Erik-Peter Song Demo

Music for Holy Week

For more info on this track, please use this link!

http://www.reverbnation.com/c/fr5/artist_3490950?eid=A3490950_19279785_


Bach to the Future: (Christmas) Fugue in g#m-Masters in This Hall-DEMO

Lovin You is More than I Could Hope For

A Place Called Earth

Divertimento in G-Allegro

I'll Keep Hanging on for Love

Erik-Peter Mortensen's "Love Takes a Little Time" is a song written to spec for Brad Hatfield's Berklee Online Music Course - "Songwriting for Film and TV" Final Project. It's designed to be a close (but yet different) replacement of the Supremes' "You Can't Hurry Love" for the temp song used in this "Alchemy" Montage Scene.

I've cut the song in what I feel is an ideal spot, though music editors may feel free to re-arrange my cut. It happens to be in the exact tempo, key, lyric vibe, and structure as "You Can't Hurry Love", which lends itself ideally to this cut as it begins and ends in the same key as the orchestrated bookend music!

This version is a draft and a version with a female lead is also planned to be completed within the next few days.

Let me know if you'd like to have access to the full song if you're part of the music supervisor final project at Berklee! You can also suggest tweaks if you'd like something different from what you hear! I'm reachable at ep@erik-peter.com

Cheers!

EP

Love Takes a Little Time
Composer: Erik-Peter Mortensen
Lyricist: E.P. Mortensen/William Meredith
 
My mother told me not to rush right into love. 
She said to take your time, be patient for a while. 
God only knows what heav'n might send you from above, 
but when you find it, Dear, it's sure to make you smile! 

Love takes a little time, but then it's so sublime. 
'Ain't no reason, 'ain't no rhyme, be ready when it comes! 

But I'm so lonely it hurts! I want to find somebody now!  
I need someone who will hold me close!  if I could only figure how!  

My Daddy let me know that finding love is tough. 
He said that what you need are iron nerves of steel. 
But when you find your love, the one that's good enough, 
You'll know it's worth the wait to have the real deal! 

Love takes a little time, and then it's so divine. 
'Ain't no reason, 'ain't no rhyme, be ready when love comes! 

I used to be so in love, I thought I found my one true love!  
But then I got me a broken heart! It's like my folks all used to say!  

Instrumental Interlude

(Get ready for some lovin'!)

My parents told me not to rush right into love. 
They said to take your time, be patient for a while. 
Lord only knows what heav'n could send you from above, 
but when you find your love, it's sure to make you smile! 

Love takes a little time, but then it's so sublime. 
'Ain't no reason, 'ain't no rhyme, be ready when it comes! 

Well I've been searching now all over this wide earth,
and now I've found the one to call my very own! 
Don't matter now how long it takes, for what it's worth, 
'cause when you find your love, it's heaven, I've been shown! 

(I'm tellin' ya!)

Love takes a little time, but then it's so sublime. 
'Ain't no reason, 'ain't no rhyme, be ready when it comes! 

Love takes a little time, and then it's so divine. 
'Ain't no reason, 'ain't no rhyme, be ready when love comes! 

(Be ready for some lovin'!)

'Cause love...
takes some time!  


Love Takes A Little Time - (Male Lead)

Mermaid Spell

I just finished an amazing course by Boris Berlin on writing EDM music!  Here's is my class project submission below!:

___________________________________________________

Hi Boris!

I'm submitting a concept track with a mixture of influences, including EDM.

In addition is the a capella version recorded and tracked separately by my amateur ensemble, "Aistion" (translated "We must sing") based in Westchester.

https://www.reverbnation.com/epmortensen/song/26521556-aisteon-ave-verum-corpus

As you know, I come primarily from a classical and church music background with an eclectic mixture of influences from the Renaissance to current including William Byrd, J.S. Bach, Mozart, Mahler, Tchaikovsky, The Beatles, The Eagles, Rick Astley, Sting, Elvis, Michael Jackson, Elton John, Rihanna, The Chainsmokers, Justin Timberlake, Enigma, Lesiem, Alan Silvestri, Danny Elfman, Hans Zimmer and last but not least John Williams!

I don't have an easy specific reference for this type of track other than It's something which I feel I've only heard passing glimpses of over the past 20 years, but I can't quite put my finger on where I've heard a similar combination of genres - perhaps world sounds from Andrea Bocellli come or Sarah Brightman come closest.

Here are the lyrics and translation for Ave Verum Corpus:

Ave, verum corpus natum
de Maria Virgine:
vere passum, immolatum
in cruce pro homine:
cuius latus perforatum
unda fluxit sanguine: 
esto nobis praegustatum,
in mortis examine.

[O dulcis, O pie, O Jesu, Fili Mariae.
Miserere mei.] (repeated twice)
Amen.

Hail the true body, born
of the Virgin Mary:
You who truly suffered and were sacrificed
on the cross for the sake of man.
From whose pierced flank
flowed water and blood:
Be a foretaste for us
in the trial of death.

O sweet, O merciful, O Jesus, Son of Mary.
Have mercy on me. 
Amen.


Aistion - Ave Verum Corpus - EDM Mix

Transformation Adagio

Dragon Song - Instrumental Mix

Dragon - Song - Instrumental Mix

Here's a track adapted from my fantasy theme "Across the Sands". I called it "Olympic Fanfare" which I tried to submit for the Olympics (but ran out of time for, lol!)

