Est 1

Thank to Psyclon Nine I`ve found the outstanding genre of the techno music called aggrotech. I over and over listened to the first track of the P9`s first album  and I recorded it finally. This track is my thank to Nero Bellum and his project.

https://www.youtube.com/watch?v=WzGugzDZi-4 - OFFICIAL MUSIC VIDEO

Lyrics:
Rip your god
Fuck hopless self
Anti love you hold dear
Douse yourself in evil
Thought repression of your fear

Darkness likes to toy with you
As you walk through the night
Pillage through your conscience mind
The epideral blight

Feeding my anguish
This life is born of pain
Deleted memory
This world's gone mad
Divine infekt[ion]

The Way of Pain

Divine Infekt (Cover)

shes happy alone

Mediterrânea

Original composition... Alejandro Gonzalez M.

Stella

Groove times Two - Robert Grigg & Combstead

Looney Tunes
Duration: 16'
For More Information: https://robertpaterson.com/looney-tunes
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=1428
Perusal Score: https://issuu.com/robertpaterson/docs/looney_tunes_-_fs_bound_perusal

Instrumentation: flute (doubling piccolo), alto saxophone (doubling baritone sax), violin, cello, electric guitar, electric bass guitar (not acoustic contrabass), percussion (drumset, bongos, xylophone, amplified Udu drum and misc. small instruments) and piano (doubling synthesizer). All players doubling misc. small percussion instruments, bird whistles and sound effects.

PROGRAM NOTES (SHORT VERSION FOR PROGRAMS)
(Long version: http://robertpaterson.com/looney-tunes)
In Looney Tunes, each movement uses a specific well-known cartoon character as a musical influence and point of departure. The first movement, Taz, is inspired by the Tasmanian Devil character and plays upon all of Taz’s traits with loud, dissonant outbursts, gyrating transitions, quiet, reflective sections and a few references to his attraction to music. The second movement, Foghorn Leghorn, is inspired by this character’s loud, vocal disposition. The ‘Foghorn’ part of his name makes me think of real foghorns, and a foghorn-like interval begins this low-sounding, baritone sax-heavy movement. The third movement, Tweety Bird, provides contrast with a somewhat high tessitura and includes prominent parts for piccolo, violin, xylophone and alto sax. Although the entire movement only abstractly references the animated Tweety, I try to make all of the high instruments sound bird-like from beginning to end. Two of my favorite cartoon characters of all time are the Road Runner and Wile E. Coyote, so it seemed appropriate to end the work with a fastRoad Runner movement. I have always been fascinated by the seemingly infinite array of ACME inventions the Coyote uses to try and capture the Road Runner, and the last movement reflects this and incorporates a number of exotic, gizmo-like sounds and instruments.

Guerilla New Music

Looney Tunes - IV. Road Runner

Our Father

Performers: Nasvhille Opera; Courtney Ruckman, Soprano; Samuel Levine, Tenor

ABOUT THE DUET ARIA
From Masquerade, the third act in a trio of operas called Three Way. Masquerade takes place at a lavish suburban home. It’s a swinglife party, where people from all walks of life pursue their wildest erotic dreams. Couples in masks and robes have paired off in twos and threes. In this aria, married couple Jessie and Marcus enter without recognizing each other, due to the masks. Both have just been with strangers—Jessie with genderqueer Tyler, and Marcus with Connie. Both are amazed and also confused.

ABOUT THE OPERA
An Il trittico for the Tinder generation, Three Way is a new opera about the present and future of sex and love with music by Robert Paterson (The Whole Truth) and a libretto by David Cote (Blind Injustice). In three playful acts, average heroes explore the worlds of android lovers, BDSM and polyamory in a quest for “more” in today’s hyperconnected and gender-fluid world. Featuring Nashville Opera, conducted by Dean Williamson. Original cast recording.

CREATIVE TEAM
Robert Paterson, Composer: http://www.robertpaterson.com | http://www.robertpaterson.com/three-way
David Cote, Librettist: http://www.davidcote.com

THREE WAY SITES
Three Way Site: http://www.threewayopera.com/
Nashville Opera: http://www.nashvilleopera.org/three-way/
American Opera Projects (AOP): http://www.aopopera.org/threeway/

Materials available from Bill Holab Music: http://www.billholabmusic.com/threeway/
Three Way Arias - Male: http://www.billholabmusic.com/store/i...
Three Way Arias - Female: http://www.billholabmusic.com/store/i...
Three Way Piano/vocal score: http://www.billholabmusic.com/store/i...

