Classical

Good Classical I Found

RepostExchange1

Doubts and Uncertainties

Certainties of our Life

Mixed for Lilli - Dominique Repost

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 - III. Accents And Waves

Memórias

Seq57  Impossible and Improbable 77

Seq83 Eternal Celestial Tranquilizer Goddess       Pianoforti Preparati

Seq76The pink flamingo's long flight 7.wav

Seq76The Pink Flamingo's Long Flight   7

Seq29e  Emotions Thieves - Thieves Of Feelings.  8

Seq09 F    A dialogue between harpsichord and piano (Canon)

Finding Peace

New Flamenco Improvisation (For two guitars)

Listen to the Playlist: https://soundcloud.com/bruce-klepper-1/sets/the-little-mermaid-music-for
The Little Mermaid – The Little Mermaid Swims to the Surface
September 2023
Duration: 2:25
Painting by Marie-Jose Payannet
Music for Danse Etoile Ballet (www.danseetoile.org) who will be performing The Little Mermaid Ballet January 2024 in Colorado.
When the Little Mermaid turned 15 she was allowed to rise to the surface of the ocean just as her 5 sisters had done previously. She said "farewell" and rose as lightly as a bubble to the surface of the water.  The sun had just set as she raised her head above the waves; but the clouds were tinted with crimson and gold, and through the glimmering twilight beamed the evening star in all its beauty. The sea was calm and the air mild and fresh. Paraphrased from "The Little Mermaid" by Hans Christian Andersen. 
For piano, harp, flute, double bass, virtual instruments, sound effects and percussion.

The Little Mermaid - The Little Mermaid Swims To The Surface

Tex Mex Shaman (Stephen)--rhythm/ slide guitars/ riff/ mix and post production--@texmex-shaman
Llanpsych (Tez)--lead guitar--@llanpsych
Entheogenic Psychonaught (Josh Clary)--bass guitar--@josh-clary-1
J.J. Terrell-- Piano/glockenspiel--@j-j-terrell 
Mysterious Decibel--lead and high backing vocals--@themysteriousdecibel
K2 and the Three (Ken)--drums/ cowbell( I had the fever)maracas/tambourine/ woodblock/ low harmonies--@k2andthe3, and @k2-kara

This is a cover from Paul McCartney and Wings, from 1975 album, Venus and Mars, and this album was supported on their 1976 Wings over America tour. They always opened with Venus and Mars/Rockshow
     Ken sent Josh and Tez an email a few months back, about maybe covering this awesome rocker, after we released “Hello World." Before responding, Ken reposted his cover of "Richard Cory," a Simon and Garfunkel cover, sung by Denny Laine and Sir Paul on the Wings Over America triple live album. Stephen commented that “Rockshow” was one of the first songs he learned on guitar. Ken said, “Well, here’s your sign!" He freaked and invited Stephen to immediately contact Josh.
     We finished everything but the vocals by early June, but were stuck on lead vocalist. Several of the collective gave it a go, but nothing sounded right. Then came a late game idea. We had all been following and fans of The Mysterious Decibel for quite some time, so we asked him if he'd be interested in singing it. He was game, and really delivered what so many could not. He is a new, welcome addition to our mix. You'll also hear Stephen, who also accomplished the herculean task of mixing and producing this song, very ably play the entire song on the guitar, with Tez playing the ripping leads. 
  We hope you enjoy our labor of love that has been an entire summer in the making.

Rockshow by Paul McCartney (Eclectic Collective)