There are a few heroic themes and counter-themes here I believe, but you'll hear the main theme occur after the opening brass fanfare (which I incorporated throughout specifically for the Olympics), and orchestrated with Low Trombone, horns, then high strings a few times. 

Harmonically, The opening is G majorish based on chords built of 4ths & 5ths.  The Main melody is supported by a C majorish harmony with an emphasis on flattened 7 & 6 degrees (very modal). There's a transitional progression with strings and harp that lead to a marchlike minor section (ala some Clint Eastwood movies!).  Then the final fanfare, which is a repeat of the opening.

Please bear in mind, this was before I took my first orchstration class, and only about 3 days after I had purchased East West.  I didn't know much about sample dynamics and had not discovered Cubase yet, but I think my instincts were pretty good for heroic writing, based on my current studies, so I hope you don't mind that I presented this? 

Would love any feedback! I'm planning to revisit this after I "graduate" lol. 

EP

P.S. Forgive the few seconds of silence before and after the actual music!

Olympic Fanfare

Hi,

For lesson 8 of my Film Scoring Class at Berlkeemusic.com, we were given a deleted scene from "Atonement". to score with our own alternate versions. In the scene, two soldiers walk through a factory at night while other soldiers rest and artillery shells go off in the background. It is appropriate to score with slow, dramatic music

The instrumentation is relatively small for an orchestra, 4 horns, 3 trombones, tuba, harp, and strings.

The brass was Cinebrass Pro, Everything else was VSL Special Collection 1 (Plus).

Here's what I came up with.

Please note for any film directors, I have the footage and full dialog along with this music to share via dropbox. Just let me know so we can set it up! :-)

EP

Atonement-Alternate-Dramatic_Suspenseful-Underscore-by-Mortensen

This track is available for purchase on CD Baby here: http://www.cdbaby.com/cd/erikpetermortensen3

Will also be part of an upcoming album release in Jan, 2014 - "Sacred Music in the English Style".

Erik-Peter Mortensen’s “Supplication for the Holocaust” prayer adapted from and inspired by “Prayer for the Six Million:” – last in a series of prayers from “Z’CHOR – REMEMBER – A Holocaust Prayer – In Memory – Written by a Holocaust Survivor”

Prayer for the Six Million:

Almighty God, remember the six million people that were gassed, killed, drowned, burned alive, tortured, beaten or frozen to death. In our hearts, their sacred memory will last forever and ever. Amen.
God of our Fathers, let the ashes of the children incinerated in Auschwitz, the rivers of blood spilled at Babbi Yar or Majdanek, be a warning to mankind that hatred is destructive, violence is contagious, while man has an unlimited capacity for cruelty. For our own sake and for the sake of our children, we have to be our brother's keeper.
Almighty God, fulfill the prophecy of Isaiah: "They shall beat their swords into ploughshares . . . nation shall not lift up a sword against nation, neither shall they learn war any more." Man shall not lift weapon against man, and shall kill no more. Amen.

“Supplication for the Holocaust” text:

Almighty God,

Call to remembrance the number twenty-six million,
The number of them that died in the Great Holocaust.

For their sake, and ours,

“fulfill the prophecy of Isaiah:
They shall beat their swords into ploughshares…
Nation shall not lift up sword against nation,
Neither shall they learn war anymore.
Man shall not lift weapon against man,
And shall kill no more!”

Amen.
___________________

Research:

Informational excerpts below are from the http://www.u-s-history.com/pages/h1677.html web page as published on 4/30/2012.

The Holocaust is generally regarded as the systematic, state-sponsored persecution and slaughter of approximately 6 million Jews — two thirds of the total European Jewish population, and two-fifths of the Jews in the entire world — but also millions of other victims, by the Nazi regime and its collaborators under Adolf Hitler.

While the Jews were the primary target, there were many other ethnic, secular, religious, and national groups that suffered during the Holocaust, including Poles, Czechs, Greeks, Gypsies, Serbs, Ukranians, and Russians, as well as homosexuals, mentally and physically handicapped persons, trade unionists, prisoners of war, Jehovah's Witnesses, and uncounted others. All were targeted because of their perceived "racial inferiority."

Current estimates, based on Nazi war records and official government documents from various countries, place the death toll of the Holocaust at anywhere from 10 million (a conservative figure) to 26 million people.

Erik-Peter chose to musically set the figure “26 million” not because it is necessarily factually accurate, but because it represents an unfathomably large number of exterminated victims, linked together as a chain of humanity, brothers and sisters in death, across nations, religions, and ideologies. When one group of our human brothers is afflicted, we are all afflicted as we are all connected to each other!

