Reviews

Originally for organ, Adoration by Florence Price is heard here in Stuart Ross Carlson’s sensitive arrangement for flute and piano. Friend’s flute soars with an almost vocal quality, while De Silva lends a devotional calm to the accompaniment. The result is both haunting and deeply moving, making this premiere a highlight of the album.

Full of such life, the way these tracks radiate a sense of discovery feels majestic. The cinematic quality of the atmosphere wafts over every part of the soundscape. Instrumental richness defines every nook and cranny of the pieces. Evolution goes for the meticulous, ensuring that every detail is in its right place. Lots of the work manages to pull at the heartstrings, for the delivery is elegant. “Portrait of a Landscape: SEASONS” features the exquisite charm of Stuart Ross Carlson for he crafts timeless arrangements... Read Full Review

A Cinematic Tour de Force from A True Virtuoso. Stuart has managed to arrange a beautiful hour-long cinematic piece in this majestic one-hour composition. ‘Portrait of a Landscape: SEASONS’ stands out as a thoroughly impressive composition that spans the most profound and most inspired of influences: from the subtle Baroque complexity of Jonny Greenwood to the loud, resonant ostentations of Krzysztof Penderecki... Read Full Review

‘Portrait of a Landscape: SEASONS’ is a fantastic mix of classical and country, orchestral and folk music, blurring the lines between more formal and rootsy worlds and again underlining that music is just music. It can, indeed should, be allowed to take whatever form it likes, regardless of ideas of genre, style, and even potential audience. Just let the music speak for itself. And this album is the perfect example of why... Read Full Review

There’s something reminiscent of romantic string quartets by Schumann and Dvorak in these artistic arrangements of traditional Christmas carols. The arrangements, by local musician Stuart Carlson, definitely do not fit into the standard verse-chorus-repeat category of carols. Augmented by mood-setting intros and expanded by key changes and lush unexpected harmonies and countermelodies, these are great for recital pieces or for playing at church. The book includes a full score as well as all of the individual parts.

In this impressive transcription Carlson captures much of the sound and power of the organ and offers it to solo violin. This arrangement requires double stops, accents, jumping across strings, high left-hand work, and dramatic flourishes with the bow and with chromatic left-hand runs… The advanced student or professional will surely enjoy bringing this classic to life.

This edition of Bach’s Toccata and Fugue—an eerie opus heard in dozens of scary films and in more than one Scooby-Doo episode—is transcribed by Stuart Carlson for solo violin. Easily one of the most famous pieces of the organ repertoire today, it was first published in 1833 thanks to Felix Mendelssohn.

Carlson, a young competition-winning violinist, has transcribed over 20 classical works since 2008. “While studying Bach’s Toccata and Fugue for organ, I was intrigued by the fact that many of the chords and motifs within it can be transitioned for performance on the violin,” Carlson writes. “I later discovered that there is historical speculation that Bach may have composed this piece for solo violin.” This inspired him to use the urtext version to create this arrangement for solo violin. He arranged it in the original key (D minor) with an aim to emulate the full sound of the organ—but on a violin—and incorporated his own musical and stylistic preferences into the transcription. Fingerings, bowings, articulations, dynamics, and string indications are included to help produce the desired sound and interpretation of the music—features players will welcome in a piece that’s naturally challenging.

While this arrangement shows the work can indeed be played on violin, it is no easy task and will be tricky for even the most capable players, demanding heavy and precise bowing, difficult fingerings, and occasionally awkward string crossings. Elements of the toccata are especially difficult when played on the violin, such as octaves in the opening motif and the multiple stops that outline the chordal structure. The fugue will require “woodshedding” for any violinist to become comfortable with the string crossings, multiple-stops, and perpetual motion of the 16th notes. Perhaps the most challenging aspect of interpreting the piece is achieving a large and full tone reminiscent of a true organ performance.

If you’re a big Bach fan, and a violinist who wants to challenge yourself with a unique arrangement of this organ classic, then treat yourself to this tricky transcription.

Stuart’s stunning, gentle tone sparkled alongside Jade’s improvised embellishments to the arrangement, which Stuart had encouraged her to add. The result was the sound of two people collaborating selflessly, sharing themselves with a touched audience. “How sweet the sound,” indeed!

The finale performed by violist Stuart Carlson and pianist Mi-Eun Kim was especially rewarding because it was to the tune of “Smile” by Charlie Chaplin. The audience hummed along and chuckled to the tune. Ending the show with “Smile” after experiencing all the complexity of the pieces before seemed like a reward for attending. This is not to say that Carlson’s or Kim’s performance was any less nuanced or exceptional as the others. The performance of this song was just so inspiring that my inner ballerina wanted to jump up on the stage and dance.