Guitar Player
Art Thompson
July 2003
Stratosonic Guitar Player July 2003

There’s no arguing that the Fender Stratocaster is one of the most perfectly realized electric guitars of all time. But since its introduction in 1954, many guitarists—and even Fender itself—have explored various means of fattening-up the Strat’s tones. Installing humbuckers and active electronics have yielded good results in that quest, but little has been done since the Cold War to make the Strat a fundamentally meatier-sounding instrument. That has all changed with Fender’s rollout of the Stratosonic ($1,434 retail/$999 street; the DVI single-pickup version retails for $1,134), a radically new kind of Strat that features a mahogany body with five internal chambers and a pair of P-90-sized Fender Black Dove single-coil pickups (with alnico magnets). The Tech-Tonic wraparound-style bridge is also totally new, offering six adjustable saddles (height and into-nation) along with a pair of small hex screws that lock the bridge solidly to its mounting studs to optimize string resonance. By loosening the screws a quarter turn, you can use the studs to make coarse height adjustments to the bridge. About the only things here that remain faithful to the original Strat formula are the body con-tours and the bolt-on maple neck.

Sonic Details

The U.S.-made Stratosonic assumes a kind of Strat-meets-Les Paul Junior vibe with its perfectly applied, transparent red finish and stylish, 5-ply pickguard. Semi-conical knobs (which are made a little easier to grab via rubber 0-rings) and a 3-way pickup selector switch further distance this guitar from any other Strat model to date. The satin-finished neck joins the body in a razor-tight joint, and it features a rosewood board with abalone dots and 22 carefully installed, lightly polished jumbo frets. Cool extras include a gloss-black peg head facing and a nicely finished bone nut.

Playability and Tones

With its wide, C-shaped neck and 12″ fret board radius, the Stratosonic offers a superb playing feel. The big frets and low action make for smooth, supple bending—although the .009 string set on the test guitar felt overly light. A fair amount of buzzing was noticeable when fingering above the 12th fret, and though the Stratosonic is intonated spot-on when comparing open strings and their 12-fret octaves, chords played in the tenth and higher positions sounded a bit less sweet than their first-position counterparts. The Stratosonic has a lively acoustic sound and excellent sustain – which is partly due to its rock-solid hardware. Plugged into a Fender Vi-bro-King and a Matchless Chieftain combo, the guitar delivered bright, muscular tones that could be morphed between clear and crunchy with a sweep of the volume knob. The neck pickup packs a deep, crisp voice that works beautifully for everything from smoky jazz (with the tone knob rolled down) to clanky rhythms and throaty leads. Combined with the bridge pickup, you get a big, dimensional sound that blends the snappy attack you expect from a 25 1/2″-scale guitar with the ballsiness of an old slab-bodied Gibson. What a great hybrid sound! You also get the advantage of hum-cancellation in the dual-pickup setting (the solo pickup settings can be rather buzzy). Feeding the Stratosonic’s bridge pickup into a mid-’70s Marshall yielded explosive tones that packed tight bottom and clear, detailed highs. The upper-midrange emphasis of the single-coils puts serious burn in these rock tones, yet even when using high presence settings on the Mar-shall to enhance sustain, it was still possible to keep things on the brown side with subtle tweaks of the Stratosonic’s nicely voiced tone control. Super Sonic Though some players will probably look at the Stratosonic and wonder why Fender would waste its time fixing something that wasn’t broken, this guitar definitely gives those in search of maximum tonal fatness from a Strat something to cheer about. An ideal all-around blues/ rock guitar, the Stratosonic—with its unique, chambered construction—is a perfect vehicle for the P-90-sized single-coils. Its vibey, prismatic tones go well beyond what a humbucker equipped Strat has to offer, and if Fender’s goal was to preserve the Strat’s inherent complexity while upping its chunk factor, they’ve to-tally succeeded. Building a better mousetrap isn’t easy, and a lot of Strat variants have come and gone over the years. However, as a guitar designed to satisfy different tastes—as well as lure players who normally wouldn’t use a Strat—the Stratosonic stands a very good chance of landing a permanent place in Fender history.

