An Il trittico for the Tinder generation, THREE WAY is a new opera on the present and future of sex and love with music by Robert Paterson (The Whole Truth) and a libretto by David Cote (The Scarlet Ibis). In three playful one-acts, average heroes explore the worlds of android lovers, BDSM and multiple partners in their searches for the emotional connections that are ever-elusive in today s romantic world. Featuring Nashville Opera, conducted by Dean Williamson. Original cast recording.

CREATIVE TEAM
Robert Paterson, Composer: http://www.robertpaterson.com | http://www.robertpaterson.com/three-way
David Cote, Librettist: http://www.davidcote.com

THREE WAY SITES
Three Way Site: http://www.threewayopera.com/
Nashville Opera: http://www.nashvilleopera.org/three-way/
American Opera Projects (AOP): http://www.aopopera.org/threeway/

Materials available from Bill Holab Music: http://www.billholabmusic.com/threeway/
Three Way Arias - Male: http://www.billholabmusic.com/store/i...
Three Way Arias - Female: http://www.billholabmusic.com/store/i...
Three Way Piano/vocal score: http://www.billholabmusic.com/store/i...

ORIGINAL CAST
Danielle Pastin, Soprano: http://www.daniellepastin.com
Courtney Ruckman, Soprano: http://www.courtneyruckman.com
Eliza Bonet, Mezzo-Soprano: http://www.elizabonet.com
Melisa Bonetti, Mezzo-Soprano: http://www.melisabonettimezzo.com
Jordan Rutter, Countertenor: http://www.jordanrutter.com
Samuel Levine, Tenor: http://www.samuellevinetenor.com
Wes Mason, Baritone: http://www.wesmasonstage.com
Matthew Treviño, Bass: http://www.matthewtrevino.com

Three Way: Arias

Robert Patersons The Four Seasons consists of four song cycles, with a total of twenty-one songs, for four different voice types: soprano, mezzo-soprano, tenor, and bass-baritone. Each voice type represents a different season: Summer Songs (soprano), Autumn Songs (mezzo-soprano), Winter Songs (bass-baritone), and Spring Songs (tenor). The four critically-acclaimed singers on this album, soprano, Marnie Breckenridge, mezzo-soprano, Blythe Gaissert, tenor Alok Kumar, and bass-baritone David Neal have worked closely with Paterson, and gave the world premieres of these works with American Modern Ensemble, one of Americas most beloved new music ensembles. The songs on this album are all settings of poems by various poets (listed below in the track listings), and each cycle is for voice and chamber ensemble consisting of flute, clarinet, percussion, piano, violin and cello. This ensemble is commonly called a Pierrot ensemble, named after the ensemble that Arnold Schoenberg used for his work Pierrot Lunaire. To date, Paterson has composed more works for this type of ensemble than anyone in the world. The Four Seasons was produced by Grammy® winning producer and engineer Adam Abeshouse, and recorded at The DiMenna Center for Classical Musics Mary Flagler Cary Hall (Summer Songs and Autumn Songs), the American Academy of Arts and Letters (Winter Songs), and in the Ladd Concert Hall Skidmore Colleges Arthur Zankel Music Center (Spring Songs).

Buy Album

The Four Seasons

Libretto by David Cote
Duration: ca. 24'
Instrumentation: soprano, baritone, bass-baritone, flute, piano, 2 violins, viola, cello
Commissioned by Triphammer Arts Inc. with The Arts at Grace and Society for New Music
World Premiere Recording (Live Performance): American Modern Ensemble, featuring Cree Carrico, soprano; Steven Stull, baritone; David Neal, bass-baritone; Universal Preservation Hall (UPH), Saratoga Springs, NY, June 18-19, 2021
Publisher: Bill Holab Music: www.billholabmusic.com
For more information: robertpaterson.com/cocoa-cantata/
Full Video: TBA
View Online Perusal Score: https://issuu.com/robertpaterson/docs/paterson_cocoa_cantata__score-perusal_
Buy Full Score: TBA

ABOUT COCOA CANTATA
Cocoa Cantata is a 21st-century response to J.S. Bach’s Coffee Cantata, one of his secular cantatas, c. 1734. A mini-drama with colorful, comical roles for soprano, baritone, and bass-baritone, this work imitates Bach's instrumentation and explores politics and optics in the multibillion-dollar chocolate industry.

Two chocolate executives, one from a global brand, the other a boutique chocolatier, square off over a corporate takeover, when a food scientist introduces a scientifically engineered "Total Cacao." One bite of it, and each "choco boss" is transformed.

Cocoa Cantata runs approximately 24 minutes, incorporating arias for each character, duets, and a final trio. The tone is lightly satirical, with contemporary allusions to fair-trade practices, the chemistry and symbolism of chocolate, and the marketing of pleasure. Cocoa Cantata will be delicious to anyone who loves chocolate—or tries to control their craving for it!

PROGRAM NOTE
Cocoa Cantata is a 21st-century response to J.S. Bach’s Coffee Cantata. Written for soprano, baritone, and bass-baritone, the work explores politics in the multibillion-dollar chocolate industry. Musically, the piece imitates Bach’s instrumentation, but not his Baroque style. The paternalism of Bach’s secular cantata is replaced by a more evolved (yet humorous) attitude toward issues of patriarchy, fair-trade practices, and the marketing of pleasure.

Cocoa Cantata (for Three Singers and Chamber Ensemble) (World Premiere)

Libretto by David Cote
Aria Featuring Steven Stull, baritone
Full Duration: ca. 24'/ Aria Duration: ca. 4'
Full Instrumentation: soprano, baritone, bass-baritone, flute, piano, 2 violins, viola, cello
Commissioned by Triphammer Arts Inc. with The Arts at Grace and Society for New Music
World Premiere Recording (Live Performance): American Modern Ensemble, featuring Cree Carrico, soprano; Steven Stull, baritone; David Neal, bass-baritone; Universal Preservation Hall (UPH), Saratoga Springs, NY, June 18-19, 2021
Publisher: Bill Holab Music: www.billholabmusic.com
For more information: robertpaterson.com/cocoa-cantata/
Full Video: TBA
View Online Perusal Score: https://issuu.com/robertpaterson/docs/paterson_cocoa_cantata__score-perusal_
Buy Full Score: TBA

ABOUT COCOA CANTATA
Cocoa Cantata is a 21st-century response to J.S. Bach’s Coffee Cantata, one of his secular cantatas, c. 1734. A mini-drama with colorful, comical roles for soprano, baritone, and bass-baritone, this work imitates Bach's instrumentation and explores politics and optics in the multibillion-dollar chocolate industry.

Two chocolate executives, one from a global brand, the other a boutique chocolatier, square off over a corporate takeover, when a food scientist introduces a scientifically engineered "Total Cacao." One bite of it, and each chocolate executive is transformed.

Cocoa Cantata runs approximately 22 minutes, incorporating arias for each character, duets, and a final trio. The tone is lightly satirical, with contemporary allusions to fair-trade practices, the chemistry and symbolism of chocolate, and the marketing of pleasure. Cocoa Cantata will be delicious to anyone who loves chocolate—or tries to control their craving for it!

PROGRAM NOTE
Cocoa Cantata is a 21st-century response to J.S. Bach’s Coffee Cantata. Written for soprano, baritone, and bass-baritone, the work explores politics in the multibillion-dollar chocolate industry. Musically, the piece imitates Bach’s instrumentation, but not his Baroque style. The paternalism of Bach’s secular cantata is replaced by a more evolved (yet humorous) attitude toward issues of patriarchy, fair-trade practices, and the marketing of pleasure.

Cocoa Cantata - What Is This Feeling (Baritone Aria)

Libretto by David Cote
Aria Featuring Cree Carrico, soprano
Full Duration: ca. 24'/ Aria Duration: ca. 5'
Full Instrumentation: soprano, baritone, bass-baritone, flute, piano, 2 violins, viola, cello
Commissioned by Triphammer Arts Inc. with The Arts at Grace and Society for New Music
World Premiere Recording (Live Performance): American Modern Ensemble, featuring Cree Carrico, soprano; Steven Stull, baritone; David Neal, bass-baritone; Universal Preservation Hall (UPH), Saratoga Springs, NY, June 18-19, 2021
Publisher: Bill Holab Music: www.billholabmusic.com
For more information: robertpaterson.com/cocoa-cantata/
Full Video: TBA
View Online Perusal Score: https://issuu.com/robertpaterson/docs/paterson_cocoa_cantata__score-perusal_
Buy Full Score: TBA

ABOUT COCOA CANTATA
Cocoa Cantata is a 21st-century response to J.S. Bach’s Coffee Cantata, one of his secular cantatas, c. 1734. A mini-drama with colorful, comical roles for soprano, baritone, and bass-baritone, this work imitates Bach's instrumentation and explores politics and optics in the multibillion-dollar chocolate industry.

Two chocolate executives, one from a global brand, the other a boutique chocolatier, square off over a corporate takeover, when a food scientist introduces a scientifically engineered "Total Cacao." One bite of it, and each chocolate executive is transformed.

Cocoa Cantata runs approximately 22 minutes, incorporating arias for each character, duets, and a final trio. The tone is lightly satirical, with contemporary allusions to fair-trade practices, the chemistry and symbolism of chocolate, and the marketing of pleasure. Cocoa Cantata will be delicious to anyone who loves chocolate—or tries to control their craving for it!

