Premiered in Antwerp, Belgium by the Collegium Musicum Carinthia conducted by Alexei Kornienko at the Festival of Flanders.

March Swale is a musical collage of sections beginning with wind and including party music to describe the month. A swale is a meadow or a marsh where a diversity of wild plants grow due to good soil and water.  The composer uses the word swale to mean a kind of musical collage of newly composed swatches. The piece opens with music reminiscent of Kentucky fiddle music. 

Each of the Three Swales may be performed individually, but if they're performed together, the preferred order is Kentucky Swale, Blue Bell Swale and March Swale. 

Beth Anderson’s music has been described as having “a refreshing simplicity without naiveté” and as “deeply felt, direct, and yes, beautiful” and “charming and deeply felt to the point of romanticism.” MSR Classics has issued The Praying Mantis and the Bluebird – Flute Music of Beth Anderson (MS1434) - World Premiere recordings of 11 works and New World Records released Swales and Angels - World Premiere recordings of 7 works.

Read Just Dropping In, a fascinating interview with the composer on NewMusicBox at nmbx.newmusicusa.org/beth-anderson-…t-dropping-in/ and hear a Listening to Ladies podcast with her at listeningtoladies.com/episode10/.

For more information about Ms. Anderson, including a bio, other videos, list of works, discography and much more, please visit www.beand.com.

If you'd like to have a score of March Swale for consideration, contact Beth Anderson at beth@beand.com.

Unknown album (5/27/2021 3:04:00 PM)

Beth Anderson's March Swale from Three Swales for String Orchestra

This is the finale from Variations on Lo Lanu Ha-Shem for cello and piano, performed by the Cracow Duo (Jan Kalinowski, cello and Marek Szlezer, piano)in Kraków, Poland on September 13, 2020, sponsored by the Los Angeles Museum of the Holocaust.
To see a video of the complete Variations on Lo Lanu Ha-Shem, please visit the page on my website: https://aaronalter.com/chamber-variations-on-lo-lanu-hashem

Variations on Lo Lanu Ha-Shem are based on my "Lo Lanu Ha-Shem" (a setting of Psalm 115) for Women's Chorus, Flute, Harp, Two Horns, Double-Bass and Tambourine. To hear the original choral work, please visit the page on my website: https://aaronalter.com/choral-lolanuhashem

Finale from Variations on Lo Lanu Ha-Shem for cello and piano

Vival-departures for string orchestra is inspired by the music of Antonio Vivaldi. Although there are no direct quotes of Vivaldi's music in Vival-departures, there is a Vivaldi-like interlude that appears in different forms and becomes a point of departure for musical development. In addition to the influences of Vivaldi's music, you'll hear influences of blues and rock music also.

This track is from the commercial recording "LVIV 1" by the Lviv National Philharmonic Orchestra of Ukraine on the Phasma-Music label. 

Vival-departures (inspired by the music of Antonio Vivaldi) for String Orchestra is published by Universal Edition. For scores and parts, please visit:
https://www.universaledition.com/en/Works/Vival-departures-inspired-by-the-music-of-Antonio/P0207088

For more information on Vival-departures and other works by Aaron Alter, please visit https://aaronalter.com/compositions .

Vival-departures (inspired by the music of Antonio Vivaldi) for String Orchestra

Sunset on the Spire (Introspective Blues #2) is an Art Song for Soprano Voice that is in the tradition of Art Songs by Franz Schubert, Robert Schumann and Johannes Brahms, but with a more modern instrumental accompaniment of a Jazz Quintet of Trumpet, Tenor Saxophone, Piano, Double-Bass and Drum Set. The text is by the early 20th century American poet, Elinor Wylie. The beginning and end of the song are in a Blues style, while the middle section is in a style that is more Brahms-inspired.

The performers were:
Ljiljana Winkler, Soprano (to whom the song was dedicated)
Peter Oswald, Trumpet
Dennis Brandner, Tenor Saxophone
Jai Jeffryes, Piano
Troy Rinker, Jr., Double-Bass
Lee Jeffryes, Drum Set
Gene Pritsker, Conductor

Sunset on the Spire was premiered by Ljiljana Winkler and the CompCord Ensemble as part of Composers Concordance Presents "Art of the Art Song" November 29, 2023 at DROM, New York City.
This audio recording was by James Lane (Hot Indie Media.)

