etic Reflexions" (violin, cello &amp; piano), "Winter for Ivan" (cello, piano &amp; orchestra), "Scarecrow" (violin &amp; piano), "Bidwells Path" (orchestra), "The One Armed Man" (harpsichord), "Phantasy on 3 Ancient Christmas Carols" (violin alone), "Out of the Carpathian Mists" 7 Romanian Folk Tunes (violin, viola &amp; cello), arrangements of several Bach works (string duos and quartets), and "If" (piano, oboe / English horn, French horn, violin, cello &amp; narrator). "The Jester's Waltz" for solo piano won a prize in the international Opus Dissonus Composition Competition. 

Commercial Music Credits include "the Dark" (horror feature film), "Stealing Time" (South African dramatic feature film), "The Killing of Mary Surratt" (docu-drama), "Raven Crest" (webseries pilot), "Star Trek Lexington" (webseries main theme), "Galahad" (TV episodic pilot), "Bloodspear" (Dark Age, Celtic video game), theme song to a family friendly Dinosaur video game, "Paint Me in the Opera House" (award winning short film, atmospheric ghost story), "The Plan" &amp; "Project 5" (short films) and "Cancer Man" (short film premiered at Comic Con). "Biting Personalities", a short film Richard scored won 1st Prize in the SoCal Cinema Grand Slam Competition in Hollywood and screened at SUNDANCE. Richard was also chosen among 12 composers worldwide to participate in the prestigious ASCAP Film Composers Workshop, composing, arranging, conducting and recording with the Hollywood Studio Orchestra at 20th C. Fox. He has composed string arrangements for Natasha Bedingfield. 

Richard teaches composition, notation and violin, and offers his two seminars entitled "A Century of Music in Film" and "Home Studio Recording on a Budget". 

As an active Hollywood recording musician and A-List violinist, Richard has participated in over 1000 film scores with such composers as Hans Zimmer, Danny Elfman (Principal 2nd Violin) and John Williams. He is featured in films such as "Lion King", the "Jurassic Park" movies as well as the "Bourne", "Matrix", "Pirates of the Caribbean" and "Toy Story" series.

Easy Piano Duet-1 Piano, 4 Hands

The Jester's Waltz: A Fun and Quirky Dance
by Richard Altenbach, ASCAP
Overview: "The Jester's Waltz" is a playful and silly piece of music for piano. Instead of being a serious, elegant waltz-like many others, this piece is full of surprises and fun, inspired by clowns and circuses.
What Makes It Special:
 Not a Traditional Waltz: It doesn't follow the usual rules of waltz music. Instead, it twists and turns in unexpected ways.
 Funny and Playful: The music is like a jester playing tricks, with off-kilter melodies and lively, energetic rhythms.
 Exciting to Play: This piece is fun to perform.
Imagery: Think of a colorful circus or a funny story where the characters are playful and a bit mischievous. The music brings to life a world full of surprises, making you smile and laugh.
Why Listen: With its quirky spirit and unique style, "The Jester's Waltz" is perfect for adding some fun to any recital. It's a joyful piece that makes people happy and is sure to impress!
Summary
"The Jester's Waltz" is a delightful and whimsical piano piece that turns the traditional waltz on its head, full of laughter and energy.
Enjoy the ride!
(based on the original international prize-winning version of the piece!)