Pros: bigger, fatter, tones than provided by a standard Strat
Cons: no familiar Strat tones, No vibrato

Vintage Guitar
Phil Feser
February 2004
Stratosonic Vintage Guitar February 2004

Mahogany body, P-90 style wraparound tailpiece, 243/4″ scale? Sounds like a Gibson Les Paul special. But alas; the instrument bearing these features looks like a Fender Stratocaster. Recently launched as part of Fender’s American Special series, Sonic DVI and DVII (single and double-pickup; respectively) offer a unique, twist on an old favorite. Scale length aside, the neck of the Stratosonic – is pure Fender – modern polyurethane finished C-shaped bolt-on maple with a 9’/2″ radius rosewood fret board and a larger-profile black headstock. And from outward appearances, the body is standard Fender Strat, but made of Honduran mahogany with five tone chambers and not solid alder or solid ash. The overall appearance of the Stratosonic is very pleasing and well- conceived. The brown sunburst finish over the mahogany body, along with the black headstock and plastic parts, give the guitar a real vintage look and vibe.
Fender definitely borrowed some styling concepts from Gibson when it came to the wraparound bridge, but with marked improvements from the one-size-fits-all unit on older Les Paul Specials. Fender’s new Tech -Tonic bridge is made of chrome-plated brass, and is fully adjustable — each saddle can be adjusted for height and intonation, and the tailpiece can be raised, lowered, and locked in place. Other hardware includes chrome Fender/Schaller cast/sealed tuners, Schaller strap lock buttons, and a tree for the B and E strings. Arguably the most striking aesthetic element on the Strat- o -Sonic DVII we tested is the DE-9000 Blackdove single-coil pickup combination, and three-position toggle. Rounding out the list of features is a small black/white/black pick guard, abalone dot inlays on the fret board, master volume and tone knobs, and Fender Super 250 (.010 to .046) strings. The one other feature that made this “Strat” unique was that it was 24 3/4″ scale like a Gibson and not 25 1/2″ like most other Strats (yes, Fender has produced some “short-scale” Strats). Though very reminiscent of Gibson P-90s, Blackdoves are true single-coils, not stacked hum buckers. We checked out their sound with the help of a late-’70s Fender Twin Reverb, a Line 6 POD, and a Crate V5212 tube combo. Playability was good, right out of the case, action and string radius were set correctly, and only a slight adjustment was needed to straighten the neck. It was very apparently that the .010s were a good choice. Fender typically ships guitars with .009s, but because of the shorter scale, the strings are under less tension. So, larger strings put back some of the stiffness to which Strat players are accustomed. The guitar isn’t stiff-feeling, but rather, it feels like you’re getting a bit more “feedback” from the strings as you play — not a trace or slinky, mushy . And the set action meant the strings didn’t buzz or choke on bends. Also, the chambered body is light — especially for mahogany— and the contours felt comfortable. From the first strum, it’s evident Fender spent time matching the pickups to this guitar. The clean tones from the Twin and the Crate were fat, like you’d expect from a P-90, but they retained a lot of the high-end shimmer often lost on over wound single-coils. The middle position (both pickups on) proved to be my favorite because of its lush, thick tone and clear note separation. It had that out- of-phase Strat sound, but with a little more low-end mids. The bridge position had a fat “Tele” kind of sound, with a little less twang, and good thump to the low-end and snap to the highs. Using the overdrive channel of the Crate and adding the Line 6 POD, the guitar offered tones more in the Gibson P-90 neighborhood, but again with better note separation. Because the Blackdoves don’t sound as heavily wound, they sport a little less output. But if you need the higher output, chances are your amp can deliver. The combination of the chambered mahogany body and Blackdove pickups give the guitar a balanced and smooth overall sound. The Stratosonic is available in Brown Sunburst, Crimson Transparent, and Butterscotch Blond. With great useable tones, a cool vintage vibe, and good playability, it’s a welcome twist on an industry standard.



