Il y a deux Donald... et ce n'est pas le canard...

There are two Donald... and it’s not the duck...

Terre sous tension

Le Donald

Initially I was going to save this one but honestly, I just can't wait to show it off!

Heavily inspired by depressive black metal and blackgaze, especially the band Austere, Wither... is a step back towards what I feel are my roots. With tremolo picked guitars drenched in reverb, hard hitting drums and a harsh rap touching on topics of the fleeting nature of life. I also took a step back production wise to try and create a cleaner mix but one that still retains a definite edge to it. I really feel this is my best work yet.

I have a lot of inspiration from working on this track that I'm going to channel into my next project! My debut album titled Wither and Freeze, a depressive black metal/trap metal project which I've already started work on. Forgive me if my output slows down for a while, but I still have a few ideas for singles in the works! Expect another track to drop when I finish work on the album, follow my Twitter for updates. 

Have a great day, thank you for listening!

Wither...

Written: 2022-23
Duration: 30'
for piano trio (violin, cello, and piano) and orchestra (2-2-2-2 / 4-2-3-1 / 3 percussion, timpani, strings)
Commissioned by Neave Trio
World Premiere: Mostly Modern Orchestra with Neave Trio, JoAnn Falletta, conductor, Mostly Modern Festival, Arthur Zankel Music Center, Helen Filene Ladd Concert Hall, Skidmore College, Saratoga Springs, NY, June 17, 2023.
Publisher: Bill Holab Music

As we live through a sixth mass extinction, it is not difficult to question whether we can act as good stewards of our earth. While I often feel a sense of despair — how could we have messed this up so badly? — my thoughts are often, perhaps irrationally, tempered by a sense of optimism. Maybe we can fix this, or at least that’s what I tell myself. Triple Concerto is essentially an exploration of these emotions. As a scenic point of departure, the entire work also uses three types of geographical regions as inspiration.

Triple Concerto is structured a bit differently than a traditional concerto. An introduction and three larger movements are interspersed with three small trio-centric movements that loosely function as either a prelude, interlude, or cadenza. These three smaller movements also exist as a stand-alone version for the piano trio that may be performed as a sort of “teaser” for the concerto on a chamber music concert.

The first movement, Introduction, loosely evokes a sunrise. Toward the end of the movement, bird song melodies from around the world are incorporated and performed by the winds. This leads to a movement entitled Chorale Prelude, focusing on the piano trio, leading to a joyful third movement, Bright Pastorale, filled with bright, sunlit bell-like chords and sounds reminiscent of birdsong. Moments of despair begin to appear as the movement progresses. The movement ends darkly, like an overcast sky before a storm. The fourth movement, Interlude, echoes the beginning, focusing on the trio once again and evoking a sense of longing, the sound of a more innocent time. Tundra, the fifth movement, is cold, dark, and bleak but with swaths of color. A sense of sadness and loneliness permeates this movement, at times represented by various mournful effects such as bent notes created by dipping tubular bells in water and glissandi in the strings and brass.

After the fifth movement, the trio performs a virtuosic Cadenza, full of grief and rage but with signs of hope. This leads to the final movement, entitled Summit. Ascending lines suggest climbing a mountain, both literally and figuratively. After a brief climax, eleven bell-like chords sound one after the other, symbolizing the chimes of the Doomsday Clock. The winds perform birdsong once again, perhaps of songbirds that may soon become endangered or even extinct. In a nod to Haydn’s Symphony No. 45 (his “Farewell Symphony”), the players leave the stage one by one until all that is left are the trio and conductor.

Triple Concerto was commissioned by the Neave Trio and premiered by the trio and Mostly Modern Orchestra, JoAnn Falletta, conductor, at Mostly Modern Festival in Saratoga Springs, NY.

– RP

Movements:
I. Introduction
II. Chorale Prelude
III. Bright Pastorale
IV. Interlude
V. Tundra
VI. Cadenza
VII. Summit

Triple Concerto, "Summit" for Piano Trio and Orchestra (World Premiere)

"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.

