CLASSICAL - RE

Seq03 Ooo K Right Now The Angels Are Going To Heaven

Deep Blue Ocean for two pianos
Duration: 12'
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&products_id=938
Online Perusal Score: https://issuu.com/robertpaterson/docs/deep_blue_ocean_-_fs-bound
For More Information: https://robertpaterson.com/deep-blue-ocean

PROGRAM NOTES
Although Deep Blue Ocean is not meant to be overtly programmatic, I thought it would be wonderful to explore the oceanic depths, so during a trip to the Gulf of Mexico I became a certified scuba diver. I was truly inspired, whether by the large rolling waves on the open sea, the delicate back and forth of beds of seaweed, the vibrant colors of fish clustering around cities of coral, or the beams of sunlight that cascade over the ocean’s surface.

I was also inspired by my four year old son Dylan: his name means ocean or god of the seas in Welsh; he is an Aquarius, which means the water bearer; he is an excellent swimmer, and he loves listening to a movement of one of my choral works entitled Infinite Oceans.

While writing this piece, I could not have known that the worst oil spill in U.S. history would occur just north of where I visited. The darker moments in this work are the result of this tragedy. It is in three connected movements: The Darkness Below, Sunbeams and Waterfalls, and Accents and Waves.

Deep Blue Ocean is written for Steven Gosling and Blair McMillen of the American Modern Ensemble and is dedicated to my son Dylan.

Powerhouse Pianists II

Deep Blue Ocean - II. Sunbeams And Waterfalls

Gentle Touch

Dancing in the Breeze

Dancing In The Breeze

A piece I wrote for the City of Culture celebrations in Coventry - alas it never arrived with its intended recipient so was never played!
It is built around quotations of music and songs either from Coventry's past, or from songs which relate in some way to the traditions or industries for which Coventry has been famous.

City Moves

An early attempt at a fantasy adventure theme for orchestra.

Background photo by Johannes Plenio on Unsplash: bit.ly/3gJXds2

The Quest

Xx 22Ill i  Desperate Cry Of Planet Earth

Seq93 M M M Drama MORS ET VITA DUELO Version Long  From Distopic Dances

//

Buy High-Quality Digital Track:
https://edoardogastaldi-music.bandcamp.com/track/grandfathers

Download free Sheet Music:
https://www.edoardogastaldimusic.it/#page5

Listen on other Platforms:
https://bfan.link/grandfathers

Artist: Edoardo Gastaldi
Record Label: PaKo Music Records
Distribution: Believe Digital
Genre(s): Piano, Neo-Classical, Instrumental
Original Picture: Emma Gastaldi
Cover Art: Federico Paronetto, Edoardo Gastaldi
Mastering: Andrea Cottone, The Room Music Lab
Release Date: 29/04/2022

© 2022 Visory Records
℗ 2022 PaKo Music Records

Relevant links are listed below.

The Room Music Lab, Facebook Page:
https://www.facebook.com/theroommusiclab

Grandfathers

An unexpected call over an unintended situation leads to an unnecessary and unjust confinement. Whisked away to serve time in an undisclosed location; an unfit environment for any human soul. Trapped! And the only consolation is from loved ones bringing respite and a glimmer of hope. One's mind is tossed between despair, loneliness, searching for answers when there are none. Some days seem bright when occupied with distracting thoughts, in the end only to fall into a lull with an expressionless gaze, knowing that another day of confinement is on the horizon.

CREDITS:
Art Design by MuzArt Studio
Photography: JR Korpa

Piano Performance using Orchestral Grand Piano instrument samples courtesy of Spitfire Audio

Composition, orchestration and performance by Ralston Van Der Schyff
Recording, production, mixing and mastering by Pally Bear at PallyBear Studio

Copyright ©️ ℗ 2022 Composition and Master Sound Recording: Ralston Van Der Schyff

Confinement

TIP THE ARTIST

Written: 2021-22
Duration: 20'
Video: https://youtu.be/X107ODtr54s
for SATB choir (3 choir members each playing a single crotale or Tingshas) and instrumental sextet (flute [doubling alto flute], clarinet, violin, cello, percussion [vibraphone, concert bass drum, four concert tom-toms, large tam-tam, medium suspended cymbal, medium and small triangles, Mark tree, medium and large wood blocks], and piano).
Publisher: Bill Holab Music: https://billholabmusic.com/store/index.php?cPath=103_137&main_page=product_info&products_id=4349
For More Information, Text, and Perusal Score: https://robertpaterson.com/listen