Leo Brouwer
Kleine Zaal, Concertgebouw – Amsterdam
1976-10-09 (FM)

Cuban guitarist and composer Leo Brouwer plays a solo recital in the hall of the Concertgebouw in Amsterdam. The works on the program are all exemplary of Leo Brouwer. Arrangements of Baroque music, his own work and as a final piece of work for guitar and electronics. Due to an injury to his right hand in the early 1980’s, Leo Brouwer stopped performing and switched to composing full-time.

00:00 Six Lute Pieces of the Renaissance 6.55
Anonymous – Transcribed by Oscar Chilesotti
– I. Vaghe belleze et bionde treccie d’oro vedi che per ti moro.
– II. Bianco Fiore.
– III. Danza.
– IV. Gagliarda
– V. Se io m’accorgo
– VI. Saltarello

06:55 Johan Sebastian Bach 13.38
Chaconne from Violin Partita No. 2 BVW 1004

20:33 Domenico Scarlatti 24.12
Six sonatas for harpsichord
– Uknown Title
– Uknown Title
– Uknown Title
– Uknown Title
– Uknown Title
– Uknown Title

Leo Brouwer
44:43 – Parábola 6.43
51:26 – Canticum 4.30
55:54 – La espiral eterna 8.12

1:04:05 Tres piezas populares argentinas 8.12
– Astor Piazzolla – Uknown Title
– Astor Piazzolla – Uknown Title
– Astor Piazzolla – Uknown Title

1:12:16 Tres piezas populares cubanas 8.26
– Leo Brouwer – Berceuse (Cancion de Cuna)
– Uknown Title
– Uknown Title

1:20:41 Tres piezas populares brasileiras 8.42
– Uknown Title
– João Pernambuco – Sons De Carrilhoes
– Antonio Carlos Jobim – Samba de Uma Nota Só

1:29:21 Leo Brouwer 11.36
Metáfora del amor (guitar and tape)

Thrilled to find a new performance by Christophe Dejour on yerTube this morning…

performers notes:

Johann Sebastian Bach: Chromatic Fantasia and Fugue (BWV 903)
originally written for the Harpsichord,
but here in an arrangement for solo guitar made by Christophe Dejour.

Pdf-file of the guitar score for sale (price 15$ – 14€ – 100 DKR.)
Please contact me at:

Fantasia: 0.08
Fugue: 7.35

Bach probably composed it during his time in Köthen from 1717 to 1723. The piece was already regarded as a unique masterpiece during his lifetime. It is now often played on piano.

It´s not the first time the work has been transcribed for the guitar but this is my modest attempt. The work has a.o. also been transcribed for viola solo by Zoltán Kodály in 1950 and Busoni made two transcriptions for both solo piano and cello and piano, which are catalogued as BV B 31 and 38, respectively.
I play on my brand new Behnam Shirazi guitar (2014) on this video.
I hope you will enjoy the music and the video.

Best regards
Christophe Dejour

Béla Bartók: Sonata for Guitar, transcription by Christophe Dejour
Alban Berg: Opus One, transcription by Christophe Dejour

from the YoTube notes:

Béla Bartók: Sonata for guitar. Originally written for solo violin. Arrangement for guitar: Christophe Dejour.

1. Tempo di ciaccona
2. Fuga. Risoluto, non troppo vivo 9,55´
3. Melodia. Adagio 14,45´
4 Presto. 21,54´

The Sonata for Solo violin Sz.117,BB 124, by Béla Bartók is regarded as one of the most important solo works of the 20th century. It was premiered by Yehudi Menuhin, to whom it was dedicated, in New York on 26 November 1944.

In 2015, after many thoughts, – sketches and considerations, I finished the guitar arrangement. I can only hope that people will recognize my attempt of the arrangement were done with respect for the composer and the unique Music.