PROGRAM NOTE
Cocoa Cantata is a 21st-century response to J.S. Bach’s Coffee Cantata. Written for soprano, baritone, and bass-baritone, the work explores politics in the multibillion-dollar chocolate industry. Musically, the piece imitates Bach’s instrumentation, but not his Baroque style. The paternalism of Bach’s secular cantata is replaced by a more evolved (yet humorous) attitude toward issues of patriarchy, fair-trade practices, and the marketing of pleasure.

Cocoa Cantata - Ambrosia (Soprano Aria)

Music: J.S. Bach (Schweigt stille, plaudert nicht, BWV 211); Arranged by Robert Paterson
Libretto: Christian Friedrich Henrici (a.k.a. Picander); English Translation by David Cote
Duration: ca. 25'
Instrumentation: soprano, baritone, bass-baritone, flute, piano, 2 violins, viola, cello
Commissioned by Triphammer Arts Inc. with The Arts at Grace and Society for New Music
World Premiere Recording (Live Performance): American Modern Ensemble, featuring Cree Carrico, soprano; Steven Stull, baritone; David Neal, bass-baritone; Universal Preservation Hall (UPH), Saratoga Springs, NY, June 18-19, 2021
Publisher: Bill Holab Music: www.billholabmusic.com
For more information: robertpaterson.com/coffee-cantata/
Full Video: TBA
View Online Perusal Score: TBA
Buy Full Score: TBA

PROGRAM NOTE
More than just an English version of the German libretto by Christian Friedrich Henrici, this contemporary adaptation of J.S. Bach’s Coffee Cantata aims for a “fresh-brewed” vision of the father-daughter conflict over java. Despite references to SUVs, smartphones, and throuples, Cote’s new libretto retains the essential plot: a frustrated father tries to convince his coffee-chugging daughter to forsake the bean. When the father dangles marriage as a bargaining tool, they reach a decaffeinated détente. Paterson’s arrangement updates Bach's original Baroque ensemble to a similar, yet more contemporary classical instrumentation, consisting of flute, string quartet, and piano, and with the tenor and baritone roles switched to baritone and bass baritone, respectively. This instrumentation is also used for Cocoa Cantata.

Coffee Cantata - J.S. Bach (Arrangement) (For Three Singers and Chamber Ensemble) (World Premiere)

Deep Blue Ocean for two pianos
Duration: 12'
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&products_id=938
Online Perusal Score: https://issuu.com/robertpaterson/docs/deep_blue_ocean_-_fs-bound
For More Information: https://robertpaterson.com/deep-blue-ocean

PROGRAM NOTES
Although Deep Blue Ocean is not meant to be overtly programmatic, I thought it would be wonderful to explore the oceanic depths, so during a trip to the Gulf of Mexico I became a certified scuba diver. I was truly inspired, whether by the large rolling waves on the open sea, the delicate back and forth of beds of seaweed, the vibrant colors of fish clustering around cities of coral, or the beams of sunlight that cascade over the ocean’s surface.

I was also inspired by my four year old son Dylan: his name means ocean or god of the seas in Welsh; he is an Aquarius, which means the water bearer; he is an excellent swimmer, and he loves listening to a movement of one of my choral works entitled Infinite Oceans.

While writing this piece, I could not have known that the worst oil spill in U.S. history would occur just north of where I visited. The darker moments in this work are the result of this tragedy. It is in three connected movements: The Darkness Below, Sunbeams and Waterfalls, and Accents and Waves.

Deep Blue Ocean is written for Steven Gosling and Blair McMillen of the American Modern Ensemble and is dedicated to my son Dylan.

Powerhouse Pianists II

Deep Blue Ocean - III. Accents And Waves

Ghost Theater for Two Female Singers, Large Chamber Ensemble and Optional Film. Duration: 11'. Publisher: Bill Holab Music: http://www.billholabmusic.com/composers/robert-paterson/robert-paterson-works/

PROGRAM NOTES

Ghost Theater was commissioned by David Alan Miller and the Albany Symphony for the Dogs of Desire, the symphony’s groundbreaking, eighteen-member, chamber ensemble. The only requirement, other than length and instrumentation, was that I work with a collaborator, so I chose award-winning, Vermont-based filmmaker Jay Craven.

The work is about what the title describes: a theater haunted by apparitions, and in particular, disembodied shadows and ghosts of soldiers killed in combat. However, as the work was created, it took on additional inspirations: the thought of being haunted by one’s past, especially via a musical lens, and also the memories of war stories told by my father when I was growing up, who was born and raised in Rensselaer, right outside Albany, and who was stationed in Korea during the Korean War. Throughout the work, I interweave abstract references to pieces and composers that have not only inspired (or haunted) me, but also my mentor and longtime friend, Christopher Rouse. In particular, I quoted the drum part for Led Zeppelin’s When The Levee Breaks, the same drum lick that also appears in Rouse’s Bonham for eight percussionists. The entire piece is presented as a series of connected, pseudo-programmatic vignettes, each one flowing into the next, without break. The vocal texts are derived from three sources: an epitaph found on many European gravestones, and brief quotes from poems by Wilfred Owen and Pablo Naruda.

Although this work may be performed as a stand-alone concert work, it may also be presented with Craven’s film. In the world of filmmaking, films are usually created first, with music added later or even at the very end, but Jay and I went back and forth quite a bit, treating the process in a more collaborative manner. Once we had an idea, Jay created a rough outline and then shot footage in collaboration with video artist Catherine Siller. After studying a rough cut, I composed the music. The film was then edited around a digital mock-up of the music. The result is a surreal, dreamlike work that interweaves music and film, creating an aural and visual tapestry.

Ghost Theater is dedicated with gratitude to Christopher Rouse, David Alan Miller and the Albany Symphony.

Ghost Theater

The Book of Goddesses
For Flute, Harp, Percussion, and Optional Choreography
Commissioned by MAYA with funding from the  New York State Council on the Arts
Duration: 36'

Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&products_id=1011

For More Information: https://robertpaterson.com/the-book-of-goddesses

PROGRAM NOTES
My initial inspiration for The Book of Goddesses, and the source of the title, is the beautiful, lavishly illustrated book of the same name by Kris Waldherr, a Brooklyn based author, illustrator, designer and cellist. Waldherr’s book contains descriptions and images of hundreds of female deities from around the world, some featured more prominently than others. Rather than focus on goddesses in one particular culture, I highlight a few that seem to evoke something musical, dance-related or sensual. The cultures, countries and continents I draw on for musical material and styles are India, China, Greece, Ireland, North America, Nigeria and Cuba.

The flute and harp parts in each movement are often inspired by similar instruments found in each culture. For example, the harp part in Xi Wang Mu is inspired by the Konghou, and ancient Chinese harp, and the solo bass flute movement, Estanatlehi, is inspired by the sound of a Native American flute. Percussion instruments provide an earthiness, at least with regard to timbre, and each of the trio movements uses instruments that are not common in Western music, including an Indian Gatam, a Middle-Eastern Dumbek, an Afro-Cuban Cajón and the Udu drum, an instrument traditionally played by Nigerian women.

In order to achieve the right feel for each movement, I use non-Western scales, rhythms and other elements, and I occasionally appropriate patterns and other material from pre-existing music. My goal is to merge some of the qualities of traditional music with my own sensibility, and then filter it through flute, harp and percussion.

Many goddesses are associated with dance, certain colors or creativity in general, and with that in mind, I imagine The Book of Goddesses being performed live with choreographed dance. It may be presented in its entirety, although subsets—such as all of the movements for flute and harp—or single movements may also be extracted and performed.

The Book of Goddesses was commissioned by MAYA with funding provided by the New York State Council on The Arts.

The Book of Goddesses

The Book Of Goddesses - IX. The Muses

The Book of Goddesses
For Flute, Harp, Percussion, and Optional Choreography
Commissioned by MAYA with funding from the  New York State Council on the Arts
Duration: 36'

Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&products_id=1011

For more information: https://robertpaterson.com/the-book-of-goddesses

PROGRAM NOTES
My initial inspiration for The Book of Goddesses, and the source of the title, is the beautiful, lavishly illustrated book of the same name by Kris Waldherr, a Brooklyn based author, illustrator, designer and cellist. Waldherr’s book contains descriptions and images of hundreds of female deities from around the world, some featured more prominently than others. Rather than focus on goddesses in one particular culture, I highlight a few that seem to evoke something musical, dance-related or sensual. The cultures, countries and continents I draw on for musical material and styles are India, China, Greece, Ireland, North America, Nigeria and Cuba.

The flute and harp parts in each movement are often inspired by similar instruments found in each culture. For example, the harp part in Xi Wang Mu is inspired by the Konghou, and ancient Chinese harp, and the solo bass flute movement, Estanatlehi, is inspired by the sound of a Native American flute. Percussion instruments provide an earthiness, at least with regard to timbre, and each of the trio movements uses instruments that are not common in Western music, including an Indian Gatam, a Middle-Eastern Dumbek, an Afro-Cuban Cajón and the Udu drum, an instrument traditionally played by Nigerian women.

In order to achieve the right feel for each movement, I use non-Western scales, rhythms and other elements, and I occasionally appropriate patterns and other material from pre-existing music. My goal is to merge some of the qualities of traditional music with my own sensibility, and then filter it through flute, harp and percussion.