THE ALERT  IPG1 & LIllithe
https://soundcloud.com/ipg1/the-alert-rap-vocals-150-bpm
Lillithe :  Music, Mix, Arrangement and Production
Vocals and Verses: IPG1
Heat’s bubbling everywhere——coming to the surface —- Straight from the underground ——so don’t go ——getting nervous ———don’t go getting nervous—— Nothing but dopeness —————- both a product and the service——-
———checking ———in——- where you been —————get in ——where you fit in Standing room only—close the doors and let us begin And If All the seats are taken———-consider that a win—-win
Nah!—Y’all ——can’t hold back the vibes—-
—————Now Bounce It!
Braking down—— the of elements Tune me —-as a reference Acknowledge —-the —existence  So what’s the big difference —————-Tried and true—eloquence —————-brand new—-it’s evident I’m Betting that’s your——preference Really don’t stand a chance
—where’s the —competition at —-What’s their -name— ——Tell me ———who? Only two I’m—-worried bout —-is IPG1—- and there’s Lou That’s ——me myself and I ——-cause I really ——-ain’t scared of you No overselling bro————yo!—this is what I was born to do
——My styles never——basic—I bend the bar and twist it tryin match —-my cadres —-well that’s ——your first mistake Check out——How I operate—chill——- lemme demonstrate
Decision’s made—-coordinate Drop that beat——anticipate I rock it ——-and—— I—-regulate Now it’s time ———to——-devastate—— off the top ————-decapitate opposition ———seal their fate  While—————-my flow accelerate Catch the wave— I dominate—- hope your will ——is up to date  eliminate ——and terminate I just had to ———set things straight  Game over——checkmate
Part of me——- part of you— ————-ignition———————Now Bounce It!
Dropping heat’s no issue It’s IPG1 —-and it’s LOU———this is just what I do
Deep for me ———and for you—- Nothing late and —-nothing’s new—- nothing even overdue Boost the volume——-Lemme ——through—- Lemme change your point of view nothings basic——like the flu  Nothing’s crazy—-like voodoo  simple facts—-a quick—-review Catch the vibe ——it’s simply Lou No holding back just bouncing through (X2)Vocals and Verses : IPG1

The Alert - IPG1 & Lillithe

By Moshe Levi and Giovanni Puocci.
Released on all major music media including Spotify and YouTube on November 8, 2023.

Sunset in Jerusalem Redux

Sunset In Jerusalem Redux

The main theme of my Aria was also written during my teenage years on a cheap Yamaha keyboard, as a simple flute melody. A dozen years later, after vigorously immersing myself in the music of the old masters, I finally managed to breathe completely new life and meaning into it.

I can confidently say that I drew inspiration from the enchanting and, at times, ethereal serenity of a particular Mediterranean landscape also found in my native province of Dalmatia. This was perfectly captured by a beautiful watercolor painting (courtesy of a magnificent painter, Vanja Kalemba) depicting a white church nestled in a lavender field. The painting may have even spurred me on further to try to encapsulate the feeling of the landscape, a beauty that no one from Dalmatia can ever take for granted due to its constant and ever-present allure.

The form of this composition falls somewhere between a rondo and theme & variations, since all the episode of the rondo form stem from the main melody as, after many experiments, I concluded that a more straightforward musical language better suits the vision of this piece, without the need for complex ornamentation and texture.

I dedicate this composition to my beloved son Karlo, who has brought more serenity and beauty into my life than anything else.

Aria for Piano, C Major

"Tea with Debussy & Pärt in Casablanca" is a musical dream that bloomed during my vacation in Havana, Cuba. Inspired by classical masterpieces from Arvo Pärt and Claude Debussy, I envisioned an imaginary encounter with these esteemed composers in Casablanca, over Moroccan tea.

Commissioned by a dear friend and talented violist Vincent Delorme, this piece is not an imitation of their styles but rather a heartfelt conversation between us. It embodies the essence of typical conversations in Morocco, where we all speak at the same time, meandering from topic to topic, and experiencing numerous changes of atmospheres, tempi, textures, and fragments of thematic material.

It begins with minimalist touches, a nod to Pärt's recent works, where the piano introduces serene arpeggios, intertwining with heartfelt viola melodies. As we delve into our tea time, I incorporate some of Debussy's harmonic vocabulary. 

Throughout our harmonious dialogue, the piece mirrors the dynamic nature of conversations in Morocco. We experience moments of collective excitement, where the music swells with vibrant textures and lively tempi, as if everyone is speaking at once. Themes and motifs emerge and intertwine, mirroring the meandering nature of our discussion as we navigate from one topic to another.