In the last movement (presto) the manuscript contains sections written in quarter tone steps. Béla Bartók explained these in his letter of April 21 1944:

“The quarter-tones in the 4th movement have only colour-giving character, i.e. they are not ”structural” features, and – therefore – may be eliminated, as I tried to do so in the alternatives on the last pages, which you may use if you don´t feel inclined to worry about quarter-tone playing. However the best would be, if I could hear played both versions, and then decide if it is worth while use the quarter-tones”

The quarter-tones in the manuscript are followed by the ”alternatives” also known as the Menuhin version.

In my guitar arrangement I had to choose the half-note version. (Menuhin version) not that I like this version more, (actually on the contrary, I would had loved to play the quarter-note version) but I simply could not find a solution how to play the fast quarter-notes. The way to produce quarter-notes on the guitar are by bending or pulling the strings and I was not able to bend/pull the strings in the required Presto tempo.

Christophe Dejour, guitar transcription of JS Bach Chromatic Fantasia and Fugue (BWV 903)
Alban Berg: Opus One, transcription by Christophe Dejour



J.S.Bach: Sonata n.1 BWV 1001 for violin solo

Recorded at Teatro Minaz (Ribeirão Preto – SP – Brasil) on 08/27/2010 for Movimento Violão.
Arrangement for 11 string guitar: Paulo Martelli
Guitar made by Samuel Carvalho (São Paulo – Brasil)

J.S.Bach: Cello Suite n.2 BWV 1008

Recorded live for Movimento Violão at SESC Vila Mariana on 10/27/2010, São Paulo – Brazil. BWV 1008 arranged for 11 string guitar by Paulo Martelli.

modest-mussorgsky-photo1Like of lot of people my age, I heard Keith Emerson’s arrangement of Modest Mussorgsky’s Pictures at an Exhibition for his band ELP in the early 1970s, he’s still playing it years later.  Originally a suite for solo piano, the orchestral arrangement by Maurice Ravel is also well known to classical music lovers.

Yamashita Kazuhito’s recording of his guitar transcription was reissued a few years ago on CD, but it’s already out of print. Prices on Amazon are astronomical, someday I’ll probably find a used copy somewhere for a dollar. I’ve heard it and there’s plenty of virtuoso guitar, but the performance sounded ragged.

Jorge Caballero should record it. but doesn’t list Pictures in the repertoire page of his website. However, here’s two versions of his transcription for guitar. It’s an old favorite, perfect for guitar.

July 5, 2014 update from Wikipedia

The first musician to arrange Mussorgsky’s Pictures at an Exhibition for orchestra was the Russian composer and conductor Mikhail Tushmalov. However, his version (first performed in 1891 and possibly produced as early as 1886 when he was a student of Rimsky-Korsakov) does not include the entire suite: Only seven of the ten “pictures” are present, leaving out Gnomus, Tuileries, and Bydło, and all the Promenades are omitted except for the last one, which is used in place of the first.

The next orchestration was undertaken by the British conductor Henry Wood in 1915. He recorded a few sections of his arrangement on a pair of acoustic Columbia 78rpm discs in 1920. However, he withdrew his version when Maurice Ravel’s orchestration was published and banned every public performance in the 1930s in deference to Ravel’s work. Wood’s arrangement has also been recorded by the London Philharmonic Orchestra under Nicholas Braithwaite and issued on the Lyrita label. It omits all but the first of the Promenade-based movements and features extensive re-composition elsewhere. Wood’s orchestration was once described by Gordon Jacob as “superior in picturesqueness to the Ravel”, with its off-stage camel-bells in “Bydlo” and grand organ in “The Great Gate of Kiev”.

The first person to orchestrate the piece in its entirety was the Slovenian-born conductor and violinist Leo Funtek, who finished his version in 1922 while living and working in Finland.