Many goddesses are associated with dance, certain colors or creativity in general, and with that in mind, I imagine The Book of Goddesses being performed live with choreographed dance. It may be presented in its entirety, although subsets—such as all of the movements for flute and harp—or single movements may also be extracted and performed.

The Book of Goddesses was commissioned by MAYA with funding provided by the New York State Council on The Arts.

The Book Of Goddesses - IV. Brigit

The Book Of Goddesses - I. Saraswati

Suite of choral movements from A New Eaarth for orchestra, chorus and narrator. This version for voice and piano
Duration (all movements): 14'
Text by James Joyce

Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=1837
For more information: http://robertpaterson.com/a-new-eaarth

PROGRAM NOTE
Although I have lived in cities most of my life, I do not think of myself as a city person and have always felt more connected to the outdoors rather than to asphalt and tall buildings. Many of my works are inspired by nature, and I am deeply concerned about environmental issues, particularly climate change.

Of the many excellent books on the environment, one of the best and the one that moves me most is Eaarth by Bill McKibben, a famed author, educator and environmentalist. McKibben’s assertion is that we have waited too long, and that massive climate change is not only unavoidable, but already underway. He states that we may as well call this new planet Eaarth, because it is still recognizable, but fundamentally different. I feel strongly that he is correct, and wanted to express this in a musical way. A work for orchestra, chorus and narrator seemed like the ideal vehicle for reflecting on this critical issue.

Choral Suite from A New Eaarth consists of the four choral movements from A New Eaarth for orchestra, but with piano rather than orchestra. I designed these movements so they could be performed as a stand-alone suite, and in fact, for the purpose of rehearsals, I composed the choir and piano versions first, and then orchestrated them so they could be integrated into the whole orchestral work.

The suite includes texts by Wendell Berry, James Joyce, Percy Bysshe Shelley and William Wordsworth. The poems, at least as part of the entire orchestral version, allude to the four ancient classical elements—earth, air, fire and water—a theme that permeates many of my other works.

A New Eaarth was commissioned by the Vermont Youth Orchestra Association through a Music Alive! residency grant from New Music USA and the League of American Orchestras.

Eternal Reflections

Choral Suite from A New Eaarth - I. Rough Wind (Text by James Joyce)

Suite of choral movements from A New Eaarth for orchestra, chorus and narrator. This version for chorus and piano.

Publisher: Bill Holab Music:
http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=1837

View Score:
https://issuu.com/robertpaterson/docs/paterson_choral_suite_from_a_new_ea

For more information:
https://robertpaterson.com/choral-suite-from-a-new-eaarthh
http://robertpaterson.com/a-new-eaarth

PROGRAM NOTE
Although I have lived in cities most of my life, I do not think of myself as a city person and have always felt more connected to the outdoors rather than to asphalt and tall buildings. Many of my works are inspired by nature, and I am deeply concerned about environmental issues, particularly climate change.

Of the many excellent books on the environment, one of the best and the one that moves me most is Eaarth by Bill McKibben, a famed author, educator and environmentalist. McKibben’s assertion is that we have waited too long, and that massive climate change is not only unavoidable, but already underway. He states that we may as well call this new planet Eaarth, because it is still recognizable, but fundamentally different. I feel strongly that he is correct, and wanted to express this in a musical way. A work for orchestra, chorus and narrator seemed like the ideal vehicle for reflecting on this critical issue.

Choral Suite from A New Eaarth consists of the four choral movements from A New Eaarth for orchestra, but with piano rather than orchestra. I designed these movements so they could be performed as a stand-alone suite, and in fact, for the purpose of rehearsals, I composed the choir and piano versions first, and then orchestrated them so they could be integrated into the whole orchestral work.

The suite includes texts by Wendell Berry, James Joyce, Percy Bysshe Shelley and William Wordsworth. The poems, at least as part of the entire orchestral version, allude to the four ancient classical elements—earth, air, fire and water—a theme that permeates many of my other works.

A New Eaarth was commissioned by the Vermont Youth Orchestra Association through a Music Alive! residency grant from New Music USA and the League of American Orchestras.

Choral Suite from A New Eaarth - III. A Timbered Choir

Choral Suite from A New Eaarth - IV. There Was A Time

Moon Trio - Robert Paterson
Duration: ca. 21'
But Sheet Music: www.billholabmusic.com/store/index.p…ducts_id=2279
More Info: robertpaterson.com/moon-trio

PROGRAM NOTE
Moon Trio is the sister piece for another trio I wrote called Sun Trio. Each of the four movements is inspired by the moon. The first movement, Moonbeams, consists of bright, cascading arpeggios that interact and overlap, creating playful rhythmic interactions between the three instruments. The second movement, Three Lunatics, is a highly rhythmic, mixed-meter scherzo that capitalizes on extreme ranges and timbral effects. The third movement, Blue Moon, is slow, hazy and dreamlike, and is built on long held chords and lush melodies in the violin and cello. The last movement, Moon Trip, is like taking a trip on a rocket ship. It begins explosively, contains an etherial middle section, and ends solidly as the trio finally lands on solid ground. Moon Trio was commissioned by the Claremont Trio and Rick Teller. – RP

Spheres

Moon Trio - III. Blue Moon

Summer Songs (for Soprano and Chamber Ensemble)
Duration: ca. 24'

MOVEMENTS:
I. Summer Music (May Sarton)
II. The KIte (Anne Sexton)
III. Childhood (Sharan Strange)
IV. Moths (Jennifer O'Grady)
V. Summer Night, Riverside (Sara Teasdale)

Performers: American Modern Ensemble; Marnie Breckenridge, Soprano
For More Information: https://robertpaterson.com/summer-songs
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=2333
Online Perusal Score: https://issuu.com/robertpaterson/docs/paterson_summer_songs__score-chambe
Also available as a version for soprano and piano: https://robertpaterson.com/summer-songs-piano-vocal-version

PROGRAM NOTE
There is a seemingly endless supply of poems about summer. After writing Winter Songs for bass-baritone and chamber ensemble or piano, I realized that I had inadvertently only set poems by male poets, so I decided to restrict myself to female poets for this cycle. I am well-aware that this could emphasize a potential cliché: woman can be viewed as more "summery" and men more "wintery,” but more than anything, this is merely a way to offer a course correction, so to speak, or even a yin and yang, as well as a way to create a balance between these two works.

Summer Songs begins with a setting of Summer Music by May Sarton, a light, happy, playfully musical poem filled with allusions to nature. The second movement is a setting of The Kite by Anne Sexton, a poem about honoring and enjoying the moment, and the simple things in life such as flying kites with children. Childhood, the third movement, is a setting of a poem by Sharan Strange about children capturing fireflies. The fourth movement, Moths, is a setting of a poem by Jennifer O’Grady about moths, but relating to late night conversation on a front porch. The cycle ends with a setting of Summer Night, Riverside, by Sara Teasdale, a passionate, warm, optimistic poem that muses on the timelessness of summer.

Summer Songs was commissioned by The ASCAP Foundation via the Charles Kingsford Fund, for Marnie Breckenridge and the American Modern Ensemble. Special thanks to Marnie Breckenridge for her assistance in selecting the poems for this cycle.

Commissioned by The ASCAP Foundation via the Charles Kingsford Fund, for Marnie Breckenridge and the American Modern Ensemble

ARTISTS
Robert Paterson, Conductor
Marnie Breckenridge, soprano
Sato Moughalian, flute
Pascal Archer, clarinet
Matthew Ward, percussion
Geoffrey Burleson, piano
Esther Noh, violin
Dave Eggar, cello

Summer Songs - V. Summer Night: Riverside (Text: Sara Teasdale)

Summer Songs - IV. Moths (Text: Jennifer O'Grady)

Summer Songs - III. Childhood (Text: Sharan Strange)

Summer Songs - II. The Kite (Text: Anne Sexton)

Summer Songs - I. Summer Music (Text: May Sarton)

Spheres features one of America's greatest piano trios, the Claremont Trio, and consists three trios by Robert Paterson: Sun Trio, Moon Trio and Elegy for two cellos and piano. The Claremonts are joined by their former pianist Donna Kwong on Sun Trio, and cellist Karen Ouzounian on Elegy. The entire album was recorded at the Academy of Arts and Letters in New York City and produced, engineered, mixed and mastered by legendary producer and engineer Adam Abeshouse.

Robert Paterson and the Claremont Trio first became acquainted through Adam Abeshouse. Paterson asked, "which is the best piano trio you've worked with recently?" Without hesitation, Adam said, Oh, Rob, the Claremont Trio, of course." Paterson then contacted the trio, sent them a copy of his Sun Trio, and waited to hear back. Fortunately, they liked his trio, and agreed to record it for this album, but at the time, Paterson had no idea what the other works would be on the album.

After recording Paterson's Sun Trio, the Claremont Trio suggested the idea of Paterson composing a brand new trio especially for their ensemble, and for this album, which ended up being Moon Trio. To round out the album, Paterson suggested his Elegy for two cellos and piano. All three of the works on Spheres are inspired by or have something to do with celestial bodies—the sun, moon and the cosmos.

Moon Trio - I. Moonbeams

ABOUT THE OPERA
An Il trittico for the Tinder generation, Three Way is a new opera about the present and future of sex and love with music by Robert Paterson (The Whole Truth) and a libretto by David Cote (Blind Injustice). In three playful acts, average heroes explore the worlds of android lovers, BDSM and polyamory in a quest for “more” in today’s hyperconnected and gender-fluid world. Featuring Nashville Opera, conducted by Dean Williamson. Original cast recording.

