Erik-Peter Song Demo

Music for Holy Week

Bach to the Future: Fugue in f - Swan Lake DEMO mp3 now available for download! 

http://www.reverbnation.com/epmortensen/song/18804074-bach-to-future-fugue-in-f-swan

This DEMO is fugue # 12 in what will become my Bach to the Future Collection!

The Fugue subject, as well as many coutermelodies is based on a movement from Tchaikovsky's famous ballet, "Swan Lake". As you can hear, this 4 part instrumental completely transforms that melody into a stylistically accurate Baroque fugue (hopefully) in the style of J.S. Bach!

There are three purposes of this collection:
1. To make you laugh, once you recognize the popular melody!
2. To educate those less familiar with what a fugue is. By having a familiar melody as the fugue subject, it's much clearer to track how all the parts work together and you can hear each voice weaving in and out clearly.
3. Simply to be a great piece of music for the sake of its own beauty, a masterful fugue in the style of the inspiring Bach!

For any talented guitarists who are reading this, I'd love to create the complete collection of fugues as a guitar ensemble version - some will be acoustic guitars only, others with electric and bass, maybe some mixed? I think this one works well with just acoustic.

If any guitarist or group of guitarists are interested please send me a direct message! I think we do all the collaboration over the Internet and Dropbox these days!

Best!

EP

Bach to the Future: Fugue in f-Swan Lake-DEMO

Album Pre-Release Gift!
"Kyrie" from "Missa Auld Lang Syne" is available now as a free mp3 sample from my upcoming album by Mortensemble, "Sacred Music in the English Style"!

http://www.reverbnation.com/epmortensen/song/19606602-missa-auld-lang-syne-kyrie

You'll be able to listen to this track for free in it's entirety by clicking the link above, or you can download until the release date for free if you are on my ReverbNation mailing list.  (To join, please click this link): 

https://www.reverbnation.com/epmortensen?add_email=true

Please enjoy and have a happy New Year!

More details about "Missa Auld Lang Syne" are below!

EP
__________________________________________

Text for Kyrie:

Kyrie eleison
Christe eleison
Kyrie eleison

Lord have mercy
Christ have mercy
Lord have mercy

Missa Auld Lang Syne was composed in 2004 by Erik-Peter Mortensen, bass-baritone in the choir of St. Ignatius of Antioch Episcopal Church, NY since 2003. It was intended as a gift for a group of Erik-Peter's musical friends known as "The Friday Night Singing Group" which has gathered for over 3 decades on the Upper West Side of New York for the sole purpose of sight-reading Renaissance polyphony from the vast personal collection of Sigmund Rosen. 

A parody mass, much like Victoria's Missa Pro Victoria heard this past September 2013 at St. Ignatius, Missa Auld Lang Syne is based on the famous old secular Scottish folk tune often sung to celebrate endings and new beginnings. As such, Missa Auld Lang Syne is appropriate for the first or last Sunday of a year. The tune is quoted quite often throughout each mass movement in every voice part, sometimes in part and sometimes in its entirety or with slight alterations, and freely switching between major and minor modes across various key centers. In sections of the Agnus Dei, the cantus firmus on Auld Lang Syne is elongated and quite prominently heard in the tenor and two soprano parts. The writing is very imitatively polyphonic and highly inspired by such Renaissance masters as Palestrina, Victoria, Tomkins and Byrd.

The mass is generally set for two sopranos, alto tenor, and bass (SSATB) However, Agnus I starts with SAT and then adds a soprano on the first setting of "miserere". Agnus II adds a bass part and then another tenor on the second "miserere". Agnus III adds another alto and finally another bass at "dona nobis pacem" to conclude with a luxurious 8 polyphonic parts.

Although Missa Auld Lang Syne was performed once in concert in 2005, and will be included in an album released in early 2014 called "Sacred Music in the English Style" featuring works by Byrd, Tallis and Erik-Peter as well as the vocal talents of several members of the St. Ignatius choir, Jan. 5, 2014 will be the first time the setting is presented in its truest most meaningful context, the worshipful liturgy of a high solemn mass at St. Ignatius.

The event can be found on Facebook via this link, and all are invited!

https://www.facebook.com/events/207947912721932/?ref_dashboard_filter=upcoming

Missa Auld Lang Syne-Kyrie

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)

This is a finished orchestration for a battle scene in the full feature independent film musical "The Fall of Camelot" which we hope to finish and release either to film festivals or the public soon!

