Forever Beeler: Sonatas and soli
Aleš Janeček, Lucie Kaucká, Ladislav Bilan, Petr Hladík, Karolina Rojahn, Jennifer Slowik, Jan Dvořák, Dalibor Procházka, Jiří Král
Available in 44.1 kHz / 24-bit AIFF, FLAC audio formats
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Clarinet Sonata
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1.1
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I. —
Alan Beeler; Aleš Janeček; Lucie Kaucká |
3:03 | |||
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1.2
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II. —
Alan Beeler; Aleš Janeček; Lucie Kaucká |
3:19 | |||
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1.3
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III. —
Alan Beeler; Aleš Janeček; Lucie Kaucká |
2:16 | |||
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Something More Cheerful Suite (Variations on a Well-Known Tune)
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1.4
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I. —
Alan Beeler; Ladislav Bilan |
1:07 | |||
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1.5
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IIa. — - IIb. —
Alan Beeler; Ladislav Bilan |
2:36 | |||
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1.6
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III. —
Alan Beeler; Ladislav Bilan |
0:31 | |||
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1.7
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IV. —
Alan Beeler; Ladislav Bilan |
1:00 | |||
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1.8
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V. —
Alan Beeler; Ladislav Bilan |
0:34 | |||
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Flute Sonata
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1.9
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I. —
Alan Beeler; Petr Hladík; Lucie Kaucká |
2:00 | |||
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1.10
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II. —
Alan Beeler; Petr Hladík; Lucie Kaucká |
2:27 | |||
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1.11
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III. —
Alan Beeler; Petr Hladík; Lucie Kaucká |
1:45 | |||
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My Identity Suite
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1.12
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I. —
Alan Beeler; Karolina Rojahn |
0:44 | |||
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1.13
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II. —
Alan Beeler; Karolina Rojahn |
1:51 | |||
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1.14
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III. —
Alan Beeler; Karolina Rojahn |
1:34 | |||
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English Horn Sonata
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1.15
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I. —
Alan Beeler; Jennifer Slowik; Karolina Rojahn |
2:01 | |||
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1.16
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II. —
Alan Beeler; Jennifer Slowik; Karolina Rojahn |
3:09 | |||
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1.17
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III. —
Alan Beeler; Jennifer Slowik; Karolina Rojahn |
1:07 | |||
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Multi-Tonal Suite
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1.18
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I. Arpeggios and Cords Using Conflicting Major Triads
Alan Beeler; Karolina Rojahn |
0:54 | |||
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1.19
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II. Waltz
Alan Beeler; Karolina Rojahn |
1:08 | |||
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1.20
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III. Turns, Triads and the Octatonic Scale
Alan Beeler; Karolina Rojahn |
0:55 | |||
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1.21
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IV. Meandering Major and Augmented Triads
Alan Beeler; Karolina Rojahn |
0:34 | |||
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1.22
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V. Major and Minor Triads Together
Alan Beeler; Karolina Rojahn |
1:05 | |||
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1.23
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VI. Arpeggiated Non-Dominant Seventh Chords
Alan Beeler; Karolina Rojahn |
1:43 | |||
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1.24
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VII. Expanding Chromatic Neighboring Tones
Alan Beeler; Karolina Rojahn |
1:12 | |||
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1.25
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VIII. Contracting Minor Triads
Alan Beeler; Karolina Rojahn |
1:33 | |||
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Oboe Sonata
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1.26
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I. —
Alan Beeler; Jennifer Slowik; Karolina Rojahn |
2:27 | |||
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1.27
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II. —
Alan Beeler; Jennifer Slowik; Karolina Rojahn |
2:07 | |||
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1.28
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III. —
Alan Beeler; Jennifer Slowik; Karolina Rojahn |
0:57 | |||
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3 Early Pieces for Solo Piano
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1.29
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Piano Piece No. 1
Alan Beeler; Lucie Kaucká |
0:49 | |||
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1.30
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Piano Piece No. 2
Alan Beeler; Lucie Kaucká |
1:34 | |||
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1.31
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Piano Piece No. 3
Alan Beeler; Lucie Kaucká |
1:08 | |||
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Sonata de camera
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1.32
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I. French Overture
Alan Beeler; Jan Dvořák; Lucie Kaucká |
2:05 | |||
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1.33
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II. Chaconne
Alan Beeler; Jan Dvořák; Lucie Kaucká |
1:07 | |||
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1.34
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III. Alla concerto
Alan Beeler; Jan Dvořák; Lucie Kaucká |
0:57 | |||
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1.35
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Beeler's Fit '06
Alan Beeler; Karolina Rojahn |
0:39 | |||
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Bass Trombone Sonata
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1.36
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I. —
Alan Beeler; Dalibor Procházka; Lucie Kaucká |
2:38 | |||
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1.37
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II. Adagio
Alan Beeler; Dalibor Procházka; Lucie Kaucká |
5:12 | |||
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1.38
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III. Finale
Alan Beeler; Dalibor Procházka; Lucie Kaucká |
1:45 | |||
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Piano Sonata
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1.39
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I. —
Alan Beeler; Karolina Rojahn |
1:28 | |||
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1.40
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II. —
Alan Beeler; Karolina Rojahn |
1:57 | |||
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1.41
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III. —
Alan Beeler; Karolina Rojahn |
2:24 | |||
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1.42
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IV. —
Alan Beeler; Karolina Rojahn |
1:41 | |||
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Tuba Sonata "The Octatonic Tuba"
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1.43
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I. —
Alan Beeler; Jiří Král; Lucie Kaucká |
2:22 | |||
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1.44
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II. —
Alan Beeler; Jiří Král; Lucie Kaucká |
0:53 | |||
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1.45
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III. —
Alan Beeler; Jiří Král; Lucie Kaucká |
2:38 | |||
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1.46
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IV. —
Alan Beeler; Jiří Král; Lucie Kaucká |
0:42 | |||
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1.47
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12-Tone Quartal Etude
Alan Beeler; Karolina Rojahn |
0:54 | |||
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Digital Booklet
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Forever Beeler collects a sampling of composer Alan Beeler’s prolific output that most represent his playfulness and commitment to compositional craft and structural clarity. The world-class musicians on this recording bring out Beeler’s adept manipulation of his musical materials, emphasizing his ear for melody, rhythm and texture.
