Name: Lutoslawski: Partita--Malcolm Lowe, violin; Geoffrey Burleson, piano by Geoffrey Burleson
Duration: 16 min 54 s
Description: A live performance of Witold Lutoslawski's Partita for Violin and Piano, performed by Boston Symphony Concertmaster Malcolm Lowe and pianist Geoffrey Burleson, with the composer in attendance. Recorded Sunday, October 28th, 1990, First & Second Church, 66 Marlborough St., Boston, MA.

A live performance of Witold Lutoslawski's Partita for Violin and Piano, performed by Boston Symphony Concertmaster Malcolm Lowe and pianist Geoffrey Burleson, with the composer in attendance. Recorded Sunday, October 28th, 1990, First & Second Church, 66 Marlborough St., Boston, MA.

Lutoslawski: Partita--Malcolm Lowe, violin; Geoffrey Burleson, piano

This is a rough recording of my new song, which is prompted by the many extreme and troubling weather events we have all been experiencing on our planet, and the toll it takes on all living things.  I do believe that the suffering of the earth is deeply related to our own personal suffering and vice versa.  Healing is possible.  It begins within each of us.

Until Then—2021

This is me reading my 2020 poem, Time-lapse Aperture. And the image is a drawing of mine called Ancestor.

Time-lapse Aperture

Released on Warner Music UK:
iTunes: http://itunes.apple.com/us/album/intimacy-catherine-duc-infinite/id1134150668

Amazon Music: http://www.amazon.com/gp/product/B01IENBNSC/ref=dm_ws_sp_ps_dp

Spotify: http://open.spotify.com/track/0GKOmz0Dcw4aXOAd6qTatb

SUBMISSION FOR GRAMMYs (Remix category):
My remix of The Corrs 'Intimacy' song from their 'Talk on Corners' album.  I hope you enjoy it as much I enjoyed creating it, especially if you're a Corrs fan :)

Jim Corr's feedback: "Lovely Catherine, very nice ambient keyboard parts. Great job well done."

Permission obtained from artist for song production and upload.

Intimacy (Catherine Duc Infinite Remix)

The Corrs - Intimacy (Catherine Duc Infinite Remix)

Summer Songs (for Soprano and Chamber Ensemble)
Duration: ca. 24'

MOVEMENTS:
I. Summer Music (May Sarton)
II. The KIte (Anne Sexton)
III. Childhood (Sharan Strange)
IV. Moths (Jennifer O'Grady)
V. Summer Night, Riverside (Sara Teasdale)

Performers: American Modern Ensemble; Marnie Breckenridge, Soprano
For More Information: https://robertpaterson.com/summer-songs
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=2333
Online Perusal Score: https://issuu.com/robertpaterson/docs/paterson_summer_songs__score-chambe
Also available as a version for soprano and piano: https://robertpaterson.com/summer-songs-piano-vocal-version

PROGRAM NOTE
There is a seemingly endless supply of poems about summer. After writing Winter Songs for bass-baritone and chamber ensemble or piano, I realized that I had inadvertently only set poems by male poets, so I decided to restrict myself to female poets for this cycle. I am well-aware that this could emphasize a potential cliché: woman can be viewed as more "summery" and men more "wintery,” but more than anything, this is merely a way to offer a course correction, so to speak, or even a yin and yang, as well as a way to create a balance between these two works.

Summer Songs begins with a setting of Summer Music by May Sarton, a light, happy, playfully musical poem filled with allusions to nature. The second movement is a setting of The Kite by Anne Sexton, a poem about honoring and enjoying the moment, and the simple things in life such as flying kites with children. Childhood, the third movement, is a setting of a poem by Sharan Strange about children capturing fireflies. The fourth movement, Moths, is a setting of a poem by Jennifer O’Grady about moths, but relating to late night conversation on a front porch. The cycle ends with a setting of Summer Night, Riverside, by Sara Teasdale, a passionate, warm, optimistic poem that muses on the timelessness of summer.

Summer Songs was commissioned by The ASCAP Foundation via the Charles Kingsford Fund, for Marnie Breckenridge and the American Modern Ensemble. Special thanks to Marnie Breckenridge for her assistance in selecting the poems for this cycle.