Production:

Recorded, edited and mixed at Papagena Productions, New York

Performers:

Emily Speer, soprano
Emily Speer, alto
Edwin Santayana, tenor
Erik-Peter Mortensen, bass

Follow Erik-Peter on Facebook!

www.facebook.com/NYTroubador


Supplication for the Holocaust

This track is from the album Marcelita Lopez-Kabayáo: Bach "Italian Concerto", BWV 971 / Mozart Concerto No. 26 in D Major "Coronation" K. 537 / Schumann Piano Concerto in a Minor, Opus 54 and is available for purchase on CD Baby here: http://www.cdbaby.com/cd/marcelitalopezkabayao

About the Artist

Marcelita Lopez-Kabayáo, who comes from three generations of musicians, has brought her piano artistry to enthusiastic audiences on three continents. From the concert halls of her birthplace, the Philippines, to Carnegie Hall in New York and the great halls, television and broadcast studios of England, France, Austria, Spain, Korea, Singapore, and Scandinavia, her playing has thrilled hundreds of thousands. She was also a pioneer in bringing classical music to the masses throughout the Philippines, and as a teenager she received the award of "Outstanding Filipino Musician of the Year" from the University of the Philippines. Later in her career she was honored as "Outstanding Filipino Woman in New York" at the United Nations. She has appeared as guest soloist with the London Philharmonic, the BBC Symphony Orchestra, the Honolulu Symphony, the Malmö Symphony Orchestra (Sweden), the Manila Symphony Orchestra, the Philippine Philharmonic, the National Philharmonic Orchestra in Manila, the State Symphony Orchestra of Korea, the Tivoli Symphony Orchestra in Copenhagen, the Little Orchestra Society, and the National Orchestra Association, besides other orchestras.

Reviews

"Proved exceptionally gifted . . . She played with great delicacy and a sensitive feeling." - NEW YORK TIMES

"She performs with admirable clarity and has a flair for injecting atmospheric music with its proper mood. Her playing is poetic and architecturally interesting." - NEW YORK POST

"Her technique was brilliant and the rapidly adjusting sensitivity of her subtle nuances was the height of musicianship." SYDSVENSKA DAGBLADET SWEDEN

". . . extraordinary pianistic virtuosity!" DIARIO DE BARCELONA

"This young Filipino pianist has very considerable musical spirit . . . a triumphant performance." THE TIMES, LONDON

" . . . beneath all that loveliness and charm there also resided a first-class musician endowed with a topnotch technique, a lustrous tone and some very personal ideas on how certain pieces ought to go." NEW YORK HERALD TRIBUNE

The Italian Concerto, BWV 971: II. Andante

This track or the entire album is available for purchase on itunes here: https://itunes.apple.com/us/artist/the-new-york-madrigal-singers/id589634150?ign-mpt=uo%3D4

or CD Baby here, for a discounted price: http://www.cdbaby.com/cd/newyorkmadrigalsingers


About this CD:

A collection of well-known and lesser known a cappella choral gems from the Early Renaissance to the Baroque "stile antico" Italian Schools.

About this Track, ADORAMUS TE, CHRISTE: Q. Gasparini (1749-1770)

Gasparini's Adoramus te, Christe and Lotti's Crucifixus are written in the "stile antico", the old style of Palestrina. However, the striking chromaticism and abundant dissonance, while offering poignant word painting of Christ's passion, reveal a more modern ear at work, as do the driving tonal progressions. But within this tonal context, both composers succeed at recreating the subtle and reserved polyphonic style of the sixteenth century.

Text

Adoramus te Christe, et benedicimus tibi, quia per sanctam crucem tuam redemisti mundum.

We adore Thee O Christ, for by Thy holy cross you have redeemed the world.

The Members on this album

Director: Erik-Peter Mortensen
Associate Conductor: Dr. David Schofield
Soprano i: Sandia Ang, Cathlee Ellis
Soprano II: Peggey Farley, Elizabeth Henrickson-Farnum
Mezzo-Soprano: Melissa Fogarty
Alto: Sally Elliot, Elaine Tokunaga
Tenor i: Colin Bird, Louis Shafer
Tenor II: Gregory Davidson, Arthur Krieck
Baritone: Tod Mijanovich, Erik-Peter Mortensen
Bass: Charles Grey Jr., Michael Orzechowski

Follow EP on Facebook:  www.facebook.com/NYTroubador

Follow EP on Soundcloud: www.soundcloud.com/erik-peter

Adoramus Te, Christe: Q. Gasparini (1749-1770)

This is my submission for the Cymatics.fm KING OF BEATS GEMS EDITION beatmaking contest!

Here's the music video on YouTube!
https://youtu.be/Kf_mOhT0N90

I chose the Czar midi loops from the Free Gems Pack, provided by Cymatics, which sounded amazing to me!

I applied my own instruments to the midi and created modulating chord progressions for the chorus parts and added 1 measure of drops sections (featuring Gregorian "style" chant). I got some great tips from Cymatics' own free Beatmaking course to make sure I was on point! - thanks for that!

And to make it uniquely my own, I added some additional layers to the existing loops as the track progressed, and additional sounds from all over the world, including my own vocal phrases and harmonies! :-)

May be a little different but it's Hip-Hop at the core and I hope you enjoy it! A lot!

Follow the contest on instagram and please vote for me if you like what I did! :-)
Here's the link to vote for me at the contest!!
https://remixcontest.cymatics.fm/contests/king-of-beats-gems-edition/entry/5efb7937bc636-heaven-descending#

#kingofbeatsgems


EP

Erik-Peter Mortensen-Heaven Descending (KING OF BEATS GEMS EDITION)

This track is from the album A Gallery of Italian Madrigals & Motets and is available for purchase on itunes here: https://itunes.apple.com/us/artist/the-new-york-madrigal-singers/id589634150?ign-mpt=uo%3D4

or CD Baby here, for a discounted price: http://www.cdbaby.com/cd/newyorkmadrigalsingers


About this CD:

A collection of well-known and lesser known a cappella choral gems from the Early Renaissance to the Baroque "stile antico" Italian Schools.

