Cyclone 1 starts with a hit and run up the G-string and a left-hand pizzicato before spooling into a rotating wonder of broken chords. Speed runs through scales and other techniques establish the technical prowess of composer violinist Caleb Hans Polashek and the music churns through segments all across the register. Exciting and stormy, the music continues to spin ever faster and more aggressively until reaching its greatest height, marked with the extreme stretch of a tenth interval. After this, the Cyclone collapses in a wild flurry of notes before the bow whips one last chord, ending this storm.

A sweet single-note melody, inspired by the chocolate of Chocolaterie Stam, sets a glowing tone for this theme and variations. Double stops in the first variation show how one violin can sound like more than one instrument, and Caleb’s part writing for solo violin expands to include overtones and sounds that come from precise combinations of notes. Like a sugar rush, the sweet final variation is repeated three times, ultimately at a blisteringly fast pace before finally relaxing after a sugar rush.

Shocking tones greet the listener as Caleb extends beyond the classic tones to incorporate overtone harmonics and multi-phonics. What starts as a slow rolling begins to increase in speed and intensity, eventually leading to sustained chords pounding like a heavy deluge. As the Tempest whips through the air, fast and furious bowing rip wildly through the soundscape. When it seems it cannot get more intense a moment of calm appears, and the music calms once again. Ricochet bowings reestablish the tune, this time with greater speed and energy as the storm continues with greater ferocity. Culminating in a back and forth chordal structure and a return of the ghostly tones, the Tempest blows out with a rush.

Written for a friend’s wedding, this piece is designed to share the joy of a beautiful day and the promise of a bright future. In a major key, Corrie’s Theme is dancelike at times, featuring increasingly complex harmonies and energized techniques. The notes flutter to resolutions and rest on pleasant chords, creating a very happy space for hope and gratitude.

The second Cyclone, this track begins with a powerful d minor chord and works through the outline of the progression before beginning to go into the seemingly classical tune. The end of the melody, however, hints at more as the volume increases and Caleb begins again, this time incorporating harmonies via double stops that fill the space. Brilliant bouncing strokes follow chordal structures and continue through furious double stop string crossings. Heavy hits on the low end wind up and spin through multiple octaves of arpeggios, ultimately reaching a height and pitch beyond the fingerboard! The Cyclone spins out at the end, keeping the heavy weight planted deep into the strings for a powerful finish.

Dedicated to the life and memory of a great Texan, Margaret, this happy piece is a reflection of the freedom and wild beauty that abounds in the state of Texas. From hills, plains, desert and valley, adventure surrounds anyone willing to look for it, and this tune is a reflection of a life well lived.

A light tune, Snowfall takes the simple motive of the arpeggio and brings it to the concert stage in a mimicry of a snow flurry. Simple and slow at first, the flakes begin to fall in greater number and rate, blanketing the ground in beautiful frozen crystals, ultimately settling into a calm serenity that only a fresh snow can bring.

Relaxing in a single-day studio session meant blowing off a bit of steam, and this fun improvised tune includes barriolage, ricochet, double stops, and more for a little kick.

When preparing to perform the formidable Brahms Violin Concerto Caleb decided to write his own solo cadenza. Though not typically fitting in with the style of his other works, this “piece” showcases a variety of technical sparks and would fit well in another performance of the concerto.

This final track is unlike any other on the album and is the only one to feature two instruments, both played by Caleb Hans Polashek. In The Journey, a mandolin sets the tone with a wandering opening that sets an exploratory tone. Then the rhythmic strumming begins and the violin enters to play a melody over the steady pace. Multiple thematic sections include some surprising tones and thick textures for a bit of tension and drama. The strumming simplifies after this and the violin soars above before beginning the descent to the low end. The registers exchange again, the mandolin at the top with the violin low before settling into a floating contentment and a final harmonic glow.