Fateful Battle

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

This track is available for purchase on CD Baby here: http://www.cdbaby.com/cd/mortensemble3

About the Track

When my Aunt Nita died in the Philippines in May 2012, I looked for some prayers that were appropriate and found this passage from an Anglican Book of Common Prayer (It's from the Gospel of St. John).  I'm much better at communicating in music than I am in words, so I wrote an anthem in honor of her which I hoped would both please her spirit and bring comfort to those of us closest to her.

When writing sacred music in English, I've always been inspired by the great Elizabethan composers, such as William Byrd and many others, and this anthem for three male voices felt particularly right to be set in the style of Byrd.  As there was little time to find colleagues to record this in time for my aunt's funeral, I recorded this under the auspices of "Mortensemble", my professional recording group (search Mortensemble on CD Baby to see the group's bio).

The text:

This particular passage jumped out at me while I was going through the prayer book because I found it to be very uplifting and full of the joy of Christ's Resurrection, and I also wanted to make it a personal prayer from me for the hope and sake of my aunt. 

I am the resurrection and the life, saith the Lord;
he that believeth in me, though he were dead, yet shall he live; 
and whosoever liveth and believeth in me shall never die.

Amen.

Mortensemble Performers:

Erik-Peter Mortensen, (all parts - alto, tenor bass)

Follow EP on Facebook!: www.facebook.com/NYTroubador

Follow EP on Soundcloud!: www.soundcloud.com/Erik-Peter

I am the Resurrection

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 6 of my Film Scoring Class at Berlkeemusic.com, we were given a deleted opening scene from Disney's "Atlantis". to score with our own alternate versions. In the scene, Vikings sail through a stormy sea and encounter a sea monster. The scene is quite dark and suggests music that is both adventurous and turbulent.

I saw this as a combination of a sailors' sea shanty (Gilligan's Island is an example) and Pirates of the Caribbean! 

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

Atlantis-Alternate-Adventure-Underscore-by-Mortensen

Hi,

For lesson 7 of my Film Scoring Class at Berlkeemusic.com, we were given a deleted scene from "Bulletproof Monk". to score with our own alternate versions. In the scene, the main characters escape from enemy pursuers by working their way through an underground tunnel system. It is appropriate to score with moderate action music.

I created a hybrid (crossover) mid-tempo score for this using both full orchestra and a groove with loops and elements from my East/West libraries "Storm Drum 2", "Colossus" and "Ministry of Rock". 

I've also used EW Symphonic Orchestra as well as Vienna Symphony Library, Special Edition Collection 1 Plus.


The orchestration without the groove is dominantly in the style of J.S. Bach (just to be extreme!)

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

Bulletproof_Monk-Alternate-Moderate-Intensity_(Hybrid)-Underscore-by-Mortensen

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 available for purchase on CD Baby here: http://www.cdbaby.com/cd/erikpetermortensen8

or on iTunes here:
https://itunes.apple.com/us/album/dragon-song-feat.-sarah-moulton/id596170193?i=596170267&ign-mpt=uo%3D4


Background

Dragon song is inspired by a short fantasy story written by Anna Nikitina Konkova.  it's about a knight who is asked to slay a dragon in the mountains.  He vows to do this, as he has a noble character.  Every night he camps on the mountainside and he dreams of a white dragon rising into the moonlight and singing to him in a voice that creates both longing and connectedness. He feels no hate or anger at all for this creature. He wakes each time trying to shake it off, but the meanings escape him.  He finally arrives at the dragon cave, where a beautiful white dragon is sleeping.  Just before he releases a fatal arrow, though, the dragon wakes and turns to him with penetrating, loving eyes.  He realizes he was fooled by the greedy town mayor and that this creature is truly noble and pure of heart, so he breaks a vow for the first time in his life and departs.  He gets into a scuffle with other dragon hunters, while trying to persuade them to turn back, and is very badly injured. But while unconscious and about to "cross over" into death, a gentle hand grabs his shoulder and prevents him.  He turns to discover a stunning woman with long white hair and those same eyes!  She explains they are bonded soul mates even though they are of different races.  He is then revived, and with the dragon, escapes the hunters with her to forge a destiny together!

