Elegant, sweet, charming  with an awesome progression. simply beautiful  . Excelente work Robert as usual.

Beautifully written and played. Very enjoyable to listen to

beautiful composition, Great work Robert !

What a wonderful and deeply moving composition, a fitting tribute.

Wow, this is so moving, I didn't want it to end. The combination of two bassoons and piano is also very interesting, especially as I think of the bassoon as such an old world sound. The Bach reference is so grounding and solemn and the piano so hopeful, in and out of dreamlike textures. Going to listen again now. :)

A beautiful beautiful piece Robert - I love the way the bassoons weave in and out, with that beautiful piano counterpart.

Love how this resolves to sombre (somber) reflection at the end.

The mix of harmony and dissonance reaches new levels a couple times

Always a soft spot in my hard for bassoon, I played in high school xD lovely piece, big fan of your harmonic choices and the melodic flow. wonderful tone from the bassoonists as well

World Premiered by Katherine Cheng	(violin) and Jeongmin Oak (piano) Kilbourn	Hall,	Eastman	School of Music Rochester,	NY | 
Friday, November	22,	2024

Program Notes:

“Tea with Debussy & Pärt in Casablanca” is a musical dream born from a vacation in Havana, Cuba. This piece imagines an encounter with the esteemed composers Arvo Pärt and Claude Debussy in the vibrant city of Casablanca, over Moroccan tea. It is not an imitation of their styles but rather a heartfelt conversation between us, infused with elements of both composers’ musical languages. Originally commissioned by Vincent Delorme for viola and piano, the piece was premiered in Montreal. The clarinet version, performed by double Grammy-nominated clarinetist Tasha Warren and pianist Yun Hao, premiered at the Mostly Modern Festival in Saratoga Springs, NY, in June 2024. Katherine Cheng, inspired by both the clarinet version and her experience performing in the sextet premiere of the first movement of my Suite “Moroccan Dances,” felt a strong connection to my compositional style. Her expressive playing and nuanced interpretation are well-suited to the music’s blend of minimalist and impressionistic elements. Katherine’s excitement about this collaboration led to the creation of this violin and piano version, marking the beginning of our artistic partnership. The piece begins with minimalist touches, a nod to Pärt’s recent works, where the piano introduces serene arpeggios that intertwine with expressive violin melodies. As the music progresses, it incorporates Debussy’s harmonic richness, weaving a tapestry of sound that captures the essence of typical Moroccan conversations—dynamic, lively, and filled with unexpected turns.

Tea with Debussy and Pärt in Casablanca for Violin and Piano - World Premiere

Struck Soundtrack - Main Theme

Six Feet Deep

Album made over 10 Years, Mastered with care.

LISTEN ON SPOTIFY 🎧💚

Gaspar Le Chien

It's a Mood

Nihil Sperantes - Broken

Elegy for Two Bassoons and Piano
Duration ca. 10'
Performers: American Modern Ensemble; Charles McCracken and Gilbert DeJean, bassoons; Elizabeth DiFelice, piano
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&products_id=1073

PROGRAM NOTES (SHORT VERSION — FOR PROGRAMS)
After hearing my music, and in particular, my Sonata for Bassoon and Piano, bassoonist Charles McCracken asked me to write 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.

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

Star Crossing

Elegy for Two Bassoons and Piano

Fantasia for Tuba and Marimba (six-mallets)
Duration ca. 6'
Performers: Dan Peck, tuba; Robert Paterson, marimba

Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=1292

For more information: https://robertpaterson.com/fantasia

PROGRAM NOTE
Fantasia is my first piece for marimba and another instrument. Perhaps because it is an older work, I had the urge to improve it. Composers are of two minds regarding revisions: some think that you should never revise, others revise constantly. This piece was moderately playable in its original form, but I took pleasure in tweaking it, being careful to keep as much of my original music as possible in tact.