Sunset on the Spire was awarded a National Finalist Honorable Mention in the 2025 Charles Ives Award for Vocal Chamber Music Composition from The American Prize.

Sunset on the Spire by Elinor Wylie (abridged by Aaron Alter)
All that I dream
By day or night
Lives in that stream
Of lovely light.

Here is the earth,
And there is the spire;
This is my hearth,
And that is my fire.

From the sun's dome
I am shouted proof
That this is my home,
And that is my roof.

And I am wooed
From the moon's brink.

And the days go over,
And the nights end;
Here is my lover,
Here is my friend.

Sunset on the Spire (Introspective Blues #2) is published by Universal Edition. For scores and parts, please visit:
https://www.universaledition.com/en/Works/Sunset-on-the-Spire-Introspective-Blues-2-for-S/P0261476

For more information on Sunset on the Spire and other works by Aaron Alter, please visit https://aaronalter.com/compositions .

Sunset On The Spire (Introspective Blues #2) for Soprano voice and Jazz Quintet-Premiere in New York

Lament for Theodore Antoniou for solo alto flute was written in memory of the brilliant composer, conductor and educator, Theodore Antoniou. Aaron Alter had the honor and pleasure of studying with him when Aaron was on a fellowship in Composition at Tanglewood in the summer of 1976 and remembered his impeccable musicianship and high standards. The recording of Lament for Theodore Antoniou by the flutist Iwona Glinka (to whom the work was dedicated) was released in 2021 on the Phasma Music Label (Distributed by Naxos) in a monumental three-volume project with Laments from composers all over the world. The recording received the award of "Best Classical Album" at the 2021 Akademia Music Awards.

Lament for Theodore Antonio is published by Universal Edition. For scores, please visit:
https://www.universaledition.com/en/Works/Lament-for-Antoniou-for-solo-Alto-Flute/P0261646

Lament for Antoniou Vol. 1

Lament For Theodore Antoniou for solo Alto Flute

This is a recording of the world premiere performance of the fifth movement (Blues for Alto) of Aaron Alter's "Cantata of Praise" for chorus and chamber orchestra on March 23, 2025 by The New Mexico Bach Society Chorale and Orchestra at the Hope in the Desert Episcopal Church, Albuquerque, New Mexico.

Cantata of Praise is a setting of the poetic interpretation of Psalms 118 and 150 by the Elizabethan poet Mary Sidney Herbert, from her book "The Sidney Psalter" from around the year 1599, with some added text from Psalm 118 in the original Hebrew and from The King James Bible.

The music in Cantata of Praise displays a wide range of influences. As the title suggests, the fifth movement is strongly influenced by The Blues.

Cantata of Praise was commissioned by the New Mexico Performing Arts Society.

The performers were:
New Mexico Bach Society Chorale and Orchestra
Franz Vote, Artistic Director and Conductor

Kehar Koslowsky, alto soloist

New Mexico Bach Society Orchestra
Linda Marianiello, flute
Joshua Petersen, clarinet
Lisa Grodin, concertmaster
Carla Kountoupes, violin 2
Lisa Di Carlo, viola
Joel Becktell, cello
Bob Barney, double bass
Joshua Pielemeier, piano

Text: 5th Movement (Blues for Alto:)
(from Psalm 118)
Say, 'Praised his hand, yea, double praisèd,
Be his strong hand so highly raisèd.'

Text is from The Sidney Psalter, The Psalms of Sir Philip and Mary Sidney
Published by the Oxford University Press (2009)
Copyright Hannibal Hamlin, Michael G. Brennan, Margaret P. Hannay and
Noel J. Kinnamon, 2009
Reproduced with permission of the Licensor through PLSclear.