PROGRAM NOTE
Most people want to be heard and want to be loved, and we are usually better at talking than listening. We are often so immersed in ourselves that we not only forget to listen to others in a meaningful, effective way but also to the world around us. With that in mind, Listen is about listening to each other and the world around us more deeply, especially concerning our environment. In that sense, this piece could have been titled “Deep Listening,” but since this work is meant to be more a call to action than an alliteration of a musical concept, I felt that Listen was a more appropriate title. Listen uses a tapestry of quotes from various well-known sources, both ancient and contemporary, that are about or related to the environment. My main goal through this piece is to create a musical call to action, encourage listening, and help to raise awareness about our environment and the natural world around us.

Listen is scored for choir (3 members playing Tingshas or crotales) and chamber ensemble, consisting of a flute, clarinet, violin, cello, percussion, and piano, and was commissioned by and is dedicated to Ember, Deborah Simpkin King, music director, and conductor, in honor of their 25th anniversary.

Listen (for SATB Choir and Chamber Ensemble)

Written: 2016
Duration: 6'
Instrumentation: solo five-octave marimba (four mallets)
Commissioned by Micheal Barnes
Performed by Michael Barnes
Performance: Temple University Klein Recital Hall
North 13th Street, Philadelphia, PA, April, 224
Publisher: Bill Holab Music: 
For More Info: https://robertpaterson.com/binary-hearts
Buy Sheet Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=1343

PROGRAM NOTE
Couples who are in love often share the same interests, finish each other sentences, and laugh at the same jokes. In fact, Scientists at the University of California, Davis discovered that a couple’s breathing patterns and heart rates match up if they sit close to each other or look into each other’s eyes. They don’t even have to hold hands or talk for this to happen. However, a similar effect apparently does not occur among strangers, only couples in love. Coupled with this idea, I have always been fascinated by binary stars, which are two stars that rotate together, on the same axis. Binary Hearts for solo marimba is inspired by these phenomena. In this piece, I use heartbeat-like motives and ostinati, fast moto-perpetuo rhythmic sections and choral-like episodes, creating a joyous, gently shifting tapestry that is meant to reflect how two people feel when they are in love. Binary Hearts was commissioned by Micheal Barnes in honor of his marriage to Carly Prince.

Binary Hearts for Solo Marimba

Piano Quintet No 1 - 1st Movement Brimming River (Virtual Pre-Premiere)

A traditional, uplifting Strauss-type waltz (my third, hence the title).

Background image by Gerd Altmann on Pixabay: https://bit.ly/30KZBdX

La Troisième Valse

Imaginary

ft. Freya Hall on violin https://on.soundcloud.com/jLHyn

Sonata for a Felled Tree

From the theater piece "Small Town in a Snuff Box" based on a story of V. Odoevsky

YouTube

Broken Organ

Drama - Karma - Boomerang

Suite for String Orchestra
Duration: 15'
For More Information: https://robertpaterson.com/suite-for-string-orchestra
Publisher: Bill Holab Music: http://www.billholabmusic.com/composers/robert-paterson/
Purchase Sheet Music: http://billholabmusic.com/store/index.php?main_page=advanced_search_result&search_in_description=1&keyword=%22suite+for+string+orchestra%22

PROGRAM NOTE
Unlike some of my previous works, Suite for String Orchestra is not inspired by an over-arching programmatic theme. Although there are some technical and motivic relationships between some of the movements—particularly the first and fifth—the movements are generally unrelated and are meant to be noticeably distinct. It is in five short movements and is intentionally written in an “old-fashioned,” somewhat archaic style. I initially played around with the idea of titling this work Old-fashioned Suite or Old Time Suite, but there seems to be a sufficient sprinkling of “new fangled ideas” in this work to make these alternative titles seem inadequate.

The first movement, Allegro vivace, is written in a “mid-20th century American” style. My model for a few of the sections in this movement is the evocative, German phrase Sturm und Drang, which literally translated means “storm and stress.”