Six Mallet Marimba

Fantasia (Tuba and Marimba)

Sonata for Bassoon and Piano
Duration: ca. 15'
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=1302
For More Information: https://robertpaterson.com/sonata-for-bassoon-and-piano

PROGRAM NOTES (SHORT VERSION FOR PROGRAMS) 
When I first began to plan this sonata for bassoon and piano, I had no idea that I would be inspired by something so overtly programmatic, let alone by an American, historical figure who was alive well before I was born. I knew that the premiere would take place at the Thomas Edison Inn in Port Huron, Michigan, and my curiosity eventually took hold and I started reading up on Thomas Edison’s inventions and his life. I was immediately hooked: many of his experiences and beliefs resonated with me. I could not stop thinking about him or his inventions and they ended up providing a Romantic and technical inspiration for this piece.

The first movement, Edison’s Ears, is inspired by a legendary story about the ear problems Edison suffered from throughout his childhood in Port Huron. According to this tale, when he was 15, a train accident further injured his ears. When he tried to jump on the moving train, the conductor grabbed him by his ears to help pull him up. The young Edison said he felt something snap inside his head, and he soon began to lose much of his hearing. The thought of something “snapping inside his head” made me think how, as morbid as this is, inventing something musical from this story might have humored him. The middle of the movement reaches its peak with a loud, staccato “snapping” chord. The beginning of this movement sounds somewhat mechanical and is the first of three locomotive sections (based on three musical quotes) that progressively increase in tempo. The end of the movement gradually descends in register and dies away, much like a hyper-speed, fast-forward toward his eventual and inevitable hearing loss.

The second movement, Mina’s Tapping, draws its inspiration from a story about Edison’s second wife, Mina Miller. The story goes that they were introduced to each other by his life-long friend Ezra Gilliland: “Their courtship ended when Edison tapped out a proposal for marriage on Mina’s hand. In their many years together the pair communicated via Morse code. When attending meetings or at gatherings with friends, Mina would tap out the discussions in Morse code on her deaf husband’s hand. Despite his long hours away from home, Thomas and Mina were totally devoted to each other and profoundly in love.” In this movement, Edison is represented by long melodic lines; Mina is represented by heartbeat-like, pulsed chords derived from the dots, dashes and spaces of Morse code.

Edison is also responsible for creating a revolutionary business model, the world’s first “invention factory.” The final movement,Invention Factory Eureka, is inspired by this, and the one invention that is said to have been Edison’s only true “Eureka!” invention, the cylinder phonograph. The opening motivic material in this movement is derived from the word “Eureka!” The many bright ‘dings’ throughout the middle of the movement represent the cliché of a light bulb appearing above someone’s head when they have a bright idea. This image ties in nicely to Edison, his inventions and his one “eureka” moment.

Cornucopia

Sonata for Bassoon and Piano - III. Invention Factory Eureka

I'm proud to present you a new LoFi EP together with Chigauu.
First of all if you want to support us listen to our songs on spotify
❤️
https://open.spotify.com/album/5asKJpBWVBRnk3FdtrYeML?si=irLi2IfaTVi6QX42xY403g

Topic of this EP are winter feelings and memories.
Each song represents one piece of memory the protagonist has: Sledges (stands for childhood), A Cup Of Tea (stands for first big journey), Moving Forward (stands for moving to a new city). These pieces of memory are prsented as cassettes. But anyway...all begins with a snow storm.

Try to close your eyes idiom to think in the protagonist's shoes :)

Moving Forward [Chigauu X Nexeration]

Original video - Disney - Beauty & the beast
Song - TheMarvSound - Slime
Video Edit - @themarvsound

▶️NEW UPLOAD -
Available on Youtube & Instagram, link below. Trap music, The Marv way.

https://youtu.be/_AjimMxI1QM

This weeks upload is to put a smile back on the faces at the moment during our current times.

We all have or had a best friend that somehow always  picks us up from a rut no matter what. If you are luck enough you may have multiple besties lol

True friends are not easy to come across but more so a naturally forged bond between 2 people who respect & care for one another is something special

If you are reading this, Tag your bestie in the comments & put a 💚

LIKE, SHARE & COMMENT

#marvsound#marvobahn#thefuture#mysound#nextwehaveanother#trapmusic#orginalsound#nogenreissafe#disney#beautyandthebeast#bestfriends

THEMARVSOUND - SLIME

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.

Elegy for Two Bassoons and Piano

Robert Paterson Composer

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