About this Track, CRUCIFIXUS: A. Lotti (1667?-1740)

Gasparini's Adoramus te, Christe and Lotti's Crucifixus are written in the "stile antico", the old style of Palestrina. However, the striking chromaticism and abundant dissonance, while offering poignant word painting of Christ's passion, reveal a more modern ear at work, as do the driving tonal progressions. But within this tonal context, both composers succeed at recreating the subtle and reserved polyphonic style of the sixteenth century.

Text

Crucifixus etiam pro nobis. Sub Pontio Pilato passus et sepultus est.

He was crucified also for us. Under Pontius Pilate he suffered and was buried.

The Members on this album

Director: Erik-Peter Mortensen
Associate Conductor: Dr. David Schofield
Soprano i: Sandia Ang, Cathlee Ellis
Soprano II: Peggey Farley, Elizabeth Henrickson-Farnum
Mezzo-Soprano: Melissa Fogarty
Alto: Sally Elliot, Elaine Tokunaga
Tenor i: Colin Bird, Louis Shafer
Tenor II: Gregory Davidson, Arthur Krieck
Baritone: Tod Mijanovich, Erik-Peter Mortensen
Bass: Charles Grey Jr., Michael Orzechowski

Follow EP on Facebook:  www.facebook.com/NYTroubador

Follow EP on Soundcloud: www.soundcloud.com/erik-peter

Crucifixus: A. Lotti (1667?-1740)

This track is currently available on iTunes at: https://itunes.apple.com/us/album/lamentations-jeremiah-i-single/id626743855

Mortensemble was officially founded in January, 2013 with the debut release of William Byrd's "Ave verum corpus".

The concept of Mortensemble, under the direction of Erik-Peter Mortensen, is to be an ensemble of recording artists specializing in recording and producing performances of the great choral masters, as well as the choral works of Mr. Mortensen. Based in New York, it is especially difficult to get top professional singers to coordinate recording and performance schedules, as they are always in high demand, and very busy. To that end, Erik-Peter chooses recording projects based on the availability of his roster and the vocal requirements of a particular piece, which means, in some cases, a very versatile member may sing more than one vocal part on the recording. in the case of the debut release, for example, Mr. Mortensen sang all choral parts (SATB) doubled, producing a recorded ensemble of 8 singers!

Current Roster

The initial roster of professional singers that Mr. Mortensen will call upon for projects includes:

Sarah Moulton Faux (soprano, alto)
Katrina Montagne (soprano, alto)
Catherine Hedberg (soprano, alto)
John Tully (countertenor)
Aaron Lauber (countertenor)
Bill Heigen (countertenor, tenor)
Edwin Santayana (tenor)
Erik-Peter Mortensen (countertenor, tenor, baritone, bass)
Benjamin Clements (baritone, bass)
Elliot Levine (bass)

This roster will no doubt expand in the coming years, and it's more than probable that a live performance of Mortensemble may be planned in the future.

About the Track

Thomas Tallis made two famous sets of the Lamentations. Scored for five voices (either one on a part or in a choral context), they show a sophisticated use of imitation, and are noted for their expressiveness. The settings are of the first two lessons for Maundy Thursday. As many other composers do, Tallis also sets the following:

The announcements: Incipit Lamentatio Ieremiae Prophetae ("The Lamentation of Jeremiah the Prophet begins") and De Lamentatione Ieremiae Prophetae ("From the Lamentation of Jeremiah the Prophet")

The Hebrew letters that headed each verse: Aleph, Beth for the first set; Gimel, Daleth, Heth for the second. These letters were considered part of the text in the Latin Vulgate Bible of Tallis's day, although most English translations omit them. Tallis's use of 'Heth' rather than the correct 'He' appears to have been an error

The concluding refrain: Ierusalem, Ierusalem, convertere ad Dominum Deum tuum ("Jerusalem, Jerusalem, return unto the Lord thy God") – thus emphasising the sombre and melancholy effect of the pieces

Tallis's two settings happen to use successive verses, but the pieces are in fact independent even though performers generally sing both settings together. Composers have been free to use whatever verses they wish, since the liturgical role of the text is somewhat loose; this accounts for the wide variety of texts that appear in these pieces.

Text for Tallis' setting of Lamentations I:

(Opening announcement)

Incipit lamentatio Ieremiae prophetae.

(from Lamentations, Chapter 1)

1:1 ALEPH. Quomodo sedet sola civitas plena populo! Facta est quasi vidua domina gentium; princeps provinciarum facta est sub tributo.
1:2 BETH. Plorans ploravit in nocte, et lacrimæ ejus in maxillis ejus: non est qui consoletur eam, ex omnibus caris ejus; omnes amici ejus spreverunt eam, et facti sunt ei inimici.

(Concluding refrain)

Ierusalem, Ierusalem, convertere ad Dominum Deum tuum

English translation:

(Opening announcement)

Here begins the Lamentation of Jeremiah the Prophet.

(from Lamentations, Chapter 1)

1:1 ALEPH. How lonely sits the city that was full of people! How like a widow has she become, she that was great among the nations! She that was a princess among the cities has become a vassal.
1:2 BETH. She weeps bitterly in the night, tears on her cheeks; among all her lovers she has none to comfort her; all her friends have dealt treacherously with her, and they have become her enemies.

