Good Classical I Found

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Track name: Between
Music by Michael Herter
Free Download:  
Video:  https://www.youtube.com/watch?v=jsenuh2RRrc

Between – baroque orchestral classical musical composition.

Music speaks of Paradise and Hell, remembering Dante's "The Divine Comedy", where the inscription on the door to Hell says: "Abandon all hope, ye who enter here".

Inspired by "Confutatis Maledictis" from Mozart's Requiem Mass.

d-moll; 4/4; 120 bpm

The top prize for #bachtobasics of "Bandlab"!

Here’s what judges had to say:
"Stupendous! We are immediately taken into the medieval times of war and conflict, preparing our hero’s tale before entering into battle. Great tones from Michael Herter‘s instrumentation; that violin performance is what we’ll remember for ages! You can already imagine how many historical TV shows this track could fit. Aw-inspiring!"

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Between

Deep Blue Ocean for two pianos
Duration: 12'
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&products_id=938
Online Perusal Score: https://issuu.com/robertpaterson/docs/deep_blue_ocean_-_fs-bound
For More Information: https://robertpaterson.com/deep-blue-ocean

PROGRAM NOTES
Although Deep Blue Ocean is not meant to be overtly programmatic, I thought it would be wonderful to explore the oceanic depths, so during a trip to the Gulf of Mexico I became a certified scuba diver. I was truly inspired, whether by the large rolling waves on the open sea, the delicate back and forth of beds of seaweed, the vibrant colors of fish clustering around cities of coral, or the beams of sunlight that cascade over the ocean’s surface.

I was also inspired by my four year old son Dylan: his name means ocean or god of the seas in Welsh; he is an Aquarius, which means the water bearer; he is an excellent swimmer, and he loves listening to a movement of one of my choral works entitled Infinite Oceans.

While writing this piece, I could not have known that the worst oil spill in U.S. history would occur just north of where I visited. The darker moments in this work are the result of this tragedy. It is in three connected movements: The Darkness Below, Sunbeams and Waterfalls, and Accents and Waves.

Deep Blue Ocean is written for Steven Gosling and Blair McMillen of the American Modern Ensemble and is dedicated to my son Dylan.

Powerhouse Pianists II

Deep Blue Ocean - III. Accents And Waves

Toad's Improv

Memórias

Music for Tabletop RPGs - Royal Court 1

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

Seq08Gg SEI QUARTI Christmas Fantasy Joke - Scherzo Di Natale Contenuto   Remake

La mélodie délicate du piano se mêle aux accords chauds des violons, créant une harmonie qui semble à la fois familière et novatrice. "Lou" est comme un parfum précieux qui persiste, ses notes se révélant lentement, nous plongeant dans une réflexion profonde.

A chaque nouvelle écoute, on découvre de nouvelles subtilités, comme si on revivait un souvenir précieux sous un nouvel angle. C'est cette beauté perpétuelle qui rend "Lou" si spéciale, comme une photographie bien-aimée que l'on peut regarder encore et encore, découvrant toujours quelque chose de nouveau.

"Lou" est une boucle infinie de beauté et de nostalgie, une composition qui ne cesse d'évoquer et de capturer l'essence des souvenirs et des émotions les plus profondes.

Deus Sive Natura

Lou - Mythmaker and Antonio Giardina

Flute.Summer

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)

An orchestral composition that evolved into an optimistic adventure theme.

Background image by Darkmoon_Art on Pixabay: https://bit.ly/3OxdTp0

On Paths Unknown

Scc23096   Asynchronicities   And Synchronicities 8

A piano piece I started writing during the composition of my F-sharp minor Nocturne. Initially, I tried to figure out if I could use it as a middle section of the Nocturne (the F-sharp to G minor modulation was a very alluring challenge), but very soon, it started to gain a consciousness of its own, and the music began writing itself. It is a very dark and somber piece that aptly suits its Elegie name. 
I would describe it as an excursion into contemplation and resignation fostered by the pain of loss and irreversibility. Brief sections into the relative (Faith) and parallel major (Remembrance), and some dance-like drunken stupor (Holding on) offer some respite. The G major restatement of the main theme is my latest addition, simply because I found it beautiful. 
I dedicate this piece to Ivan Bago, a great friend and a monumental influence on my music. Safe to say, I wouldn't be deep in this musical endeavor without him. (He also mentioned he would like to play this piece on his own).

Elegie For Piano, G Minor

Artist: BUG

Composed and produced by Ulisses Barros.

"How do you feel when you remember something or someone who is important to you?"

Uli - Remembering (Classical Guitar)

Seq09 F    A dialogue between harpsichord and piano (Canon)

Finding Peace

Some Kind of Departure

For SATB A Cappella Choir and Optional Projected Images
Duration: ca. 11'
Performed by Musica Sacra, Kent Tritle, conductor
Video: https://www.youtube.com/watch?v=7r5g_3kPjU4

To read more and see the graffiti images, visit this page: http://robertpaterson.com/graffiti-canons

Commissioned by Volti, Robert A. Geary, Artistic Director. The commissioning of this work by Volti was made possible by the support of the Ann Stookey Fund for New Music.