Cantata of Praise - 5th movement (Blues) for Alto soloist and Chamber Orchestra

This is a recording of the world premiere performance of the seventh movement (Finale) of Aaron Alter's "Cantata of Praise" for chorus and chamber orchestra on March 23, 2025 at the Hope in the Desert Episcopal Church, Albuquerque, New Mexico.

Cantata of Praise is a setting of the poetic interpretation of Psalms 118 and 150 by the Elizabethan poet Mary Sidney Herbert, from her book "The Sidney Psalter" from around the year 1599, with some added text from Psalm 118 in the original Hebrew and from The King James Bible.

The structure of Cantata of Praise is similar to many of Bach's sacred cantatas with large choral movements at the beginning and at the end, and shorter middle movements that feature soloists. The seventh movement (Finale) is for the full chorus and instrumental ensemble.

The music in Cantata of Praise displays a wide range of influences. The seventh movement shows influences of Renaissance sacred music, Bach’s sacred cantatas, "Classic" Rock and Pop/Rock.

Cantata of Praise was commissioned by the New Mexico Performing Arts Society.

The performers were:
New Mexico Bach Society Chorale and Orchestra
Franz Vote, Artistic Director and Conductor

Hannah Stevens and Camille Tierney, sopranos
Patricia Henning, Kehar Koslowsky and Melissa Riedel, altos
Gregory Gallagher and André García-Nuthmann, tenors
Javier Ortiz and Andrew Paulson, basses

New Mexico Bach Society Orchestra
Linda Marianiello, flute
Elaine Heltman, oboe
Joshua Petersen, clarinet
Lisa Grodin, concertmaster
Carla Kountoupes, violin 2
Lisa Di Carlo, viola
Joel Becktell, cello
Bob Barney, double bass
Joshua Pielemeier, piano

Text: Selections from Psalms 118 and 150 by Mary Sidney Herbert from
The Sidney Psalter (1599), with some Hebrew text from the original Biblical Psalm
and quotes from the King James Bible.

7th Movement (Finale for Chorus and Chamber Orchestra:)
(from Psalm 118)
Here, here, O Lord, I will thee praise,
Who didst my life to safety raise:
The stone the builders erst refusèd,
In corner now is laid and usèd.
This workmanship in deed divine
Doth in our eyes with wonder shine.
God made this day, he did us send it,
In joy and mirth then let us spend it.
Oh, help us, Lord, oh, help we say,
Oh, prosper, prosper us we pray.
Blest in thy name who coming rideth,
Blest in thy house who dwelling bideth:
Thy house, Lord, mighty God, whence we
Both have our light and sight to see:
O God, my mighty God thou art,
And I to thee will praise impart:
O God, thou art my God, and ever
I will extol thee, ceasing never.

(from Psalm 150)
Let ringing timbrels so his honour sound,
Let sounding cymbals so his glory ring,
That in their tunes such melody be found,
As fits the pomp of most triumphant king.
Conclude: by all that air or life enfold,
Let high Ha-Shem highly be extolled.

Text is from The Sidney Psalter, The Psalms of Sir Philip and Mary Sidney
Published by the Oxford University Press (2009)
Copyright Hannibal Hamlin, Michael G. Brennan, Margaret P. Hannay and
Noel J. Kinnamon, 2009
Reproduced with permission of the Licensor through PLSclear.

Cantata of Praise - 7th movement (Finale) for Chorus and Chamber Orchestra

Lost Daughters - An Opera in One Act
Music by Ross Crean
Libretto by Katherine Arathoon

Recorded live at Oberlin Conservatory of Music, Oberlin, OH
Performed by the Oberlin Mozart Players
May 7th, 2017

Conducted by JP Jennings

The Queen of the Night - Katherine Bruton, Soprano
Clytemnestra - Jessica Hiltabidle, Mezzo-Soprano
Mrs. Darling - Marysa Abbas, Mezzo-Soprano

The Queen of the Night, Mrs. Darling, and Clytemnestra reconvene repeatedly to a desolate wasteland, where they return each time someone is done reading their stories. They then discuss the losses of each of their daughters, one by death, one by estrangement, and one by intervalic disappearance.
It's also about how these three very different women come together to express their grief and eventually, with the discovery that they relive this story and these feelings on repeat, decide to try and end the cycle.

