Musical representation of solitude 
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Photo by Frank Busch on Unsplash

Solitude 2

Solitude 2 (Piano) Ambient & Cinematic Music

"On my way to the unkown everything is new and exiting. At the same time it is quite a challenge to leave everything I know behind. Thank you for standing there so steady by my side"

Foreigner

Incarnation

250507

lullaby

My latest track is an abstract artform of the biblical story David and Goliath. It starts with Guitar being my representation of David. And Bass For Goliath. After that the fight scene as bridge and the overwhelming happyness for the outro. I really enjoy the Moral of the story of facing your fears head on. 
:) Ry

David And Galiath

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David And Goliath (Guitar+Bass Solos)

Kurai Umi

Hecludium Hecludis

Eternal Reflections for mixed a cappella choir
Duration ca. 14'
Mvt. III. Do not stand at my grave and weep, text by Mary E. Frye. Text in the public domain.
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=901
For More Information: https://robertpaterson.com/eternal-reflections

PROGRAM NOTE (LONG VERSION)
Eternal Reflections consists of settings of the poems A Song on the End of the World by Czeslaw Milosz, Life’s Tragedy by Paul Laurence Dunbar and Do not stand at my grave and weep by Mary E. Frye.

Milosz is a Nobel Prize-winning, Lithuanian and Polish-American poet, prose writer and translator, and is widely considered one of the greatest poets of the twentieth century. After spending most of World War II in Nazi-occupied Warsaw working for underground presses, he emigrated to America and taught at the University of California at Berkeley for more than twenty years. I chose this poem partly because I knew this work would be premiered in Berkeley, where he lived for many years.

Paul Laurence Dunbar is America’s first prominent African-American poet and was a child of ex-slaves. Although he died at the relatively young age of 33, he produced a large body of work, including this poem and the lyrics for In Dahomey (1903), the first musical written and performed entirely by African-Americans to appear on Broadway. He was friends with many prominent figures of his day, including Wilbur and Orville Wright, Frederick Douglass and Booker T. Washington, and toward the end of his life he was honored with a ceremonial sword by President Theodore Roosevelt.

Mary E. Frye was a housewife and florist who became well-known because of her poem. According to an article in the London Times, “Frye had never written any poetry before 1932, when she and her husband had a young German Jewish girl, Margaret Schwarzkopf, staying with them. According to Frye, their guest had been concerned about her mother, who was ill in Germany, but she had been warned not to return home because of increasing anti-Semitic unrest. When her mother died, the heartbroken young woman told Frye that she never had the chance to ‘stand by my mother’s grave and shed a tear”.” Although many versions of this un-copyrighted poem exist, the version used in this setting is the one Frye claimed as definitive before she died.

Although the three poems are related thematically, there are a few other details that link them together. They are all by poets who lived in America, and both Dunbar and Frye were born in Dayton, Ohio. The poems by both Milosz and Frye are profoundly influenced by the tragedies of World War II, and both Milosz and Frye passed away in 2004. Finally, all three poems use musical and aural metaphors, which are particularly useful when setting poems for a choir. These movements may be performed individually or together as a three-movement work.

Eternal Reflections

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Eternal Reflections - III. Do not stand at my grave and weep

Song for the pandemic

MOTHER, BROTHER, LOVE (funeral song)

I knew your mother
I knew her just enough to
Say hello
Kiss goodnight
knew her well enough to say
that it was never in her way
to hurt you
I knew her long enough to know 
That she would never let you go
or desert you
Don’t look down
She’s around
She’s been there all along
And if you say it in a song it’s just
One way of letting her know
One way of letting her go...


I knew your brother
I knew him just enough to
shake his hand
hug goodnight
I knew him well enough to say
that it was always in his way
to hurt you
i knew him long enough to know
that he would never let you go
and yet he would desert you
but one day he’d desert you
don’t look down
he’s not around
he’s not there anymore
and if you say it in a song
it’s just one way of letting him know
one way of letting him go…

I knew your lover…

don’t look down
they’re not around
they’re not there anymore
and if you say it in a song
it’s just one way of letting them know
one way of letting them go…

Mother, Brother, Lover (funeral Song)

Junefe25 (Joo-nae-fae-25: 주네페25), a multi-instrumentalist and multi-genre composer & producer.
 
This channel exhibits the "music diary" reflecting on daily life matters such as people's emotions, insights, enlightenments, life issues, etc. 
 
Junefe25 is very interested in producing cinema/drama music and is willing to work with any commercial group/company to produce quality workpieces.
 
Junefe25 does have all the copyright of the details (100%). In case anyone wants to use any music piece from his work, please send him a message.
 
Thank you for your interest and time on his music here. Please feel free to explore this channel and enjoy the musical empathy contributed.

주네페25 (Junefe25)입니다. 연극/드라마/영화음악 제작을 지향합니다. 협력을 원하시는 분들은 메시지를 통해 알려주시면 연락드리겠습니다.

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