(Concluding refrain)

Jerusalem, Jerusalem, return unto the Lord thy God

Original Hebrew text (without introductions or conclusions)

(from Lamentations, Chapter 1)

     א  אֵיכָה יָשְׁבָה בָדָד, הָעִיר רַבָּתִי עָם--הָיְתָה, 
כְּאַלְמָנָה; רַבָּתִי בַגּוֹיִם, שָׂרָתִי בַּמְּדִינוֹת--הָיְתָה, 
                                                        לָמַס.  {ס}

ב  בָּכוֹ תִבְכֶּה בַּלַּיְלָה, וְדִמְעָתָהּ עַל לֶחֱיָהּ--אֵין-לָהּ 
מְנַחֵם, מִכָּל-אֹהֲבֶיהָ:  כָּל-רֵעֶיהָ בָּגְדוּ בָהּ, הָיוּ לָהּ 
                                                    לְאֹיְבִים.  {ס}

Mortensemble members recorded on this track

Bill Heigen, alto, tenor 1, tenor 2
Erik-Peter Mortensen, alto, tenor 1, tenor 2, baritone (doubled), bass (doubled)

Authorship

According to Jewish and Christian traditions, authorship is assigned to the Prophet Jeremiah, who was ministering the Word of God during the conquest of Jerusalem by Nebuchadnezzar, during which the First Temple was destroyed and King Zedekiah was taken prisoner (cf. 2 Kings 24-25, Jer. 39:1-10 and Jer. 52). In the Septuagint and the Vulgate the Lamentations are placed directly after the Prophet.

It is said that Jeremiah retired to a cavern outside the Damascus gate, where he wrote this book. That cavern is still pointed out by tour guides. "In the face of a rocky hill, on the western side of the city, the local belief has placed 'the grotto of Jeremiah.' There, in that fixed attitude of grief which Michelangelo has immortalized, the prophet may well be supposed to have mourned the fall of his country" (Arthur Penrhyn Stanley, History of the Jewish Church).

However, the strict acrostic style of four of the five poems is not found at all in the Book of Jeremiah itself and Jeremiah's name is not found anywhere in the book itself (nor any other name, for that matter), so authorship of Lamentations is disputed. The Book of Chronicles says that Jeremiah did write a lament on the death of King Josiah. The work is probably based on the older Mesopotamian genre of the "city lament", of which the Lament for Ur is among the oldest and best-known.

According to F. W. Dobbs-Allsopp, "the widely observed unity of form and point of view... and general resemblance in linguistic detail throughout the sequence are broadly suggestive of the work of a single author," though other scholars see Lamentations as the work of multiple authors.

Setting

Most commentators see Lamentations as reflecting the period immediately following the destruction of Jerusalem in 586 BC, though Provan argues for an interpretation that is ahistorical. Many elements of the lament are borne out in the historical narrative in 2 Kings concerning the fall of Jerusalem: Jerusalem lying in ruins (Lamentations 2:2 and 2 Kings 25:9), enemies entering the city (Lamentations 4:12 and 2 Kings 24:11), people going into exile (Lamentations 1:3 and 2 Kings 24:14) and the sanctuary being plundered (Lamentations 1:10 and 2 Kings 24:13). On the other hand, Babylon is never mentioned in Lamentations, though this could simply be to make the point that the judgment comes from God, and is a consequence of Judah disobeying Him.

Date

Lamentations was probably composed soon after 586 BC. Kraus argues that "the whole song stands so near the events that one feels everywhere as if the terrible pictures of the destruction stand still immediately before the eyes of the one lamenting."

Contents

The book consists of five separate poems. In chapter 1 the prophet dwells on the manifold miseries oppressed by which the city sits as a solitary widow weeping sorely. In chapter 2 these miseries are described in connection with national sins and acts of God. Chapter 3 speaks of hope for the people of God. The chastisement would only be for their good; a better day would dawn for them. Chapter 4 laments the ruin and desolation that had come upon the city and temple, but traces it only to the people's sins. Chapter 5 is a prayer that Zion's reproach may be taken away in the repentance and recovery of the people.

Structure

The first four poems (chapters) are acrostics, like some of the Psalms (25, 34, 37, 119), i.e., each verse begins with a letter of the Hebrew alphabet taken in order. The first, second, and fourth have each twenty-two verses, the number of the letters in the Hebrew alphabet. The third has sixty-six verses, in which each three successive verses begin with the same letter. The fifth is not acrostic, but also has twenty-two verses.[1] In the second, third and fourth chapters, the order of the 16th letter (ע) and the 17th (פ) is reversed.

Use

Readings, chantings, and choral settings, of the book of Lamentations, are used in the Christian religious service known as the Tenebrae (Latin for darkness). In the Church of England, readings from Lamentations are used at Morning and Evening Prayer on the Monday and Tuesday of Holy Week, and at Evening Prayer on Good Friday.

The Book of Lamentations is recited annually on the Tisha b'Av, the anniversary of the destruction of both of the Jewish Temples as well as numerous other unfavorable days in Jewish history.

As quoted by Scottish Presbyterian preacher, Matthew George Easton (1823-1894), at the "Wailing Wall" in the Old City of Jerusalem, "the Jews assemble every Friday afternoon to bewail the downfall of the holy city, kissing the stone wall and watering it with their tears. They repeat from their well-worn Hebrew Bibles and prayer-books the Lamentations of Jeremiah and suitable Psalms."

