John P. Meder (1848 – 1908) was a composer and polymath who spent most of his life (since 1864) in Carson City, Nevada. This waltz was published in 1885 by I.L.A. Brodersen. It is an energetic and somewhat playful waltz. The variety that is found in the various passages showcases Meder’s talents as a composer, and one who should be more appreciated as an early contributor to the musical culture of the United States and the American West.
Watch the new video of “My Own” Waltz, featuring the music along with the score, here.
This rendition in MuseScore 3.0 was created by Gennady Stolyarov II, due to the absence of any other recordings of this waltz online.
Download the MP3 file of J. P. Meder’s “My Own” Waltz here.
This composition is most certainly influenced by the ongoing troubles of the world, but it endeavors to be melodic and structured while conveying the tumultuous, agitated, and tragic character of our epoch. While Mr. Stolyarov uses some similar techniques in this piece to several of his earlier “Neo-Baroque” compositions, this one is more somber, as the title implies. It follows a theme-and-variations format; one of the variations is not actually somber, and the listener will clearly hear which one. In protracted periods of tragedy, there are still good times to be encountered on occasion, and this piece conveys that as well.
Watch the video on YouTube here and on Odysee here.
This work was composed by Mr. Stolyarov on March 30-31, 2022, and is played using the MuseScore 3.0 software.
This composition received an Honorable Mention at the 2022 Rodrigo Landa-Romero International Composition Competition.
Louis Moreau Gottschalk’s piano transcription of Carl Maria von Weber’s 1826 Oberon Overture for four hands has seldom been performed in public, and no known recording existed of it until now. Gottschalk (1829-1869) created it in 1857, and the last documented public performance was by Eugene List (1918-1985) in Spring 1979, as briefly mentioned in a May 4, 1979, New York Times article by Joseph Horowitz.
While there exist many transcriptions of the Oberon Overture, Gottschalk’s is absolutely, monumentally unique in its extent of ornamentation, thunderous intensity, and virtuosic passages (which will be unmistakable to the listener). Perhaps the demands that this piece would place on human performers explain the rarity of any attempts to play it. It is likely that only a few remarkable pianists throughout history, including Gottschalk himself, would have had the skill, endurance, and proto-transhuman mental processing power needed to carry it out without fail.
Fortunately, with musical notation and composition software, combined with increasingly realistic digital instruments, the limitations of the human hands can be transcended, and this work can be made available to listeners as Gottschalk intended it to be heard. This recording was created using the MuseScore 3.0 by Gennady Stolyarov II between June and December 2021; the transcription itself required approximately 36 hours of meticulous work, spread out over half a year. However, elevating this piece into public awareness is certainly worth the effort. This is heroic music showing the impressive heights to which human achievement, ingenuity, and virtuosity can rise, and it is a marvelous gift from Gottschalk in 1857 to our era.
Watch the score video on YouTube here and on Odysee here.
Download the MP3 file of this composition for free here.
Download the score (published in 1901 – now in the public domain) here.
Louis Moreau Gottschalk – Pensée Poétique – Nocturne, Op.18 – Recording by Gennady Stolyarov II
Commentary by Gennady Stolyarov II: This Pensée Poétique (Poetic Thought) was composed by Louis Moreau Gottschalk (1829 – 1869) in 1852-1853. It is a short nocturne – Gottschalk’s Opus 18, different from Gottschalk’s more famous Pensée Poétique, Op. 62.
To my surprise, I am unaware of any readily available recording of this quite interesting nocturne with some strong Chopin influences. Therefore, I created a rendition using MuseScore 3.0. This video follows the original Gottschalk score, to which I hope to have done justice. The last third appears to be rather virtuosic (as is much of Gottschalk’s work), and I am glad that we live in an era where programs allow us to experience these kinds of compositions in spite of the difficulty for a human to learn them.
Watch the video with the score on YouTube here and on Odysee here.
Download the MP3 rendition by Gennady Stolyarov II here.
The sheet music is in the public domain and is available here. (IMSLP page.)