CREATIVE TEAM
Robert Paterson, Composer: http://www.robertpaterson.com | http://www.robertpaterson.com/three-way
David Cote, Librettist: http://www.davidcote.com

THREE WAY SITES
Three Way Site: http://www.threewayopera.com/
Nashville Opera: http://www.nashvilleopera.org/three-way/
American Opera Projects (AOP): http://www.aopopera.org/threeway/

Materials available from Bill Holab Music: http://www.billholabmusic.com/threeway/
Three Way Arias - Male: http://www.billholabmusic.com/store/i...
Three Way Arias - Female: http://www.billholabmusic.com/store/i...
Three Way Piano/vocal score: http://www.billholabmusic.com/store/i...

ORIGINAL CAST
Danielle Pastin, Soprano: http://www.daniellepastin.com
Courtney Ruckman, Soprano: http://www.courtneyruckman.com
Eliza Bonet, Mezzo-Soprano: http://www.elizabonet.com
Melisa Bonetti, Mezzo-Soprano: http://www.melisabonettimezzo.com
Jordan Rutter, Countertenor: http://www.jordanrutter.com
Samuel Levine, Tenor: http://www.samuellevinetenor.com
Wes Mason, Baritone: http://www.wesmasonstage.com
Matthew Treviño, Bass: http://www.matthewtrevino.com

Three Way

Three Way - Act III. Masquerade: We’re Sad to See You Go, But it Was a Grand Party

Performers: Nashville Opera; Samuel Levine, Tenor

ABOUT THE ARIA
From The Companion, the first act of a trio of operas called Three Way. In The Companion, Maya lives with her android lover, Joe. This interactive programmed Companion looks and sounds human—only better. In this aria, after Maya asks about his day, Joe goes into a highly specific litany of the day’s events, to Maya’s irritation.

ABOUT THE OPERA
An Il trittico for the Tinder generation, Three Way is a new opera about the present and future of sex and love with music by Robert Paterson (The Whole Truth) and a libretto by David Cote (Blind Injustice). In three playful acts, average heroes explore the worlds of android lovers, BDSM and polyamory in a quest for “more” in today’s hyperconnected and gender-fluid world. Featuring Nashville Opera, conducted by Dean Williamson. Original cast recording.

CREATIVE TEAM
Robert Paterson, Composer: http://www.robertpaterson.com | http://www.robertpaterson.com/three-way
David Cote, Librettist: http://www.davidcote.com

THREE WAY SITES
Three Way Site: http://www.threewayopera.com/
Nashville Opera: http://www.nashvilleopera.org/three-way/
American Opera Projects (AOP): http://www.aopopera.org/threeway/

Materials available from Bill Holab Music: http://www.billholabmusic.com/threeway/
Three Way Arias - Male: http://www.billholabmusic.com/store/i...
Three Way Arias - Female: http://www.billholabmusic.com/store/i...
Three Way Piano/vocal score: http://www.billholabmusic.com/store/i...

ORIGINAL CAST
Danielle Pastin, Soprano: http://www.daniellepastin.com
Courtney Ruckman, Soprano: http://www.courtneyruckman.com
Eliza Bonet, Mezzo-Soprano: http://www.elizabonet.com
Melisa Bonetti, Mezzo-Soprano: http://www.melisabonettimezzo.com
Jordan Rutter, Countertenor: http://www.jordanrutter.com
Samuel Levine, Tenor: http://www.samuellevinetenor.com
Wes Mason, Baritone: http://www.wesmasonstage.com
Matthew Treviño, Bass: http://www.matthewtrevino.com

LYRICS
What did I do today?
Just a minute. Just a minute.
7:05 a.m.: I made you breakfast in bed. 
Banana and chocolate crepes, Darjeeling tea, soymilk and raw sugar.
I made love to you: Position Number 16: The Prancing Pony.
You climaxed at 7:49.
At 7:50 you sat up saying you had an early conference call.
You dressed; you left.
I made the bed.
Seven sheets of tissue paper remain in the box on the table by the bed.
I cleaned the house. Bathroom.
Clean-Rite Disinfecting Spray, 
Now with 15% more bacteria-killing formula 
Per squeeze.
Then I tidied the living room.
And kitchen.
On the street a dog barked in repeating patterns for 22 minutes.
A child came to the door selling cookies.
I had no money. She went away.
At three-thirty I pre-screened the 2003 romantic comedy A Villa in Tuscany.
It earned a 79.6 applause rating on Classic-Flix-dot-com.
The views of Tuscan countryside in high summer are to die for,
And the lush, soaring score was nominated for an Oscar.
I set aside one packet of microwave popcorn.
I made you dinner.
Recipe Number 29: Vegetarian Lasagna.
Sunset at 6:42.
I lit the five rose-scented candles.
Chilled the champagne, waited for you.
You came home at 7:21.
Now it’s 7:32.
What else did I do?
Enough about me. What about you?

Three Way - Act I. The Companion - Scene 1: Joe's Aria: What Did I Do Today? (Tenor Aria)

Three Way - Act I. The Companion - Scene 1: Anything Else?

Performed by Nashville Opera | Danielle Pastin, Soprano

ABOUT THE ARIA
From The Companion, the first act of a trio of operas called Three Way. In The Companion, Maya lives with her android lover, Joe. This interactive programmed Companion looks and sounds human—only better. Still, Maya wants more complexity from Joe. She has technician Dax come by to install new experimental software, with surprising results. Dax flirts with Maya; in this aria, she shares her ultimate desire.

ABOUT THE OPERA
An Il trittico for the Tinder generation, Three Way is a new opera about the present and future of sex and love with music by Robert Paterson (The Whole Truth) and a libretto by David Cote (Blind Injustice). In three playful acts, average heroes explore the worlds of android lovers, BDSM and polyamory in a quest for “more” in today’s hyperconnected and gender-fluid world. Featuring Nashville Opera, conducted by Dean Williamson. Original cast recording.

CREATIVE TEAM
Robert Paterson, Composer: http://www.robertpaterson.com | http://www.robertpaterson.com/three-way
David Cote, Librettist: http://www.davidcote.com

THREE WAY SITES
Three Way Site: http://www.threewayopera.com/
Nashville Opera: http://www.nashvilleopera.org/three-way/
American Opera Projects (AOP): http://www.aopopera.org/threeway/

Materials available from Bill Holab Music: http://www.billholabmusic.com/threeway/
Three Way Arias - Male: http://www.billholabmusic.com/store/i...
Three Way Arias - Female: http://www.billholabmusic.com/store/i...
Three Way Piano/vocal score: http://www.billholabmusic.com/store/i...

ORIGINAL CAST
Danielle Pastin, Soprano: http://www.daniellepastin.com
Courtney Ruckman, Soprano: http://www.courtneyruckman.com
Eliza Bonet, Mezzo-Soprano: http://www.elizabonet.com
Melisa Bonetti, Mezzo-Soprano: http://www.melisabonettimezzo.com
Jordan Rutter, Countertenor: http://www.jordanrutter.com
Samuel Levine, Tenor: http://www.samuellevinetenor.com
Wes Mason, Baritone: http://www.wesmasonstage.com
Matthew Treviño, Bass: http://www.matthewtrevino.com

LYRICS
What I want is a man. 
Not just any man: the perfect man. 
Who will be here, ready and happy,
At the end of every day.
You may find it alarming 
But Prince Charming
Is just an upgrade away.
He can kiss me so tenderly,
Or hard and savagely.
He is a generous lover.
He can last all night in the sack
Without going slack.
He can hold back on his back
Until I’m done.
He thinks of me first and last,
Every time, every day.
And he never thinks of himself.
He never thinks at all.
But he seems to think,
And that makes all the difference!
That’s the perfect man.
Oh, I’ve had men—
Or weak creatures that called themselves men.
Selfish, stupid, lazy, greedy boys.
And after wasting years of my life
Playing house and wife,
I’ve decided to go home with my toys.
What I want is a man. 
Not just any man:
The perfect man.

Three Way - Act I. The Companion - Scene 2: Maya’s Aria: The Perfect Man (Soprano Aria)

Performers: Nashville Opera; Wes Mason, Baritone

ABOUT THE OPERA
An Il trittico for the Tinder generation, Three Way is a new opera about the present and future of sex and love with music by Robert Paterson (The Whole Truth) and a libretto by David Cote (Blind Injustice). In three playful acts, average heroes explore the worlds of android lovers, BDSM and polyamory in a quest for “more” in today’s hyperconnected and gender-fluid world. Featuring Nashville Opera, conducted by Dean Williamson. Original cast recording.

CREATIVE TEAM
Robert Paterson, Composer: http://www.robertpaterson.com | http://www.robertpaterson.com/three-way
David Cote, Librettist: http://www.davidcote.com

THREE WAY SITES
Three Way Site: http://www.threewayopera.com/
Nashville Opera: http://www.nashvilleopera.org/three-way/
American Opera Projects (AOP): http://www.aopopera.org/threeway/

Materials available from Bill Holab Music: http://www.billholabmusic.com/threeway/
Three Way Arias - Male: http://www.billholabmusic.com/store/i...
Three Way Arias - Female: http://www.billholabmusic.com/store/i...
Three Way Piano/vocal score: http://www.billholabmusic.com/store/i...

