Napa and Great Music...What Could Be Better?

Edvard Grieg:
Suite “From Holberg’s Time”, Op. 40
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Maurice Ravel
Suite “Le Tombeau de Couperin”
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Philip Glass
Suite from “Dracula” (arr. by Ian Scarfe)
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This program is high-risk, high-reward.

Grieg's "Holberg Suite" is well known by all high-school string players. The string-orchestra version was likely one of the first really dramatic works a violinist or cellist performed in their teenage years. It's full of romantic-era flair and virtuosity, and an emotional intensity that ranges far beyond its otherwise genteel facade of old-style French-baroque dances.
Grieg intended for this piece to be a kind of homage to the 17th century dance music of the early Baroque era, which makes it a fascinating piece of music for our ears. Grieg does an excellent job capturing the elegant baroque spirit, but his virtuosity and "romantic style" is never far behind. The version for solo-piano, which Grieg started with and performed himself many times, is chock full of the great "romantic virtuoso". It's fun to play, full of life and vigor, and, excepting the slow 4th movement "Air" - a very happy piece.

Which is important, because Philip Glass' music from the film DRACULA is nearly all in minor keys, and like a good horror film, is a masterpiece in managing and building tension throughout.

I first played Philip Glass' Dracula score in the "touring ensemble arrangement" made by Glass and fellow composer Michael Reisman for string quartet and two pianos. I'm not sure what possessed me to arrange it for solo piano - perhaps the vampire's supernatural charm has affected my mind as well!
My arrangement captures the loneliness and solitude of the undead Count Dracula's existence, the hypnotic charm that allows him to seduce his victims, and the urgency that builds toward the end of the film as the heroes confront Dracula.