Commissioned by The ASCAP Foundation via the Charles Kingsford Fund, for Marnie Breckenridge and the American Modern Ensemble

ARTISTS
Robert Paterson, Conductor
Marnie Breckenridge, soprano
Sato Moughalian, flute
Pascal Archer, clarinet
Matthew Ward, percussion
Geoffrey Burleson, piano
Esther Noh, violin
Dave Eggar, cello

The Four Seasons

Summer Songs - V. Summer Night: Riverside (Text: Sara Teasdale)

Written & Produced by: @MichaelMansion and Natalie Nicole Gilbert
Vocals: Natalie Nicole Gilbert
Buy Link: http://smarturl.it/MorningLightEDM
Official Entry - 59th Annual Grammy® Awards
For Your Consideration: 
Best Pop Duo, Song of the Year, Record of the Year


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Morning Light - Michael Mansion, Natalie Nicole Gilbert © 2016


Intro
I know you’re good for it
Ooooh, baby
Morning Light

V1
This may be our only chance
To get away you and I
In a secret masquerade
Don’t say a word
I know you’re good for it
Baby, just take my hand
Take my hand

Ch
Reach out
Can you feel me now?
Our game isn’t over yet
So baby don’t forget
We’ve got until the morning light
We’ve got until the morning light
We’ve got until the morning light
/
We’ve got until the morning light
We’ve got until the morning light
We’ve got until the morning, oh
Our game isn’t over yet
Got until the morning light
Until the morning light
 
V2
Can we touch like we did before?
It’s worth the risk
To become something more
I won’t miss out
I won’t let you go
Before I must
Do you trust me, baby?

Ch2
Reach out
Can you feel me now?
Our game isn’t over yet
Baby, don’t forget
We’ve got until the morning light
We’ve got until the morning light
We’ve got until the morning light
/
We’ve got until the morning light
We’ve got until the morning light
We’ve got until the morning, Oh
We’ve got until the morning light
We’ve got until the morning light
We’ve got until the morning light

Vamp Bridge
Reach out, can you feel me now?
Game isn’t over yet
We’ve got until the morning light
We’ve got until the morning light
We’ve got until the morning light
We’ve got until the morning 

Ch
Reach out
Can you feel me now?
Our game isn’t over yet
So baby don’t forget
We’ve got until the morning light
We’ve got until the morning light
We’ve got until the morning light
/
We’ve got until the morning light
We’ve got until the morning light
We’ve got until the morning light
We’ve got until the morning light
We’ve got until the morning light
We’ve got until the morning light
We’ve got until the morning light
We’ve got until the morning light

*https://www.amazon.com/Morning-Michael-Mansion-Natalie-Gilbert/dp/B01H20R2JM
*https://play.google.com/store/music/album/Michael_Mansion_Natalie_Nicole_Gilbert_Morning_Lig?id=By7ncrtxbk3vfkfim3szk5ao7iy
*https://open.spotify.com/artist/4bVTLb1w7VXW2X33cExu7D
*https://itunes.apple.com/us/album/morning-light-single/id1121835470?app=itunes&ign-mpt=uo%3D4

Morning Light

Morning Light - Michael Mansion feat. Natalie Nicole Gilbert - FYC Best Pop Duo

Preview or purchase the score for Returning here: http://bit.ly/returningSATB

Contemporary poet Laura Foley's text for "Returning" describes waiting and watching for the return of wild geese—or any beloved thing—each passing year. This setting of her poem features a simple audience refrain that recurs three times. This piece was commissioned by Minnesota-based chorus Magpies & Ravens (Curtis Kettler, director) and this performance features Choral Arts Initiative (Brandon Elliott, director).

Lineage

Returning | SATB Chorus & Audience

Drone of the Day #1: Klavier

Curtis Macomber, violin
Christopher Oldfather, piano

Inquieto (attraverso il rumore) was composed at the request of the violinist Rolf Schulte, and is dedicated to him with gratitude.  The work’s premiere took place on March 4, 2015 at the Kaufman Music Center’s Merkin Concert Hall in New York City, performed by Mr. Schulte and pianist Stephen Gosling.

In Italian, “inquieto” means unquiet or restless, even anxious or uneasy, and “attraverso il rumore” can be translated as “through the noise.” The disquiet I refer to is that of a restless mind, which must work through clatter and clutter to achieve calm. Thanks to my colleague and friend, the composer Paolo Marchettini, for helping me to come up with the right Italian phrase for the title.

A restless mind is a terrible thing to waste, hence this piece, which is in two movements, played without pause. The first begins with an oddball kind of jazz idea, moving gradually into a slow, somewhat siciliana-like tempo. The second is much more driven and somewhat frenetic, until it finally settles into a reminiscence of the slow music from the first movement. 

This track appeared in 2018 on the first CD comprised entirely of my music, a disc that was released on Navona Recordings(PARMA Recordings LLC).

Hayes Biggs, 2023

Inquieto (attraverso il rumore) (2015) (new)

Being a Brief Identity Crisis for Solo Piano. Performed live by Geoffrey Burleson.

Published by APNM (Association for the Promotion of New Music).


Lutoslawski: Partita--Malcolm Lowe, violin; Geoffrey Burleson, piano

Geoffrey Burleson

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