As our musical journey unfolds, our collaboration celebrates cultural fusion, weaving together Pärt, Debussy, and my artistic zest. Each voice contributes to the narrative, inviting moments of wonder and contemplation through our shared inspirations.

Tea with Debusy and Pärt in Casablanca

Tea With Debussy and Pärt in Casablanca - World Premiere (Live Performance)

juakaatop - My safe place

Bandcamp : https://myckalmarcovic.bandcamp.com/track/grand-jacques
Spotify : https://open.spotify.com/album/6zPhVNteJQvn5hGge2ES4Q?si=dnha1llIQGeTU2oZsEYRKg
Translation above

Sur un texte de Christian Portet www.facebook.com/christian.portetmapage
Voix de Jean-Paul Gaido-Daniel www.facebook.com/jeanpaul.gaidodaniel
Photo montage du Manneken Pis et de la statue de Jacques Brel par Tom Frantzen, à Bruxelles

GRAND JACQUES
Grand Jacques, enfant chéri des mers
Qui sent si bon la mort et la bière,
Ne me quitte pas avant mon dernier repas
À Amsterdam ou à Bruxelles. Je ne sais pas...

On n'oublie rien du plat pays de tes bourgeois :
Isabelle, Clara, Marieke avec Mathilde et La Fanette
Arrivent en passant par Vesoul sur la place des rois
Où les soirs d'été sont frais pour l'éclusier dans la tempête !

Les paumés d'un petit matin, creusés au froid d'une Belgique chienne, Refermeront les fenêtres sur les ivrognes solitaires aux prières païennes. Bergers amidonnés d'un vieux port en partance pour filles et chiens, Capitaines ou singes, bigotes irréfléchies comme biches de rien.

Ces gens-là, rassasiés de tango funèbre, ne pensent qu'au suivant,
Et qui pour des bonbons, en parlotant, finiront par oublier le fier moribond En sachant déjà pourtant que vieux, ils ne seront ni beaux, ni cons,
Et qu'un Don Quichotte à jeun pour un jour fera revenir leur maman.

Tu as quitté les risques du métier pour une aventure, aventure. Anarchiste chez Bonnot comme accordéon d'une valse à mille temps Pour une tendresse imaginée où les toros se fracassent contre les murs, Lucifer trop fragile sur ton cheval trop vrai pour faire pleurer les vivants !

Grand Jacques, enfant chéri des mers, Avec tes deux pianos et ton accordéon Quand tu rechantes ta chanson,
Tu sens si bon la mort et la bière...
La la la Grand Jacques La la la ...
Texte de Christian Portet
Musique de Myckaël Marcovic, 05/12/2023

With text by Christian Portet www.facebook.com/christian.portetmapage
Voices by Jean-Paul Gaido-Daniel www.facebook.com/jeanpaul.gaidodaniel
Photo montage of Manneken Pis and Jacques Brel statue by Tom Frantzen, Brussels

GRAND JACQUES
Grand Jacques, beloved child of the seas
Who smells so good of death and beer,
Don't leave me until my last meal
In Amsterdam or Brussels. Je ne sais pas...

We don't forget anything from the flat country of your bourgeois :
Isabelle, Clara, Marieke with Mathilde and La Fanette
Arrive via Vesoul on the Place des rois
Where summer evenings are cool for the lock-keeper in the storm!

The lost of an early morning, dug in the cold of a dogged Belgium, Will close the windows on the solitary drunkards with pagan prayers. Starched shepherds of an old port on their way to girls and dogs, Captains or monkeys, thoughtless bigots like deer of nothing.

These people, full of funeral tango, only think of the next,
And who, for the sake of candy, end up forgetting the proud moribund Knowing already that old, they'll be neither handsome nor stupid,
And that a sober Don Quixote for a day will bring back their mother.
You left the risks of the profession for an adventure, adventure. Anarchist at Bonnot's as accordion in a thousand-beat waltz For an imagined tenderness where toros smash against walls, Lucifer too fragile on your horse too true to make the living weep!