Publisher: Bill Holab Music

PROGRAM NOTES

Although I have based many choral works on settings of poems, I also enjoy setting unusual texts. In many ways. graffiti is ideal as a source of inspiration. It is unpretentious, extremely varied and can be found almost anywhere: under bridges, in alleyways, on the sides of vans, in subway stations, and even in bathroom stalls. It may be illegal or sanctioned, artistic, text based, aphoristic, philosophical or purely graphic. It can be humorous, innocent and childlike, or very serious and meant to provoke. Graffiti may be of our time or ancient. Certain cave paintings, for example, could be considered predecessors to modern graffiti. Through graffiti, gangs, tribes or individuals can hide behind anonymity; it is the voice of the voiceless.

In Graffiti Canons , I appropriate positive aphoristic sayings, sentences and phrases found in graffiti from various parts of the world. My goal is to create a musical tapestry that flows from one thought to the next and spans time and place, using canonic technique and chorale-like transitions.

Although I found many of the graffiti images online, others I use in this piece were obtained via a Graffiti Photo Contest that I posted online. Approximately eighty images were submitted, and viewers were allowed to vote for their favorites, which played a part in which images were chosen. A handful of the most inspirational photos were used for this piece. An optional slideshow containing these images may be shown during performances of this piece.

Graffiti Canons was commissioned by Volti, Robert Geary, Artistic Director. The commissioning of this work by Volti was made possible by the support of the Ann Stookey Fund for New Music (annstookeyfund.org).

– Robert Paterson

Graffiti Canons (For Choir)

Carmilla: Opera in 2 Acts
Act I, Scene 4 (Piano/vocal)
Music by Robert Paterson/Libretto by John de los Santos
Video: https://www.youtube.com/watch?v=AG7-EP-yMO8

"Mother of Poisons" Aria begins at 6:32

SCENE/ARIA SUMMARY
A young woman named Laura is in the middle of a difficult French lesson with her impatient tutor, Madame Clotilde. Laura's mysterious, young houseguest, Carmilla, who is actually an eight- hundred-year-old vampire. Carmilla insists she is a superior teacher, and scares Madame Clotilde away. Laura admires the color of Carmilla's nail paint, called Mother of Poisons. Carmilla explains that the hue comes from a beautiful flower which has the toxicity to easily kill man or beast. Laura is intrigued by Carmilla's words, and joins her in French song.

OPERA: BRIEF SYNOPSIS
Inspired by Sheridan Le Fanu's novella (which predates Bram Stoker's Dracula), Carmilla tells of a precocious young woman named Laura Torehaven, who lives with her widowed mother. Though intended to wed the strapping son of their neighbors, Laura yearns for more in life and love. One evening a coach crashes outside the house and a strange woman named Carmilla is found inside and given refuge in the Torehaven house. Laura finds herself drawn to Carmilla's strange beauty and worldly knowledge, despite a series of nightmares and violent deaths that plague the surrounding village in the following days. Laura willfully relents to Carmilla's charms and comes to know her heart's true nature. A good friend of Laura's mother, Dr. Suero, suspects that Carmilla is a centuries-old mullo (the Romani word for vampire). As Laura grows more and more sick, she refuses to marry her intended or undergo any treatment to cure her. Carmilla seduces Dr. Suero one night, and then murders him. Unable to conceal her identity any longer, Carmilla begs Laura to join her for eternity. Torn by her love, Laura kills Carmilla to stop the cycle of death. In an epilogue, we see that Laura's neighbor has married another and Laura has inherited her family's fortune. She is a free and independent woman, forever stamped by the kiss of her true love, Carmilla.

CAST
Carmilla: Blythe Gaissert, mezzo-soprano
Laura: Jennifer Goode-Cooper, soprano
Madame Cloutilde: Sarah Heltzel, mezzo-soprano
Geoffrey Burleson, piano

Recorded at Opera America's Marc Scorca Hall at the National Opera Center,  June 4, 2019

Sites:
http://www.robertpaterson.com
http://johndelossantos.com
http://www.blythegaissert.com
https://www.jennifergoodecooper.com
https://www.sarahheltzel.com

Carmilla Opera: Act I, Scene 4, Including "Mother of Poisons" Aria (Piano/vocal)

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Thanks for listening, 

Alex Maelstrom

VIOLIN CONCERTO

A therapeutic journey into a mix of jazz, classical, and a blend of types of electronica.  And a wry, gradual observation that promotion tends to only go as far as you push it.  At least I make my fellow musicians laugh a little.

Good Classical I Found

Doug Stoothoff