I really love the chaos a lot like what do you call that kind of singing I thought it Was Arabic

very nice very good very excellent.  interesting too

@romey-christo: at the Academy of Arts and Letters in NYC, all in one room at the same time, on stage, natural acoustic.

@user-289339291-171890141: thank you so much!

SO I had the pleasure of listening to this in new (and much better headphones), great stuff you can almost hear the atmosphere of the room. Hoped over to Soundcloud to listen and read the sleeve notes. Lovely piano. Wonderful interplay of voices.

The connection between melodic content and words is very interesting :)

Beautiful and deliciously sweet choral.  A fantastic piece of music all throughout . Great work Robert as usual.

The undulating harmonies convey not just the flow of water but also something timeless, mystical, and essential. The piano is lovely, providing just enough support for the choir voices to touch the imagination.

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

Publisher: Bill Holab Music
For more information: http://robertpaterson.com/a-new-eaarth

Eternal Reflections

Choral Suite from A New Eaarth - II. The Noise of Waters (James Joyce)

Struck Soundtrack - Main Theme

Lyrics:

You've gone this far
Feeling awake, but caught up in your scars
Your heart is in a fragmented state, but wrapped up in my arms
Head start, feeling awake but left without your scarf
So cold, what's left in the wake of all of who we are

Caught in another avenue, transitioning from where you are to where you knew
I get lost in my head too, you're coming home but not a moment too soon
So blue, you -  keep chasing the lines, shading the memories out of view 
Blending hues, I'm - coming home but I'm a moment after you

You've gone this far
Feeling awake, but you've been caught up in your scars
False start, your heart, wanting to leap, but your feet keep you where you are
You've made this  far
It took so, so long
Being awake unaware of anything at all
You'd think you'd see the truth in all of what you do
Head start, false start, you must be cold without your scarf
Find your forward before you break off and depart

Caught in another avenue, transitioning from where you are to where you knew
I get lost in my head too, you're coming home but not a moment too soon
So blue, you -  keep chasing the lines, shading the memories out of view 
Blending hues, I'm - coming home but I'm a moment after you

You're cold, so cold -
Keeping you warm from the beating of my heart
Impart from the depth of it all, ahead of where you are

Caught in another avenue, transitioning from where you are to where you knew
I get lost in my head too, you're coming home but not a moment too soon
So blue, you -  keep chasing the lines, shading the memories out of view 
Blending hues, I'm - coming home but I'm a moment after you

You're gone, far gone -
Wandering deeper through your head
Gone far astray, getting closer to that place
You're gone, so gone 
Cultivated in your head
Getting enveloped in all of the words but never believing in what they said

Winter

Avenue (Demo)

Perfect Peace Without a Priest

Ambient piano track, unpolished, detuning.
Failing to recreate this sound with current software!

De Profondeur

Misery Love's Parking Lot's (pt2) (Documenting Dystopia)

Seconds by Hamade available on

iTunes: https://music.apple.com/lb/album/seco...

Anghami: https://play.anghami.com/song/9614919...

Spotify: https://open.spotify.com/album/42tvXZ...

Seconds

Eating Variations
for Baritone Voice and Chamber Quintet (Baritone Voice,  Flute, B-flat Clarinet, Violin, Cello, Percussion)
Duration: 9' 
Text by Ron Singer
Performers: American Modern Ensemble; Robert Gardner, Baritone
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&products_id=1109
Online Perusal Score: https://issuu.com/robertpaterson/docs/eating_variations-fs-bound_perusal
For More Information: https://robertpaterson.com/eating-variations

PROGRAM NOTES
Eating Variations is based on a series of witty poems with the same title by Ron Singer. The work as a whole is essentially a satire on food faddism and depicts different aspects of eating. The way I chose to set these poems is light-hearted, perhaps lighter in spirit than Singer originally intended, but with a serious, dark side.

The first movement, My Body, a Temple, incorporates the sounds of Tibetan Singing Bowls (also called Temple Bowls or Cup Gongs) and is loosely, harmonically inspired by Khöömei, or Tuvan Throat Singing and David Hykes’s Harmonic Choir recordings; both of whom use a style in which the singer produces overtones on top of the fundamental notes. Perhaps mercifully, I do not require the baritone to use this technique, but instead, use the flute to produce false overtones in a couple of spots.

In the second movement, The Hog, the instruments mimic pig sounds with scratchy, grunting noises from the violin and cello and clarinet multiphonics. A round-sounding whole-tone scale is used and there is a Polka-like accompaniment in the percussion.

The third movement, Even the Dyspeptic Must Eat, uses upward and downward runs in the bass clarinet to impart a roller coaster-like sense of Gastroesophageal Reflux Disease, a condition in which there is recurrent return of stomach contents back up the esophagus. This is reinforced with a slow, background groove in the drums.

The cello part in the fourth movement, The Dietary Moralist, is inspired by Dave Eggar, a cellist who can play his instrument like a guitar and sing at the same time. In this movement, I ask the cellist to play in a somewhat folksy style and sing out of tune back-up vocals—to me, reminiscent of a 1960s musical Hippie Sit-in. The main vocalist is backed by the well meaning but out of tune "band." To paraphrase an interesting email exchange with Singer, we agreed that in this context, the vocalist might represent a contemporary version of a certain species of 60's hippie—say, a particularly zealous fair trade coffee purveyor, and that this Malvolio type is singing along with a group of kindred spirits. This movement is not a literal portrayal of the text, which is quite serious in tone, and stretches the meaning more than the other movements. Perhaps my interpretation may instead be viewed more as commentary on the text.