Being of Viennese extraction, Richard has always had a soft spot for the beauty and elegance of the waltz. But this is not that!
Rather than a reverential bow to Johann Strauss, "the Jester's Waltz" owes more to the influence of Erik Satie, Cirque du Soleil, and the court jester from Edgar Allan Poe's story, "Hop-Frog". Richard's farcical parody of the once-venerable dance form has been called "playful, hilarious, manic, fiendishly fast"...all of which bodes well to be entrusted to the sleight of hand mastery of a willing virtuoso pianist!
*"The Jester's Waltz" won 2nd Prize in the
XVII International Golden Key Piano Composition Competition held in Vienna!
Judges' Notification:
"Dear Mr. Altenbach,
Please accept our sincere congratulations on your exceptional performance at the XVII Golden Key Piano Composition Competition. You have competed among 104 participants from
Australia, Austria, Belgium, Brazil, Canada, China, Germany, Great Britain, Hong Kong, Indonesia, Japan, Kuwait, Malaysia, Poland, Romania, Singapore, South Korea, Switzerland, Taiwan, Thailand, The Netherlands, The United States and awarded Second Degree Diploma in National Professional Category.
Your composition (The Jester's Waltz) has been recommended for the program of the World Composers Recital at the Golden Key Music Festival in Vienna, on July 31, 2024, where the Diploma and Winner's Medal will be awarded to you on the stage of Vienna's historic Ehrbar Hall during the Award Ceremony."
** Richard's piece also received Honorable Mention (only American awarded) in a recent
Opus Dissonus Competition. World-renowned pianist, Artur Cimirro, will be recording the work and performing it on recital programs in order to disseminate the piece internationally.

http://www.richardaltenbach.com/the-jesters-waltz-medium-level-version/

the Jester's Waltz: A Fun and Quirky Dance

Five "Tales" ~ Impressions from selected Poetry &amp; Short Stories of Edgar Allan Poe:

- The Raven -  "Nevermore", "Lost Lenore"
- Annabel Lee - "Angel's Envy", "Tomb by the Sea"
- To Helen - "Beauty amongst the Roses"
- Hop-Frog -"the Jester's Last Jest", "Hop-Frog &amp; Trippetta Waltz"
- The Bells -"Intro", Var. 1 -"Golden Wedding Bells", Var. 2 -"Silver Sleigh Bells", Var. 3 - "Alarum / Iron Bells", Var. 4 - "Bells, Bells, Bells", "Finale"

These movements are impressions of the selected Poe works rather than attempts to musically summarize them. I term the musical style "Ultra-Romantic Expressionism" - an appropriately Romantic Classical tonal sound palette featuring vibrant dissonances befitting of the moody mind of the author.
Opening with the 3-note "Nevermore" motif (cello), "The Raven" ponders the angst and ultimate fury of the narrator, who feels sorrow over the fate of his beloved, departed Lenore while taunted by an enigmatic bird that perches in his apartments. The woody taps of the string players' bows represent the "tap-tap- tapping" on the chamber door. Spiky, dissonant chords signify the persistence of the ebony-plumed visitor. Anxious musical elements bring us to breathless turmoil. The slow "Lost Lenore" section features a somber cello theme poised over the piano's deep, languid, unfurling clouds of chords. 
A violin interlude bridges this piece with "Annabel Lee", a gothic, romantic ghost story. A lover forever pines over the loss of his lady, blaming the jealous angels for tragedy. "Angel's Envy" describes the stormy cliff at the sea they frequented, while the eerie middle section, "Tomb by the Sea" explores the man's supernatural obsessions.
Solo violin brings us to "To Helen". Contrasting the typical conception of Poe's works as grotesque, morose and macabre, we hear more hopeful major tonality. "To Helen" is actually 2 distinct poems of the same title. In one version, Poe extols her beauty effusively. In the other, he speaks about her in a rose garden at midnight, wondering about what was and what could have been.
We now pivot harmonically to whole-tone and chromatic madness in "Hop-Frog" -  a Hobbit-sized court jester famous for his wit. He and his lovely Trippetta, were kidnapped from another land to serve at the whim of a boorish king. When the king unwisely insults Trippetta, the jester contrives a unique punishment involving a chandelier and masquerade ball gone very bad! The music here is quirky and sarcastic. The 2 heroes ecstatically escape back to their country. The carnival-like waltz describes their celebration.
"The Bells" evokes the emotions and rhythms suggested by the ringing of the various bells (tinkling silver sleigh bells, golden wedding bells, alarm bells, iron tolling bells). There is an Intro, 4 Variations and Finale ending in a cinematic, celebratory flourish. The final iteration of the "Evermore" motif in the last measures is extolled in a victorious, even hopeful manner. Listen for the "bells, bells, bells, etc," and the indefatigable "Nevermore" motif haunting throughout the work...