In the Coptic Orthodox Church chapter three is chanted on the twelfth hour of the Good Friday service, that commemorates the burial of Jesus.

Follow EP on Facebook!: www.facebook.com/NYTroubador

Follow EP on Soundcloud: www.soundcloud.com/erik-peter


Lamentations of Jeremiah I

This was a fun contest to enter, and thanks to Cymatics for providing such great Fantasy one shots to work with! 

This track is a fusion of Baroque, Latin, EDM, Electronica & Trap influences so I'm calling it World lol! At it's core, it's a baroque fugue in the style of J.S. Bach on the theme from "Mission Impossible". :-) I used the "Aged" Fantasy one shot after processing it in Padshop with some cool modulation and layered many other of the one shots around it to give motion through each section of the piece. It's in 6/8 time with a groove in 4/4 overlaid which gives it a nice backbeat, dancy feel!

Please vote for me if you love this!

https://remixcontest.cymatics.fm/contests/king-of-synths/entry/5f1a69a3c5cc4-fugue-in-em-mission-impossible-fantasy#

Follow this contest and Cymatics on Instagram 

#kingofsynths
@cymaticsfm

Erik-Peter Mortensen-Fugue in em: Mission Impossible Fantasy (King of Synths)

This was a fun contest to enter, and thanks to Cymatics for providing such great Melodies in their Chaos Pack to work with! 

I chose the Aries orchestral melody which allows a lot of spice and exotic flavors to be thrown into the hip hop mix! 

This downtempo, chill lo-fi Hip Hop track is also inspired by such artists as Enigma and Lesiem Auracle, and swung the groove to give it a cool 6/8 against 2 feel. :-)

Please vote for me if you love this!

https://remixcontest.cymatics.fm/contests/chaos-ultimate-beat-contest/entry/5f4200cc1d0c3-swag-walk#

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Erik-Peter Mortensen - Swag Walk - (Chaos Ultimate Beat Contest)

Submission for my Pharaoh Beat-making Contest using the Pharaoh pack drum elements and the "Valley of the Kings" melody for the core loop!

Here's the YouTube Music video!
https://youtu.be/KeCrnfy58Mc

Erik-Peter Mortensen-Valley Of The Kings (Pharaoh Beat Contest)

This track is available for purchase on CD Baby here: http://www.cdbaby.com/cd/mortensemble4

or on iTunes here: https://itunes.apple.com/us/album/lamentations-jeremiah-ii-ep/id667916751

Mortensemble was officially founded in January, 2013 with the debut release of William Byrd's "Ave verum corpus".

The concept of Mortensemble, under the direction of Erik-Peter Mortensen, is to be an ensemble of recording artists specializing in recording and producing performances of the great choral masters, as well as the choral works of Mr. Mortensen. Based in New York, it is especially difficult to get top professional singers to coordinate recording and performance schedules, as they are always in high demand, and very busy. To that end, Erik-Peter chooses recording projects based on the availability of his roster and the vocal requirements of a particular piece, which means, in some cases, a very versatile member may sing more than one vocal part on the recording. in the case of the debut release, for example, Mr. Mortensen sang all choral parts (SATB) doubled, producing a recorded ensemble of 8 singers!

Current Roster

The initial roster of professional singers that Mr. Mortensen will call upon for projects includes:

Sarah Moulton Faux (soprano, alto)
Katrina Montagne (soprano, alto)
Catherine Hedberg (soprano, alto)
John Tully (countertenor)
Aaron Lauber (countertenor)
Bill Heigen (countertenor, tenor)
Edwin Santayana (tenor)
Erik-Peter Mortensen (countertenor, tenor, baritone, bass)
Benjamin Clements (baritone, bass)
Elliot Levine (bass)

This roster will no doubt expand in the coming years, and it's more than probable that a live performance of Mortensemble may be planned in the future.

About the Track

Thomas Tallis made two famous sets of the Lamentations. Scored for five voices (either one on a part or in a choral context), they show a sophisticated use of imitation, and are noted for their expressiveness. The settings are of the first two lessons for Maundy Thursday. As many other composers do, Tallis also sets the following:

The announcements: Incipit Lamentatio Ieremiae Prophetae ("The Lamentation of Jeremiah the Prophet begins") and De Lamentatione Ieremiae Prophetae ("From the Lamentation of Jeremiah the Prophet")

The Hebrew letters that headed each verse: Aleph, Beth for the first set; Gimel, Daleth, Heth for the second. These letters were considered part of the text in the Latin Vulgate Bible of Tallis's day, although most English translations omit them. Tallis's use of 'Heth' rather than the correct 'He' appears to have been an error

The concluding refrain: Ierusalem, Ierusalem, convertere ad Dominum Deum tuum ("Jerusalem, Jerusalem, return unto the Lord thy God") – thus emphasising the sombre and melancholy effect of the pieces

Tallis's two settings happen to use successive verses, but the pieces are in fact independent even though performers generally sing both settings together. Composers have been free to use whatever verses they wish, since the liturgical role of the text is somewhat loose; this accounts for the wide variety of texts that appear in these pieces.

Text for Tallis' setting of Lamentations II:

(Opening announcement)

De lamentatione Ieremiae prophetae.

