Sheee love how this turned out keep it up sounds wonderful bro

Beautiful composition! It gave me the most pleasant feeling

Grandioso! Fantastic! Really impressive and addicting!

Well, you really nailed this one buddy! Bravo!

jo love the music Alexander suprising I also have Alexander in my life

Good Classical I Found

Ars Longa Vita Brevis

Deep Blue Ocean for two pianos
Duration: 12'
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&products_id=938
Online Perusal Score: https://issuu.com/robertpaterson/docs/deep_blue_ocean_-_fs-bound
For More Information: https://robertpaterson.com/deep-blue-ocean

PROGRAM NOTES
Although Deep Blue Ocean is not meant to be overtly programmatic, I thought it would be wonderful to explore the oceanic depths, so during a trip to the Gulf of Mexico I became a certified scuba diver. I was truly inspired, whether by the large rolling waves on the open sea, the delicate back and forth of beds of seaweed, the vibrant colors of fish clustering around cities of coral, or the beams of sunlight that cascade over the ocean’s surface.

I was also inspired by my four year old son Dylan: his name means ocean or god of the seas in Welsh; he is an Aquarius, which means the water bearer; he is an excellent swimmer, and he loves listening to a movement of one of my choral works entitled Infinite Oceans.

While writing this piece, I could not have known that the worst oil spill in U.S. history would occur just north of where I visited. The darker moments in this work are the result of this tragedy. It is in three connected movements: The Darkness Below, Sunbeams and Waterfalls, and Accents and Waves.

Deep Blue Ocean is written for Steven Gosling and Blair McMillen of the American Modern Ensemble and is dedicated to my son Dylan.

Powerhouse Pianists II

Deep Blue Ocean - III. Accents And Waves

Secret

Memórias

Stryker

Written: 2022-23
Duration: 30'
for piano trio (violin, cello, and piano) and orchestra (2-2-2-2 / 4-2-3-1 / 3 percussion, timpani, strings)
Commissioned by Neave Trio
World Premiere: Mostly Modern Orchestra with Neave Trio, JoAnn Falletta, conductor, Mostly Modern Festival, Arthur Zankel Music Center, Helen Filene Ladd Concert Hall, Skidmore College, Saratoga Springs, NY, June 17, 2023.
Publisher: Bill Holab Music

As we live through a sixth mass extinction, it is not difficult to question whether we can act as good stewards of our earth. While I often feel a sense of despair — how could we have messed this up so badly? — my thoughts are often, perhaps irrationally, tempered by a sense of optimism. Maybe we can fix this, or at least that’s what I tell myself. Triple Concerto is essentially an exploration of these emotions. As a scenic point of departure, the entire work also uses three types of geographical regions as inspiration.

Triple Concerto is structured a bit differently than a traditional concerto. An introduction and three larger movements are interspersed with three small trio-centric movements that loosely function as either a prelude, interlude, or cadenza. These three smaller movements also exist as a stand-alone version for the piano trio that may be performed as a sort of “teaser” for the concerto on a chamber music concert.

The first movement, Introduction, loosely evokes a sunrise. Toward the end of the movement, bird song melodies from around the world are incorporated and performed by the winds. This leads to a movement entitled Chorale Prelude, focusing on the piano trio, leading to a joyful third movement, Bright Pastorale, filled with bright, sunlit bell-like chords and sounds reminiscent of birdsong. Moments of despair begin to appear as the movement progresses. The movement ends darkly, like an overcast sky before a storm. The fourth movement, Interlude, echoes the beginning, focusing on the trio once again and evoking a sense of longing, the sound of a more innocent time. Tundra, the fifth movement, is cold, dark, and bleak but with swaths of color. A sense of sadness and loneliness permeates this movement, at times represented by various mournful effects such as bent notes created by dipping tubular bells in water and glissandi in the strings and brass.

After the fifth movement, the trio performs a virtuosic Cadenza, full of grief and rage but with signs of hope. This leads to the final movement, entitled Summit. Ascending lines suggest climbing a mountain, both literally and figuratively. After a brief climax, eleven bell-like chords sound one after the other, symbolizing the chimes of the Doomsday Clock. The winds perform birdsong once again, perhaps of songbirds that may soon become endangered or even extinct. In a nod to Haydn’s Symphony No. 45 (his “Farewell Symphony”), the players leave the stage one by one until all that is left are the trio and conductor.

Triple Concerto was commissioned by the Neave Trio and premiered by the trio and Mostly Modern Orchestra, JoAnn Falletta, conductor, at Mostly Modern Festival in Saratoga Springs, NY.

