Hi. Piano - Travis Houghton.  Drums - Greg Bartlett. Bass- Alex Kercheval. Everything else - me. Recorded in 2014.

Unknown album (6/24/2021 8:52:24 PM)

Winter in Salem

Glowstick Disco King

Give Me One  More Chance # 12, Gene Jumper, ( Original )

Give Me One More Chance, # 12 Gene Jumper, ( Original )

Tiny Teardrops childrens song uk man

Remix of Insatiable Void's Forgotten Path
https://soundcloud.com/insatiable-void

https://soundcloud.com/insatiable-void/sets/forgotten-path-open-collab

Forgotten Path -Insatiable Void (AudioBake Mix)

Pale

Da Funk

„Licht Requiem“ (22.10.2022 )

Wir kommen durch das Licht und gehen in das Licht.

Dies ist mein musikalisches Gebet an die Kraft der Liebe die uns erhellt.

Somit ist es auch ein Requiem für die Liebe.

NIMM DEIN LICHT. BEHÜHTE DEIN LICHT. 

LIEBE DEIN INNERES LICHT.

SO BEHÜTEST DU AUCH DEINEN NÄCHSTEN.

DENN WER DES ANDEREN LICHT ERLISCHT WIRD WANDERN 
IN EWIGER DUNKELHEIT.

Vielen Dank für Eure geschätzte Aufmerksamkeit.
SOUNDCLOUD: https://soundcloud.com/cloppenburg-music

Musik : Björn Cloppenburg  Alle Rechte vorbehalten
Foto	: Björn Cloppenburg
Es wurden für dieses Projekt virtuelle Instrumente der folgenden Firmen verwendet: 
http://spitfireaudio.com           Spitfire Audio LABS Strings
https://www.fluffyaudio.com  Fluffy Audio Single Opera Sopran


"Light Requiem" (22.10.2022)

We come through the light and we go into the light.

This is my musical prayer to the power of love to illuminate us.

So it is also a requiem for love.

TAKE YOUR LIGHT. GUARD YOUR LIGHT.

LOVE YOUR INNER LIGHT.

THIS IS HOW YOU PROTECT YOUR NEIGHBORS, TOO.

FOR WHO GOES OUT OF THE OTHER'S LIGHT WILL WANDER
IN ETERNAL DARKNESS.

Thank you for your valued attention.
SOUND CLOUD: https://soundcloud.com/cloppenburg-music

Music :   Björn Cloppenburg All rights reserved
Photo:    Björn Cloppenburg
Virtual instruments from the following companies were used for this project:
http://spitfireaudio.com Spitfire Audio LABS Strings
https://www.fluffyaudio.com Fluffy Audio Single Opera Soprano

Light Requiem

Quicksand

When I was little, my parents divorced and we moved with my mother to the other side of the world. My parents always stayed on good terms, and we could call and write, so it wasn't like he had died or anything - but suddenly our father was just... gone from our everyday world. Over the decades, we have been able to catch up every couple of years or so, but parting each time always feels like losing him all over again, and no matter how old I get, that little girl inside me rises to the surface, re-living the confusion, hurt and loss. 

A few years ago, my father showed me a poem that little girl had written and sent to him during those first few years apart:
"I miss you like the pages of a book
I miss you like the shadow of a lion
I miss you like a bird up a flyin'
But when I think of you the sun shines through my tears"


SONG LYRICS:

Like the pages of a book you told me stories
Like the shadow of a lion you made me feel strong by your side
Like a bird up a flyin' in the sky you gave me fearlessness of heights
 
I miss you (I wish, wish you were here)
I miss you (I wish we were together again )
I miss you (Just wish you’d never gone) 
But when I think of you the sun shines through 

Like a step upon the footpath, you showed me how to get by - one foot in front of the other
Like a hug from someone special you gave me comfort when I was frightened
And like nothing else in this world you gave me endless, boundless love

I miss you (I wish, wish  you were here)
I miss you (I wish we were together again )
I miss you (Just wish you’d never gone) 
But when I think of you the sun shines through

I Miss You (a cappella)

