Original composition..... Alejandro Gonzalez M.

Spei Waltz

Summer daisies springing
In my mind I see them swaying to my feelings
So one with my tune
A beat here, a heed there
Just for you
 
The rainbow pales
Against your magic spell
Everything fades
When you come calling to my dream space
 
‘Çause I can’t forget
That one day we met
May never see you again
Till this light of mine shines
But you showed me places
That these eyes had stopped seeing
Ooh yeah..
(Yeah, it was you)
So darling, no matter, there’s only one place for you to be mine
In my dreams
Yes, in my dreams
 
 
Winter comes but I feel warm
Funny how a day’s memory
Can feel so strong
 
A gust of wind
Can’t shake me from within
Nothing else matters
As long as I know that my dream’s still living
 
‘Çause I can’t forget
That one day we met
May never see you again
Till this light of mine shines
But you showed me places
That these eyes had stopped seeing
Ooh yeah..
(Yeah, it was you)
So darling, no matter, there’s only one place for you to be mine
In my dreams
Yes, in my dreams
 
Life was so unkind
Once upon a time
Then something changed
Oh I may never see that day again
But I’ll thank you
For making me bloom
 
And I can’t forget
That one day we met
May never see you again
Till this light of mine shines
But you showed me places
That these eyes had stopped seeing
Ooh yeah..
(Yeah, it was you)
So darling, no matter, there’s only one place for you to be mine
In my dreams
Yes, in my dreams

Album - Hopes and Dreams (C) 2019
Song - In My Dreams
Music - Russell Lucas and  Sumi (Sreyashi Mukherjee)
Lyrics and Vocals - Sumi (Sreyashi Mukherjee)
Arrangement and Production - Russell Lucas 
Mixing - Romano Erafficci

In My Dreams (EP - Hopes and Dreams)

Extract from the track n°2 on the Scots Wha Hae album (2022), "White Cross" opens with some traditional Scottish marchs and then turns into an energetic "Scotland The Brave" that rocks a while to illustrate this white cross on the Scottish flag.
Extrait de la deuxième piste de l'album Scots Wha Hae, "White Cross" vous propose un voyage revigorant débutant par des marches traditionnelles écossaises, puis ouvrant sur une reprise très rock du standard "Scotland The Brave" pour illustrer la croix blanche du drapeau écossais.

Scots Wha Hae

White Cross (extract)

Everything

7:30-  0:00-2:36 
Poké Ball-  2:37-5:16 
Void-  5:17-8:21 

The Void EP is out now! Thanks for listening! Support never goes unnoticed and yours means the world. 

Catch this EP on your favorite platform now.

To check out more of my music, beat store and social media/contact info, visit my LinkTree page: https://linktr.ee/Loosejoxx

Collaborations/Inquiries: Loosejoxx@gmail.com

Visual

Void [EP Playthrough]

Something
Always makes me come around and lose my mind
Through the struggle I have managed to stay aligned

Nothing 
Never mind me I just feel so blessed today
A fact about me you cannot doubt me 
Rollin
I roam around 
I stay on top 
Don’t t matter what I do 
I always stay true 

Bring me overground
While you can
Find me in this sound
The doors are open
Move it all around
Show that you care
Now embrace your grind

Face the other side
Choose to feel alive
Bring me overground
While you can
Find me in this sound
The doors are open
Move it all around
Show us you care
Wounds are to remind

The Reminder

For Real

Prefix

Picture by Dimitry Bogoljubov : https://bogoljubov.artstation.com/projects/RXaYX

Uranus

LUXURY DRIVE

(dadam dada...)
wenn jetzt der himmel brennt, 
die ganze welt zusammenfällt,
dann sind wir da. 
wenn diese zeit sich aus dem boden hebt 
und jeder noch was drauflegt ja, 
dann sind wir da. 

und wenn raketen über dächer fliegen, 
wär das schlecht für jeden, 
doch dann sind wir da. 
wenn sich die strassen biegen 
und sie sich in armen liegen (oh oh)
dann sind wir da.   

what u mean time, 
itz like nothing new but fine. 
we got to go. heaven knows. 
and the stars just shine shine 
shine (oh oh)
after the long time of luxury drive. 
wo lang fahr ma denn?
woher kam er denn? (ah)
get the party early enough to get it before. 
guess we can get it anymore. 
last gram of the time. 
so get it on get it on. get it on (oh ho)

wenn dieser horizont ein spiegel ist, 
der einfach bricht dann sind wir da. 
und wenn dann immernoch 
der eine oder andere von wachstum spricht 
ja dann sind wir da. 
wenn sich die klugen leute umdrehn' 
und das gestern heute unsinn ist 
dann sind wir da. 

lay the ball on the line. 
the last gram of the time. 
after a long long luxury drive. 
we reach the party early to get it right

(ahahaha ha. ahahaha ha
thatz right come on)

what you mean time?
itz like nothing new but fine.
(oh oh)
we got to go
heaven knows and the stars just shine
last gram of the time,
after a long long luxury drive.
after a long drive

(dadam dada...)

musik: kolkhorst
text: kolkhorst



UWE 2022

LUXURY DRIVE

Movement III — Scherzo “Dance of the Storm”....

Movement III — Scherzo “Dance of the Storm”

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 - IV. Balinese scherzo

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.

The Indianapolis Quartet: Robert Paterson - String Quartets 1-3

String Quartet No. 3 - IV. Effects Pedal

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 - IV. Balinese scherzo

Robert Paterson Composer