This is very, very good. Well put together, light and airy with a touch of mystery. First attempt? Wow. I'll be watching to see when you compose a score for a movie. I can see you right up there with greats like John Williams, Jerry Goldsmith and Danny Elfman.

I really like the tonal colors you are achieving in the orchestration, as well as the ambiguity of the mood - sometimes dark/suspenseful, and sometimes cheerful/playful. Did you have a particular story in mind for this ballet?

Wonderful, especially for a first attempt

A beautifully crafted piece of work - love the orchestration.

very nice shifting of the meter in this section

Here's the first scene of my first attempt at ballet.  I'd love to hear your thoughts.

Ballet: Scene 2: In the Marketplace

Choirs, strings, big horns ... soundtrack-trailer sound. Some influences from the great Thomas Bergersen.

This is the last track for my upcoming album (next september) 'Equilibrium'. Coming soon in iTunes, Amazon, etc.

(You can follow me in Facebook too: http://www.facebook.com/pages/Moises-Daniel/217705044932119 )

Take My Hand, I Have Fear

Fantasie #3 "Elegy" 
by Danaë Xanthe Vlasse

Piano Solo for advanced pianist. Approximately 13 minutes long. 

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

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

An outline of important musical material:

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

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

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

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

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

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

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

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

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

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

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

Moving version of HW Baker's paraphrase of Psalm 23. Memorable melody makes learning easy; each voice has a chance to shine here; with piano accompaniment.

Find out more: https://www.davidbartonmusic.co.uk/portfolio/the-king-of-love/

The King of Love (David Barton) SATB Voices & Piano

In Search Lost Time - for Violin, Violoncello, and Piano. Written by Colin McMahon, preformed by Anna Grigg, Debora da Silva, and Matthew Tam. Written and preformed as part of the Western Chamber Music Collaborative 2015. 

The title for the work, “In Search of Lost Time”, is the English translation of the title of Marcel Proust’s seminal novel, À la recherche du temps perdu (also known as Remembrance of
Things Past). The central theme of this novel is ‘involuntary memory’, a sudden unintentional recollection often triggered by something trivial in the present. When these involuntary memories are of someone we love who is no longer with us these memories may be exceedingly painful, or astonishingly beautiful. 

In this work you will hear two simple themes, the first is based on sequenced descending thirds, the second on a descending chromatic line. These themes are related, however they represent very different sound worlds within the piece and are framed in juxtaposition. For me, these represent two separate memories, one sorrowful, and the other playful. In the end these themes come together in simple counterpoint; these memories are about the same person, and so are at once both pained and beautiful.

This work is dedicated to my family, both missing and present. 

In Search Of Lost Time

A very accessible work for SSATB. A beautiful prayer of a soldier where perspective and music meet. Currently this score can be viewed and purchased at ScoreExchange.com Thank you Matthew Curtis and Choral Tracks LLC for the beautiful demo recording.

Credo - SATB a cappella

The lyrical setting of this text from the Book of John reaffirms the world’s need to love one another, a message as relevant now as it was then. Straightforward vocal parts are supported by an organ accompaniment, which can also be adapted for piano.

Find out more: https://www.davidbartonmusic.co.uk/portfolio/a-new-commandment/

A New Commandment (David Barton) SATB Voices & Organ (or Piano)

The Kyrie from my Missa Brevis (2015) - the melody was written in St Govan's chapel on the Pembrokeshire coast.
Missa Brevis is now published by Banks Music:
https://www.banksmusicpublications.co.uk/publishers/banks-music-publications/missa-brevis-24

The full first performance recording may be found at:
https://www.lfccm.com/media/recordings/nye-missa-brevis/

Purchase sheet music

Kyrie - from Missa Brevis (2015)

Live recording of Schola Magdalena, Maundy Thursday service. Enjoy!

Ubi Caritas

Live performance by Sandro Mazon, solo piano. Enjoy!

L'Etang

(Stay tuned with my facebook page: http://www.facebook.com/pages/Moises-Daniel/217705044932119 )
I composed the melody of this song in august 2011, two weeks before my son Daniel was born.
This was the 'prelude' of what is the biggest change I've had in my life.
Being a parent is hard sometimes, but enormously rewarding.
The truth is I do not understand how there are so many romantic love songs and so few about parenting, which in my opinion generate equal or even deeper feelings.

Regards from Spain!!

Note: The picture accompanying this song is not my son! I have downloaded it from internet.

Prelude (For my son Daniel)

I'm a Canadian composer who's interested in writing just about anything!  I started writing when I was eight, and am still going strong (well, I'm trying at least!).  A few of my pieces have been performed internationally, and several have been recorded, but I'm always hoping for more.  I'd love to hear from you!  Thanks for listening!

Most of my music is available through Lighthouse Music Publications (www.lighthousemusicpublications.com).

Ballet: Scene 2: In the Marketplace

Jeff Smallman

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ronnietyler

Richard Nye | Composer

Richard Nye | Composer

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