If you have even been fortunate to visit Fallingwater, Frank Lloyd Wright's architectural masterpiece, you can 'relive' your tour of the house and it's environment. If you have never visited Fallingwater (and it is one of the great structures of the world,) Fallingwater Dreams allows you to relax to a collection of musical selections inspired by or reflecting the many dimensions of the house. The music on this CD ranges from classical masterpieces to folk songs to original compositions. Created by a guide at Fallingwater, George Bartley, Fallingwater Dreams is a 'musical tour' of the house representing the architecture, the house collection, and it's natural environment. Music includes arrangements of works by Beethoven (Wright's favorite composer,) music written by Pittsburgh native Stephen Foster, and 21 other selections that are ideal for meditation and relaxation. The CD uses high quality software instruments (including autoharp, banjo, hammered dulcimer, harp, lute, bassoon, flute, Steinway grand piano, sitar, English horn, harpsichord, pipe organ, orchestra, and a variety of synthesizers.) Audio of 'the music of stream,' as well as the sounds of many birds native to the area is interwoven throughout the CD to create a relaxing tapestry of sounds. Sources: Fallingwater Guide Interpretive Manual, and guide training sessions) Frank Lloyd Wright's Fallingwater, and guide training sessions Bird sounds courtesy: U.S. Department of Fish and Wildlife, Partners In Rhyme. Front cover: photo by Robert R. Ruschak. Back cover: photo by Richard Griswold. Courtesy of Western Pennsylvania Conservancy. Fallingwater is located in Mill Run, Pennsylvania, telephone 724.329.8501 Perhaps one of the most interesting aspects of the CD is one that is not readily obvious - the choice of sounds. My main concern in arranging the music for this CD was to have peaceful, relaxing music that reflected the house, it's art, and natural environment. But during the pre-mixing of the CD, I found that I had unconsciously specific 'assigned' digital instruments to various rooms based on materials used in building Fallingwater. For the native material of Pottsville sandstone, I used the sounds of the autoharp, as well as the hammered dulcimer - instruments 'native' to the area. To a lesser extent, I also used the sounds of a cathedral organ to represent the stone. I came to realize that I had used the 'flexible sounding ' woodwinds - especially the flute and English horn - to represent concrete (with it's 'plastic' nature.') And the 'appearance' of instruments representing sandstone and concrete (autoharp and English horn, for example) tended to appear first in the building of the melody. And I found that I had often used sounds of a chorus to represent areas with a great deal of steel. Glass was frequently represented on the CD by sounds of the harp. In several of the house's areas with wood (North Carolina Black Walnut), I used the sounds of the acoustic guitar. Again, I was completely unaware of trying to 'paint a picture' of an area a using specific instrument. I was more interested in trying to reflect the house through music that represented elements of the house, as well as relaxing melodies that evoked the spirit of each area (in other words, what 'sounded right.') While there is not a simplistic one-to-one correspondence between instruments on the CD and building materials in all cases, I thought this 'unintended pattern' was interesting. George Bartley has done over 30 CDs, and is also known as 'Bartholomew.' However he is most proud of his work as a docent. He has been a guide at the Edgar Allan Poe Museum in Richmond, and at Woodlawn Plantation in Alexandria, Virginia. He has also been a guide at another Frank Lloyd Wright house, the Pope-Leheighy house in Alexandria. He has become totally fascinated with his work as a guide at Fallingwater, and hopes to communicate some of that fascination in Fallingwater Dreams. Below is text from the liner notes to the CD by Cara Armstrong, educational curator of Fallingwater. Introduction: Approaching the House (Morning Has Broken - Traditional Gaelic) begins with the sounds of nature. As the owner of Fallingwater, Edgar Kaufmann, Sr. and his family could leave the chaos of Pittsburgh for a weekend retreat by crossing The Bridge (Over the Hill and Far Away - Traditional American) to the house. First Floor: The relaxing space of the Living Room (Goin' Home - Traditional American) is characterized by it's use of an open plan. The Hatch (The Swan from Carnival of the Animals - Saint-Saens) is a detail used by Wright to bring the experience of a flowing stream inside. The West Terrace (Gymnopedie No. 1 - Eric Satie) is open to nature around it. As the psychological and physical center of Wright's homes, The Hearth area (Home! Sweet Home! - Sir Henry Bishop) features an imposing fireplace. Nearby are Mrs. Kaufmann's Tuscan country chairs. Second Floor: The Guest Bedroom (Paspied Viejo - Mexican Traditional) is one of two areas in the house with a painting by Diego Rivera. Sections from two scores by Baroque composers hang on the wall in the Master Bedroom (English Suite No. 1 - Johann Sebastian Bach) and a passage for the lute (Recercar No. 14 - Franciscus Bossinensis.) The bedroom contains a 15th century 'Madonna and Child,' and the 'release of space' is especially dramatic on the Master Bedroom Terrace (Ave Maria - Johann Sebastian Bach.) Edgar Kaufmann, Sr.'s Study/Den (Simple Gifts - Shaker Hymn) shows how cantilever construction can result in a room that is simple, but powerful. With it's adobe appearance, the concrete in Edgar Kaufmann, Sr's Terrace (Cherokee Morning Song - Traditional Native American) would be at home in Santa Fe, New Mexico, and is just one area of the house that contains a physical abstraction of the waterfalls. Third Floor: As a member of the staff at the Museum of Modern Art, Edgar Kaufmann, jr. was highly influential in the acceptance of Scandinavian Modern furniture in the United States, and Edgar Kaufmann, jr.'s Study (Finlandia - Jean Sibelius) displays his conviction that good design is a part of daily life. Edgar Kaufmann, jr.'s Terrace (Pathetique Sonata, Adagio - Ludwig van Beethoven) is another area of the house that opens to the outdoors. The third floor alcove is the site of Edgar Kaufmann, jr.'s Bedroom (Bercuese - Frederick Chopin.) Transition: With it's sculpture from India, the Bridge Over the Driveway (Song from the Hills - Traditional Punjabi) connects the main and guesthouse. The Canopied Walkway (Pastoral Symphony - Georg Fredrick Handel) is quite sophisticated structurally, while allowing users to be in mist of nature. The Guest House: The Guest House Living Room has three of the six Japanese prints that were gifts by Wright (Sakura -Traditional Japanese.) Like all of Wright's architecture, the Guest House Bedroom (All Through the Night - Traditional Welsh) is partially a product of the Welsh influences that Wright gained from his mother. Fed by natural spring water, the Guest House Swimming Pool (Air on G String - Johann Sebastian Bach) is one of the many areas of the house where water is used as a design element. Maintaining the purity of stream water was especially important to the Kaufmanns - a goal that has been carried on by the Western Pennsylvania Conservancy. The View: Here the house can be clearly seen overtop of the waterfalls - an awe-inspiring sight (Beautiful Dreamer - Stephen Foster.) And just as the Baroque composer created a classic harmonic structure (Canon in D - Johann Pachelbel,) the architect of Fallingwater designed a classic harmonic structure that becomes a part of nature. The CD concludes with an original composition (where the sounds of the water are digitally altered for a 'soaring effect') called Fallingwater Dreams - inspired by the combination of traditional, modern, natural, mysterious, original, futuristic, and even dreamlike architecture of Frank Lloyd Wright.