Stamps Auditorium, October 24th
Ann Arbor, Michigan

Contralto: Rehanna Thelwell
Conductor: Jerry Blackstone
University of Michigan Chamber Choir




Virginia is based on Virginia Woolf´s suicide letter to her husband, dated in May 1941. The idea for this work began when I found this letter four years ago while looking for information about Virginia. I was impressed and intrigued by her writing and artistic personality after reading Mrs Dalloway and The Waves. The letter shocked me and I immediately decided I wanted to write this piece, but this project had to stay in my mind for years until I decided to score it for choir and soloist. 
I couldn’t help but feel compassion for such a talented and thoughtful artist whose suffering would eventually lead her to this final, fatal decision. I felt emotionally compelled by how her art acts as a reflection of these intense emotions. As empathy through art can be a strong mechanism to develop our understanding of one another, I wanted to explore this letter through musical means. 
The contralto, with her dark, low registered vocalizations, is then echoed in the choir through the repetition of the text and direct musical repetition. The use of repeated pitches, glissandis and dense textures serve to create rising and falling tensions through masses of sound. At times, the text is repeated incessantly, eventually losing meaning and coherence amidst the texture of the sound. 
The full letter is below. 

Dearest,

I feel certain I am going mad again. I feel we can’t go through another of those terrible times. And I shan’t recover this time. I begin to hear voices, and I can’t concentrate. So I am doing what seems the best thing to do. You have given me the greatest possible happiness. You have been in every way all that anyone could be. I don’t think two people could have been happier till this terrible disease came. I can’t fight any longer. I know that I am spoiling your life, that without me you could work. And you will I know. You see I can’t even write this properly. I can’t read. What I want to say is I owe all the happiness of my life to you. You have been entirely patient with me and incredibly good. I want to say that – everybody knows it. If anybody could have saved me it would 
have been you. Everything has gone from me but the certainty of your goodness. I can’t go on spoiling your life any longer. 
I don’t think two people could have been happier than we have been.

Virginia (2015) for Alto and SATB Choir

June 18, 2018.
Montalvo Arts Center, Saratoga, CA.

4: iv

fool's paradise (2018)

PENDULAR (Homenaje a Claude Debussy) (2018)
 Para violín y piano. (13’ ca)

Obra compuesta en el año 2018. Respondió a un encargo del dúo MANOS A LAS OBRAS, integrado por Haydée Schvartz en piano y Elías Gurevich en violín, para el concierto final de la 10ª temporada de conciertos en Radio Nacional Clásica de Argentina de Manos a las Obras, dedicado a los 100 años de la muerte de Claude Debussy.
Registro en vivo: 17 de Noviembre 2018, Auditorio de Radio Nacional, Buenos Aires, Argentina.
Intérpretes: Haydée Schvartz (piano), Elías Gurevich (violín)


PENDULAR (Tribute to Claude Debussy) (2018)
 For violin and piano. (13 'ca)

Work composed in the year 2018. Responded to an commitment from the duo MANOS A LAS OBRAS, integrated by Haydée Schvartz on piano and Elías Gurevich on violin, for the final concert of the 10th season of concerts at Radio Nacional Clásica in Argentina from Manos a las Obras, dedicated to the 100th anniversary of the death of Claude Debussy.

Live record: November 17, 2018, National Radio Auditorium, Buenos Aires, Argentina.
Performers: Haydée Schvartz (piano), Elías Gurevich (violin)

PENDULAR (Homenaje a Claude Debussy) (2018)

First track from Kind Decade EP by Bels Lontano. Like on HypeM! <3
https://hypem.com/track/2tjwm/Bels+Lontano+-+Florid+entanglements
Lyrics below >>>>

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contact: belslontano@gmail.com

It went all according to plan
We went after the wrong man
And we were so confused
By the way we were abused
And it's not easy to see
When what you love is the love 
For the power of money

