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An image of great, mechanized machines working furiously in a factory is
  represented in this prelude. But there is something slightly sinister and
  angry about these machines. There is a relentless drive created by the
  two-note figure that propels the listener toward the end of this diabolical
  assembly linehelpless to stop and unable to see what awaits.

Prelude Op. 2, No. 16 in B-flat minor

Piano Solo

As much as "O Come, All Ye Faithful" is a lullaby, this
  arrangement is brimming with a sense of hushed excitement right from the
  opening measures as the two young girls from the title race to tell the town
  of the glorious events taking place. The first statement of the melody enters
  in the right hand with rather simple harmony, but the left hand keeps the
  excitement alive via a flowing stream of sixteenth notes.
    
    There is an abbreviated return of the opening material which leads to the
  second verse, but this time the left hand rises up to ring out with a
  bell-like tolling to awaken the townspeople. Meanwhile the right hand plays
  the melody in octaves, ringing out above to announce the news to one and
  all.
    
    By the third verse, the left hand is playing chords like a brass choir
  underpinning the melody, which now finds itself amid a flurry of triplets as
  the joyous tidings news spread far and wide. There is a return to the opening
  section, concluding with a final cascade from the top of the keyboard to the
  bottom and ending with a final "Amen!"

Bring a Torch, Jeanette, Isabella

This simple, yet beautiful lullaby to the sleeping Christ-child has long
  been a favorite of mine. The piece begins with a gentle rocking figure in the
  left hand while the right hand represents the twinkling of the stars in the
  night sky. In the first verse, a simple statement of the melody begins over
  the figure established in the left hand. By the second verse, both hands have
  introduced another voice to the harmony. There are two popular musical
  settings of the lyrics, and in the third verse I tried to combine the
  rhythmic and melodic elements of both. The prelude closes with an air of
  wonder and reverence as the Child drifts back to sleep while the star shines
  overhead.

Away in a Manger

This is a collection of 12 preludes for piano solo from the recording
  "He Is Born!" They vary in difficulty from intermediate/advanced
  through advanced. The pieces cover a variety of styles ranging from the more
  Classical-influenced to the works of George Winston and Mannheim Steamroller.

He Is Born!

While not technically overly difficult, beginning in the unusual meter of 11/8 (and switching throughout), this work deals not only with counting but also with two-against-three between the hands. The chromatic nature of the music lends to the piece a searching quality that perfectly captures the image of the inchworm seeking, but for what, only it knows. The intrepid inchworm does not give up and though there are obstacles to overcome, by the end it has found what it was looking for as the piece comes to rest with a feeling of accomplishment and finality.

Naturszenen Op. 3, No. 5

There is an elegant simplicity to this gentle lullaby. You can hear a
  variety of birds twittering, trilling, warbling and chirping as they call to
  one another and get ready to settle in for the night. The sun is sinking in
  the west and there is not much time to return to the nest and await the
  morning. For the pianist, there are ample opportunities to practice trills,
  both long and short, but always keeping in mind the direction and flow of the
  melody.

Naturszenen Op. 3, No. 7

Based on the traditional English folk song, "Greensleeves,"
  there is a haunting, soulful quality to the melody that inspired me to write
  this prelude. It starts simply enough with the similar lullaby-like quality
  found in "Away in a Manger," but the minor key makes it less
  restful and more contemplative in nature. It gradually becomes more complex,
  adding a harmony above the melody before the first statement of the refrain
  occurs adding another voice to the chords and ultimately leading to four-part
  chords. I then transition to a figure in the right hand to represent the
  twinkling of the stars as the melody is woven into the pattern before
  reaching a climax with the final statement of the refrain in full-throated
  adoration. The prelude then draws back in intensity, closing with the
  twinkling of the stars once again in the right hand and resolving to a major
  chord.

What Child Is This?

As filled with a sense of hopelessness that "O Come, O Come,
  Emmanuel" is, this prelude is brimming with unbridled joy; from the
  thunderous opening to the bell-ringing ending. With influences ranging from
  Handel to Mannheim Steamroller, I wanted to write something that expresses
  the full glory of this hymn. While the hymn itself has 7 verses, I only chose
  to use four of them including the fifth verse referencing
  "Sinners...doomed for guilt to endless pains" where I moved to a
  minor key before coming back for the final verse and a return to the musical
  material of the opening.

Angels from the Realms of Glory

A piece filled with a sense of desolation and hopelessness which is only
  increased by the use of tritones in the right hand.

Prelude Op. 2, No. 4 in E minor

A collection of twenty-four preludes for solo piano with influences from the early Romantic composers of Schubert and Schumann to the later romantic works of Rachmaninoff and Scriabin. The pieces are given names to reflect scenes in nature from realistic to fantastical and dream-like imagery. Difficulty level ranges from intermediate-advanced to advanced.

Op. 3, 24 Naturszenen

A flickering light just off the path seems to beckon you to follow, but the stories warn of following these strange apparitions. Sometimes they are just mischievous, but other tales tell of a much darker end for those that deviate from the trail.
In this Nature Scene the left hand sets forth a rhythmic pattern that is unwavering throughout the first third of the piece and carried on in the melody. The downward rolled chords in the right hand lend a haunting quality to the melody as it winds its way above. There is a change in feel when the melody becomes more melismatic and hypnotic as though the ghostly figure is becoming more insistent. With the return of the original rhythmic motif from the beginning the melody is now harmonized as the apparition is joined by its brethren in leading the unwary traveller to whatever fate awaits.