In each passing decade, people are sure of their eating habits, and the carefree, assured, commercial America of the 1950s was no different. In the last movement, The Happy Medium, I envision a father-like doctor figure squarely explaining to a patient how to eat. The perky background music is meant to evoke a 1950s TV commercial, or perhaps a short, black and white educational grade school film.

Winter Songs

Eating Variations - III. Even The Dyspeptic Music Eat

Sun Trio for Violin, Cello and Piano
Duration: ca. 35'
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=908
For More Info: http://robertpaterson.com/sun-trio

PROGRAM NOTE
Sun Trio originated when I first started the film score for a documentary entitled Journey Into Courage. After writing opening music to the film, director Bess O’Brien and I concluded that it was best to change some parts in order to properly compliment the film. The theme was kept, but some of the other sections were changed and/or edited. I never discarded the original sketches, even though much of it remained on the cutting room floor. Thankfully, it came to good use later in this work.

The first movement, Sun Day, begins with the theme from the Journey Into Courage introduction. This movement is meant to evoke the feelings you get when summer, mid-day sunbeams appear from between the clouds and warm your skin.

Sunset, the second movement, was inspired by Lake Champlain in Burlington, Vermont and my wife Victoria. I envisioned us embraced, doing a Tango–like dance under a multi–colored sunset—at times, to themes from Stravinsky’s L’Histoire du soldat. Victoria is a much better dancer than I, and in this movement, she teaches me the steps. I fumble around and finally get it right, and then the sun sets.

The third movement, Absence of Sun, is connected from beginning to end by one long melodic line. The cello melody is modeled after a classical Indian Sitar raga, specifically the traditional, slow introductory section of a classical Indian composition. The bass piano part supplies the drone while a high-pitched tone row supplies a "starry night" texture. This texture gradually melds into a wind chime accompaniment. The movement peaks in the middle with an intense cello line. At this point, the violin intervallically supports the cello line. Each instrument—and in the case of the piano, each stave—represents a specific, individual texture. This movement intended to sound somewhat improvised.

Sunrise, is meant to evoke the feeling you get when watching the sun rise. There is a "Sun" peak of an octave, a bright yellow ‘E’, symbolizing the first, intense, bright sunbeam peaking over the horizon. In the middle of the movement, a string of rising chords mimics a "fast-forward" of the sun rising in the sky. Later in the movement, the violin and cello play decelerated bird motives. I wrote the bird songs down on the morning of April 17, 1995, while watching the sun rise behind the University of Vermont music building. I use the "mystic chord" by Alexander Skryabin as melodic and chordal material for the anticipation of the rising of the sun. While I was waiting for the sun to rise, I watched the mountains intensely. I finally was about to give up, thinking that the sun tricked me and rose behind some clouds when I wasn’t looking. As soon as I turned around to walk away, I felt an intense heat hit the back of my neck. I turned around and there it was! The sun was there, in all of its glory and splendor, lighting up the mountains. As well as evoking a sunrise, this movement also uses themes from the previous three movements.

The sprightly Sun Dance is a closure movement written to provide a vibrant contrast to the other four. The initial piano motive is taken from Five Movements for string quartet by Anton Webern. The first section introduces the themes, motives and patterns which are then used in subsequent sections. The second and fourth sections are percussive, while the third section is more placid and melodic. The finale is hard and driving, utilizing both snap pizzicati (plucking the string so it bounces against the fingerboard) and loud four-note chords in the strings.

Sun Trio was commissioned by Dennis O’Brien to commemorate the 98th birthday.

Spheres

Sun Trio - V. Sun Dance

Sun Trio - Mvt. V. Sun Dance

A chill track with piano and flute combined with electronic elements.

Melancholy With A Touch Of Bass

Small Flute Concerto written using BBC SO Professional.

Flute Concerto

American composer Robert Paterson is a true New Yorker—born and bred in Buffalo, he lived in Rochester and Ithaca for over ten years, in New York City for over twenty years, and now lives in Saratoga Springs, near the Adirondacks. Paterson’s colorful music embraces a wide variety of themes, everything from goddesses and online dating to mathematics and the environment. His music is filled with emotion and fierce rhythmic energy, marked by elegance, wit, and meticulous craftsmanship. Named Composer of The Year by the Classical Recording Foundation at Carnegie Hall, Paterson is the winner of the Alfred I. DuPont Award, and his opera Three Way won the Grammy® under Best Classical Producer of the Year. His music is often a Best of the Year pick on National Public Radio. His orchestral tone poem, Dark Mountains, regularly airs on NPR’s Performance Today. Three Way premiered with Nashville Opera, then BAM (Brooklyn Academy of Music), and across the United States. Minnesota Orchestra, Louisville Orchestra, The Oratorio Society of New York, Buffalo Philharmonic, Albany Pro Musica, Albany Symphony, Musica Sacra, Austin Symphony, Vermont Symphony, and ensembles worldwide perform his works. Paterson gives masterclasses at the Curtis Institute of Music, New York University, the Aspen Music Festival, the Cleveland Institute of Music, and more. He is the Artistic Director and house composer for Mostly Modern Projects. Robert is a lifelong vegan and advocates for animals and the environment, celebrating the natural world with ground-breaking works such as his Triple Concerto, A New Eaarth, Listen, and I Go Among Trees.

Choral Suite from A New Eaarth - II. The Noise of Waters (James Joyce)

Robert Paterson Composer

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