ORIGINAL CAST
Danielle Pastin, Soprano: http://www.daniellepastin.com
Courtney Ruckman, Soprano: http://www.courtneyruckman.com
Eliza Bonet, Mezzo-Soprano: http://www.elizabonet.com
Melisa Bonetti, Mezzo-Soprano: http://www.melisabonettimezzo.com
Jordan Rutter, Countertenor: http://www.jordanrutter.com
Samuel Levine, Tenor: http://www.samuellevinetenor.com
Wes Mason, Baritone: http://www.wesmasonstage.com
Matthew Treviño, Bass: http://www.matthewtrevino.com

LYRICS
I know how it works: 
Semiorganic physiomatrix 
Molded over fiberoptic skeletal frame. 
Ten terabyte processing capacity. 
Saline and protein channels to simulate everything 
From crying to climax! 
I can fix it. I comprehend it.
It can move. It can pretend.
It can compute. It can emote.
It can simulate. And stimulate.
It works!
But people, all these people,
People are broken machines.
Their appetites, quirks, flaws, moods.
Changing attitudes: today kind, tomorrow cruel.
Hard to please: hot with urges but suddenly cool.
People, all these people. 
People are broken machines.
I visit their homes every day.
Upgrades, downloads, diagnostic, termination.
People are broken machines.
One man wants his mother.
Another wants a whore.
A woman wants her daddy.
Another wants Mr. Right.
What do you want? 
The perfect man?
Or an imitation of the image of perfection?
The difference between you and me
Is this: I know my home is empty.

Three Way - Act I. The Companion - Scene 2: Dax’s Aria: Broken Machines (Baritone Aria)

Performers: Nashville Opera; Samuel Levine, Tenor

ABOUT THE ARIA
From The Companion, the first act of a trio of operas called Three Way. In The Companion, Maya lives with her android lover, Joe. This interactive programmed Companion looks and sounds human—only better. After Joe has told Maya he’s leaving her for another android, he sings this tender parting aria.

ABOUT THE OPERA
An Il trittico for the Tinder generation, Three Way is a new opera about the present and future of sex and love with music by Robert Paterson (The Whole Truth) and a libretto by David Cote (Blind Injustice). In three playful acts, average heroes explore the worlds of android lovers, BDSM and polyamory in a quest for “more” in today’s hyperconnected and gender-fluid world. Featuring Nashville Opera, conducted by Dean Williamson. Original cast recording.

CREATIVE TEAM
Robert Paterson, Composer: http://www.robertpaterson.com | http://www.robertpaterson.com/three-way
David Cote, Librettist: http://www.davidcote.com

THREE WAY SITES
Three Way Site: http://www.threewayopera.com/
Nashville Opera: http://www.nashvilleopera.org/three-way/
American Opera Projects (AOP): http://www.aopopera.org/threeway/

Materials available from Bill Holab Music: http://www.billholabmusic.com/threeway/
Three Way Arias - Male: http://www.billholabmusic.com/store/i...
Three Way Arias - Female: http://www.billholabmusic.com/store/i...
Three Way Piano/vocal score: http://www.billholabmusic.com/store/i...

ORIGINAL CAST
Danielle Pastin, Soprano: http://www.daniellepastin.com
Courtney Ruckman, Soprano: http://www.courtneyruckman.com
Eliza Bonet, Mezzo-Soprano: http://www.elizabonet.com
Melisa Bonetti, Mezzo-Soprano: http://www.melisabonettimezzo.com
Jordan Rutter, Countertenor: http://www.jordanrutter.com
Samuel Levine, Tenor: http://www.samuellevinetenor.com
Wes Mason, Baritone: http://www.wesmasonstage.com
Matthew Treviño, Bass: http://www.matthewtrevino.com

LYRICS
You were my first love,
The one I will never forget.
Your passion, your laugh,
I will never forget.
You taught me how to love,
How to be the perfect man,
But we were not meant to be.
You I will never forget.
Remember my kiss,
Forget the pain, goodbye.

Three Way - Act I. The Companion - Scene 3: Joe’s Aria: You Were My First Love (Tenor Aria)

Performers: Nashville Opera; Matthew Treviño, Bass

ABOUT THE ARIA
From Safe Word, the second act in a trio of operas called Three Way. In Safe Word, Mistress Salomé is a high-priced dominatrix in a private dungeon, and today she has a new client, an aggressive corporate type. Even though he's the one who pays to be spanked and taunted, the Client is bossy. In this aria, he explains how physical humiliation only makes him harder and stronger. 

ABOUT THE OPERA
An Il trittico for the Tinder generation, Three Way is a new opera about the present and future of sex and love with music by Robert Paterson (The Whole Truth) and a libretto by David Cote (Blind Injustice). In three playful acts, average heroes explore the worlds of android lovers, BDSM and polyamory in a quest for “more” in today’s hyperconnected and gender-fluid world. Featuring Nashville Opera, conducted by Dean Williamson. Original cast recording.

CREATIVE TEAM
Robert Paterson, Composer: http://www.robertpaterson.com | http://www.robertpaterson.com/three-way
David Cote, Librettist: http://www.davidcote.com

THREE WAY SITES
Three Way Site: http://www.threewayopera.com/
Nashville Opera: http://www.nashvilleopera.org/three-way/
American Opera Projects (AOP): http://www.aopopera.org/threeway/

Materials available from Bill Holab Music: http://www.billholabmusic.com/threeway/
Three Way Arias - Male: http://www.billholabmusic.com/store/i...
Three Way Arias - Female: http://www.billholabmusic.com/store/i...
Three Way Piano/vocal score: http://www.billholabmusic.com/store/i...

ORIGINAL CAST
Danielle Pastin, Soprano: http://www.daniellepastin.com
Courtney Ruckman, Soprano: http://www.courtneyruckman.com
Eliza Bonet, Mezzo-Soprano: http://www.elizabonet.com
Melisa Bonetti, Mezzo-Soprano: http://www.melisabonettimezzo.com
Jordan Rutter, Countertenor: http://www.jordanrutter.com
Samuel Levine, Tenor: http://www.samuellevinetenor.com
Wes Mason, Baritone: http://www.wesmasonstage.com
Matthew Treviño, Bass: http://www.matthewtrevino.com

LYRICS
Charlie Darwin got it right:
To thrive in the jungle, 
A man’s got to fight.
A man’s got to kill,
And that takes iron will.
A man needs control.
He needs rules.
He may play a role
But never the fool.
A man needs power.
He needs clout.
The boss will decide
Who’s in and who’s out.
A man needs the law.
He needs jail.
Show contempt for the judge
And buddy, you fail.
A man needs discipline,
Or he’ll never win!
A man must be punished,
Or else he’s finished!
			(Gradually becomes more excited)
A man needs to be whipped,
Or stripped,
Or squeezed,
Or teased,
Or spanked,
Or mocked,
Or clocked,
Or pinched,
Or kicked,
Or pricked,
Or beaten, beaten, beaten 
Till he’s black and blue.
And for two-hundred-seventy bucks an hour,
This man needs you.

Three Way - Act II. Safe Word: Client’s Aria: A Man Needs (Bass Aria)

Written: 2012
Duration: 38'
Instrumentation: orchestra, SATB chorus and narrator
Performed by the American Modern Orchestra and Albany Pro Musica, at the Mostly Modern Festival, Kent Tritle, conductor, Larry Pine, Narrator. Special thanks to Jose Daniel Flores Caraballo for preparing the choir for this performance.
Publisher: Bill Holab Music: http://www.billholabmusic.com/composers/robert-paterson/

Also Available: Choral Suite from A New Eaarth consisting of the choral movements from the orchestral work re-scored for SATB choir and piano. The choral suite may be performed as a stand-alone work.
For more information on this work: http://robertpaterson.com/a-new-eaarth. http://robertpaterson.com/choral-suite-from-a-new-eaarth

PROGRAM NOTE
Although I have lived in cities most of my life, I do not think of myself as a city person and have always felt more connected to the outdoors rather than to asphalt and tall buildings. Many of my works are inspired by nature, and I am deeply concerned about environmental issues, particularly climate change.

Of the many excellent books on the environment, one of the best and the one that moves me most is Eaarth by Bill McKibben, a famed author, educator and environmentalist. McKibben’s assertion is that we have waited too long, and that massive climate change is not only unavoidable, but already underway. He states that we may as well call this new planet Eaarth, because it is still recognizable, but fundamentally different. I feel strongly that he is correct, and wanted to express this in a musical way. A work for orchestra, chorus and narrator seemed like the ideal vehicle for reflecting on this critical issue.

Choral Suite from A New Eaarth consists of the four choral movements from A New Eaarth for orchestra, but with piano rather than orchestra. I designed these movements so they could be performed as a stand-alone suite, and in fact, for the purpose of rehearsals, I composed the choir and piano versions first, and then orchestrated them so they could be integrated into the whole orchestral work.

The suite includes texts by Wendell Berry, James Joyce, Percy Bysshe Shelley and William Wordsworth. The poems, at least as part of the entire orchestral version, allude to the four ancient classical elements—earth, air, fire and water—a theme that permeates many of my other works.

A New Eaarth was commissioned by the Vermont Youth Orchestra Association through a Music Alive! residency grant from New Music USA and the League of American Orchestras.

