Classical Music

Original song, video, pictures, and gif created, composed, and produced by Among The Vanity.

If My Star Fade Away From My Dream

Deep Joy

The Winds of Time for Wind Ensemble
Duration: 14'
Performers: Eastman Wind Ensemble, Mark Davis Scatterday, Conductor, Eastman School of Music, Kodak Theater, April 15, 2022
Publisher: https://www.billholabmusic.com/composers/robert-paterson/
Buy Score/Rent Parts: https://billholabmusic.com/product/the-winds-of-time/
For More Information: https://robertpaterson.com/
Watch Video: https://www.youtube.com/watch?v=q4CRnLcpvBY
Video: https://www.youtube.com/watch?v=q4CRnLcpvBY

Commissioned by the Eastman Wind Ensemble, Mark Davis Scatterday, Conductor, and a consortium of wind ensembles in honor of the Eastman School of Music’s Centennial Anniversary. Consortium members include Carthage Wind Orchestra (Carthage College), CCM Wind Ensemble (University of Cincinnati), Eastman Wind Ensemble (Eastman School of Music), Nevada Wind Ensemble (University of Nevada, Reno), Symphonic Wind Ensemble (Northwestern University), TCNJ Wind Ensemble (The College of New Jersey), Wind Symphony (Ohio University), and the UNC Wind Ensemble (The University of North Carolina, Chapel Hill)

PROGRAM NOTE
The Winds of Time was inspired by the title and content of the poem of the same name by Tanzanian poet and novelist Euphrase Kezilahabi. I created musical elements from the various words, phrases and metaphors in his poem, especially those related to wind and water: watching the waves rising, falling, swelling, surging, and waves being driven by winds. The passage of time, inevitability, darkness, and the poem’s overall despair are represented throughout the ensemble with various bells, drums, winds, exotic instruments, and a few non-standard playing techniques.

Although this work is divided into three connected movements, Waves rising, falling, swelling, surging, Bending space/time, and Colossal chimes, fading light, it is more a rhapsody than narrative in structure. Various themes and motives gradually come into the foreground and recede into the background throughout the entire work, similar to how shells wash up on a shore and then become lost to the sand.

The Winds of Time was commissioned by the Eastman School of Music Wind Ensemble, Mark Davis Scatterday, Conductor, and a consortium of wind ensembles in honor of Eastman’s 100th anniversary.

The Winds Of Time for Wind Ensemble (World Premiere)

Audio Music Library for Videos – FREE DOWNLOAD!

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Max Bruch – Violin Concerto No. 1 in G Minor, Op. 26: (Mvt. 1-2)
Movement 1: Allegro moderato
Movement 2: Adagio

Music: Max Bruch
Violin: Michael Herter
Grand Piano: Wanting Qiu
Free Download: https://bnd.link/sibviolin
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Orchestral and Classical Music

Max Bruch – Violin Concerto No. 1 in G Minor, Op. 26: Allegro Moderato and Adagio

Composed by Maeva Roussel
Produced by Léon Barbot @leon-b-official

First Moment Of Hope

My composition remastered by a fellow musician and pianist Thomas Nakas!
He did a splendid job and added new flavour. 
https://on.soundcloud.com/BPeiN

Ballade for Piano, G minor [remastered by Thomas Nakas]

Seq05   Anxiety Is The Silence Between One Sound And Another. 7

Keep on going never give up.  No matter the situation keep going.

Keep Going

Seq77  Every Beginning Has An End And Every Ending Is A New Beginning.

Translation above

Vagues marines

Quand ton sourire est là
Quand de ta voix, tu ris
Quand de tes mains tu joues
Quand de tes yeux tu danses
Quand, de ton rire en fête,
Tu me tiens dans tes bras,
Bras de braise et de sang
Encore plus forts que tout
Que tout ce qui est fort

Refrain
Dans les vagues marines
De mes draps roses et bleus
Je te vois endormie
Comme un bateau câlin
Qui dérive à la nage
Pas très loin des récifs

Quand je brise mes mots
Sur ta peau de satin
Quand je mords dans tes mains
Comme des pains d’épices
Quand j’affleure le frais
Sur tes cuisses d’azur
Quand de sentir ton corps
Je me noie d’inquiétude
(refrain)

Je m’accroche à ton bord
Et pès’ de tout mon corps
Sur ton bateau fragile
Pour détourner la coque
De ces récifs pirates
Vers des îles lointaines
Où les galets s’étoilent
Où les journées exultent
Sur des mâts de cocagne
(refrain)
S’approchant des récifs…