A cellist “with a rich imagination and a keen mind” (Diapason), Cameron Crozman is recognized as one of Canada’s rising stars. Named Radio-Canada’s 2019-20 Classical Revelation artist, he performs across North America and Europe, appearing as a soloist with major Canadian orchestras and sharing the stage with imminent musicians such as James Ehnes, Augustin Hadelich, André Laplante, and James Campbell. After studies with Paul Pulford in Canada, Cameron attended the Paris Conservatory in the class of Michel Strauss, where he received his “Prix de Violoncelle” with highest honours. He was also a laureate of Gautier Capuçon’s 2016-17 Classe d’Excellence at the Louis Vuitton Foundation. His debut recording for ATMA Classique, Cavatine, recorded on the ca. 1696 “Bonjour” Stradivarius cello, was released to critical acclaim in 2019. Cameron is extremely grateful to the Canada Council for the Arts and the Sylva Gelber Foundation for their support of his projects. He currently plays the Spanish cello “El Tiburon” attributed to Joannes Guillami ca. 1769 generously on loan from the Canada Council for the Arts Instrument Bank. When he isn’t touring, Cameron makes his home in Montreal, where he loves exploring the city’s many eclectic neighborhoods, even in the freezing cold winter!

www.cameroncrozman.com

In the Refuge of a Cave:
Before there were bunkers, fortresses, or strongholds, there were caves. Since long before the dawn of recorded history, caves have held a universal significance as a source of refuge—a safe haven from the elements, predators, and natural disasters. Inversely, however, caves have widely been known to inspire a sense of apprehension and foreboding as well—potentially harboring in the darkness the very dangers from which they are meant to offer protection.
Writing these program notes in late July of 2020, I can't help but compare the duality of caves to the tremendous changes that have taken place during the last six months. The Pandemic has forced just about everyone to reinvent their lives in order to preserve their safety and security. Whether metaphorically or analogously, we have all retreated to our caves in one way or another. For example, while many of us have achieved refuge through social distancing and sheltering-in-place, doing so has forced us to face the existential darkness of isolation and confinement.
In the Refuge of a Cave (2020) is my perspective on these themes as a composer and musician. What musical artists could once rely upon—concert spaces, audiences, even the ability to perform onstage together—has disappeared or drastically transformed in mere days. Now, one's own insights, abilities, and resources are the only certainties in their musical endeavors. When writing In the Refuge of a Cave, I imagined these restrictions as a literal cave surrounding the musical artist. What could a musician do to create music if they were isolated within a cave? How could one find artistic fulfillment in such a lonely and remote place? The only natural answer is that a musician would need to make do with the sonic resources and tools that the space granted them. The musician would utilize the reverberations and echoes generated by the cave's walls; in doing so, they would stumble upon a way to play music with another—a past version of theirself—an echo.
In the Refuge of a Cave is dedicated to my many friends and colleagues who have found themselves forced to navigate a unique cave of their own in these challenging times. Thus, it is designed to be playable by any instrument or voice type, and no two performances will ever sound alike.

Cameron Crozman (cello) - In The Refuge Of A Cave

An ongoing aspiration of BMI Award-winning composer and cellist, Nicholas Denton Protsack, is to seek new connections between music and the natural world. Called a "(composer) to keep a close eye on" by the Canadian Music Centre, Nicholas' ecologically informed music includes composed works, studio albums, and experimental improvisations, and has been featured in a wide variety of concert settings across North America, Europe, and New Zealand. Recent accomplishments include two first prizes in the 2021 SOCAN Foundation Young Composers Awards and commissioned works for the Toronto Summer Music Festival and the American Prize-winning Ensemble for These Times (E4TT).

	As a cellist, Nicholas is an active freelance performer and advocate of new music—frequently involved in collaborative projects that range from traditional to highly experimental concert idioms. Although primarily a chamber musician, he has also appeared as a soloist with the Okanagan Symphony Orchestra and the San Francisco Conservatory Orchestra.

	Nicholas is currently undertaking a PhD in music at Victoria University of Wellington (NZ), studying with composers Michael Norris and Dugal McKinnon. His other major teachers have included David Garner (composition), Jean-Michel Fonteneau (cello), Jennifer Culp (cello), and Morna Howie (cello).