solo cello + recorded tape 
14’30
written for and comissioned by the Japanese American Cultural and Community Center for the Nikkei Music Reclamation Project

未完の思い出 - Hatsuzora

Prayer in Gethsemane Garden

Kyrie Eleison უწმინდესისა და უნეტარესის, ილია II-ის საგალობელი

Composed by Tom Nazziola
Performed by:
Wade Culbreath - Marimba
Tom Nazzioa - Djembe
Mastered by William Weisbach
Engineered by Wade Culbreath and Tom Nazziola

Created by Grammy®-nominated composer Tom Nazziola, “Immovable Do” (pronounced "dough") features a soaring, relentless marimba pattern (almost etude-like), which is joined by an equally aggressive and supportive djembe part - both exploring different accents and phrases governed by elements of African and Indian music. The “tongue-in-cheek” title refers to the anchoring of harmony by a recurring low “C” or “Do” (as used in solfege). The stable repetition of C eventually makes its way to C# (still considered “Do” in the solfege system) allowing for a shift in harmonic perspective thanks to a play on words and pitch license (if you will).

Immovable Do

Fantasie #3 "Elegy" 
by Danaë Xanthe Vlasse

Piano Solo for advanced pianist. Approximately 13 minutes long. 

Program Notes:
This 3rd Fantasie, like the previous two Fantasies, is designed to be a transformative journey; this one is a journey of immersion and emergence. 

The piece is based on three themes as well as three motives that reappear throughout the work. The structure of the piece is as follows: 
Large Introduction, 
A-section, (at 2’36”)  
B-section, (at 4’19”)
Interlude, (at 5’00”), and C-section, (at 6’15”)
A-section, (at 8’20”)
B-altered, (at 10’18”), with Link (10’56”) to Coda, 
Large-Coda (11’24”), & Codetta (12’35”).

An outline of important musical material:

The Large Introduction sets the somber tone and introduces two themes as well as two motivic ideas: 
About the first two themes:

1st: the work opens with chords that represent a “Veil of Mystery against a back drop of Distant Thunder” – expressed as a gently rolled note cluster in the treble, against deep Bb octaves/note clusters. 
And the 2nd motivic idea is “Funeral Bells - both distant and near” which are either high repetitions of Bb, or low descending notes on Bb, Ab, Gb. 

About the A-B sections (at 2’36” and 4’19”):

The A-section introduces the final (3rd) melodic material on which the B-section builds. This new theme is less brooding but more emotionally declamatory than the previous themes. The “A-section-theme” is developed in its appearance in the Left Hand in the B-section, where it is simultaneously echoed inside the arpeggios of the Right Hand. 
The A-section also presents the final (3rd) motivic material: the notes which spell out the nickname of the lost friend: “Mister” (F, Bb, Eb, F, Eb, Db). These pitches are presented as a counter-melody to the primary melodic material of the A-section, and it is not immediately apparent that these are crucial to the remainder of the work, however, they re-appear very importantly in the C-section, and they lead the final utterances of the Codetta. 

About the middle of the work – the Interlude and C-section (at 5’00” and 6’15”):

The Interlude returns to the thematic material presented in the Introduction – as well as reminding the listener of the “Thunder and Bells” motives; these are then carried into a wild array of undulating arpeggiated passagework that explores “a world of unconscious, swirling memories.” The C-section develops the first theme from the Introduction but it is punctuated by the motivic material built on Mister’s name, as well as the descending “Bells” motif, which is inverted in an effort to turn around the darkness of the original funeral setting. Taken as a whole, the C-section’s “swirling memories” are a vast mix of emotions; they are a flight of fancy, sometimes gentle, but also bittersweet, even frightened, and they eventually grow into an overwhelming irrational anger at the unfairness of life’s harsh circumstances. 

The return to the A-B sections (at 8’20” and 10’18”):

The intense return to the second A-section is built directly out of the climax of the C-section, and now both A and B-sections are dramatized. 

The Link to the Coda (at 10’56”):
Following the second B-section, there is a “glimpse” of where the piece is going – the main theme from A returns in a major key, with a new-found sweetness never explored prior. This section could have concluded the work, but the structural weight of the vast Introduction begs for an equally grand conclusion! …

About the Coda (at 11’24”):
The Coda brings cohesion to the whole by presenting the themes from the Introduction in the relative major key, and releases the listener into a state of peace.

Fantasie #3 "Elegy" (please read the program notes!)

About DREAMS OF ITHACA:
Odysseus, king of Ithaca, was immortalized in Homer’s Odyssey, which narrates the hero's long homeward journey after the Trojan War. His story is at the crossroads between fact and fiction, and his adventures are an allegory for the identity quest within each individual seeking a "home" in peace.
 
The music depicts Odysseus lost at sea. In exhausted slumber he meets his guides: Hope and Purpose. They shepherd him through the dark night of his soul, and in 1178 B.C.E. King Odysseus finally returns to his beloved island of Ithaca after 20 years away from home.