– RP

Movements:
I. Introduction
II. Chorale Prelude
III. Bright Pastorale
IV. Interlude
V. Tundra
VI. Cadenza
VII. Summit

Triple Concerto, "Summit" for Piano Trio and Orchestra (World Premiere)

Seq09 F    A dialogue between harpsichord and piano (Canon)

Finding Peace

7 o'clock in the morning with an ocean of tears
we should have been pretty, but reality mourned
shadows growing on the back of the door

Words hurled like daggers projecting fears
shredding eachother into million pieces
Scars of misunderstanding formed

A silent tension camouflaged a deadly minefield
Polluting our judgements of right and wrong
even the time feared to move along

still 7 o'clock hope fled the dreaded battlefield
we're craving for love, but affection is gone
we're stuck in this place for far too long

so what's the point of our constant fight
we got burned so many times
so much pressure, so much anger
we shouldn't be allowed
so farewell to the love we knew,
And the time has come to face our crimes
let me fade away
let me be another face in the crowd

severly damaged, i need a place to retreat
searching for silence to ease and calm down
figuring out why my mind has doubts

strong fears and worries of being incomplete
are drowning my soul in a sea of sadness
but is our love worth so many downs

finally found the strength to mend my heart's mistake
I broke the chain that kept my mind in minor
putting my scattered pieces back together

draining my sea of sadness before it's too late
having loved, but now we're done
it's okay to let go of each other

so what's the point of our constant fight
we got burned so many times
so much pressure, so much anger
we shouldn't be allowed
so farewell to the love we knew,
And the time has come to face our crimes
let me fade away
let me be another face in the crowd


Another Face In The Crowd (piano version)

Sliding doors in the life

Yeah, something always pops up.
To blacken up your eye.
So watch out what you're doing, son.
You ain't supposed to fly.
Your mentors were all absent,
and there wern't no reason why.
Watch away your wishes as they float off in the sky.

Cos, they'll never pick you,
They'll try to change your ways.
You'll never be a part of them.
You're from another place.
The mistakes that you were making,
As the future ran up fast.
Watch away your wishes as they float off in the grass.

Does time fly slow when you are sad?
The moment drags.
When you're not sure which way to go.
It must go slow.

Hope, something, somewhere comes along,
to brighten up your day.
You'll never be a millionaire,
Not in it for the pay.
There's no point in worrying or searching for the whys.
Watch away your wishes as they float off in the sky.

As you get older, time goes fast.
Your moments passed.
You can't be sure which way to go.
You'll never know.

So, don't let them kid you.
It is, as always, was.
Nothing really changes much.
Just nod up to the gods.
The divide in this country, oh, it isn't race, it's class.
Watch away your wishes as they float off in the grass.
Watch away your wishes as they float off in the grass.

Watch Away Your Wishes

A new Rolling Sky fanmade soundtrack in honor of 1 year of music production
featured: @5KINGS

Anniversary

Rolling Sky - Replay Day (fanmade) | feat. 5KINGS

#synth-pop #logic #chaos #finnish #suomipop

10 000

A serene instrumental journey through autumn's quiet moments, where each note falls like a leaf in a gentle breeze

Falling Leaves

For SATB A Cappella Choir and Optional Projected Images
Duration: ca. 11'
Performed by Musica Sacra, Kent Tritle, conductor
Video: https://www.youtube.com/watch?v=7r5g_3kPjU4

To read more and see the graffiti images, visit this page: http://robertpaterson.com/graffiti-canons

Commissioned by Volti, Robert A. Geary, Artistic Director. The commissioning of this work by Volti was made possible by the support of the Ann Stookey Fund for New Music.

Publisher: Bill Holab Music

PROGRAM NOTES

Although I have based many choral works on settings of poems, I also enjoy setting unusual texts. In many ways. graffiti is ideal as a source of inspiration. It is unpretentious, extremely varied and can be found almost anywhere: under bridges, in alleyways, on the sides of vans, in subway stations, and even in bathroom stalls. It may be illegal or sanctioned, artistic, text based, aphoristic, philosophical or purely graphic. It can be humorous, innocent and childlike, or very serious and meant to provoke. Graffiti may be of our time or ancient. Certain cave paintings, for example, could be considered predecessors to modern graffiti. Through graffiti, gangs, tribes or individuals can hide behind anonymity; it is the voice of the voiceless.

In Graffiti Canons , I appropriate positive aphoristic sayings, sentences and phrases found in graffiti from various parts of the world. My goal is to create a musical tapestry that flows from one thought to the next and spans time and place, using canonic technique and chorale-like transitions.

Although I found many of the graffiti images online, others I use in this piece were obtained via a Graffiti Photo Contest that I posted online. Approximately eighty images were submitted, and viewers were allowed to vote for their favorites, which played a part in which images were chosen. A handful of the most inspirational photos were used for this piece. An optional slideshow containing these images may be shown during performances of this piece.

Graffiti Canons was commissioned by Volti, Robert Geary, Artistic Director. The commissioning of this work by Volti was made possible by the support of the Ann Stookey Fund for New Music (annstookeyfund.org).

– Robert Paterson

Graffiti Canons (For Choir)

Deep in the night
They stand up to fight
An unwinnable battle
To loose their life

Millions of mothers
Cry for their sons
Thausends of families
Grieve for someone

Tell me why
A man leaves his wife
Generations loose their future
Tell me why
A man leaves his wife
Generations loose their future

Deep in the night
They wake up to fall
With a cry of pain
To loose their life

Millions of mothers
Cry for their sons
Thausends of families
Grieve for someone

Tell me why
A man leaves his wife
Generations loose their future
Tell me why
A man leaves his wife
Generations loose their future

Tell me why

A therapeutic journey into a mix of jazz, classical, and a blend of types of electronica.  And a wry, gradual observation that promotion tends to only go as far as you push it.  At least I make my fellow musicians laugh a little.

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.

Triple Concerto, "Summit" for Piano Trio and Orchestra (World Premiere)

Robert Paterson Composer

Recent comments

Dusty Dreams Music (Sharon West)

Dusty Dreams Music (Sharon West)

newbia

ross

Related tracks