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 Debussy and Pärt in Casablanca for Clarinet in A and Piano Virtual Pre-Release Version

Gaze up at the stars towards 0RI0N, where an ancient hero stands, shield raised, poised to protect humanity against an approaching meteor ✨🛡️

0R10N

"Träumende Klarinette" by Eryk Sowa is a mesmerizing concert piece that captures the ethereal essence of dreams through the voice of the clarinet. The composition begins with a gentle, haunting melody that seems to float through the air like a distant memory, evoking a sense of longing and introspection. The clarinet's tones are rich and expressive, weaving through delicate harmonies that create an almost surreal atmosphere. As the piece progresses, the dynamics ebb and flow, reflecting the unpredictable nature of dreams—sometimes peaceful, sometimes intense, but always captivating. The interplay between the clarinet and the accompanying instruments adds depth, as if the clarinet is engaging in a dialogue with unseen forces. The music's texture ranges from tender whispers to soaring crescendos, inviting listeners to lose themselves in a world where reality and fantasy blur. "Träumende Klarinette" is a deeply emotional journey, leaving a lasting impression of beauty and mystery.

Best of

Eryk Sowa - Träumende Klarinette (Concert Piece)

this is another freshly recorded tune. in use are bc rich guitars and marshall heads. enjoy...
pls share and comment

Dreams from Elm Street 11

and now you are just friends

Friends

Thanks to my friend Charlie for rocking this collaboration 
more of his music @ https://soundcloud.com/charliewillz
photo by Ashley_Minkus

Supper - Charlie Williams

https://myckalmarcovic.bandcamp.com/track/la-mar-e-est-en-noir
Translation above

Sur un magnifique texte de Marie-Françoise Barreau-Delapierre-Loussot à propos du naufrage en 1978 de l'AMOCO Cadiz près de Portsall, en Bretagne. Survenu après ceux du Torrey Canyon (mars 1967), l’Olympic Bravery (janvier 1976), le Boehlen (octobre 1976)

Musique et voix : Myckaël Marcovic
Music and vocals : Myckaël Marcovic

La marée est en noir

La mer cinglait à corps et à cris
Sous un ciel chargé de gribouillis
Toutes les mouettes et les cormorans
Semblaient noyés dans le mauvais temps.

Un pétrolier gouvernail cassé
Impossible de le remorquer
Un rocher éventra ses cloisons
La cargaison largua son poison.

Refrain :
La marée est en noir
Ça coule, ça pue, ça poisse
Bouquet de noce qui ancre sa crasse

Portsall, port digne de ton blason
Ce jour-là, tu portais bien ton nom.
Sombre terminal par accident.
Tombeau des mouettes et des cormorans.

Vomi de marée qui s’amarre
le soleil couchait dans un sang noir.
Une armada de cirés bretons
Ont relevé manches et mentons

(Refrain)

Breizh partageait les larmes de fiel
Des éboueurs peinant sur leur pelle.
Qui serraient les dents se rappelant
Déjà trois marées noires en dix ans  

Malgré les linceuls de cet or noir
Qui se sont gravés dans les mémoires
Les marchés de la consommation
Vont de déraisons en déraisons

(Refrain)

Paroles de Marie-Françoise Barreau-Delapierre et Myckaël Marcovic, 
Musique de Myckaël Marcovic, 05 juillet 2024

Based on a magnificent text by Marie-Françoise Barreau-Delapierre-Loussot on the 1978 sinking of the AMOCO Cadiz near Portsall, Brittany. This followed the sinking of the Torrey Canyon (March 1967), the Olympic Bravery (January 1976) and the Boehlen (October 1976).

The tide is in black

The sea was screaming its head off
Under a doodle-laden sky
All the seagulls and cormorants
Seemed drowned in the bad weather.

A tanker with a broken rudder
Impossible to tow
A rock ripped open its bulkheads
The cargo dropped its poison.

Refrain :
The tide is black
It sinks, it stinks, it poisons
Bouquet de noce qui ancre sa crasse

Portsall, port worthy of your coat of arms
that day, you lived up to your name.
Dark terminal by accident.
Grave of seagulls and cormorants.