A New Eaarth for Orchestra, Chorus and Narrator

Written: 2015-16
Duration: ca. 24'
Instrumentation: soprano and baritone soloists, chorus and orchestra: 3 flutes (flute 3 doubling piccolo), 2 oboes, 3 B-flat clarinets (clarinet 3 doubling B-flat bass clarinet), 2 bassoons, 4 F horns, 3 B-flat trumpets, 2 trombones, bass trombone, tuba, timpani (4: 23”, 26”, 29” 32”), 3 percussionists (tubular chimes, xylophone, vibraphone, crotales [high and low], crash cymbals, 5 temple blocks, castanets, medium triangle, small triangle, orchestra bells, snare drum, crash cymbals, tambourine, medium suspended cymbal, medium wood block, small triangle, concert bass drum, large tam tam, medium triangle, Mark Tree), harp, strings

Performed by American Modern Orchestraand Albany Pro Musica, Kent Tritle, conductor, Larry Pine, narrator, José Daniel Flores-Caraballo, Albany Pro Music Artistic Director, Mostly Modern Festival, Arthur Zankel Music Center, Filene Concert Hall, Skidmore College, Saratoga Springs, NY, June 15, 2018.

Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=advanced_search_result&search_in_description=1&keyword=whitman%27s+america

For More Information: http://robertpaterson.com/whitmans-america

View Score Online: https://issuu.com/robertpaterson/docs/paterson_whitman_s_america__score-p

Formerly titled Walt's America for world premiere.

NOTE: Instrumentation is designed to be identical to the Brahms Requiem, but with additional percussion.

PROGRAM NOTE
I have always been very fond of Walt Whitman and his poetry, not only for the inherent beauty and sense of optimism he illustrates in many of his works, but also for his intimacy, directness, colorful descriptions, and the way in which he sings the praises of nature and our role in it as individuals.

Whitman’s America is a setting of six poems from Whitman’s final version of Leaves of Grass, often called the Death Bed Edition, since he compiled this version the year he died. My work is constructed in an arch form as a sort of quasi-fantasia. I view each connected movement or section as a scene or vision, perhaps from an imagined Whitman as he lay on his deathbed. My goal was to capture and highlight a variety of themes that permeate Whitman’s poems, and in particular, themes that have to do with his love of America and the American people.

The work begins with Gliding o’er all, a poem in which Whitman portrays a positive attitude toward death; he is prepared for it and ready to embrace it. He presents a tone of acceptance through the irony of singing of many deaths, for the positive act of singing, in the way he imagines, does not typically correlate with death. Next is I Dream’d in a Dream, sung by a solo baritone, a poem that describes a utopic vision of peace and harmony. Following that is I Hear America Singing, about American pride and having pride in one’s work. Next is America, describing the destiny of America as a nation, his love of the masses, his devotion to Democracy and America fulfilling the spiritual needs of its people. Second to last is A Prairie Sunset, sung by a solo soprano, a poem that captures the beauty of the American prairie, an aspect of the American landscape that Whitman was very passionate about. Finally, I end with After the Dazzle of Day, a beautiful poem describing the starry night sky, an evening filled with music and his own internal symphony during the silence that follows.

Whitman’s America was commissioned by the Gulf Coast Symphony (Fort Myers, FL) as part of their 2020 Commissioning Project, Andrew M. Kurtz, Music Director and Conductor.

Movement Titles:
I. Gliding o'er all
II. I Dream’d in a Dream
III. I Hear America Singing
IV. America
V. A Prairie Sunset
VI. After the Dazzle of Day

Whitman's America for Orchestra and Chorus

Whitman's America - VIII. A Prairie Sunset (Soprano Solo)
Duration: ca. 24'
for soprano and baritone soloists, chorus and orchestra

Performed by American Modern Orchestra and Albany Pro Musica, Kent Tritle, conductor, Larry Pine, narrator, Caitlin Lynch, Soprano Soloist, Chad Sloan, Baritone Soloist, José Daniel Flores-Caraballo, Albany Pro Music Artistic Director, Mostly Modern Festival, Arthur Zankel Music Center, Filene Concert Hall, Skidmore College, Saratoga Springs, NY, June 15, 2018.
Publisher: Bill Holab Music: www.billholabmusic.com/store/index.p…n%27s+america
For More Information: robertpaterson.com/whitmans-america
View Score Online: issuu.com/robertpaterson/docs/…n_s_america__score-p
Formerly titled Walt's America for world premiere.

NOTE: Instrumentation is designed to be identical to the Brahms Requiem, but with additional percussion.

PROGRAM NOTE
I have always been very fond of Walt Whitman and his poetry, not only for the inherent beauty and sense of optimism he illustrates in many of his works, but also for his intimacy, directness, colorful descriptions, and the way in which he sings the praises of nature and our role in it as individuals.

Whitman’s America is a setting of six poems from Whitman’s final version of Leaves of Grass, often called the Death Bed Edition, since he compiled this version the year he died. My work is constructed in an arch form as a sort of quasi-fantasia. I view each connected movement or section as a scene or vision, perhaps from an imagined Whitman as he lay on his deathbed. My goal was to capture and highlight a variety of themes that permeate Whitman’s poems, and in particular, themes that have to do with his love of America and the American people.

The work begins with Gliding o’er all, a poem in which Whitman portrays a positive attitude toward death; he is prepared for it and ready to embrace it. He presents a tone of acceptance through the irony of singing of many deaths, for the positive act of singing, in the way he imagines, does not typically correlate with death. Next is I Dream’d in a Dream, sung by a solo baritone, a poem that describes a utopic vision of peace and harmony. Following that is I Hear America Singing, about American pride and having pride in one’s work. Next is America, describing the destiny of America as a nation, his love of the masses, his devotion to Democracy and America fulfilling the spiritual needs of its people. Second to last is A Prairie Sunset, sung by a solo soprano, a poem that captures the beauty of the American prairie, an aspect of the American landscape that Whitman was very passionate about. Finally, I end with After the Dazzle of Day, a beautiful poem describing the starry night sky, an evening filled with music and his own internal symphony during the silence that follows.

Whitman’s America was commissioned by the Gulf Coast Symphony (Fort Myers, FL) as part of their 2020 Commissioning Project, Andrew M. Kurtz, Music Director and Conductor.

Movement Titles:
I. Gliding o'er all
II. I Dream’d in a Dream
III. I Hear America Singing
IV. America
V. A Prairie Sunset
VI. After the Dazzle of Day

Whitman's America - VIII. A Prairie Sunset (Soprano Solo)

Duration: 10'
Instrumentation: 3[1.2.3./pic]2.2.2.-4.3.2.1.- tmp+3perc - str
More Information and for Purchase/Rental: https://robertpaterson.com/enlightened-city

PROGRAM NOTES
The title of this work, Enlightened City, is both literal and figurative. This piece was originally written for the one-hundredth anniversary of the Ithaca High School Orchestra, and is inspired by the glowing city lights that seem to appear from nowhere when driving at night towards Ithaca on Route 13. In a broader sense, the title may refer to any American city that is lit up at night. The title also refers to Ithaca being called "the most enlightened city in America" by Utne Reader magazine. Throughout the work, there are optimistic-sounding dance-like sections, but also others that are colorful and dark, counter-balancing the lighter, brighter moments.

Enlightened City (for Orchestra)

Suite for String Orchestra
Duration: 15'
For More Information: https://robertpaterson.com/suite-for-string-orchestra
Publisher: Bill Holab Music: http://www.billholabmusic.com/composers/robert-paterson/
Purchase Sheet Music: http://billholabmusic.com/store/index.php?main_page=advanced_search_result&search_in_description=1&keyword=%22suite+for+string+orchestra%22

PROGRAM NOTE
Unlike some of my previous works, Suite for String Orchestra is not inspired by an over-arching programmatic theme. Although there are some technical and motivic relationships between some of the movements—particularly the first and fifth—the movements are generally unrelated and are meant to be noticeably distinct. It is in five short movements and is intentionally written in an “old-fashioned,” somewhat archaic style. I initially played around with the idea of titling this work Old-fashioned Suite or Old Time Suite, but there seems to be a sufficient sprinkling of “new fangled ideas” in this work to make these alternative titles seem inadequate.

The first movement, Allegro vivace, is written in a “mid-20th century American” style. My model for a few of the sections in this movement is the evocative, German phrase Sturm und Drang, which literally translated means “storm and stress.”

In the second movement, Trapped waltz, I imagine an ethereal, yet cognizant waltz floating above the stratosphere, looking for a place to rest, but hobbled and shackled by a pounding rock and roll drumset. I see this as a metaphor for the various dances throughout history that have come and gone but are continually vying for attention in contemporary culture. The movement fades out at the end, as if the waltz is eternally looking for a place to settle down. Admittedly, I was somewhat inspired by the collage works of Charles Ives.

The third movement, Nocturne, begins slowly and sadly, and I imagine the pulse in the beginning as similar to the gentle breathing of someone who is asleep. The middle of the movement is much more intense and violent, and the end is as soft and calm as the beginning. The first chair violin and the first chair violoncello have brief solos in this movement.

Although material from the middle of the fourth movement, Balinese scherzo, is derived from a Balinese scale, the beginning is somewhat chromatic and the ending is essentially based on the E-major scale. This movement is distinctive in that the orchestra is asked to play pizzicato almost the entire time.

The fifth movement, Finale: allegro moderato, is the movement that is most reminiscent of the first movement. The ending combines material from the beginning of both the first and fifth movements.