Description from Gottschalk.fr (English translation):
“Rather ‘classical’ piece with a beautiful lyrical line. Found by John Doyle in Brazil. (‘A bibliographic study and catalog of works’). Published by Chabal, Paris; it can also be found at the Biblioteca Nacional de Madrid, from where it was extracted.”
Allegro Risoluto, Op. 91 (2021) – Musical Composition by Gennady Stolyarov II
This composition by Gennady Stolyarov II coveys the sense of proceeding with swift determination, even through challenging settings and terrain. Occasionally there is an opportunity for respite to enjoy the scenery. Watch the video on YouTube here and on Odysee here.
This composition is intended to be playable by a human on piano, and those with pianistic abilities are encouraged to try and free to record and publish videos of themselves doing so.
Photographs taken by Gennady Stolyarov II from the trails of C-Hill above Carson City, Nevada, on April 26, 2018.
This composition and video may be freely reproduced using the Creative Commons Attribution Share-Alike International 4.0 License.
Remember to LIKE, FAVORITE, and SHARE this video in order to spread rational high culture to others.
See the index of Mr. Stolyarov’s compositions, all available for free download, here.
End of 2020 Solo March, Op. 90 (2020) – Musical Composition by Gennady Stolyarov II
Composed to commemorate the end of the most difficult year in recent history, this march by Gennady Stolyarov II conveys both the struggle and turbulence of the year left behind and the aspiration toward a brighter future. The piece is one of contrast and duality; it does not always move in the direction of brightness, since as the pandemic has taught us, there can be both incremental improvements and (sometimes sudden and dramatic) setbacks. Nor does the piece end definitively in a major or minor key; it ends in the key of C, but which C? The outcome of the battle between progress (potentially exponential progress) and ruin (potentially catastrophic ruin) is up to us humans to determine in 2021 and far beyond. And yet this composition also uses the principles of harmony to convey its moods, because it is through such a structured approach that humans ultimately rescue meaning out of the chaos and have a chance to restore order to a turbulent world.
Because 2020 was a year during which solitude became the default and the norm, this piece is written for solo piano, which also suggests that the conflict between progress and ruin is one that is experienced and participated in by each individual uniquely on that individual’s terms. Humankind is not really marching forward together and is perhaps more divided than ever; rather, the efforts and choices of each individual are what ultimately chart the trajectory of the long arc of history. Also, this march is one that can actually be played by an individual human!
This march was composed by Mr. Stolyarov during December 21-24, 2020, and is played using the MuseScore 3.0 software.
This is a determined, uplifting march composed by Gennady Stolyarov II for piano, violin, and cello – intended to be played by a human ensemble. As the decade of the 2010s concludes, this composition expresses the hope that a better future awaits for the entirety of humankind.
This march was composed by Mr. Stolyarov in October-December 2019, and is played using the MuseScore 3.0 software.
A waltz for two pianos and a string orchestra, conveying an even-tempered cheerfulness – in a largely 19th-century style but including a bit of melodic experimentation.
Four orchestral variations in a late 19th-century style build upon a piano theme begun by Mr. Stolyarov in 2002 and subsequently rediscovered and completed in 2018. The strong chords and frequent major-minor contrasts evoke the dramatic, sweeping views of the Carson Valley, which often encompass multiple contrasting weather phenomena.
This symphonic march was composed by Gennady Stolyarov II on the occasion of the 84th Birthday of his grandfather, Gennady Stolyarov I, on October 24, 2017. This piece contains exactly 84 measures. The opus number is coincidental, but fortuitously so – as it looks forward to another year.
In the 1950s and 1960s, Gennady Stolyarov I led the development of some of the first computers in the Soviet Union and was granted the IEEE Computer Pioneer Award in the year 2000 for his achievements – “For pioneering development in ‘Minsk’ series computers’ software, of the information systems’ software and applications and for data processing and database management systems concepts dissemination and promotion”.
This composition is played using the Symphonic Orchestra in the Ludwig 3.0 Premium Software.