Come and come one all
If we can't carry on
They have turned ourselves 
Against our own selves

And you say you can't be loved
Every one can be loved

Florid Entanglements

composed by me, dedicated to my composition professor Dr. Felder,
performed by me on organ; Zane Merritt, assistant; Mike Serio, piano at normal pitch; Ben Havey, harpsichord at normal pitch, Nick Emmanuel, quarter-tone flat piano; Eric Huebner, quarter-tone flat harpsichord; Tom Kolor, vibraphone with motor; Steve Lattimore, vibraphone; Daniel Bassin, conductor at Lippes Concert Hall in Slee Hall at University at Buffalo, Sept.9th 2019
Die Radikalen Tasten (2019) concerto for organ with keyboard ensemble, incorporated quotations and built its harmonic structure from a South Korean protest song "Marching for Our Beloved", but worked in microtonality. I became fascinated by the 'detuned' like effect produced on the organ when its stops are pulled slowly. Also, certain combinations of stops with the tremolo feature create an 'electronic' like timbre (which you wouldn't expect from conventional organ music) with the reinforcement of harpsichord & vibraphone and extended techniques on piano.

Die Radikalen Tasten (2019) Concerto for Organ with Keyboard Ensemble

A work for Bb clarinet and electronics. Find more info at www.bretbohman.com

Tides (2019) for Bb clarinet and electronics. Composed by Bret Bohman. Performed by Yoshiaki Onishi.

✨Written, produced, and performed by Faerie the Kid ✨
🌜Vocal comping by Josh Frigo🌛
🌞Mixed by Yianni AP🌞
☏ Cover Art by Casey Claros ☏

LYRICS:
Fools once tried to lasso the sun and
Oh what a shame that it couldn't be done and
When the rope fell back to the earth
It left scorch marks in the dirt
Now the fools have fire and a burning desire
To build an empire and connect us through the wires
So they wrap the world in sunburnt ropes
And from this New Earth the Telephone rose

I fall asleep holding the Telephone
Just so that I don't have to feel alone
This plastic world makes me feel right at home
I'll live and die holding the Telephone

I forget everything I've spoke 
Soon as the words leave my throat and 
The Telephone feeds me lines until I choke
Then he laughs like it's a joke
Now there's wires in my veins (Oh no)
Heart is beating in morse code
Eyes reflect the electric glow
Aren't you scared we'll overload?

I fall asleep holding the Telephone
Just so that I don't have to feel alone
This plastic world makes me feel right at home
I'll live and die holding the Telephone

They call, but they don't call me
They talk but I'm just listening
They call, but they don't call me
They call, but they don't call me
They talk but I'm just listening and
They call, but they don't call me

I fall asleep holding the Telephone
Just so that I don't have to feel alone
This plastic world makes me feel right at home
I'll live and die holding the
I'll live and die

They call, but they don't call me
They talk but I'm just listening
They call, but they don't call me
They call, but they don't call me
They talk but I'm just listening 
They call, but they don't call me

Telephone

"I don't love you too"
Written and performed by Faerie the Kid
This is a song I wrote about losing your sense of control in a relationship, romantic or platonic. When things begin to fall apart you cling to anything you can, even if you know that's not what you truly want. At a certain point you are holding onto something that doesn't exist any more except in your mind. 

LYRICS:
Please, don't say it loud
'Cause two feels like a crowd right now.
Please don't go and start a war
but don't leave me ignored
What would you say it for?

I know you don't love me anymore.

Why do I ask if you love me?
when I don't love you too?
Why do I ask if you think I'm pretty?
Shouldn't need to hear it from you.
And loving isn't easy, that's the honest truth.
So why isn't it easy to let go you? 
Say "I don't love you too"?

I know you don't love me anymore.
Well I don't love you too.