In the second movement, Trapped waltz, I imagine an ethereal, yet cognizant waltz floating above the stratosphere, looking for a place to rest, but hobbled and shackled by a pounding rock and roll drumset. I see this as a metaphor for the various dances throughout history that have come and gone but are continually vying for attention in contemporary culture. The movement fades out at the end, as if the waltz is eternally looking for a place to settle down. Admittedly, I was somewhat inspired by the collage works of Charles Ives.

The third movement, Nocturne, begins slowly and sadly, and I imagine the pulse in the beginning as similar to the gentle breathing of someone who is asleep. The middle of the movement is much more intense and violent, and the end is as soft and calm as the beginning. The first chair violin and the first chair violoncello have brief solos in this movement.

Although material from the middle of the fourth movement, Balinese scherzo, is derived from a Balinese scale, the beginning is somewhat chromatic and the ending is essentially based on the E-major scale. This movement is distinctive in that the orchestra is asked to play pizzicato almost the entire time.

The fifth movement, Finale: allegro moderato, is the movement that is most reminiscent of the first movement. The ending combines material from the beginning of both the first and fifth movements.

Suite For String Orchestra - IV. Balinese scherzo

A two-part story set in a circus. Animal Free Circus.

Painting by Martinopitture

No Animal Circus

No Animal Circus - Part 1

Piano Music for HEALING and RELAXATION from Michael Drexler The Pianist.      
This is for all the ANGELS out there.
I wrote this song for YOU
And for anyone who needs to hear something POSITIVE.       
Sending you LOVE.
From my PIANO keys to your EARS.

angel's slumber

Written: 2019
Duration: ca. 12'
Instrumentation: flute (doubling piccolo), oboe (doubling English horn), clarinet (doubling bass clarinet), and piano (pianist plays from score)
Commissioned by the Exponential Ensemble, with funding from the New York State Council on The Arts (NYSCA)
World Premiere: Exponential Ensemble, Opera America, Marc A. Scorca Hall, New York, NY, October 30, 2019

MOVEMENTS
I. Pascal’s Triangle
II. Noether’s Theorem
III. Einstein’s Daydream
IV. The Hammers of Pythagoras

PROGRAM NOTE
Relative Theory is a four-movement, ca. 12 minute work for flute (doubling piccolo), oboe (doubling English horn), clarinet (doubling bass clarinet), and piano. Each movement is inspired by a mathematician or theoretical physicist. I was inspired by a story that the commissioning ensemble, the Exponential Ensemble, told me about how much they enjoy performing programs for children that relate math to music. In a fun, yet hopefully meaningful way, the movements of my piece are designed to draw parallels between these two distinct, but interrelated worlds.

The title Relative Theory is a play on words: it loosely refers to Albert Einstein’s famous Special Theory of Relativity, but also to musical theories and theoretical principals that are used between each of the movements. All of these movements are inspired by mathematicians or theoretical physicists, and their theorems and theories inspire the music itself.

In Pascal’s Triangle, triads and intervallic content are structured so as to use binomial coefficients in musical ways. In Noether’s Theorem, the music mirrors her theorem, which states that every differentiable symmetry of the action of a physical system has a corresponding conservation law. Einstein’s Daydream, perhaps the most fanciful movement, quotes a few themes from Beethoven, J.S. Bach and Mozart, three composers who’s music Einstein loved to play on his violin. The work ends with a movement entitled The Hammers of Pythagoras, inspired by a legendary, apocryphal but nevertheless playful tale of Pythagoras passing by a blacksmith at work one day, and discovering that musical notes could be translated into mathematical equations.

There are some fascinating programmatic relations that dictate how thematic materials are used in various movements. Albert Einstein thought very highly of Emmy Noether, a mathematician who never achieved the fame she deserved because she was female. In fact, some of her theories inspired Einstein. Therefore, some of the themes in the second movement are used in the third. Einstein and Pythagoras both figure prominently in music history, albeit for different reasons, so themes from each of these movements permeate back and forth.

Relative Theory was commissioned by the Exponential Ensemble, with funding from the New York State Council on The Arts (NYSCA).

LINKS
https://www.exponentialensemble.com/
https://www.robpaterson.com/
https://robertpaterson.com/relative-theory

EXPONENTIAL ENSEMBLE
Anna Urrey, flute
Kemp Jernigan, oboe
Pascal Archer, clarinet
Geoffrey Burleson, guest pianist

CLASSICAL - RE

MORS VIVERE