Quand je bois à minuit
Il fait double à Paris
Quand de ton corps, je pleure
Moi, je m’y roule en douce
Comme dans un miroir
Brûlé de sable fin !  (bis) 

Paroles de Jean-Paul Gaido-Daniel, 2017
Musique de Myckaël Marcovic, 3 juin 2023

Sea waves

When your smile is there
When you laugh with your voice
When you play with your hands
When you dance with your eyes
When, with your festive laughter,
You hold me in your arms,
Arms of fire and blood
Stronger than anything
Than all that is strong

Refrain
In the sea waves
Of my pink and blue sheets
I see you asleep
Like a cuddly boat
Drifting by
Not far from the reef

When I break my words
On your satin skin
When I bite into your hands
Like gingerbread
When I touch the cool
On your azure thighs
When feeling your body
I drown in anxiety
(refrain)

I cling to your edge
And weigh with all my body
On your fragile boat
To divert the hull
From these pirate reefs
To distant islands
Where the pebbles star
Where the days exult
Sur des mâts de cocagne
(refrain)
Approaching the reefs...

When I drink at midnight
It's double time in Paris
When I cry over your body
I roll in it
Like in a mirror
Burned by fine sand (bis) 

Lyrics by Jean-Paul Gaido-Daniel, 2017
Music by Myckaël Marcovic, June 3, 2023

Vagues marines (Jean-Paul Gaido-Daniel / Myckaël Marcovic)

Written: 2022-23
Duration: 30'
for piano trio (violin, cello, and piano) and orchestra (2-2-2-2 / 4-2-3-1 / 3 percussion, timpani, strings)
Commissioned by Neave Trio
World Premiere: Mostly Modern Orchestra with Neave Trio, JoAnn Falletta, conductor, Mostly Modern Festival, Arthur Zankel Music Center, Helen Filene Ladd Concert Hall, Skidmore College, Saratoga Springs, NY, June 17, 2023.
Publisher: Bill Holab Music

As we live through a sixth mass extinction, it is not difficult to question whether we can act as good stewards of our earth. While I often feel a sense of despair — how could we have messed this up so badly? — my thoughts are often, perhaps irrationally, tempered by a sense of optimism. Maybe we can fix this, or at least that’s what I tell myself. Triple Concerto is essentially an exploration of these emotions. As a scenic point of departure, the entire work also uses three types of geographical regions as inspiration.

Triple Concerto is structured a bit differently than a traditional concerto. An introduction and three larger movements are interspersed with three small trio-centric movements that loosely function as either a prelude, interlude, or cadenza. These three smaller movements also exist as a stand-alone version for the piano trio that may be performed as a sort of “teaser” for the concerto on a chamber music concert.

The first movement, Introduction, loosely evokes a sunrise. Toward the end of the movement, bird song melodies from around the world are incorporated and performed by the winds. This leads to a movement entitled Chorale Prelude, focusing on the piano trio, leading to a joyful third movement, Bright Pastorale, filled with bright, sunlit bell-like chords and sounds reminiscent of birdsong. Moments of despair begin to appear as the movement progresses. The movement ends darkly, like an overcast sky before a storm. The fourth movement, Interlude, echoes the beginning, focusing on the trio once again and evoking a sense of longing, the sound of a more innocent time. Tundra, the fifth movement, is cold, dark, and bleak but with swaths of color. A sense of sadness and loneliness permeates this movement, at times represented by various mournful effects such as bent notes created by dipping tubular bells in water and glissandi in the strings and brass.

After the fifth movement, the trio performs a virtuosic Cadenza, full of grief and rage but with signs of hope. This leads to the final movement, entitled Summit. Ascending lines suggest climbing a mountain, both literally and figuratively. After a brief climax, eleven bell-like chords sound one after the other, symbolizing the chimes of the Doomsday Clock. The winds perform birdsong once again, perhaps of songbirds that may soon become endangered or even extinct. In a nod to Haydn’s Symphony No. 45 (his “Farewell Symphony”), the players leave the stage one by one until all that is left are the trio and conductor.

Triple Concerto was commissioned by the Neave Trio and premiered by the trio and Mostly Modern Orchestra, JoAnn Falletta, conductor, at Mostly Modern Festival in Saratoga Springs, NY.

– RP

Movements:
I. Introduction
II. Chorale Prelude
III. Bright Pastorale
IV. Interlude
V. Tundra
VI. Cadenza
VII. Summit

Triple Concerto, "Summit" for Piano Trio and Orchestra (World Premiere)

Just glide by the breeze and enjoy the ride.