 Dreams of Ithaca is dedicated to my father, Marcus Vlasse, a child of Ithaca who raised his sails to live the American Dream: this composition honors his 90th Birthday, Dec. 18th 2023.  ~ Danaë


For liner notes, lyrics and more, please visit: 
www.danaevlasse.com/mythologies-II

ALBUM CREDITS:

The Royal Philharmonic Orchestra, featuring:
Sangeeta Kaur, Soprano
Hilá Plitmann, Soprano (1,3,4,8) 
Omar Najmi, Tenor (1, 5-8)
Robert Thies, Pianist 
Danaë Xanthe Vlasse: Singing Bowl, Rattle, Thunder Drum, Orchestral Chimes (1), Ocean Drum & Piano String Effects (2,4,5), and Lyra (8)
Emilio D. Miler: Concert Toms (1)

Recording sessions conducted by Michael Shapiro 
Recorded at Abbey Road Studios, London, Nov 11-12th 2023

All music composed by Danaë Xanthe Vlasse
Lyrics by Danaë Xanthe Vlasse (Medusa, Andromeda) and David R. Brunt (Dreams of Ithaca)
Orchestrators: Jeff Atmajian, Lead Orchestrator & Booth Reader (8), Jon Kull (1), Patrick Russ and Geoff Alexander (2-7)
Copyists: Colin Rae, Juan Camilo Arboleda, and Duy Tran

Executive Producers: Hai Nguyen and Sangeeta Kaur (a.k.a. Loan Xuan Mai)
Producers: Danaë Xanthe Vlasse, Emilio D. Miler, Robert Thies, Hai Nguyen, Kitt Wakeley, and Jeff Atmajian 
Associate Producers: Greg Scelsa and Hilá Plitmann
Assistant Producers: Duy Tran and Nicholas A. Booth

Engineers:
Lead Engineer: John Barrett
Recording Engineer: Gerhard Joost
Protools Engineer: Daniel Hayden 
Assistant Engineer: Freddie Light
Second Assistant Engineer: Martin Riley

Mixing Engineer: Gerhard Joost 
Mastering Engineer: Silas Brown

Additional Recording Sessions:
Studio Hill, Austin, Aug 7-10 2023 (1-8), engineered by Gerhard Joost
East West Studios, Los Angeles, July 2, 2023 (1), engineered by Brian Vibberts, assisted by Chaz Sexton
East West Studios, Los Angeles, July 23, 2023 (1), engineered by Matthew Brownlie, assisted by Chaz Sexton
Allegro Recordings, Los Angeles, Dec 7, 2023 (8), engineered by Matthew Snyder, assisted by Myra Choo
The Bridge, Brooklyn, Jan 16-17, 2024 (1-8), engineered by David Merrill assisted by Greg Tock
CasaFraga, Buenos Aires, July 25, 2023 (1), engineered by Emilio D. Miler

Photography, Makeup & Styling: Robert Hayman
Album Artwork: Greg Spalenka
Graphic Design: Jeff Burne

Special Thanks: 
Ian Maclay, Eleanor Clements, and James Williams (RPO management)
Vasily Petrenko (RPO Music Director)
Kayla Hopkins (Abbey Road Studios, London)
Candace Stewart & Keith Munson (East West Studios, Los Angeles)
Priti Gandhi (for recommending Omar Najmi)
Gloria Parker (Mr. Najmi’s management)
Mona Kahayan (The Bridge, Brooklyn)

©℗2024 Studio Hill Records
Studio Hill Records is a division of Studio Hill Productions, LLC
All music published by Danaë Xanthe Vlasse, MusicVisionPublishing, Studio Hill Music LLC, & David R. Brunt (all ASCAP). 
Made in USA. All Rights Reserved.
Unauthorized duplication or use of this product is a violation of copyright laws.

Mythologies II

8) DREAMS OF ITHACA

Херувимская песнь_регент мон. Иулиания

Kibou: The Sun Shines on Everyone

Gayatri Mantra

Poème is a collection of nine original compositions  inspired by poetry, presented by composer-pianist  Danaë Xanthe Vlasse and  the  distinguished  artists  she  has gathered  for this album. Seven  romantic  art  songs  based  on French  poetry  are brought to life by GRAMMY® award-winning soprano Hila Plitmann and internationally-acclaimed pianist Robert Thies. The songs also feature  the  talents  of visionary soprano  Sangeeta  Kaur and Los-Angeles-Opera principal cellist John Walz. The composer  herself contributes performances of two works for solo piano. Vlasse’s songs, which set texts written during the 19th century as well as contemporaneously, are driven by the grandiose ideals that define Romantic culture: admiration for nature, celebration  of history, devotion to family and the alternating torture  and bliss of love for another  person. The moods of Poème express  the full range of life, from feelings of melancholy, to anger, seduction and joyous abandon.

01 - Le Baiser - Danaë  Xanthe Vlasse -

Danae Vlasse is a GRAMMY®-award-winning pianist, and composer whose music has been featured on international radio broadcast.  Furthermore, Mrs Vlasse is an MTNA Nationally Certified Teacher with a degree in Piano Performance, and over 15yrs of teaching experience. 

All piano works posted on Soundcloud are printed and available for purchase at affordable rates. Contact the composer here; https://www.danaevlasse.com/contact.html

"I live my daydreams in music." ~Albert Einstein

Fantasie #3 "Elegy" (please read the program notes!)

Danaë Xanthe Vlasse (Danae Vlasse)