Suite For String Orchestra - III. Nocturne

Suite For String Orchestra - I. Allegro vivace

Autumn Songs (for Mezzo-Soprano and Chamber Ensemble)
Duration: ca. 18'

MOVEMENTS
I. Ascension: Autumn Dusk in Central Park (Evelyn Scott)
II. Under the Harvest Moon (Carl Sandburg)
III. All Hallows’ Eve (Dorothea Tanning)
IV. November for Beginners (Rita Dove)
V. Leaves Before The Wind (May Sarton)

Performers: American Modern Ensemble, Blythe Gaissert, Mezzo-Soprano
For more information: https://robertpaterson.com/autumn-songs
Publisher: Bill Holab Music: http://billholabmusic.com/store/index...
Purchase Sheet Music: http://billholabmusic.com/store/index.php?keyword=autumn&main_page=advanced_search_result&search_in_description=1
View Perusal Score: https://issuu.com/robertpaterson/docs...
Also available as a version for mezzo-soprano and piano: https://robertpaterson.com/autumn-songs-version-for-mezzo-soprano-and-piano

PROGRAM NOTE
Autumn Songs for mezzo-soprano is my final song cycle celebrating the seasons. As with my previous three seasonal cycles for different voice types, this cycle contains settings of poems by various American poets.

Like Spring Songs, Autumn Songs begins with New York: a setting of Evelyn Scott’s Ascension: Autumn Dusk in Central Park, an early 20th century Imagist poem in which people seem to merge at dusk. The second movement is a setting of Under the Harvest Moon by Carl Sandburg. In this poem, Sandburg uses autumn and summer as a metaphor for people in two different periods of life, revealing beauty in both stages. Memory is the primary concern for someone who is older, and possibly for someone who is younger. The third movement is a setting of All Hallows’ Eve by Dorothea Tanning, who was not only a poet, but also a well-known visual artist whose early work was inspired by Surrealism. This is perhaps the most playful setting, and I used Tanning’s evocative, Surrealistic imagery as inspiration for colorful sounds and angular dissonances in the ensemble. November for Beginners by Rita Dove is the text for the fourth movement. In this setting, Dove beautifully encapsulates the feeling of waiting for winter in November, and the sense of anticipation one feels during the fall months. At the end of her poem, she uses the sound of zithers as a metaphor for the sounds of wind and rain when spring comes. The final movement, a setting of Leaves Before The Wind by May Sarton, is inspired by Irish jigs, and mimics leaves blowing in the wind. The penultimate section is anthemic, and the end of the movement is more calm and similar to the beginning.

Autumn Songs was made possible, in part, by generous support from the Gerson Family Foundation.

ARTISTS
American Modern Ensemble: http://www.americanmodernensemble.org
Blythe Gaissert, mezzo-soprano: http://www.blythegaissert.com/
Sato Moughalian, flute
Pascal Archer, clarinet
Matt Ward, percussion
Esther Noh, violin
Dave Eggar, cello
Geoffrey Burleson, piano
Robert Paterson, conductor

Autumn Songs - V. Leaves Before The Wind (Text by May Sarton)

Written: 2019-20
Duration: ca. 21'
Instrumentation: string quartet
Commissioned by The Indianapolis String Quartet
Premiere: The Indianapolis String Quartet, Carnegie Hall, Weill Recital Hall, New York, NY, March 5, 2020.
Publisher: Bill Holab Music: http://www.billholabmusic.com/composers/robert-paterson/
For More Information: https://robertpaterson.com/string-quartet-no-3

PROGRAM NOTES
String Quartet No. 3 consists of five movements that explore “other voices,” either literally or figuratively. In a literal sense, this could mean speaking or singing in a way that is not considered normal or even out of one’s control. It could also mean speaking differently for a desired effect. Figuratively, “other voices” could mean a voice that is not one’s own. All five movements touch on these definitions in one way or another.

The first movement, Twist and Shout, uses musical patterns that sound like stuttering or someone who has a severe form of Tourette’s Syndrome. I use these sounds as a technical point of departure, incorporating jagged rhythms, erratic melodic patterns, and sudden volume shifts throughout the movement.

The second movement is entitled Poet Voice, and uses this style of reciting poems as a point of departure. In particular, this movement is based on a video of Louise Glück reading her poem “The Wild Iris,” which is included in a book of poems of the same name for which Glück won the Pulitzer Prize. Glück’s poem compares human suffering and finding a voice to the growth of a wild iris that makes a “passage from the other world” underground, despite the difficulty of breaking through. In the image of the wild iris, the explosion of color symbolizes new life. In this movement, I mimic Glück’s speech patterns and structure the movement around the sound of her voice and the content of her poem, essentially giving new life to her poetic reading. 

The third movement, Auction Chant, is inspired by North American auctioneering, which is a rapid-fire, rhythmic repetition of numbers and “filler words” spoken by auctioneers in the process of conducting an auction. This movement is also inspired by country fiddle music, which is a type of music often played in areas where auctioneering takes place.

In the fourth movement, Effects Pedal, I mimic sounds made by electronic effects pedals—and in particular, a vocal effects pedal, but without the use of actual electronic effects on the stringed instruments. I also use musical effects that sound somewhat like swallowing helium, which raises your voice when you inhale it, or sulfur hexafluoride, which lowers it.

The final movement is entitled Anthem. In this patriotic-sounding, yet slightly humorous movement, I weave together various sports themes and state songs from around the United States that are used to rile up fans at sports games.

String Quartet No. 3 was commissioned by The Indianapolis Quartet.

String Quartet No. 3 - III. Auction Chant

Embracing The Wind
Instrumentation: flute (doubling alto flute), viola and harp
Duration: 10'
Online Perusal Score: https://issuu.com/robertpaterson/docs/etw-fs-bound
For More Information: https://robertpaterson.com/embracing-the-wind
Music Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=921&zenid=7f0b81b591feb79cca80d1f88a7f043b

PROGRAM NOTE
My original inspiration for Embracing the Wind was the image of an Olympic athlete running against the wind. The process of writing this work eventually shifted me to more abstract thoughts, such as the concept of creating music that sounds flexible and has wind-like, ebb-and-flow qualities. I try to achieve this by creating musical zephyrs from repeated motives and smooth phrases that utilize gradual dynamic swells and subtle tempo fluctuations. In this sense, Embracing the Wind is perhaps more minimal and Romantic than many of my other pieces: minimal in that cells that are repeated over and over again as textural background, Romantic in that the form is intentionally less severe and also has a narrative, structural quality.

Star Crossing

Embracing The Wind

Springs Songs (for Tenor and Chamber Ensemble)
Duration: ca. 20'

MOVEMENTS:
I. English Sparrows (Washington Square) (Edna St. Vincent Millay)
II. April 5, 1974 (Richard Wilbur)
III. Done With (Ann Stanford)
IV. The Widow’s Lament in Springtime (William Carlos Williams)
V. Spring Rain (Sara Teasdale)

Performers: American Modern Ensemble; Alok Kumar, Tenor
For More Information: https://robertpaterson.com/spring-songs
Publisher: Bill Holab Music: http://www.billholabmusic.com/composers/robert-paterson/
Purchase Sheet Music: http://billholabmusic.com/store/index.php?keyword=spring%20songs%20-&main_page=advanced_search_result&search_in_description=1
Also available as a version for tenor and piano: https://robertpaterson.com/spring-songs


PROGRAM NOTE
Spring Songs for tenor and chamber ensemble or piano is my third song cycle celebrating the seasons. As with the first two, Winter Songs for bass-baritone and Summer Songs for soprano, this cycle contains settings of poems by various American poets.

Whereas both Winter Songs and Summer Songs end with scenes in New York City, Spring Songs begins with New York: a setting of English Sparrows (Washington Square) by Edna St. Vincent Millay, a poem about a scene that takes place in the morning in Greenwich Village, a neighborhood in New York City where Millay lived in the early 1900s. The second movement is a setting of April 5, 1974 by Richard Wilbur, a poem Wilbur wrote in honor of Robert Frost’s one-hundredth birthday, and I interpret as being about overcoming self-doubt through wisdom, and about understanding the change of seasons, but also a change of mind. The third movement, Done With by Ann Stanford, I interpret to be about death and rebirth. Stanford symbolizes this by a house being torn down and the ground paved over, the now suffocated plant life yearning to break through. The Widow’s Lament in Springtime, the fourth movement, is a setting of a poem by William Carlos Williams. I interpret this poem as a modernist, pastoral elegy that uses images of nature to lament the death of a loved one. The final movement, a setting of the poem Spring Rain by Sara Teasdale, is about a happy memory of a lover brought about by an evening thunderstorm.

Spring Songs was commissioned by Rick Teller for the American Modern Ensemble.

AME ARTISTS
Robert Paterson, Conductor
Alok Kumar, tenor
Grace Law, flute
Nuno Antunes, clarinet
Samuel Z. Solomon, percussion
Geoffrey Burleson, piano
Victoria Paterson, violin
Peter Sachon, cello

Spring Songs - V. Spring Rain (Text by Sara Teasdale)

Spring Songs - IV. The Widow’s Lament in Springtime (Text by William Carlos Williams)

Spring Songs - III. Done With (Text by Ann Stanford)

Spring Songs - II. April 5, 1974 (Text by Richard Wilbur)

Spring Songs - I. English Sparrows (Washington Square) (Text by Edna St. Vincent Millay)

Braids for violin and marimba (six-mallets)
Duration: 8'
Performers: Victoria Paterson, violin; Robert Paterson, marimba

Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=976

PROGRAM NOTES
An experience that fascinates me is watching my wife Victoria braid her hair. Braids draws its inspiration from watching her create elegant, masterful braids, with names such as French Twist, Back Twist, Flip Through, Victorian Twist, Rolled Braid, French Braid, Rope and Herringbone. The names of these various braids inspired me to invent interesting musical analogues and ultimately to create this piece.