The version by Maurice Ravel, produced in 1922 on a commission by Serge Koussevitzky, represents a virtuoso effort by a master colourist. The orchestration has proved the most popular in the concert hall and on record. Ravel omitted the Promenade between “Samuel” Goldenberg und “Schmuÿle” and Limoges and applied artistic license to some particulars of dynamics and notation. His instrumental colors—a trumpet solo for the opening Promenade, dark woodwind tones for passages suggesting Orthodox chant, the piccolo and high strings for the children’s “chicks in shells”–are widely admired. The influence of Ravel’s version may often be discerned in subsequent versions of the suite.

Koussevitzky’s commission, worked out with the publishers of the piano suite, gave him sole conducting rights for several years. He published Ravel’s score himself and in 1930 made the first recording of it with the Boston Symphony Orchestra. The exclusive nature of his commission prompted the release of a number of contemporary versions by other arrangers until Ravel’s became generally available.

The original publisher of Mussorgsky’s piano suite, W. Bessel & Co. rushed to produce an orchestral version of its own after Ravel’s proved popular. The publisher had passed on the opportunity to publish Ravel’s arrangement, seeing no great commercial advantage in printing a score and set of parts for large orchestra; it had granted Koussevitzky permission to commission the setting and publish the score himself on the condition that no one else be allowed to perform it. Bessel turned to a Ravel student, 21-year-old Russian-born pianist Leonidas Leonardi (1901–1967), a.k.a. Leon Leonardi or Leonid Leonardi, to create an orchestral version that could meet the now burgeoning demand and help the publisher regain some of its lost advantage. Leonardi’s orchestration requires even larger forces than the version made by his mentor. The young pianist dedicated his setting of the suite to Igor Stravinsky and conducted the premiere in Paris with the Lamoureux Orchestra on 15 June 1924. The US premiere took place on 4 December 1924 when the New York Symphony Orchestra performed it under the baton of Walter Damrosch. Regardless, Leonardi’s orchestration was soon eclipsed by Ravel’s, and today only the third Promenade and “Tuileries” movement of his version may be heard on audio record (Leonard Slatkin/Saint Louis Symphony: The Slatkin Years: 6 CD Set).

Another arrangement appeared when Eugene Ormandy took over the Philadelphia Orchestra in 1936 following Leopold Stokowski’s decision to resign the conductorship. Ormandy wanted a version of Pictures of his own and commissioned Lucien Cailliet, the Philadelphia Orchestra’s ‘house arranger’ and player in the woodwind section, to produce one. This version was premiered and recorded by Ormandy in 1937. Walter Goehr published a version in 1942 for smaller forces than Ravel but curiously dropped Gnomus altogether and made Limoges the first “picture”.

The conductor Leopold Stokowski had introduced Ravel’s version to Philadelphia audiences in November 1929; ten years later he produced his own very free orchestration (incorporating much re-composition), aiming for what he called a more ‘Slavic’ orchestral sound instead of Ravel’s more ‘Gallic’ approach. Stokowski revised his version over the years and made three gramophone recordings of it (1939, 1941 and 1965). The score, finally published in 1971, has since been recorded by other conductors, including Matthias Bamert, Gennady Rozhdestvensky, Oliver Knussen and José Serebrier.

Although Ravel’s version is most often performed and recorded, a number of conductors have made their own changes to the scoring, including Arturo Toscanini, Nikolai Golovanov and Djong Victorin Yu. Conductor and pianist Vladimir Ashkenazy has produced his own orchestral arrangement, expressing dissatisfaction with Ravel’s interpretive liberties and perpetuation of early printing errors. The conductor Leonard Slatkin has performed ‘compendium’ versions, in which each Promenade and “picture” is interpreted by a different orchestral arranger.

