CLASSICAL - RE

Seq03 Ooo K Right Now The Angels Are Going To Heaven

Gentle Touch

Dancing in the Breeze

Dancing In The Breeze

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

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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

Elegy of Her Kiss

A reflective, mournful piece from Before I Forget by The Jeremias Langsämmer Ensemble, featuring lofi piano, cello, and subdued strings. This contemporary minimal classical track blends intimate piano melodies with gentle orchestral strings, perfect for focus, study, or contemplative listening. The restrained yet cinematic soundscape evokes quiet introspection while maintaining a modern, avant-garde sensibility.

For Fans Of:
Max Richter, Ólafur Arnalds, Nils Frahm, Balmorhea, A Winged Victory for the Sullen

The Jeremias Langsämmer Ensemble – What The World Can't See (I Don't Hide) | Lofi Piano & Strings

Short modern classical piece for string quartet. Atonal style with patterns and musical phrases circulating from one instrument to another. 

Nightmare

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

Prison Cell for Two Percussionists
Duration: 10'
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=1347
Video: https://www.youtube.com/watch?v=beD4-L0qgpI
For More Information: https://robertpaterson.com/prison-cell

PROGRAM NOTES
Prison Cell is a ten-minute percussion duet that musically, theatrically and symbolically represents a prison cell. The work centers around variations of a traditional, tonal theme and an original, more dissonant theme. The original theme and its variations are taken from a tone row built on the scale degree one half step above the tonal theme. This tonal theme is continuously alluded to through modulations, variations, chromaticism and dense, slowly evolving rhythmic and chordal structures. When the central, tonal theme is finally introduced, it is never completed, creating tension that is prolonged through the second half of the piece. The tonal theme eventually becomes immersed in the tone row and gradually fused into the original theme. The mutated, skeletal rhythmic motive of the tonal theme is all that remains.

The percussionist inside the set-up represents a prisoner. The percussionist outside the set-up plays two roles: when walking behind, this player represents the oppression of the cell; when walking in front, the player represents influences on the cell by outside forces such as prison guards. The tubular chimes represent the bars of a cell.

Prison Cell

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