Secrets in the Forest (Fourth Mix)

You can heard to the old version of "Floraison" here: https://soundcloud.com/user-407534243/floraison-feat-amanda-sanderson

Lyrics, music, vocal and illustration: Lukowig https://soundcloud.com/user-407534243/tracks https://www.facebook.com/Lukowig/ https://twitter.com/Lukowig
Guitar and bass: Agapite https://soundcloud.com/agapite/tracks
Vocal and translation of lyrics: Amanda Sanderson https://soundcloud.com/phoebeelena/tracks
Vocal recordings for Amanda's vocals : Kevin Pope https://soundcloud.com/wiggy13/tracks
Thank you very much to Agapite and to Amanda Sanderson for their magnificent performance!
 
Paroles, musique, chant et illustration : Lukowig https://soundcloud.com/user-407534243/tracks https://www.facebook.com/Lukowig/ https://twitter.com/Lukowig
Guitare et basse: Agapite https://soundcloud.com/agapite/tracks
Chant et traduction des paroles : Amanda Sanderson https://soundcloud.com/phoebeelena/tracks
Prise de son pour la voix d'Amanda : Kevin Pope https://soundcloud.com/wiggy13/tracks
Merci infiniment à Agapite et à Amanda Sanderson pour leur magnifique performance !
 
Floraison
 
Morne saison
nulle floraison
aucun chant
aucun son
 
Dans la serre tout en fleurs
(je) cueille des fleurs (je) cueille des fleurs
fraîches
fraîches
Dans la serre tout en fleurs
sur ce lit de mousse mon cœur
recompose-toi (recompose-moi)
 
Je te serre
Tu me serres
Je te cueille
Tu me cueilles
Je t'effleure
Tu m'effleures
Rêche
 
Ce sursaut épouse tes peurs
surexpose-toi
Ce sursaut épouse mes peurs
surexpose-moi
 
Dans la serre tout en fleurs
dans mon (ton) cercueil tant de fleurs
sèches
sèches
Dans la serre tout en fleurs
sur ce lit s'émousse mon (ton) corps
décompose-moi (décompose-toi)
 
Morte raison
nulle oraison
juste un chant
juste un son
 
--------------
 
Flowering
 
Dismal season
no flowering
no singing
no sound
 
In the greenhouse
all blossoming
I/you gather fresh, fresh flowers
In the greenhouse
I/you gather fresh, fresh flowers
on this bed of moss my sweetheart
recompose yourself/myself
 
I hold you, you hold me
I pick you/you pick me
I touch you/ you touch me
harsh
 
This start mirrors your fears
overexposes you
This start mirrors my fears
overexposes me
 
In the greenhouse picking fresh, fresh flowers
this foam bed my sweetheart
recompose yourself/myself
In the greenhouse all in bloom
In my/your coffin so many dry, dry flowers
In the greenhouse
all is blossoming
on this bed my body wilts
 
Dead reason
hopeless prayer
just a song
just a sound

Floraison

Floraison (New version!) [ feat. Agapite and Amanda Sanderson ]

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

I've been recording mostly cover songs and decided to finally do my own songs. This is the first (for Sönderrevet). I had the idea that the songs should have a "Film Noir" theme and be about characters in trouble, so I just started to write these lines... 

Been gunned down
Out on a limb
There is a world of shadows
calling again
I know it's so hard
to take it on the chin
and her hope is
starting to wear thin

I've seen her
trying to save face
with a clenched fist
just withering away
And there is no point
in hiding the pain
It got me so down,
like standing in the rain

Promises

First track preview from my 'debut ' album of collaborations coming soon featuring the voice  & lyric of Paul Campion formerly of cult scottish indie band 'ac acoustics' and co writer with Placebo on a number of songs including '20 years ' & 'Every you every me '. Additionally Ally Mcerlaine who requires no introduction . 
Written and performed by Campion , Mcerlaine & Paterson .
Recorded in Hampstead , London , Mixed in the Southside , Glasgow
Produced , arranged & mix by Kenny Paterson

'Heart Not A Lung' By Kenny Paterson with Paul Campion & Ally Z

The mysterious and tragic death of Elisa Lam RIP

Cecil Cistern

Childhood

Classical, Epic, Score, Soundtrack, World, Ambient

Windward

Original composition.  All music composed and performed by Alejandro Gonzalez (Sabine Alexander).

Uxoriae

You can buy the song here with renewed master (or go to your chosen platform for listening to it):
https://crimsonredstone.bandcamp.com/track/ballad-of-the-anguished-death-god
Thank you for your support

Ballad of the anguished death god is a Darkwave Lo-Fi song which uses violin as a lead instrument to emphasize its sorrowness.

Ballad Of The Anguished Death God

Joy Ride for Solo Piano
Duration: ca. 3'
Winston Choi, piano
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=979
For more information: https://robertpaterson.com/joy-ride

PROGRAM NOTES
Joy Ride is inspired by the Ode to Joy theme from Beethoven's Ninth Symphony. It was written with a joyous spirit in mind, but it also has a gloomy middle section inspired by the usual meaning of the phrase ‘joy ride’ that refers to taking a fast, dangerous ride in a stolen vehicle.

Joy Ride was written for the International Beethoven Project's First Beethoven Festival.

Joy Ride - for Solo Piano (World Premiere)

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.

Suite For String Orchestra - III. Nocturne

Robert Paterson Composer