My attempt at a synthesized orchestral remix of Eric Whitacre's "Fly to Paradise" and my first attempt at remixing anything, really. Download at https://www.dropbox.com/s/fovnvayctvddjx1/Fly%20to%20Paradise%20Synth%20Orchestra%20Remix%20%28Peter%20Anglea%29.wav?dl=0.

Fly to Paradise Synth Orchestra Remix (Peter Anglea)

Premiere of Three Easter Poems by Peter Anglea. Angela Ouillette, mezzo-soprano; Peter Anglea, piano.

Good Friday

“Make a joyful noise unto the Lord, all ye lands. Serve the Lord with gladness: come before his presence with singing. For the Lord is good; his mercy is everlasting; and his truth endureth to all generations” (Psalm 100:1, 5). I decided upon an asymmetrical meter (10/8) for this piece because it brings energy and exuberance to the music and because it fits the declamation of the text perfectly. The form is a modified rondo in which the recurring theme is the one set in 10/8. The rest of the piece bounces between differing meters – 6/8, 3/4, 4/4, and even 8/8. The layering of different rhythms on top of each other helps build the momentum and excitement throughout.

Jubilate Deo

“As the hart panteth after the water brooks, so panteth my soul after thee, O God. My tears have been my meat day and night…Why art thou cast down, O my soul? And why art thou disquieted in me? Hope thou in God: for I shall yet praise him for the help of his countenance” (Psalm 42:1, 3, 5). In this piece I attempted to paint the sorrow and pain that is felt when God seems far off. The poetry of the Psalms is full of imitation and repetition to express or emphasize certain ideas. The opening melodic line in the sopranos (“As the hart panteth…”) is repeated (“so panteth my soul”) to emphasize the similarity expressed in the text. The heaviness of spirit expressed in the middle portion of the piece is immediately followed up by an exultant phrase in the relative major to depict the hope the believer has in God despite troublesome circumstances in life. The end of the piece is an inversion of the beginning with the basses singing the initial melody with the sopranos, altos, and tenors harmonizing above them with “Oo’s” and “Ahh’s.”

Sicut Cervus

“Not unto us, O Lord, not unto us, but unto thy name give glory, for thy mercy, and for thy truth’s sake. Wherefore should the heathen say, Where is now their God?” (Psalm 115:1–2). Many settings of the Non Nobis that I have come across, particularly those associated with the various adaptations of Henry V, are very noble and regal in nature and contain one powerful melodic line that is repeated with increasing intensity and boldness. My setting takes this idea of a recurring melodic line but with a more reverential approach. The tune is first stated a cappella by the tenors and basses in a chant-like manner. From there it is repeated, developed, interspersed with contrasting material, and eventually climaxes with 8-part divisi and soprano descant. The pieces ends as it began with a slow, chant-like statement of the tune from the tenors and basses.

Non Nobis

Here it is, the tenth and last (for now) of my First Takes. I'm sure more will come along in the near future, but we'll call this the end of Volume 1. 

Good night...

First Takes 10

A little bit of steam punk music I composed to go along with the promo to a board game created by my friends.

Steam Court Theme

Main theme composed for Greenville Shakespeare Company's 2015 production of Love's Labour's Lost.

Love's Labour's Lost Theme

I'll break my staff

Harmonious Charmingly

Tempest Theme

Thy Will Be Done is my setting of The Lord's Prayer for a cappella SSAATTBB choir. Available from Hinshaw Music (HMC2520).

Thy Will Be Done (The Lord's Prayer)

A few tunes I wrote for Greenville Shakespeare Company's 2017 production of Twelfth Night

Hey Ho The Wind and the Rain

Twelfth Night Theme

An experimental arrangement of OLD 100TH created entirely with digital instruments in Logic Pro 9.

Doxology

A reworked version of my original Thirds and Sixths from Three Movements for Violin and Piano, only this time for two pianos. I recorded both parts myself.

Peter Anglea

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