The words we don't speak hang like cobwebs in between
separate sides of the same couch
Separate lives in the same house
There's no more butterflies, now they're moths
we're too stale, let's call it off
But we're too scared to say we've had enough
But I've had enough

Why do I ask if you love me?
when I don't love you too?
Why do I ask if you think I'm pretty?
Shouldn't need to hear it from you.
And loving isn't easy, that's the honest truth.
So why isn't it easy to let go you? 
Say "I don't love you too"?

I know you don't love me anymore.
Well I don't love you too.

If I wore my heart on my sleeve
you'd think I'm a total creep
Like I watch you while you sleep
Like I see you in my dreams
With my heart on my sleeve
maybe you would never leave
just 'cause I dream of you doesn't mean my dreams are sweet

Why do I ask if you love me?
when I don't love you too?
Why do I ask if you think I'm pretty?
Shouldn't need to hear it from you.
And loving isn't easy, that's the honest truth.
So why isn't it easy to let go you? 
Say "I don't love you too"?

I know you don't love me anymore.
Well I don't love you too.
What did you say it for??

I don't love you too!!!

Goldberg Variations in Self-Isolation - Aria

Dejate Caer For Violin and Fixed Media (2012)

1. Luz e Sombra (Arranjos - Gilson Fukushima)
2. Málaga (Arranjos - Gabriel Schwartz)
3. Triskle (Arranjos - Santiago Beis)
4. Sevillanas (Arranjos - Gilson Peranzzetta)
5. Ensueño (Arranjos - Glauco Solter)
6. Alegrias (Arranjos - Santiago Beis)
7. Fênix (Arranjos - Sérgio Albach)

Regência; Sérgio Albach
Todas as músicas são de autoria de Murillo Da Rós.
Gravado no Centro Espanhol do Paraná. Mixado e Masterizado no estúdio Clinica Pro Music por Murillo Da Rós e Sérgio Albach. 
Produção de Vídeo - Reinaldo Miura

Músicos
Murillo Da Rós: Violão
Glauco Solter: Baixo
Luciano Madalozzo: Percussão

Orquestra à Base de Sopro de Curitiba (OABS)
Aloísio de Pádua: Sax Barítono
Bruno Brandalise: Tuba
Clayton Rodrigues da Silva: Flauta Transversal
Davi Sartori: Piano
Douglas Chiullo: Trompete
Mário Conde: Guitarra
Otávio Augusto Chagas da Silva: Clarineta
Ozeias Costa: Trompete
Rodrigo Vicaria: Trombone
Sebastião Interlandi Junior: Flauta Transversal
Sérgio Albach: Clarone e Regência
Sérgio Monteiro Freire: Sax Soprano
Gabriel Castro: Sax Tenor

Arranjos
Gilson Fukushima (Arranjos Luz e Sombra)
Gabriel Schwartz (Arranjos Málaga)
Santiago Beis (Arranjos Triskle e Alegrias)
Glauco Solter: (Arranjos Ensueño)
Gilson Peranzzetta (Arranjos Sevillanas)
Sérgio Albach (Arranjos Triskle)

Agradecimentos
Grupo Positivo, Sauí Gestão de Patrocínios, Centro Espanhol do Paraná, Orquestra à Base de Sopro de Curitiba, ICAC, Fundação Cultural de Curitiba e Lei do Incentivo.  Aurélio Baggio, Blanca Hernando Barco, Sérgio Albach, Luciano Madalozzo, Glauco Solter, Gilson Peranzzetta, Santiago Beis, Gilson Fukushima, Gabriel Schwartz, Renata Candelot, Maria Rafaela Luísa Candelot Da Rós, Alexis Morozowscki, Reinaldo Miura, Paulo Bettega, nossas famílias e amigos.

Projeto realizado com recursos do programa de apoio e incentivo à cultura - Fundação Cultural de Curitiba e da Prefeitura Municipal de Curitiba
Incentivador: Colégio Positivo

Virginia (2015) for Alto and SATB Choir

Carolina Heredia composer

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