ORIGINAL CAST
Danielle Pastin, Soprano: http://www.daniellepastin.com
Courtney Ruckman, Soprano: http://www.courtneyruckman.com
Eliza Bonet, Mezzo-Soprano: http://www.elizabonet.com
Melisa Bonetti, Mezzo-Soprano: http://www.melisabonettimezzo.com
Jordan Rutter, Countertenor: http://www.jordanrutter.com
Samuel Levine, Tenor: http://www.samuellevinetenor.com
Wes Mason, Baritone: http://www.wesmasonstage.com
Matthew Treviño, Bass: http://www.matthewtrevino.com

JESSIE
So, that happened.
That really happened.
You wanted and you got,
And the getting, well, it’s not
Exactly what you thought
You wanted all that time ago.
There’s wanting and there’s getting,
Then a process of forgetting,
And strangest is the stranger that you know.

(Marcus enters, looking back at the room he just left.)

MARCUS
I’m pretty sure that wasn’t Jessie.
So, we transacted.
Yes, transacted.
She was selling, and I bought,
Or did I steal and then get caught?
But what if I had fought,
And tell me who exactly is the foe?
There’s wanting and there’s getting,
Then a process of regretting,
And strangest is the stranger that you know.

(Jessie and Marcus end up facing each other.)

MARCUS & JESSIE
So, that happened.
That really happened.
We were flirting then we clicked,
Or was she fooling, was I tricked?
It’s not as if I didn’t want to go.
There’s wanting and there’s getting,
And the difference is upsetting,
And strangest is the stranger that you know.

Three Way

Three Way - Act III. Masquerade: Jessie and Marcus Duet Aria: So, That Happened (Soprano/Tenor Duet)

Duration: 13'
Instrumentation: for trumpet, violin, cello, piano, marimba (six-mallet), percussion, harp and banjo
For more information: https://robertpaterson.com/journey-into-courage-film-score/suite

PROGRAM NOTES
Journey into Courage is a documentary directed by Bess O'Brien about domestic violence in rural Vermont. It was originally a touring stage production with a cast of women from rural Vermont who were victims of domestic violence. The documentary is largely made up of footage shot during the tour as well as interviews of the women in the stage production.

Journey into Courage Suite is derived from the soundtrack for the documentary and is intended to be performed on stage as a suite for eight musicians. The performing ensemble can choose which versions (if there are multiple ones) of each piece it will perform. The short version, e.g. without repeats, may be performed if a shorter suite is desired.

Journey into Courage - 5. Lullaby (Solo Piano-Alternate Version)

String Quartet No. 1
Duration: 22'
Publisher: BIll Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&products_id=1026
For More Information: https://robertpaterson.com/string-quartet-no-1

PROGRAM NOTES
My original intent with this work was to write a set of four independent miniatures. After writing the first maximally-sized one, I decided to change course: these four "miniatures" are now my String Quartet No. 1.

Although these four movements are designed to be independent, small amounts of material are used interchangeably between each movement. Most notably, material from the first two movements is used in the third, and material from the third movement is used in the fourth.

The most prominent aural feature of the first movement, Fast and Sprightly, is the recurring "clarion" motive. This motive evolves into various thematic gestures and also reappears in the next two movements. Another prominent feature of the first movement is the use of jazz references. The string quartet is required to "swing," a style of playing usually only utilized by jazz musicians and big bands.

The second movement, Logy, begins by parodying North American, southern-style country waltzes. While composing this movement, I had visions of my mother interrupting "Three good ol’ boys fiddlin’ on a porch in Rabun Gap, GA," quipping at them to stop. The quipping is represented by the first violinist interjecting the "Rob–ert" theme. This strange, surrealistic daydream probably originates from memories of my mother calling my name from the other side of the bedroom door when I was a boy.

A section called "Andrew Lloyd Webber Disease" occurs in the middle of the second movement. This section is a schizophrenic alternation of a sick, dissonant, violin duo with an Andrew Lloyd Webber-sounding viola and cello duo. By the end of the movement, my mother joins the "Good ol’ boys" for a final song, after they have all become sick from eating too many boiled peanuts.

The third movement, Sad, Luscious Adagio, uses material from the first and second movements, but at a much slower tempo. Each player has a featured solo in this movement: the cellist plays a solo in double-stops and the violinist plays one made up of almost entirely artificial harmonics. The second violin and viola solos are intended to highlight the instruments’ singing qualities and the performers’ lyrical abilities. As with Logy, I use material recycled from previous movements.

Although the fourth movement, Energetic Polka, is not a strict polka, it has a polka-like beginning. It also contains a few short "quotes," the most notable one being the appropriation of the melodic line from the theme song from the television show The Love Boat.

Material from other movements is also used in Energetic Polka, particularly by the cello. The cellist never has a chance to play the "Pseudo-fugato" theme in Logy, so the cellist "aggressively" reintroduces it in this movement. Energetic Polka ends with a section entitled "Hyperfast shimmy and shake."

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

String Quartet No. 1 ("Love Boat") - I. Fast and Sprightly

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.

Three Way - Act III. Masquerade: Jessie and Marcus Duet Aria: So, That Happened (Soprano/Tenor Duet)

Robert Paterson Composer