Many other orchestrations and arrangements of Pictures have been made. Most show debts to Ravel; the original piano composition is, of course, frequently performed and recorded. A version for chamber orchestra exists, made by Taiwanese composer Chao Ching-Wen. Elgar Howarth arranged it for the Philip Jones Brass Ensemble in 1977, subsequently recasting it for Grimethorpe Colliery Band. Kazuhito Yamashita wrote an adaptation for solo classical guitar. Excerpts have also been recorded, including a 78 rpm disc of The Old Castle and Catacombs orchestrated by Sir Granville Bantock, and a spectacular version of The Great Gate of Kiev was scored by Douglas Gamley for full symphony orchestra, male voice choir and organ. The Amadeus Orchestra (UK), taking a page from Leonard Slatkin’s ‘compendium’ approach, commissioned ten composers to orchestrate one movement each to make a version first performed complete in 2012. Movements were provided by Alastair King, Roger May, Tolib Shakhidi, David Butterworth, Philip Mackenzie, Simon Whiteside, Daryl Griffiths, Natalia Villanueva, James McWilliam and Julian Kershaw.

The suite has inspired homages in a broad range of musical styles. A version featured in two albums by the British trio Emerson, Lake & Palmer incorporates elements of progressive rock, jazz and folk music (1971/2008). An electronic music adaptation by Isao Tomita was done in 1975. A heavy metal arrangement of the entire suite was released by German band Mekong Delta; another metal band, Armored Saint, utilised the “Great Gate of Kiev” theme as an introduction for the track “March of the Saint”. In 2002 electronic musician-composer Amon Tobin paraphrased “Gnomus” for the track “Back From Space” on his album Out from Out Where.[9] In 2003 guitarist-composer Trevor Rabin released an electric guitar adaptation of “Promenade” originally intended for the Yes album Big Generator and later included on his demo album 90124. In 2005 Animusic 2 included a track entitled “Cathedral Pictures”. Based on the Emerson, Lake, & Palmer version, “Cathedral Pictures” included only the first Promenade and the final two movements from the suite. The Michael Jackson song ‘HIStory’ samples a short section of the Great Gate Of Kiev, longer version was played during HIStory World Tour finale in 1997. Re-issues of the HIStory album further changed the sample on the track.

Orchestral arrangements
A partial listing of orchestral arrangements of Pictures at an Exhibition:

Mikhail Tushmalov (ca. 1886; three “pictures” and four Promenades omitted: recorded by Marc Andrae and the Munich Philharmonic for BASF)
Henry Wood (1915; four Promenades omitted: recorded by Nicholas Braithwaite and the London Philharmonic for Lyrita)
Leo Funtek (1922; all Promenades included: recorded by Leif Segerstam and the Finnish Radio Symphony for BIS; Also on Teldec Laser-disc with Vladimir Ashkenazy conducting the Swedish Radio Symphony Orchestra)
Maurice Ravel (1922; the fifth Promenade omitted)
Giuseppe Becce (1922; for “salon-orchestra”. No Promenades are included at all, and only some of the Pictures.)
Leonidas Leonardi (1924; published by Breitkopf & Härtel; Leonard Slatkin has “revived” a part of the Leonardi version by using Promenade III & Tuileries in his 1st “compendium” suite of “Pictures at an Exhibition” )
Lucien Cailliet (1937: recorded by Eugene Ormandy and the Philadelphia Orchestra for RCA and reissued on Biddulph)
Leopold Stokowski (1939; third Promenade, Tuileries, fifth Promenade and Limoges omitted. Three recordings conducted by Stokowski: with the Philadelphia Orchestra, All-American Youth Orchestra, and New Philharmonia)
Walter Goehr (1942; Gnomus omitted; includes a subsidiary part for piano)
Sergei Gorchakov (1954: recorded by Kurt Masur and the London Philharmonic for Teldec; Also recorded with Karl Anton Rickenbacher, conducting the Cracow Radio Symphony, for the RCA Records. A live 1980 performance by the Leningrad Academic Symphony Orchestra under Konstantin Simeonov was recorded by Melodya.)
Nikolai Golovanov (A heavily edited version of Ravel’s orchestration in which Golovanov omits all but the first of the Promenades was recorded for Melodya)
Lawrence Leonard (1977; for piano and orchestra; recorded by Tamas Ungar, piano, with Geoffrey Simon and the Philharmonia Orchestra for Cala)
Vladimir Ashkenazy (1982: recorded by Ashkenazy and the Philharmonia Orchestra for Decca/London)
Thomas Wilbrandt (1992)
Emile Naoumoff (ca. 1994, in concerto style with some added music, for piano and orchestra ; recorded with Igor Blaschkow, conducting the Deutsches Symphony Orchestra Berlin, for Wergo)
Mekong Delta (1997; for group and orchestra)
Carl Simpson (1997; Promenade IV included in Leonard Slatkin’s 2nd “compendium” suite for Warner Classics and Naxos)
Chao Ching-Wen (2002; for chamber orchestra)
Jason Wright Wingate (2003; orchestra, organ and chorus)
Hidemaro Konoye (date unknown)
Leonard Slatkin Two ‘compendium’ versions, the 2nd of which he recorded with the BBC Symphony Orchestra for Warner Classics live at the BBC Proms on 1 September 2004; The other recording was with the Nashville Symphony for Naxos Records.
Clarice Assad (2008, for the New Century Chamber Orchestra)
Václav Smetáček (date unknown; a performance with Gennady Rozhdestvensky conducting the Prague Symphony Orchestra on 28 October 2004 has been issued on the Don Industriale label)
Jukka-Pekka Saraste created a performing edition of his own, combining the orchestrations of Leo Funtek and Sergei Gorchakov; He recorded it with the Toronto Symphony Orchestra for Finlandia Records, a division of Warner Music Group)
Aurélien Bello, for large orchestra (2011)
Amadeus Orchestra version, with one picture each provided by Alastair King, Roger May, Tolib Shakhidi, David Butterworth, Philip Mackenzie, Simon Whiteside, Daryl Griffiths, Natalia Villanueva, James McWilliam and Julian Kershaw. (2012, for large orchestra)
Peter Breiner (2012, for large orchestra), recorded by Breiner and the New Zealand Symphony Orchestra for Naxos.

Arrangements for other forces
A listing of arrangements of Pictures at an Exhibition for performing forces other than orchestra:

Giuseppe Becce (1930; for piano trio)
Vladimir Horowitz (1946; revised version for solo piano)
Ralph Burns (1957; for jazz orchestra)
Allyn Ferguson (ca. 1963; for jazz orchestra)
Elaine Fine (2012; The Old Castle for 3 violins, 2 violas, and 1 cello)
Calvin Hampton (1967; for organ)
Emerson, Lake & Palmer (1971; rock group, lyrics written by Greg Lake); see Pictures at an Exhibition (album)
Harry van Hoof (ca. 1972; brass ensemble; The Bogatyr Gates only)
Isao Tomita (1966; various instruments for the Osamu Tezuka animated film, 1975; for synthesizer)
Elgar Howarth (ca. 1977; for brass ensemble. Recorded in 1977 by the Philip Jones Brass Ensemble for Argo)
Ray Barretto (1979; The Old Castle for Latin-jazz band)
Arthur Wills (1970s; for organ. Recorded in 1980 by Wills on the Organ of Ely Cathedral for Hyperion)
Jon Faddis (1978; for Trumpet, in his solo album, “Good and Plenty” with the track name “Promenade”)
Kazuhito Yamashita (1980; for classical guitar)
Henk de Vlieger (1981; for percussion ensemble)
Hugh Lawson (1983; for jazz trio)
James Curnow (1985; for large wind ensemble; abridged version)
Jean Guillou (ca. 1988; for organ)
Jevgenija Lisicina (ca. 1991; for three pipe organs; ca. 1997 for organ and 14 percussion instruments)
Tangerine Dream (1994; Promenade for trumpet, saxophone, horns and synthesizer; on their Turn of the Tides album)
James Crabb and Geir Draugsvoll (1996; Duo Accordion)
Mekong Delta (1997; for metal band)
Stan Funicelli (1998; Hut of the Baba Yaga and the Great Gate of Kiev; for 3 guitars in New Standard Tuning)
Michael Allen (2000; for brass ensemble, recorded by the Burning River Brass)[10]
Christian Lindberg (ca. 2000; for trombone and piano)
Simon Proctor (ca. 2000; for euphonium & tuba quartet, retitled Miniatures at an Exhibition))
Larry Clark (2001; for beginning band, Promenade and Great Gate of Kiev)
Hiroshi Hoshina (2001; for wind orchestra)
Carl Simpson (2004; for wind orchestra)
Wayne Lytle, for the DVD Animusic 2 under the title Cathedral Pictures (2005; for synthesizer; Promenade, Baba Yaga and The Bogatyr Gates)
Sergei V. Korschmin (2006; for Brass Sextet – 2 Trumpets, Horn, Trombone, Euphonium, Tuba)
Cameron Carpenter (2006, for organ)
Walter Hilgers (2006; for large brass ensemble, percussion, and two harps)
Glass Duo (2007; for glass harp)
Slav de Hren (2008; for a punk-jazz band and vocal ensemble. Some of the pieces are complete transcriptions, others are improvisations on the original theme)
Friendly Rich (2009; for avant-garde cabaret jazz ensemble)
Clarice Assad (2009; for string orchestra, piano and percussion)
Merlin Patterson (2011; for wind ensemble)
Vladimir Agopov (2011; for large wind ensemble)
Neil Cicierega (2014; for Smash-Mouth based mashup album)
Alan Gout (date unknown; for chamber ensemble)
Duke Ellington (date unknown; for jazz big band)
William Schmidt (date unknown; for saxophone choir);
Andrés Segovia (date unknown; for guitar; The Old Castle only)
Michael Sweeney (date unknown; for large wind ensemble; Promenade, The Hut of Baba Yaga, The Great Gate of Kiev)
Ward Swingle (date unknown; for vocal ensemble, double bass and percussion; Limoges only)
Gail Royer (1986-1987; Santa Clara Vanguard Drum And Bugle Corps)
Robert W. Smith (2012; Madison Scouts Drum And Bugle Corps)


thoughts about music by David Beardsley

The Music Aficionado

Quality articles about the golden age of music

Microtonal Projects' BLOG

we promote, research, perform and educate

Musica Kaleidoskopea

a kaleidoscopic view of music

The Canterbury scene(zine) continued....

Random ramblings nearly 30 years further on from a Canterbury scene veteran

The Hum Blog

a blog for

J.C. Combs

acoustic and electronic arts

Ted Greene Archive

Immortalizing Beauty Through Music

thoughts about music by David Beardsley

New Music Buff

Random perspectives from an informed new music fan.

The Night After Night Archives

thoughts about music by David Beardsley

New Videos

thoughts about music by David Beardsley

Field Stations and Outposts of Anaphoria Island

thoughts about music by David Beardsley

Make Your Own Taste

Eclectic reviews of ambient, psychedelic, post-rock, folk and progressive rock ... etc.!

Articulate Silences

Tacet / Tacet / Tacet

David Rothenberg

musician, composer, author and philosopher-naturalist


Scott Healy's Jazz Composition Blog: Writing, Arranging and Listening

Avant Music News

A source for news on music that is challenging, interesting, different, progressive, introspective, or just plain weird

Do The Math

thoughts about music by David Beardsley


Just another site

Music : NPR

thoughts about music by David Beardsley

destination: OUT

thoughts about music by David Beardsley

thoughts about music by David Beardsley

Renewable Music

thoughts about music by David Beardsley

Miniatures Blog

thoughts about music by David Beardsley

thoughts about music by David Beardsley

Mixed Meters

thoughts about music by David Beardsley


thoughts about music by David Beardsley

Bob Gluck's Blog

Just another site

Today Is The Question: Ted Panken on Music, Politics and the Arts

My thoughts and writings on jazz and the world around it.


a sinister resonance


Kyle Gann on music after the fact