Lost Daughters (An Opera in One Act)- Scene 4 (Excerpt)

© Michael Calabris Music (ASCAP), 2024. All rights reserved. 

"Prelude & Fugue" was composed in February 2017. The piece was realized using Logic Pro X; specifically, Logic's Retro Synth feature. I used Retro Synth to create the twenty "analog" synth patches heard in this track.

Prelude & Fugue (for Synthesizer)

La Joie de Vivre was inspired by the painting by Picasso of the same name. That painting shows a Mediterranean scene with mythological figures, such as satyrs and a centaur and a nude woman playing music and dancing. The music goes through several transformations. It begins in a modal jazz style, but later evolves into folk-rock, blues-rock and finally ends with a folk dance, all of which evoke the spirit of the Picasso painting.

This track is from the recording, "Zayin," by the flutist Iwona Glinka and the pianist Vicky Stylianou that was released on the Phasma Music label (distributed by Naxos.)

La Joie de Vivre (inspired by the painting of Picasso) is published by Universal Edition. For scores and parts, please visit:
https://www.universaledition.com/en/Works/La-Joie-de-Vivre-inspired-by-the-painting-by-Pica/P0207092

For more information on "La Joie de Vivre" and other works by Aaron Alter, please visit https://aaronalter.com/compositions

La Joie De Vivre For Flute And Piano

Alban Berg's Piano Sonata in a single movement, Opus 1, was published in 1910.

Berg, Piano Sonata

Aaron Alter is a composer from Carlsbad, California. His music is published by Universal Edition and Silverwinds Publishing. Aaron calls his new music his "New Beginning" because it is an exploration of a new style and energy that defies categorization.    

A native of Chicago, Aaron Alter's musical background was a product of the rich musical life that he found growing up in the Windy City. Aaron received his Bachelor of Music degree from Northwestern University, where he studied piano with Frances Larimer and Gui Mombaerts, and composition with Lynden DeYoung and David Noon. He received his Master of Fine Arts Degree from Princeton University, where he studied with Milton Babbitt and James K. Randall.  

Aaron’s new music was first performed in 2015, with the performance of “Homage to Josquin” for two flutes, piano, electric bass and drum set by The New Mexico Performing Arts Society in Santa Fe, New Mexico. “Homage to Josquin” received an Honorable Mention in the 2016 American Prize competition for Chamber Music Composition.  

Works such as "Solar Rays" and "Vanilla, Chocolate and Strawberry" defy genres and exist in Classical ensemble and Jazz Big Band versions. Both the classical piano trio (piano, violin and ‘cello) and Jazz Big Band versions of “Solar Rays” have received Silver medals at the Global Music Awards. Aaron’s Introspective Blues #1 for Flute and Harp has become his most popular work, with over 16,100 plays on SoundCloud and over 5,200 plays on Jango Internet Radio. Aaron’s music has been featured on the albums “One Minute”, “Two Minutes”, “Gimel” and “Daleth”, by the flutist Iwona Glinka on the Sarton and Phasma Music labels, all of which have won Silver Medals at the Global Music Awards.  

Aaron has received two commissions in the past two years for choral works with an instrumental ensemble from The New Mexico Performing Arts Society.  The first commission, “Together We Create and Sing! (inspired by the music of Franz Joseph Haydn”) was a semi-finalist at the 2018 American Prize competition for Choral Music Composition and received a Silver Medal at the August 2019 Global Music Awards.  The latest commission, “Lo Lanu Ha-Shem” (a setting of Psalm 115) received a Silver Medal from the March 2019 Global Music Awards.  

Aaron is a regular contributor of compositions to the repertoire of the flutist Iwona Glinka, the pianist and Steinway Artist, Susan Merdinger, the pianist Vania Pimentel, The New Mexico Performing Arts Society and Composers Concordance in New York.  

Aaron also serves as an Executive Board Member of the Carlsbad Friends of the Arts.

Cantata of Praise - 7th movement (Finale) for Chorus and Chamber Orchestra

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