This has a great elegiac feel. Mournful but always with a hint of hope with the soaring voices lifted heavenwards.

Absolutely beautiful dramatic emotional,intense and certainly breathtaking piece. Awesome work Robert!!

Very gripping piece, it's a fantastic composition with a beautiful chorus

this was unexpected, but this is very calming and thought-provoking too

Beautiful singing. Dramatic in places. Great production.

superbe work on the mezmerisingly dissonant harmonies crossing over into another perfection and back, i sit motionless :)

astonishing and catchy...in a typical gregorian style

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.

Eternal Reflections

Buy on Amazon

Eternal Reflections - II. Life's Tragedy

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.

Comments

C.V. Mendoza

Musikflyers

boi borzoi

Nightpost

Rich Davis Piano

Martin Hoogeboom

One Man Army

Nick Mateo

Sabine Alexander

These Guitars Say Sorry