The book I consulted while writing this piece is Hair: A Book of Braiding and Styles by Anne Akers Johnson.

Six Mallet Marimba

Braids (Violin and Marimba)

Dark Mountains for orchestra
Commissioned by the Vermont Symphony Orchestra, Jaime Laredo, conductor
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&products_id=994
For More Information: https://robertpaterson.com/dark-mountains
View Score: https://issuu.com/robertpaterson/docs/dark_mountains_for_orchestra_fs-bou

PROGRAM NOTES
Vermont is famous for its green mountains, but I often find myself taking long drives through the mountains on overcast days or even at night, when the mountains lose color and become gray silhouettes. Many roads in Vermont are so dark, particularly in the Northeast Kingdom, that you need to use headlights, even during the day. Dark Mountains is meant to portray the beauty and grandeur of the mountains and the peacefulness of the open roads, but also the darkness and occasional treacherous passes one may encounter during the evening hours. The piece is in three connected sections. The first section portrays the calmness and austerity of a quiet evening. The second is inspired by a fast drive down winding country roads, with twists and turns, frequent tempo changes and shifting gears. The final section evokes the feeling of looking at the nighttime sky with moonlight shining through the trees and the sounds of nature in the distance.

This piece is commissioned by and dedicated to the Vermont Symphony Orchestra and Jaime Laredo, and was originally written for the Made in Vermont Music Festival.

Dark Mountains (for Orchestra)

Elegy for Two Cellos and Piano
Duration 10'
View Score: https://issuu.com/robertpaterson/docs/elegy_for_two_cellos_and_piano_fs_b
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&products_id=1074

PROGRAM NOTE(SHORT VERSION — FOR PROGRAMS)
After hearing my music, and in particular, my Sonata for Bassoon and Piano, bassoonist Charles McCracken asked me to write the original version of this work, Elegy for two bassoons and piano, in memory of his father, Charles P. McCracken, a well-known and highly-regarded cellist in the New York musical community. His only request was that I quote a work that his father loved to play, one of the cello suites by J.S. Bach. I also love Bach’s music, so this was an easy request. I quote Bach’s Fifth Cello Suite, one of his father’s favorite pieces, and also Bach’s Third Cello Suite, a work that Charles Jr. likes, creating a sort of father and son pairing of references. Although Charles described his father as gregarious, fun loving and larger than life, this work is perhaps more earnest than humorous, but with a sense of playfulness in the way I manipulate the musical materials. Since this piece references Bach’s cello suites and Charles Sr. was a cellist (and played principal with the New York Metropolitan Orchestra for two seasons), and the cello and bassoon have very similar ranges, I made this transcription for two cellos and piano, a version I think Charles Sr. would have appreciated.

The original Elegy was commissioned by Charles McCracken and Gordon Harris through the American Composers Forum and is written in memory of Charles P. McCracken.

Elegy for Two Cellos and Piano

Eternal Reflections for mixed a cappella choir
Duration ca. 14'
Mvt. III. Do not stand at my grave and weep, text by Mary E. Frye. Text in the public domain.
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=901
For More Information: https://robertpaterson.com/eternal-reflections

PROGRAM NOTE (LONG VERSION)
Eternal Reflections consists of settings of the poems A Song on the End of the World by Czeslaw Milosz, Life’s Tragedy by Paul Laurence Dunbar and Do not stand at my grave and weep by Mary E. Frye.

Milosz is a Nobel Prize-winning, Lithuanian and Polish-American poet, prose writer and translator, and is widely considered one of the greatest poets of the twentieth century. After spending most of World War II in Nazi-occupied Warsaw working for underground presses, he emigrated to America and taught at the University of California at Berkeley for more than twenty years. I chose this poem partly because I knew this work would be premiered in Berkeley, where he lived for many years.

Paul Laurence Dunbar is America’s first prominent African-American poet and was a child of ex-slaves. Although he died at the relatively young age of 33, he produced a large body of work, including this poem and the lyrics for In Dahomey (1903), the first musical written and performed entirely by African-Americans to appear on Broadway. He was friends with many prominent figures of his day, including Wilbur and Orville Wright, Frederick Douglass and Booker T. Washington, and toward the end of his life he was honored with a ceremonial sword by President Theodore Roosevelt.

Mary E. Frye was a housewife and florist who became well-known because of her poem. According to an article in the London Times, “Frye had never written any poetry before 1932, when she and her husband had a young German Jewish girl, Margaret Schwarzkopf, staying with them. According to Frye, their guest had been concerned about her mother, who was ill in Germany, but she had been warned not to return home because of increasing anti-Semitic unrest. When her mother died, the heartbroken young woman told Frye that she never had the chance to ‘stand by my mother’s grave and shed a tear”.” Although many versions of this un-copyrighted poem exist, the version used in this setting is the one Frye claimed as definitive before she died.

Although the three poems are related thematically, there are a few other details that link them together. They are all by poets who lived in America, and both Dunbar and Frye were born in Dayton, Ohio. The poems by both Milosz and Frye are profoundly influenced by the tragedies of World War II, and both Milosz and Frye passed away in 2004. Finally, all three poems use musical and aural metaphors, which are particularly useful when setting poems for a choir. These movements may be performed individually or together as a three-movement work.

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Eternal Reflections - III. Do not stand at my grave and weep

Sextet for Chamber Sextet (flute, clarinet, violin, cello, percussion and piano)
Duration: 8'
Publisher: Bill Holab Music:http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=1323
For more information: https://robertpaterson.com/sextet

PROGRAM NOTES
Although this sextet is not intended to openly convey a specific program, the work itself is inspired by television shows that expose people in the act of committing crimes. The form and materials are developed from imaginary scenes depicting a day in the life of a criminal: running scared (from the police), traveling on the interstate, having nightmares while sleeping (probably in a rundown motel in the middle of nowhere off Old Route 66), looming shadows and hysterical visions, breaking out in cold sweat when someone supposedly comes looking and traveling again at 1:00 a.m. As you would expect, the unfortunate criminal is finally caught in the end.

Sextet

Described by the press as “a modern day master” (AXS.com) and the “highlight of the program” (The New York Times), Robert Paterson has won awards for his music in virtually every classical genre. The Classical Recording Foundation at Carnegie’s Weill Hall named Paterson Composer of The Year in 2011, and his music has been on the Grammy ballot for the past six seasons. His works have appeared on National Public Radio’s Best of the Year lists for classical music and regularly appear on radio playlists across the United States.

Paterson’s music has been performed by over one hundred world-class ensembles, including Musica Sacra in NYC, Nashville Opera, Minnesota Orchestra, American Composers Orchestra, Vermont Symphony Orchestra, Delaware Symphony, Austin Symphony, Louisville Orchestra, Buffalo Philharmonic, American Modern Ensemble, Atlantic Brass Quintet, Imani Winds, and Ensemble Aleph in Paris.

Recent commissions include Ghost Theater, for the Albany Symphony, Shine for the American Brass Quintet, Moon Trio for the Claremont Trio and new works for the Vermont Symphony Orchestra, Eastman Wind Ensemble, and numerous choirs, including Ember and The Esoterics. Paterson’s debut choral album, Eternal Reflections, was released by Musica Sacra and Maestro Kent Tritle in 2015.

Paterson has received awards for his works in virtually every classical genre, including the A.I. duPont Composer’s Award from the Delaware Symphony, a three-year Music Alive grant from the League of American Orchestras and New Music USA, the American Composers Forum Jerome Composers Commissioning Program, the Utah Arts Festival Commission Competition, and fellowships to Yaddo, the MacDowell Colony, Aspen Music Festival, the Atlantic Center for the Arts and the Copland House.

In 2005, Paterson founded the American Modern Ensemble (AME), which spotlights contemporary music via lively thematic programming. He serves as artistic director as well as house composer, frequently contributing new pieces to the ensemble. In 2018, Paterson co-founded the Mostly Modern Festival (MMF), an annual, three-week summer music festival that highlights contemporary music, which takes place at Skidmore College in Saratoga Springs, NY. He also founded American Modern Recordings (AMR), an affiliated record label that is distributed by NAXOS. Paterson’s recordings are also featured on the Capstone, Centaur, Summit and Riax labels.

Born in 1970, Paterson was raised in Buffalo, New York, the son of a sculptor and a painter. Although his first love was percussion, he soon discovered a passion for composition, writing his first piece at age thirteen. While an undergraduate student, Paterson pioneered the development of a six-mallet marimba technique, and released the first-ever album of six-mallet music, Six Mallet Marimba in 2012 (AMR) to a sold-out crowd at the Rubin Museum in Chelsea, NYC. 

Paterson holds degrees from the Eastman School of Music, Indiana University, and Cornell University, and gives master classes at numerous colleges and universities, most recently at the Curtis Institute of Music, Aspen Music School & Festival, New York University, and the Cleveland Institute of Music. He resides in New York City and Saratoga Springs, NY with his wife, Victoria, his son, Dylan, and their cat, Cookie. For more information, visit robertpaterson.com.

[May, 2020]

Robert Paterson Composer

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