44.1 kHz / 24-bit PCM – Navona Studio Masters
| Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -3.27 -13.62 to -0.50 | -23.85 -31.46 to -19.18 | -20.48 -28.10 to -16.10 | 13 9 to 16 | |
| 1 | I. — | -0.50 | -24.31 | -21.3 | 13 |
| 2 | II. — | -1.44 | -22.77 | -19.6 | 11 |
| 3 | III. — | -1.34 | -21.97 | -18.8 | 14 |
| 4 | I. — | -0.50 | -19.69 | -16.1 | 11 |
| 5 | IIa. — - IIb. — | -13.62 | -31.15 | -27.8 | 11 |
| 6 | III. — | -5.78 | -22.72 | -19.4 | 11 |
| 7 | IV. — | -11.89 | -27.74 | -24.9 | 10 |
| 8 | V. — | -3.26 | -21.97 | -18.0 | 10 |
| 9 | I. — | -1.48 | -21.74 | -18.7 | 12 |
| 10 | II. — | -0.50 | -22.38 | -18.4 | 13 |
| 11 | III. — | -0.67 | -20.68 | -17.6 | 13 |
| 12 | I. — | -4.68 | -24.50 | -21.1 | 11 |
| 13 | II. — | -7.36 | -31.46 | -28.1 | 13 |
| 14 | III. — | -0.50 | -22.79 | -19.6 | 14 |
| 15 | I. — | -0.50 | -19.18 | -16.4 | 12 |
| 16 | II. — | -7.14 | -24.29 | -21.2 | 11 |
| 17 | III. — | -2.43 | -20.59 | -17.6 | 11 |
| 18 | I. Arpeggios and Cords Using Conflicting Major Triads | -1.19 | -23.63 | -20.0 | 15 |
| 19 | II. Waltz | -3.19 | -26.32 | -23.1 | 15 |
| 20 | III. Turns, Triads and the Octatonic Scale | -1.61 | -24.54 | -20.1 | 12 |
| 21 | IV. Meandering Major and Augmented Triads | -6.16 | -24.24 | -20.6 | 10 |
| 22 | V. Major and Minor Triads Together | -0.50 | -24.62 | -20.6 | 14 |
| 23 | VI. Arpeggiated Non-Dominant Seventh Chords | -6.13 | -27.05 | -23.5 | 13 |
| 24 | VII. Expanding Chromatic Neighboring Tones | -2.05 | -22.07 | -17.9 | 12 |
| 25 | VIII. Contracting Minor Triads | -1.44 | -24.17 | -20.7 | 15 |
| 26 | I. — | -0.50 | -21.00 | -17.7 | 13 |
| 27 | II. — | -4.41 | -24.48 | -20.8 | 12 |
| 28 | III. — | -1.42 | -21.06 | -17.7 | 11 |
| 29 | Piano Piece No. 1 | -0.50 | -24.73 | -20.8 | 16 |
| 30 | Piano Piece No. 2 | -4.91 | -29.05 | -25.4 | 14 |
| 31 | Piano Piece No. 3 | -4.51 | -24.13 | -21.1 | 13 |
| 32 | I. French Overture | -1.88 | -21.96 | -18.9 | 12 |
| 33 | II. Chaconne | -7.40 | -25.11 | -22.3 | 10 |
| 34 | III. Alla concerto | -0.50 | -21.31 | -18.3 | 14 |
| 35 | Beeler's Fit '06 | -0.50 | -21.41 | -17.1 | 13 |
| 36 | I. — | -3.67 | -26.18 | -23.2 | 14 |
| 37 | II. Adagio | -11.22 | -30.19 | -27.3 | 11 |
| 38 | III. Finale | -0.50 | -21.24 | -18.2 | 14 |
| 39 | I. — | -0.50 | -22.80 | -19.1 | 15 |
| 40 | II. — | -6.29 | -28.70 | -24.8 | 15 |
| 41 | III. — | -2.75 | -23.64 | -20.1 | 13 |
| 42 | IV. — | -0.66 | -21.96 | -18.9 | 14 |
| 43 | I. — | -3.24 | -23.66 | -20.6 | 11 |
| 44 | II. — | -6.24 | -22.91 | -19.9 | 9 |
| 45 | III. — | -5.33 | -24.63 | -21.4 | 10 |
| 46 | IV. — | -0.50 | -21.81 | -18.9 | 13 |
| 47 | 12-Tone Quartal Etude | -0.50 | -22.54 | -19.1 | 14 |