Grand Jacques, cherished child of the seas, 
With your two pianos and your accordion
When you sing your song again,
You smell so good of death and beer...
La la la Grand Jacques La la la la ...

Text by Christian Portet
Music by Myckaël Marcovic, 05/12/2023

Grand Jacques (Christian Portet / Myckaël Marcovic feat. Jean-Paul Gaido-Daniel)

In the beginning, they quoted love.
You said breathe he made the cuts.
Then you both got on the brown.
No wonder that he's feeling down.

Now, like a walking bag of bones.
no one mentions how strong he was
He'll never be that sane again.
Drugs and love infecting him.

Imagine, he said.
One day, we'll all be dead.
There'll be no new aristocracy. 
Imagine he cried.
With a foolish pride.
I renounce nationality. 

It must be hard to quit the bevvies. 
When you're with someone so fucking heavy.
No wonder that he played around.
Before he went and settled down

Then the music went and stopped.
In the world a light went off.
Cock of the walk in 63.
Just a distant memory. 

Imagine, he said.
One day, we'll all be dead.
There'll be no new aristocracy. 
Imagine he cried.
With a foolish pride.
I renounce nationality. 

Can't complain that you're with the jester.
If it wasn't for the gunshots, he'd a definitely left ya.
I'm sick of your stories of love.
Manipulation from above

First to admit that the end is gory.
The bit before is another drug story.
A story where he left the lads.
For some bitch and things went bad.

Imagine, he said.
One day, we'll all be dead.
There'll be no new aristocracy. 
Imagine he cried.
With a foolish pride.
I renounce nationality. 

Jokes [2023]

Ghosts In Mailand

Azure Room (mirrors)

Two Hearts

Got To Have Your Love

For SATB A Cappella Choir and Optional Projected Images
Duration: ca. 11'
Performed by Musica Sacra, Kent Tritle, conductor
Video: https://www.youtube.com/watch?v=7r5g_3kPjU4

To read more and see the graffiti images, visit this page: http://robertpaterson.com/graffiti-canons

Commissioned by Volti, Robert A. Geary, Artistic Director. The commissioning of this work by Volti was made possible by the support of the Ann Stookey Fund for New Music.

Publisher: Bill Holab Music

PROGRAM NOTES

Although I have based many choral works on settings of poems, I also enjoy setting unusual texts. In many ways. graffiti is ideal as a source of inspiration. It is unpretentious, extremely varied and can be found almost anywhere: under bridges, in alleyways, on the sides of vans, in subway stations, and even in bathroom stalls. It may be illegal or sanctioned, artistic, text based, aphoristic, philosophical or purely graphic. It can be humorous, innocent and childlike, or very serious and meant to provoke. Graffiti may be of our time or ancient. Certain cave paintings, for example, could be considered predecessors to modern graffiti. Through graffiti, gangs, tribes or individuals can hide behind anonymity; it is the voice of the voiceless.

In Graffiti Canons , I appropriate positive aphoristic sayings, sentences and phrases found in graffiti from various parts of the world. My goal is to create a musical tapestry that flows from one thought to the next and spans time and place, using canonic technique and chorale-like transitions.

Although I found many of the graffiti images online, others I use in this piece were obtained via a Graffiti Photo Contest that I posted online. Approximately eighty images were submitted, and viewers were allowed to vote for their favorites, which played a part in which images were chosen. A handful of the most inspirational photos were used for this piece. An optional slideshow containing these images may be shown during performances of this piece.

Graffiti Canons was commissioned by Volti, Robert Geary, Artistic Director. The commissioning of this work by Volti was made possible by the support of the Ann Stookey Fund for New Music (annstookeyfund.org).

– Robert Paterson

Graffiti Canons (For Choir)

Vītulārī

Music for everyone, music for others. A life against the current. No genre in music! It is too simplistic to give a genre to everything!! Music is an expression of human emotions and it is necessary to learn to understand humanity in its complexity.

Seq57 Impossible and Improbable 77

Marco Siri