Naturszenen Op. 3, No. 4

Once again the influence of George Winston and Mannheim Steamroller can
  be heard as this prelude begins with a burst of joy and energy that does not
  subside, but only grows with each verse. The changing meters make this piece
  a challenge to play and requires a strong technique to handle some of the
  scale passages.
    
    This arrangement is a far cry from the original music of Mendelssohn, but
  the lyrics inspired me to create something full of vibrancy and passion to
  match the glorious news that the angels came to deliver! The first verse
  establishes the 5/4 meter heard throughout the prelude and is filled with the
  pealing of church bells in the right hand as they send forth the melody in
  octaves! Meanwhile, the left hand continues the broken chord pattern
  established in the opening.
    
    In the next verse, the left hand is now rising and falling, while the right
  is still playing the melody in octaves. Only now it is filling the spaces
  with eighth notes to match the left hand... essentially combining the two
  hands of the previous verse.
    
    For the final verse, the left hand takes on the orchestral role of brass
  and percussion with thunderous chords punctuating the rhythm of the melody in
  the right hand. There are moments of fireworks as the hands break free of the
  5/4 meter for some wonderful, albeit brief, scales which increase the growing
  excitement. The piece concludes with a return of the rhythmic material from
  the opening as the hands work their way down the piano in arpeggiated fashion
  only to race back up the keyboard for a final flourish before a resounding
  Amen: Hail the heaven-born Prince of Peace! Glory to the new-born King!

Hark! The Herald Angels Sing

While most of these Naturszenen present images of the waking world, this one is set in the world of dreams. From the very beginning of the intro there is a feeling of an almost trance-like state as the right hand plays a simple, yet haunting figure with very little motion under a sustained, sighing melody. When the main theme begins, the left hand takes up the pulsating figure and the right begins its melancholic rise and fall. The chromatic nature of the piece lends an aura of wandering through the world of sleep, looking with fascination at the unusual sights conjured up by the unconscious mind. Is there a hidden meaning to what we see or simply our imagination taking us on a journey to a fantastic world of untold wonders?

Naturszenen Op. 3, No. 22

The most Impressionistic of Opus 3, the cathedral in this instance is the
  forest rather than the sunken one from Debussy's prelude. The canopy of the
  trees is the vaulted ceiling and the trunks serve as the columns. As one
  walks down the colonnade, the spaces between the trees serve as windows onto
  the magnificence of nature.
    
    From a musical standpoint, the thick, rich chords of the right hand create
  a feeling of majesty and awe broken by the melismatic figures of the wind
  through the boughs. Once again, it is of great importance to balance the
  chords to bring forth the melody.

Naturszenen Op. 3, No. 14

A darkness creeps through the forest that is broken only by momentary
  glimpses of an ethereal light from above. There is something almost sinister
  to this music, yet also deeply emotional...expressing a sense of overwhelming
  loss. From a technique standpoint, there are very thick chords that must be
  balanced correctly so as to hear the melody at all times. It is one of the
  more Impressionistic-feeling preludes in this collection.

Naturszenen Op. 3, No. 12

The winds howl, hurling the snow through the air with a vengeance. It is
  near impossible to see your hand before your face as the storm rages on and
  the Icy Breath of Winter threatens to freeze the very blood in your veins.
  This prelude requires the pianist to have a keen understanding of the
  multiple voices needed to be brought out between the hands. There is a great
  deal of arpeggio work in the left hand and the quick tempo of the piece
  demands a strong technique and lightness of touch.

Naturszenen Op. 3, No. 10

I again returned to Chopin for inspiration in this piece as the left
  hand opening is quite reminiscent of his Prelude Op. 28, No. 3 (though not
  nearly as fast). In fact, the first measure is identical to Chopin's and
  they're both in the same key. However, it immediately becomes apparent that
  this prelude is more inspired by George Winston than Chopin. My goal was to
  capture the sheer joy of the melody and the lyrics. In dulci jubilo
  translates as "in sweet rejoicing" and that's what I wanted to
  bring to my arrangement. There is a somewhat extended opening section before
  getting to the actual melody found within a constant stream of sixteenth
  notes in the right hand: A challenge for the pianist to bring out the line
  amongst all those notes. There is also a secondary melody to be found in the
  left hand hidden among its own torrent of notes. There is an almost
  chorale-like closing for several bars before a final flourish brings the
  prelude to a joyous close.

In dulci jubilo

There is a haunting, melancholy feel to this prelude which is accentuated by small ripples of notes, disturbing the placid calm of a lake at evening. The left-hand arpeggios require a light touch to maintain the air of tranquility.

Prelude Op. 2, No. 8 in F# minor

While not technically difficult, the prelude requires deft use of
  pedaling to create an ethereal atmosphere.

Prelude Op. 2, No. 1 in C major

An atmosphere of despondency permeates this prelude. The 5/4 meter
  contributes to the quality of heartbreak felt throughout the piece as though
  it is difficult to place one foot in front of the other in order to move past
  the overwhelming grief. The melody grows from a single line in the right
  hand, adding another voice and culminating in large chords that express the
  full magnitude of loss.

Prelude Op. 2, No. 14 in D# minor

Global Sections - CORE [DO NOT TOUCH]*

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