Performance excerpts
Achron: Hebrew Melody
J. S. Bach: Fugue in G minor for violin and continuo, BWV 1026 (period instruments)
Sonata No. 1 in B minor for violin and obbligato harpsichord, BWV 1014, II. Andante (period instruments)
Biber: Sonata X ("Crucifixion") from the Mystery Sonatas (baroque violin in scordatura)
Brahms: Sonatensatz (Scherzo from the F.A.E. Sonata)
Elgar: Violin Concerto in B minor, Op. 61 (composer's version with piano), II. Andante
Schubert: Sonata in A minor, D. 385, IV. Allegro
Tchaikovsky: Violin Concerto in D Major, Op. 35, I. Allegro moderato
Teaching videos
Bazzini: "La ronde des lutins"
Brahms: Sonatensatz
Brahms: Violin Concerto
Bruch: Violin Concerto No. 1
Mozart: Sonata in E minor, K. 304
Dvorak: Violin Concerto
Sarasate: Carmen Fantasy
Sibelius: Violin Concerto
Exploring the mystique of vibrato
Counterpoint as the soul of expression
Career thoughts for violinists: Individuality and self-worth
International competitions
Orchestral positions
Collegiate teaching
What is difficulty?
The danger of clutching at straws
The importance of being connected
Tips on writing a bio
Achron: Hebrew Melody
J. S. Bach: Fugue in G minor for violin and continuo, BWV 1026 (period instruments)
Sonata No. 1 in B minor for violin and obbligato harpsichord, BWV 1014, II. Andante (period instruments)
Biber: Sonata X ("Crucifixion") from the Mystery Sonatas (baroque violin in scordatura)
Brahms: Sonatensatz (Scherzo from the F.A.E. Sonata)
Elgar: Violin Concerto in B minor, Op. 61 (composer's version with piano), II. Andante
Schubert: Sonata in A minor, D. 385, IV. Allegro
Tchaikovsky: Violin Concerto in D Major, Op. 35, I. Allegro moderato
Teaching videos
Bazzini: "La ronde des lutins"
Brahms: Sonatensatz
Brahms: Violin Concerto
Bruch: Violin Concerto No. 1
Mozart: Sonata in E minor, K. 304
Dvorak: Violin Concerto
Sarasate: Carmen Fantasy
Sibelius: Violin Concerto
Exploring the mystique of vibrato
Counterpoint as the soul of expression
Career thoughts for violinists: Individuality and self-worth
International competitions
Orchestral positions
Collegiate teaching
What is difficulty?
The danger of clutching at straws
The importance of being connected
Tips on writing a bio
Compositions
Sinfonia for harpsichord and violin (sound excerpts from the 2017 premiere performance)
I. Vivace
II. Chorale
III. Fugue — Aria — Fugue
IV. Epilogue
Sheet music for the sinfonia and other selected works are available on IMSLP here
Cadenza to the Brahms violin concerto available here
Sinfonia for harpsichord and violin (sound excerpts from the 2017 premiere performance)
I. Vivace
II. Chorale
III. Fugue — Aria — Fugue
IV. Epilogue
Sheet music for the sinfonia and other selected works are available on IMSLP here
Cadenza to the Brahms violin concerto available here
Monograph
Sei Solo: Symbolum? The Theology of J. S. Bach's Solo Violin Works (Eugene, OR: Pickwick, 2016).
More information can be found here.
"...one of the most rewarding books that I have read on music"—American Record Guide
Read David Stancliffe's review in the UK's Early Music Review here.
Critical editions
Critical reconstruction of J. S. Bach's lost D-minor violin concerto (BWV 1052R), available from PRB Productions. J.S. Bach's D-minor harpsichord concerto, BWV 1052, was the composer's latest arrangement of material also found in BWV 1052a and Cantatas 146 and 188. The solo instrument's range and figuration in these sources persuasively indicate they were adapted from a violin concerto that no longer survives. This edition reconstructs the lost concerto, correcting errors of previous reconstructions and presenting some new readings of source material.
Critical completion of J. S. Bach's incompletely surviving D-major sinfonia, BWV 1045, available from PRB Productions. This Sinfonia is his most lavishly scored work featuring a solo violin. Though it survives only as a fragment, clues from the surviving portion indicate the probable form of its intended conclusion. Moreover, penmanship clues in the autograph suggest the Sinfonia may likely be an adaptation of a work for strings only, for which this edition makes allowance in the form of ossias corresponding to the putative earlier material.
