Music and lyrics by Lara Meltemi, 17.11.-19.11.16, Lisbon-Algarve
Photo: Lisbon, Miradouro Senhora do Monte (my first evening in Lisbon)

This Is Lisbon

Lara Meltemi - "This Is Lisbon!" ("Это Лиссабон!"), making of

D'une manière très particulière (In a very unusual manner) by Erik Satie

This is a live recording of the band i was in called The Elusive Din circa 1982 ,the gig was in what was a former cinema that was known as which it had become The Bingo Hall at Highbury London  ,it had become an anarchist squat we’d arranged to play at ,when we arrived they’d been evicted , we got back in ..got the electric back on ..set up the pa & played to around a 100 people , i lifted the track from an audio cassette tape recorded on a small portable pioneer tape ghetto blaster integral mikes ..recording is 40 years old,band consisted of Paul patch Drums ,Pat hatch bass,Colin coates guitar n vocals ,Lee eggelston & John may vocals ..we were cnd activists at the time + squatting campaigner’s + publishing 2 underground magazines Reverse order, Freezone ,hope you enjoy it ..its from another time musically & cultural history wise 🤗 peace respect unity 🙏 is history repeating itself……

The Russians are Coming  (The Elusive Din)live at the bingo hall Highbury ..circa 1983

Burya

An improvised piece just to express how a crisp October day makes you feel

Ceiling Unlimited

Fireflies In Japan In The Autumn Breeze. Using Arturia Hybrid plan Pluggin Ambient Track of Massing Fireflies in Japan.

Fireflies In An Autumn Breeze

On the old street

Hell Feeder remix of 'Forgotten Path' by Insatiable Void. We enjoyed remixing this.
Maximum respect due to Insatiable Void and all the artists who remixed this great track.
https://soundcloud.com/insatiable-void/sets/forgotten-path-open-collab

Insatiable Void - Forgotten Path (Hell Feeder Remix)

time to

This is a Romantic to Powerful Symphonic Drama written for full orchestra.
I started with the piano track which is the bed for the whole piece and then wrote the upper melodies and orchestration. This was originally composed in 2005.

In My Senses

Currently based in Los Angeles, California Daniel Gelman has experience playing in a wide variety of circumstances all around the world, as an orchestral player, and a chamber musician. He has toured Europe with the San Francisco Youth Symphony Orchestra, gigged with the Merced Symphony, and is on call for principal trumpet in the Opera Project Columbus. He has been invited to a few different festivals. This includes the Aspen Music Festival as a fellow, the Spoleto Festival USA in Charleston, and was recently on faculty at the American Institute of Musical Studies (AIMS) in Graz Austria. He is currently pursuing a DMA in Trumpet Performance at the University of Southern California. Daniel received his bachelor’s degree in Trumpet Performance from the San Francisco Conservatory of Music, and his master’s degree at the Cleveland Institute of Music. He has studied under notable Trumpet players, including but not limited to Michael Sachs, Mark Inouye, Adam Luftman, and Tom Hooten. In addition to playing the trumpet, Daniel is a hiking enthusiast and has enjoyed the challenge of backpacking in the Sierras, and summiting 14ers in Colorado.

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. 

Composed and mastered by Nicholas Denton Protsack.

Performed and recorded by Daniel Gelman.

Daniel Gelman (trumpet) - 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).