Persevero- Clásica

Calma 2

New & hot: Classical

flute

The glory of Jesus, God & Christianity exemplified through music

Miserere Mei, Deus - Allegri - Tenebrae

por una cabeza Strings violin Cover Andrew Atef

Between Nightlights

e mets à l'honneur les belles images d'Antonin Pregod tournées en Tunisie et l'exceptionnelle prestation d'une chanteuse et d'un joueur de gasba de Semmama Sbeitla Saliha et Mostapha Dhibi (extraite d'une video), tout en rajoutant ma touche de piano 🙂

Video disponible sur ce lien:https://www.facebook.com/yacine.azaiez.MCP/videos/10222010718713868/

Couronne de Sable

New single for forthcoming piano album 'Memoryscape'.

Listen on Spotify

After The Rain

Alle 6 Stimmen des Canons selbst eingesungen; Canon aus „Mass“

Bernstein-Canon

Fast, Furious and Funky.  Flutists, if you're interested in a score, please contact me!

http://anthonyjosephlanman.com

Score

Cerulean Soliloquy for Flute Solo (Digital Demo)

The poem from which this piece inspired:
Dream-Land
By Edgar Allan Poe
By a route obscure and lonely,   
Haunted by ill angels only,
Where an Eidolon, named NIGHT,   
On a black throne reigns upright,
I have reached these lands but newly   
From an ultimate dim Thule—
From a wild weird clime that lieth, sublime,
       Out of SPACE—Out of TIME.

Bottomless vales and boundless floods,   
And chasms, and caves, and Titan woods,   
With forms that no man can discover   
For the tears that drip all over;   
Mountains toppling evermore   
Into seas without a shore;   
Seas that restlessly aspire,   
Surging, unto skies of fire;   
Lakes that endlessly outspread   
Their lone waters—lone and dead,—   
Their still waters—still and chilly   
With the snows of the lolling lily.

By the lakes that thus outspread
Their lone waters, lone and dead,—
Their sad waters, sad and chilly
With the snows of the lolling lily,—
By the mountains—near the river   
Murmuring lowly, murmuring ever,—   
By the grey woods,—by the swamp   
Where the toad and the newt encamp,—   
By the dismal tarns and pools
   Where dwell the Ghouls,—   
By each spot the most unholy—   
In each nook most melancholy,—   
There the traveller meets, aghast,   
Sheeted Memories of the Past—   
Shrouded forms that start and sigh   
As they pass the wanderer by—   
White-robed forms of friends long given,   
In agony, to the Earth—and Heaven.

For the heart whose woes are legion   
’T is a peaceful, soothing region—   
For the spirit that walks in shadow   
’T is—oh, ’t is an Eldorado!
But the traveller, travelling through it,   
May not—dare not openly view it;   
Never its mysteries are exposed   
To the weak human eye unclosed;   
So wills its King, who hath forbid   
The uplifting of the fring'd lid;   
And thus the sad Soul that here passes   
Beholds it but through darkened glasses.

By a route obscure and lonely,   
Haunted by ill angels only,
Where an Eidolon, named NIGHT,
On a black throne reigns upright,   
I have wandered home but newly   
From this ultimate dim Thule.

Composer's voice:
My inspiration was only in part by Poe's poem of nightmarish monsters shadows and watery graves. I wanted to make my own story and create an ambiance of a dreamscape but still maintain the horror that Poe describes in his poem. I also wanted to combine elements that span music history, from the Baroque, to the contemporary. 
I utilize Sonata form, a form that adheres to strict standards cultivated by Beethoven and Mozart. However, I divert from this form in several instances. Where Sonata Form engenders balance and clarity, I take the form and utilize it as a palindrome, a great metaphor for humankind's dreams and waking life. Our dreams always mirror reality. This is superimposed by music psychology, which focuses on the listener's emotional and psychological reaction to the music. The music should evoke dreams, a nightmare that seemingly never ends, until it abruptly ends at the open chord at the end of piece. I utilize Romanticism in the sense of making this "Piano Sonata" programmatic, meaning it has a story to it, a reference if you will: Poe's poem. I have also labeled it a "Fantasia" opposed to "Sonata," thus denoting the form. It also contains elements of atonality, and pandiatonicism. which is in reference to 20th and contemporary practices in art music. 
I hope anyone who listens to this piece enjoys it, even if not played on an acoustic instrument.

Fantasia in Dream-Land

Coffin Dance But Piano

One Man's Dream_Yanni (violin & piano cover)

Rising Low

Anthony Joseph Lanman is an active and passionate musician that divides his time between composing, performing, teaching and advocacy for new classical music.

As a composer, Anthony creates music that reaches general audiences as well as new music connoisseurs. Embracing influences that range from progressive rock and metal, to medieval and renaissance music, to jazz, to new classical, Anthony strives to create a sound that is his own. He has written for ensembles and soloists around the world.

Recent commissions include – E.G.S./A.J.L. for guitarist Matthew Cochran, Hear Us! for children’s choir and string ensemble commissioned by Otter Creek Middle School, Automaton – a concerto for 8-string electric guitar and percussion for Clocks In Motion, The Rag and Bone Shop – a song cycle for baritone and piano trio for Brian Lewis and David Small commissioned by the University of Texas Butler School of Music, Rush – a quartet commissioned by the Music Teacher’s National Association and the Indiana Music Teacher’s Association, Hommages for Piano, Book 2, for Holly Roadfeldt, and Damselfly – a duo for 8-string electric guitar and percussion for Kyle Lutes.

Anthony’s performing career began in high school while singing and playing electric guitar with his touring progressive band Canvas. His principle instrument changed to classical guitar during his undergraduate years at University of Texas at Austin where he studied with Adam Holzman. Through his graduate study at Indiana University he added renaissance lute and theorbo to his instrumental arsenal, studying with Nigel North. He has performed with the University of Texas New Music Ensemble, the University of Texas Early Music Ensemble, the Indiana University New Music Ensemble, the Indiana State University Wind Ensemble, and Clocks in Motion. He has also performed many concerts of solo and chamber music.

Anthony’s advocacy is life-long. In the nineties, he hosted a contemporary classical music radio show on KVRX in Austin, Texas. In the 21st century, he promoted fellow Indiana University composers through a web presence on Mp3.com (now defunct); created Guitar Heroes, a weekly presentation series in Second Life; and produced more than 100 episodes of his ongoing music-centric podcasts All the Cool Parts and the 1,000 Recordings Podcast. He has appeared as a guest on Soundnotion, Composer Quest, Classical Guitar Insider, Goes 2 Eleven, and The Portfolio Composer.  His new podcast 1 Track focuses on the music of the contemporary classical world.  In addition, he has exposed thousands of new listeners to contemporary classical composers by sharing this music to his more than 400,000 followers on Soundcloud.

Anthony has held several positions at multiple universities and colleges, as well as K-12 public schools. In 2016, he held an adjunct position at Butler University in addition to teaching choir and music at West Vigo Middle School. He holds a BM in composition from the University of Texas, and an MM and DM in composition from Indiana University.

Anthony currently resides in Bloomington, IN with his wife Jenna and their cats Silas and Bod.