(from Lamentations, Chapter 1)

1:3 GHIMEL. Migravit Judas propter afflictionem, et multitudinem servitutis; habitavit inter gentes, nec invenit requiem: 
1:4 DALETH. Omnes persecutores ejus apprehenderunt eam inter angustias. (Viæ Sion) lugent, eo quod non sint qui veniant ad solemnitatem: omnes portæ ejus destructæ, sacerdotes ejus gementes; virgines ejus squalidæ, et ipsa oppressa amaritudine.
1:5 HE(TH). Facti sunt hostes ejus in capite; inimici ejus locupletati sunt: quia Dominus locutus est super eam propter multitudinem iniquitatum ejus. Parvuli ejus ducti sunt in captivitatem ante faciem tribulantis.

(Concluding refrain)

Ierusalem, Ierusalem, convertere ad Dominum Deum tuum

English translation:

(Opening announcement)

From the Lamentation of Jeremiah the Prophet.

(from Lamentations, Chapter 1)

1:3 GHIMEL. Judah has gone into exile because of affliction and hard servitude; she dwells now among the nations, but finds no resting place;
1:4 DALETH. All her pursuers have overtaken her in the midst of her distress. (The ways of Zion) do mourn, because none come to the solemn assembly; all her gates are desolate, her priests groan; her virgins have been dragged away, and she herself is oppressed in bitterness.
1:5 HE(TH): Her foes have become the head, her enemies prosper; for the LORD hath afflicted her for the multitude of her transgressions; her young children are led into captivity before face of the adversary.

(Concluding refrain)

Jerusalem, Jerusalem, return unto the Lord thy God

Original Hebrew text (without introductions or conclusions)

(from Lamentations, Chapter 1)

ג  גָּלְתָה יְהוּדָה מֵעֹנִי, וּמֵרֹב עֲבֹדָה--הִיא יָשְׁבָה בַגּוֹיִם, לֹא 
מָצְאָה מָנוֹחַ; כָּל-רֹדְפֶיהָ הִשִּׂיגוּהָ, בֵּין הַמְּצָרִים.  {ס}

ד  דַּרְכֵי צִיּוֹן אֲבֵלוֹת, מִבְּלִי בָּאֵי מוֹעֵד--כָּל-שְׁעָרֶיהָ שׁוֹמֵמִין, 
כֹּהֲנֶיהָ נֶאֱנָחִים; בְּתוּלֹתֶיהָ נּוּגוֹת, וְהִיא מַר-לָהּ.  {ס}	

ה  הָיוּ צָרֶיהָ לְרֹאשׁ אֹיְבֶיהָ שָׁלוּ, כִּי-יְהוָה הוֹגָהּ עַל רֹב-
פְּשָׁעֶיהָ; עוֹלָלֶיהָ הָלְכוּ שְׁבִי, לִפְנֵי-צָר.  {ס}

Mortensemble members recorded on this track

Bill Heigen, alto, tenor 1, tenor 2
Erik-Peter Mortensen, alto, tenor 1, tenor 2, baritone (doubled), bass (doubled)

Authorship

According to Jewish and Christian traditions, authorship is assigned to the Prophet Jeremiah, who was ministering the Word of God during the conquest of Jerusalem by Nebuchadnezzar, during which the First Temple was destroyed and King Zedekiah was taken prisoner (cf. 2 Kings 24-25, Jer. 39:1-10 and Jer. 52). In the Septuagint and the Vulgate the Lamentations are placed directly after the Prophet.

It is said that Jeremiah retired to a cavern outside the Damascus gate, where he wrote this book. That cavern is still pointed out by tour guides. "In the face of a rocky hill, on the western side of the city, the local belief has placed 'the grotto of Jeremiah.' There, in that fixed attitude of grief which Michelangelo has immortalized, the prophet may well be supposed to have mourned the fall of his country" (Arthur Penrhyn Stanley, History of the Jewish Church).

However, the strict acrostic style of four of the five poems is not found at all in the Book of Jeremiah itself and Jeremiah's name is not found anywhere in the book itself (nor any other name, for that matter), so authorship of Lamentations is disputed. The Book of Chronicles says that Jeremiah did write a lament on the death of King Josiah. The work is probably based on the older Mesopotamian genre of the "city lament", of which the Lament for Ur is among the oldest and best-known.

According to F. W. Dobbs-Allsopp, "the widely observed unity of form and point of view... and general resemblance in linguistic detail throughout the sequence are broadly suggestive of the work of a single author," though other scholars see Lamentations as the work of multiple authors.

Setting

Most commentators see Lamentations as reflecting the period immediately following the destruction of Jerusalem in 586 BC, though Provan argues for an interpretation that is ahistorical. Many elements of the lament are borne out in the historical narrative in 2 Kings concerning the fall of Jerusalem: Jerusalem lying in ruins (Lamentations 2:2 and 2 Kings 25:9), enemies entering the city (Lamentations 4:12 and 2 Kings 24:11), people going into exile (Lamentations 1:3 and 2 Kings 24:14) and the sanctuary being plundered (Lamentations 1:10 and 2 Kings 24:13). On the other hand, Babylon is never mentioned in Lamentations, though this could simply be to make the point that the judgment comes from God, and is a consequence of Judah disobeying Him.

Date

Lamentations was probably composed soon after 586 BC. Kraus argues that "the whole song stands so near the events that one feels everywhere as if the terrible pictures of the destruction stand still immediately before the eyes of the one lamenting."