Lyrics by Erik-Peter Mortensen

Latin chorus:
Amor est eternus (Love is eternal)
Amor est divinus (Love is divine)

Female Lead (dragon voice)
From the depths of my heart I will sing you a song,
A song of everlasting jubilee.
All the days of my life for you I will long,
With you I long to share this harmony.

Latin chorus:
Amor est eternus (Love is eternal)
Amor est divinus (Love is divine)

Female Lead (dragon voice)
Since before we were born to these mortal forms, 
An ancient bond has been our destiny.
We'll never by death or despair be torn,
Our love will last through all eternity!

Latin Refrain
Non eum poteat mors cadere.  (Death is not able to kill it)
Sempiternam est eternus. (It is always everlasting)

Female Lead (dragon voice)
Love is eternal,
Love is divine,
No power of death can overcome love's joy,
Now and evermore.

Latin Refrain
Non eum poteat mors cadere.  (Death is not able to kill it)
Sempiternam est eternus. (It is always everlasting)

Performers

Sarah Moulton Faux: Lead (dragon voice), high angel voice, backup vocals, choral soprano, choral alto
Erik-Peter Mortensen: choral tenor, choral baritone
Benjamin Clements: choral tenor, choral baritone, choral bass

Orchestration

Flute
Harp
Sitar
Bell tree
Timpani
Electro drumkit
Low pad
New Age pad
High angel voice
2 female backup vocals
Chamber chorus
Strings

Follow Erik-Peter on Soundcloud!

https://soundcloud.com/erik-peter

Like Erik-Peter on Facebook!

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Dragon Song

This track is available for purchase on CD Baby here: http://www.cdbaby.com/cd/mortensemble

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, baritone)
Edwin Santayana (tenor)
Erik-Peter Mortensen (countertenor, tenor, baritone, bass)
Benjamin Clements (baritone, bass)

This roster will now 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

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.

William Byrd's Setting (from Atrium Musicologicum)

Byrd was a student of Tallis, and they combine together various obligations through their lifetimes they were both gentlemen of the Chapel’s Royal Mix lead group of singers that followed the monarch around from venue to venue and provided the music for worship services. Byrd was a devoted catholic and was prosecuted for this during his lifetime.

In order to understand how Byrd sets the text of the motet Ave Verum Corpus it is necessary to understand what it meant to him: for Byrd, the Blessed Sacrament which is the consecrated bread at the Mass contains the real presence of Christ. The first phrase of this Ave Verum Corpus means Hail true body and for Byrd the most important word wasn’t Ave or Corpus, but Verum because word true meant that He was the true presence of Christ in this bread. This was one of the main differences between the Anglican Church and the Roman Catholic Church, and he wanted to emphasise this word Verum in the first phrase. And he did it by using a very particularly expressive device.
The device is called false-relation. A false-relation is when a note and it’s chromatically altered note appear very close to one another, in this case F# and F natural.

The "false-relation" of F#-F, between the Superius and Bassus, emphasises the Verum, in a sort of demosntrating of the true corpus. This "expression" was very common in English music of this period. Byrd's master Thomas Tallis often used it on some of his works.

A great English scholar comment once the vicious English taste for false-relations, where they put it on many contexts that the continentals wouldn’t. This marked English music out as particularly expressive.

Mortensemble members recorded on this track

Erik-Peter Mortensen, all choral parts (soprano, alto, tenor, bass), doubled

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William Byrd - Ave Verum Corpus, by Mortensemble

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, SICUT CERVUS: G.P. da Palestrina (1525-1594)

Sicut Cervus is by many accounts the most outstanding example of religious choral art from the Renaissance. It was written by Giovanni Pierluigi da Palestrina, often called "The Savior of Church Music," for his role in purging secular influences which had pervaded liturgical music in his time.

The Latin text is taken from Psalm 42: "Like as the hart desireth the water brooks, so thirsteth my soul after Thee, O God.." The allusion to baptism makes this motet ideal for the Easter Vigil (Psalm 42 occurs as one of the Responsorial Psalms that night) and indeed for all of Eastertide. 

In a more general sense, the soul's longing for union with God can be fulfilled in the reception of the Eucharist, making Sicut Cervus additionally an excellent choice for any Communion-time meditation.

Text

Sicut cervus desiderat ad fontes aquarum, ita desiderat anima mea ad te Deus.

Like as the hart desireth the water brooks, so thirsteth my soul after Thee, O God.

