Highlights

classical & scholarly

New & hot: Classical

Composed and performed by Nate May on the Prepared Digital Piano, developed by Dan Trueman.  Published in "Mikroetudes for Prepared Digital Piano" (Many Arrows Music): http://manyarrowsmusic.com/nostalgicsynchronic/?page_id=161. 

Circleville

Kate Wakefield and MUSE women's choir (Rhonda Juliano, director).
Excerpt from premiere weekend (April 16-17, 2016).
The Sanctuary, Lower Price Hill, Cincinnati

State (Excerpt) - Kate Wakefield & MUSE

Performed by Patchwork:
Noa Even, saxophone;
Stephen Klunk, drum set

Fun With Teeth

Commissioned by The Walden School.
Performed by the International Contemporary Ensemble:
Isabel Gleicher, flute;
Josh Mondney, violin;
Ross Karre, mouth sounds.

Kid Carbon Premiere-ICE

Instrumental holiday tune inspired by warm memories of winter celebrations.  Featuring a nostalgic combination of saxophone, flute and pennywhistle unique to Joseph L Young's signature sound.

Composed, performed, produced and recorded by Joseph L Young
Mastered by Joseph L Young, Flippy Fish Audio Asylum, Boise, Idaho
Cover art ©2018 Joseph L Young
©2019 Joseph L Young ASCAP
℗ Joseph Lee Young ASCAP
All Rights Reserved

Website: www.josephlyoung.com
Soundcloud: @joseph-l-young
YouTube: www.youtube.com/josephlyoung
Bandcamp: josephlyoung.bandcamp.com
iTunes: itunes.apple.com/us/artist/joseph…young/id30940193
Facebook: www.facebook.com/JosephLeeYoung

Winter Memories (single)

Winter Memories

Remastered by Houman (https://soundcloud.com/houmans)

Flying in the Dream

A Letter from the Past

A Letter From The Past

''The Most Beautiful Time of Life”  From Auschwitz Played at the University of Michigan

DOWNLOAD THE FREE APP: https://show.co/21pQFyq

on bandcamp:
https://isaacschankler.bandcamp.com/track/the-moonlight-sonata-but-the-bass-is-a-bar-late-and-the-melody-is-a-bar-early

sheet music:
https://www.dropbox.com/s/22sq0p19lundped/moonlate12102018.pdf?dl=0

Download

The Moonlight Sonata but the bass is a bar late and the melody is a bar early

This is sort of a study of childhood and time - I remember very well going to mass as a child, especially Christmas Eve mass, and it was always nearly tortuous for me. Time would elongate into what seemed like millennia; I would somehow never make it out of church, alive, still a child. I would leave as an adult because I'd be there forever. The ceilings were impossibly high - dizzying, even. The origins of sound and the reverberations they made were bewildering to me. I couldn't believe how huge this place was, and how long this ceremony was. I would drift into a sort of liminal, hypnagogic state as time slowed, and the cantor or singers would sing, the reverb drawing out slowly, forever...

Gabriel's Message

I wrote this after breaking up with my most serious girlfriend. It is essentially a musical description of our relationship. The beginning part of it was made like a dance. Extremely hopeful, elegant, beautifully melodic. The middle part is where things get a little rocky, but when the key changes for a second, it's like a revelation, which is when I realized that we couldn't be together if we wanted to move forward with our lives. In the final part of the song, it's slower and higher pitched, representing our final dance together as we both knew it was going to end. And when it does, it feels like a beautiful memory, fading off slowly but forever in our hearts.

Tame

Premiere performance by
The Yale Philharmonia
Julian Pellicano, conductor
Woolsey Hall
New Haven, Connecticut
6 December 2018

Plastic Action for Orchestra and Noise

This is a song for the Denizen of Frost and resident Red Mage, Noire Amorata

Taking the Red

This is a Christmas offering dedicated to the memory of LES. Britten's wonderful "There is No Rose" from his Ceremony of Carols was a Christmas favorite of hers. I've woven in Bach's "Jesu, Joy of Man's Desiring" from his Cantata BVW 147. 

Once again, this piece is for the Stone Church Taize community. We might be able to use this piece for a prelude or postlude to the service coming up. It'll be the last Taize service for Advent 2019.

I cut copious amounts from the Britten, but I think its serene and magisterial qualities still shine through. I've only used the first theme of the Bach and except for the announcement of the theme by the flute at the beginning, it appears almost completely in the piano. That said, I must warn you that I took extravagant liberties with rhythm, voicings, and the order in which I employed the Bach theme.

I'll get the score up soon at my Twinklefingers blog.

Enjoy.