Contents

The book consists of five separate poems. In chapter 1 the prophet dwells on the manifold miseries oppressed by which the city sits as a solitary widow weeping sorely. In chapter 2 these miseries are described in connection with national sins and acts of God. Chapter 3 speaks of hope for the people of God. The chastisement would only be for their good; a better day would dawn for them. Chapter 4 laments the ruin and desolation that had come upon the city and temple, but traces it only to the people's sins. Chapter 5 is a prayer that Zion's reproach may be taken away in the repentance and recovery of the people.

Structure

The first four poems (chapters) are acrostics, like some of the Psalms (25, 34, 37, 119), i.e., each verse begins with a letter of the Hebrew alphabet taken in order. The first, second, and fourth have each twenty-two verses, the number of the letters in the Hebrew alphabet. The third has sixty-six verses, in which each three successive verses begin with the same letter. The fifth is not acrostic, but also has twenty-two verses.[1] In the second, third and fourth chapters, the order of the 16th letter (ע) and the 17th (פ) is reversed.

Use

Readings, chantings, and choral settings, of the book of Lamentations, are used in the Christian religious service known as the Tenebrae (Latin for darkness). In the Church of England, readings from Lamentations are used at Morning and Evening Prayer on the Monday and Tuesday of Holy Week, and at Evening Prayer on Good Friday.

The Book of Lamentations is recited annually on the Tisha b'Av, the anniversary of the destruction of both of the Jewish Temples as well as numerous other unfavorable days in Jewish history.

As quoted by Scottish Presbyterian preacher, Matthew George Easton (1823-1894), at the "Wailing Wall" in the Old City of Jerusalem, "the Jews assemble every Friday afternoon to bewail the downfall of the holy city, kissing the stone wall and watering it with their tears. They repeat from their well-worn Hebrew Bibles and prayer-books the Lamentations of Jeremiah and suitable Psalms."

In the Coptic Orthodox Church chapter three is chanted on the twelfth hour of the Good Friday service, that commemorates the burial of Jesus.




Lamentations of Jeremiah II

This track is available for purchase on itunes at:

https://itunes.apple.com/us/album/ave-verum-corpus/id669021539?i=669021569&ign-mpt=uo%3D4

About the artist

BILL HEIGEN is an accomplished composer, arranger, musical director, singer, vocal coach and pianist. He is a recipient of numerous national awards in Brazil for his vocal arrangements and choral directing. He has composed many theatre shows, and has performed in several renowned professional vocal ensembles such as Polyhymnia, Sing We Enchanted, Underworld Productions Opera, Chameleonic and Schola Cantorum of St. Agnes Church in New York City - singing many musical styles from bossa nova and Brazilian popular music, to Renaissance repertoire. Bill has been active as a musical director for various vocal groups in the U.S. and Brazil. As an experienced voice teacher and vocal coach, he has taught music theory courses at various conservatories and universities in Brazil. Bill Heigen holds degrees in Vocal Performance from University of Rio de Janeiro,  and is currently in the process of completing his Master's degree in Composition at Hunter College in New York City.

About the track

Ave verum corpus is a short Eucharistic hymn that has been set to music by various composers. It dates from the 14th century and has been attributed to Pope Innocent VI. During the Middle Ages it was sung at the elevation of the host during the consecration. It was also used frequently during Benediction of the Blessed Sacrament. The hymn's title means "Hail, true body", and is based on a poem deriving from a 14th-century manuscript from the Abbey of Reichenau, Lake Constance. The poem is a meditation on the Catholic belief in Jesus's Real Presence in the sacrament of the Eucharist, and ties it to the Catholic conception of the redemptive meaning of suffering in the life of all believers.

Text

The text is in Latin, and reads:
Ave verum corpus, natum
de Maria Virgine,
vere passum, immolatum
in cruce pro homine,
cuius latus perforatum
fluxit aqua et sanguine:
esto nobis praegustatum
in mortis examine.
O Iesu dulcis, O Iesu pie, O Iesu, fili Mariae.
Miserere mei. Amen.

A translation into English is:
Hail, true Body, born
of the Virgin Mary,
who having truly suffered, was sacrificed
on the cross for mankind,
whose pierced side
flowed with water and blood:
May it be for us a foretaste [of the Heavenly banquet]
in the trial of death.
O sweet Jesus, O pious Jesus, O Jesus, son of Mary,
have mercy on me. Amen.

Recorded, Mixed, and Produced by 
Erik-Peter Mortensen, Owner
Papagena Productions, Cathedral Records, New York City
Released and Copyrighted June 30, 2013

Follow Bill! 
www.billheigen.com

Follow Erik-Peter!
www.soundcloud.com/erik-peter
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Bill Heigen: Ave Verum Corpus

Hi, My name is Erik-Peter Mortensen (aka Erik or EP).  I've been singing professionally at the Met & City Opera's since 9, as well as in many professional choirs through the present.  I have a serious love for Early and Classical music and wish to make its appeal reach out to a much vaster audience, either through fusing it with existing styles, creating new styles, or promulgating it through films & games.

I'm currently studying for my Master Certificate in Orchestration for Film and TV, and I'll be posting more of my work right here as my studies continue and I go back to remaster previous work.

If anyone has cool collaboration ideas, please feel free to reach out to me! :-)

Erik-Peter Mortensen

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