Poetic Reflections ~ FiveTales of Passion and the Macabre for Piano Trio - Piano, Violin & Cello

5 "Tales" for Piano Trio - PNO, VLN &amp; CEL - Impressions from selected Poetry &amp; Short Stories of Poe:

- The Raven -  "Nevermore", "Lost Lenore"
- Annabel Lee - "Angel's Envy", "Tomb by the Sea"
- To Helen - "Beauty amongst the Roses"
- Hop-Frog -"the Jester's Last Jest", "Hop-Frog &amp; Trippetta Waltz"
- The Bells -"Intro", Var. 1 -"Golden Wedding Bells", Var. 2 -"Silver Sleigh Bells", Var. 3 - "Alarum / Iron Bells", Var. 4 - "Bells, Bells, Bells", "Finale"

These movements are impressions of the selected Poe works rather than attempts to musically summarize them. I term the musical style "Ultra-Romantic Expressionism" - an appropriately Romantic Classical tonal sound palette featuring vibrant dissonances befitting of the moody mind of the author.
Opening with the 3-note "Nevermore" motif (cello), "The Raven" ponders the angst and ultimate fury of the narrator, who feels sorrow over the fate of his beloved, departed Lenore while taunted by an enigmatic bird that perches in his apartments. The woody taps of the string players' bows represent the "tap-tap- tapping" on the chamber door. Spiky, dissonant chords signify the persistence of the ebony-plumed visitor. Anxious musical elements bring us to breathless turmoil. The slow "Lost Lenore" section features a somber cello theme poised over the piano's deep, languid, unfurling clouds of chords. 
A violin interlude bridges this piece with "Annabel Lee", a gothic, romantic ghost story. A lover forever pines over the loss of his lady, blaming the jealous angels for tragedy. "Angel's Envy" describes the stormy cliff at the sea they frequented, while the eerie middle section, "Tomb by the Sea" explores the man's supernatural obsessions.
Solo violin brings us to "To Helen". Contrasting the typical conception of Poe's works as grotesque, morose and macabre, we hear more hopeful major tonality. "To Helen" is actually 2 distinct poems of the same title. In one version, Poe extols her beauty effusively. In the other, he speaks about her in a rose garden at midnight, wondering about what was and what could have been.
We now pivot harmonically to whole-tone and chromatic madness in "Hop-Frog" -  a Hobbit-sized court jester famous for his wit. He and his lovely Trippetta, were kidnapped from another land to serve at the whim of a boorish king. When the king unwisely insults Trippetta, the jester contrives a unique punishment involving a chandelier and masquerade ball gone very bad! The music here is quirky and sarcastic. The 2 heroes ecstatically escape back to their country. The carnival-like waltz describes their celebration.
"The Bells" evokes the emotions and rhythms suggested by the ringing of the various bells (tinkling silver sleigh bells, golden wedding bells, alarm bells, iron tolling bells). There is an Intro, 4 Variations and Finale ending in a cinematic, celebratory flourish. The final iteration of the "Evermore" motif in the last measures is extolled in a victorious, even hopeful manner. Listen for the "bells, bells, bells, etc," and the indefatigable "Nevermore" motif haunting throughout the work...

Poetic Reflections ~ FiveTales Impressions from selected Poetry & Short Stories of Edgar Allan Poe

Global Sections - CORE [DO NOT TOUCH]*

Favicon

Need Help? Contact Us or call 1-800-345-6296    Live Chat

Header

Don't have a business account? Create one

Products