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

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Follow EP on Soundcloud: www.soundcloud.com/erik-peter

Sicut Cervus: G.P. da Palestrina (1525-1594)

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, AVE VERUM CORPUS: Orlando di Lasso (1532-1594)

Lassus' Ave verum corpus is written in the style of the Venetian "cori spezzati". Striking word-painting is particularly evident in the setting of the text "unda fluxit". Imitative descending lines cascade in all the voices. The six parts split into two-, three- and four-voice ensembles to contrast the tutti, creating the effect of a double chorus.

Text

Ave verum corpus, natum de maria virgine; vere passum immolatum in cruce pro homine; cujus latus perforatum unda fluxit sanguine; Esto nobis praegustatum in mortis examine. O dulcis, O pie, O Jesu fili Mariae; miserere mei. Amen

Hail, true Body, born of Mary the Virgin; truly suffering and immolated on the cross for humankind; Thou whose side was pierced whence flowed a wave of blood; Be for us our food as we enter upon death at the last hour. O sweet, O clement, O Jesus son of Mary; have mercy upon me. Amen.

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

Ave Verum Corpus: Orlando di Lasso (1532-1594)

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 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, EXULTATE JUSTI IN DOMINO: L. G. da Viadana (1564-1627)

Viadana's Exultate justi in Domino is a popular four-part choral works which employs dance rhythms within a homophonic texture. This style also resembles the popular villanelli and canzonetti of the period.

Because of it's exultant praise of the Lord, both musically and textually, this setting can be thought of as especially appropriate for Eastertide or for any joyous spiritual festival.

Text (Psalm 32: v1-3)

1. Exultate justi in Domino; rectos decet collaudatio. 
2. Confitemini Domino in cithara; in psalterio decem chordarum psallite illi. 
3. Cantate ei canticum novum;  bene psallite illi in vociferatione.
(verse 1 repeats)

1. Exult in the Lord, O ye just; for He deserves high laud. 
2. Rejoice in the Lord upon the harp; upon the ten-stringed psaltery, praise Him. 
3. Sing unto Him a new song; praise him well with jubilant voice.
(verse 1 repeats)

About Lodovico Grossi da Viadana

Viadana is important in the development of the early Baroque technique of basso continuo, and its notational method, known as figured bass. While he did not invent the method—figured basses occur in published sources from at least as early as 1597 (Williams and Ledbetter 2001)—he was the first to use it in a widely-distributed collection of sacred music (Cento concerti con il basso continuo), which he published in Venice in 1602. Agostino Agazzari in 1607 published a treatise describing how to interpret the new figured bass, though it is clear that many performers had by this time already learned the new method, at least in the most progressive musical centers in Italy.

Viadana composed mostly sacred music: masses, Psalms, magnificats, motets, and lamentations, though there are two books of secular canzonette and a book of eight-voice Sinfonia musicali. His earlier music is clearly in a Renaissance style, strictly a cappella with balanced polyphony between the voices, but after 1602 he wrote increasingly in an early Baroque style, with frequent concertato passages, and always with a basso continuo. He also used the monodic style, especially in his later works, and some of his Psalm settings (for example the Salmi op. 27, for four spatially separated choruses) are progressive works in the Venetian polychoral style. In addition, some of his later works anticipate the later instrumental concerto: they indicate specific instrumentation—still not a widely used practice—and they involve back-and-forth dialog between groups of voices and instruments
.
He also wrote some secular music, but the quantity is limited as may be expected from a member of a strict religious order. These include two volumes of canzonettas (one for three, and one for four voices) and a volume of instrumental sinfonias, which are actually more like typical canzonas (terminology was loose in the decades right around 1600: what one composer called a sinfonia, another might call a fantasia, canzona, or a ricercar). In the sinfonias each individual composition bears the name of a different town in Italy: they can almost be conceived as an early kind of program music.

Viadana's music was influential not only in Italy, but also in Germany, on composers such as Michael Praetorius, Johann Hermann Schein and Heinrich Schütz. It was largely through Viadana that the concertato style arrived in Germany, the country that was to develop it most eagerly in the early 17th century.

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

Exultate Justi in Domino: L. G. da Viadana (1564-1627)

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#

Follow this contest and Cymatics on Instagram 

#chaosbeatcontest
@cymaticsfm

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

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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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