Mooring tidal vomit
the sun set in black blood.
an armada of Breton oilskins
rolled up sleeves and chins

(Refrain)

Breizh shared the tears of gall
Of garbage men toiling on their shovels.
Who gritted their teeth remembering
Three black tides in ten years  

Despite the shrouds of this black gold
etched in our memories
Consumer markets
From disappointment to disappointment

(Refrain)

Words by Marie-Françoise Barreau-Delapierre and Myckaël Marcovic, 
Music by Myckaël Marcovic, July 05, 2024

La marée est en noir (Marie-Françoise Barreau-Delapierre-Loussot / Myckaël Marcovic)

It means lots to me
What does it mean to you
To send a message out
Whilst all the rest are glued

Dark Clouds trippin by
Like Eagles in the sky
Read as you’re crucified
The chief post in your stride

Oh you love it so
Just go watch the show
We understand and know

A fine Super Bowl plays across the sky 
A fine Super Bowl plays inside the mind
A fine Super Bowl  38 - 35
A fine Super Bowl , a Super Bowl that’s fine

Opt to make a stand
The cure for the common man
You’re not following the crowd tonight before we land

Oh you love Will Smith 
And the role of Hitch
Or is it Kevin James 
The King of Queens screen fame

A fine Super Bowl plays across the sky 
A fine Super Bowl plays inside the mind
A fine Super Bowl  38 - 35
A fine Super Bowl , a Super Bowl that’s fine

A fine Super Bowl plays across the sky 
A fine Super Bowl plays inside the mind
A fine Super Bowl  38 - 35
A fine Super Bowl , a Super Bowl that’s fine

A Fine Super Bowl (Demo)

..as observed at a nightclub once upon a time....the whistle is as he walks away...hands in pockets...feigning nonchalance. :)

Time to Time

Outside

(Translation above)

Né en 1961 à Paris.
Membre SACEM
Je suis auteur-compositeur et interprète... par défaut de chansons françaises. 
Après des études au conservatoire et musicologie à la Sorbonne, j'ai enseigné l'éducation musicale à des élèves en école élémentaire de 1982 à 2021.

Dès 1989, alors que je découvrais la MAO, j'ai commencé à faire des centaines d'arrangements de chansons pour enfants ou adultes dans tous les styles pour les faire chanter. Cette solide expérience m'a amené dans un premier temps à composer des chansons pour mes élèves. Puis, je me suis lancé dans un répertoire pour adultes. 122 chansons à ce jour !

Mon répertoire va de la danse traditionnelle française (La bourrée du maumarié), à l’EDM (La tête dans les étoiles) en passant par la musique classique (Double concerto pour violon, violoncelle et orchestre à cordes) et la chanson française, le gros du panier, avec le plus souvent cette pointe d’humour qui fait tant défaut aujourd’hui dans beaucoup de chansons, (ce qui est étonnant quand on voit autant d’humoristes fleurir aux six points de l’Hexagone…)

Même si certains apprécient ma façon de chanter, mes chansons sont faites pour de vrais interprètes qui aiment monter sur scène.

Born in 1961 in Paris.
SACEM member
I'm an author-composer and performer... by default of French songs. 
After studying at the Conservatoire and musicology at the Sorbonne, I taught music education to elementary school pupils from 1982 to 2021.

As early as 1989, when I was just discovering computer-assisted music, I started making hundreds of arrangements of songs for children and adults in all styles, to get them to sing along. This solid experience initially led me to compose songs for my students. Then I started working on a repertoire for adults. 122 songs to date!

My repertoire ranges from traditional French dance (La bourrée du maumarié), to EDM (La tête dans les étoiles), classical music (Double concerto for violin, cello and string orchestra) and French chanson, the mainstay of my repertoire, most often with that touch of humor so lacking in so many songs these days (which is astonishing when you see so many humorists flourishing at the six points of the Hexagon...).

Even if some people like the way I sing, my songs are made for real performers who like to get up on stage.

La marée est en noir (Marie-Françoise Barreau-Delapierre-Loussot / Myckaël Marcovic)

Myckael Marcovic