Gliding Breeze

Original composition….Alejandro Gonzalez M.

Libero

My first experiment in a somewhat sonata-like movement that loosely follows the exposition-development-recapitulation cycle, where the second, G major (tethering even on D major) returns in the recapitulation in the home key of C minor. It took me longer to finish than anticipated but in the end, I'm extremely pleased with the result. 

The main theme is one of those themes that simply appears almost on its own when your hands land on the piano. It was a delightful, but chalenging experience trying to develop it and derive new themes from it, in the end I've scraped as many themes as I've included. 

I dedicate this work to my dear friend Ivan Dadić and his wife, Katarina Dadić, who liked the melody so much that she used it as a ringtone for her alarm clock.

Allegro for Piano, C Minor

The Day The Fair Left Town by Jeremias Langsämmer is on the new album "Sleepers".

The Day The Fair Left Town by Jeremias Langsämmer

My new Nocturne that I've started writting a few years ago, the main theme and the E-flat majorish restatement of the main theme came quite swiftly and naturally. However, I found myself a bit stuck on how to proceed further, and as a result, I neglected it for quite some time and focused on other musical pursuits.

However, just around this Christmas, as I leisurely sat by my piano, a new theme and continuation unexpectedly presented themselves, and the composition practically wrote itself from there.

I feel that this piece really captures the essence of a Nocturne, depicting the stillness of the night, scarcely moved by a lonely star or a lamppost on a street, and also conveys the painful but sometimes even sweet melancholy of one's solitude.

Nocturne for Piano, C Minor, No. 2

A composition I'm extremely fond of, feauting one of my most dearest themes which I simply had to repeat it in the Coda.
As a musical piece it is straightforward, and unassuming in its texture and scope, but I believe it has a certain fable-like, enchanting feeling, thus the poem title, although structurally it is very close to a sonata. 
I've explored others mode a bit ( I've modulated to F Lydian briefly), which is something I'll likely do in the future.

Poem for Piano, F Minor

My first composition with wind instruments, and it was an extremely refreshing experience and a distraction from composing strictly with a piano the last few years.
The main theme itself is a long ago composed simple keyboard theme that I've always kept close at heart. 
I've rarely left B minor in this piece, save from some chromatic sections and D Major/ E minor restatements and an new F-sharp major and minor theme in the quasi development section.
I've tried to give prominence/independece to every instrument in different section, but since I know next to nothing about wind instruments, I probably made a ton of stylistic errors.
All in all, I've very pleased with how this piece turned out, it has a certain rustic or medieval feel to it, coupled with few sections that feel, at least to me, dark-folkloric or even eldritch.

Movement for Wind Trio, B Minor

The origin of the main theme of this prelude is a progression I came up with while working on the Fantasy and the Nocturne in the same key. It couldn't fit in, but I found it very beautiful and had fruitlessly tried to find a composition where it could find a home. 
I admit it took me too long to realize that a new composition can be made from it, and it also took me too long to realize that another theme (the second one in the Prelude) I made at that time fits almost perfectly. All in all, I'm extremely pleased with the final result. 
There are almost jazzy (a friend had even said proggy) elements that work unusually well with the dark, almost folkloric ambiance.

Prelude for Piano, F-sharp Minor

Written: 2012
Duration: 38'
Instrumentation: orchestra, SATB chorus and narrator
Performed by the American Modern Orchestra and Albany Pro Musica, Mostly Modern Festival, Kent Tritle, conductor, Larry Pine, Narrator. Special thanks to Jose Daniel Flores Caraballo for preparing the choir for this performance.
Publisher: Bill Holab Music: http://www.billholabmusic.com/composers/robert-paterson/

Also Available: Choral Suite from A New Eaarth consisting of the choral movements from the orchestral work re-scored for SATB choir and piano. The choral suite may be performed as a stand-alone work.
For more information on this work: http://robertpaterson.com/a-new-eaarth. http://robertpaterson.com/choral-suite-from-a-new-eaarth

A New Eaarth for Orchestra, Chorus and Narrator

Just lookin' to share some music, have a good time and maybe find a beach or two. Focusing on studio releases, at the moment. Concerts are a maybe, but Tours are a hard pass.

Robert Earle is a Singer/Songwriter/Pianist/Bass player with a wide and eclectic taste in music.

The Hamilton County Line is a band of different individuals at different times, depending on need and availability.

Artists interested in collaborating as part of the Hamilton County Line (or as a feature) can contact Robert Earle, on this account or check for ongoing projects on ProCollabs.com.