Voyage

AMBISPHERE ⸻ Echoes of the cosmic ocean (2021)
00. Entry 
01. Break 
03. Alarm 
04. Clash

04. Clash

Hi! this is my Remix of 'When you're not with me' by Camilo Séptimo, hope you like it. If so, give me a like. Thanks for listening to me. Greetings!

Link Social Networks:

👉 https://linktr.ee/Itzco11

#krautrock #kosmischemusik

'Cuando No Estas Conmigo' (Itzco Remix Bootleg)

This is a song about parents, teachers, work mangers and leaders all messing with your head and making you feel inferior when they have got no more of a clue than you'll ever have; so feck it and go with your gut, so long as it isn't hurting anyone :) That's what I say anyway. I've had a lot of practice and experience; but still, what the hell do I know eh? :)

Left of Hardin

Rip up the Rulebooks

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 - II. Foghorn Leghorn

Looney Tunes - I. Taz

Wind Quintet
Duration: 18'
Commissioned by Quintet of the Americas; Underwritten by the American Composers Forum with funds provided by the Jerome Foundation
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=909

PROGRAM NOTES
All of the movements of this wind quintet are connected and inspired in some way by American icons, surrealism, collage, post-1950s imagery and suburbia.

The first movement, Andante, begins with the ending and ends at the beginning. Some instruments mimic others and just when you think an idea might go in one direction, it goes in another. I gleaned many of my ideas from studying cinematic character development and the unusual forms used in many modern films such as the 1994 film Pulp Fiction by Quentin Tarantino.

The second movement, Suburban waltz-fantasy, contains quotes from 1960s-70s TV show themes: The Jetsons, All in the Family, Green Acres, The Dick Van Dyke Show, The Brady Bunch and Leave It To Beaver. The movement begins with a waltz-like feel and two of the players mimicking “suburban chicken lady housewives cackle-gossiping across a backyard fence.” An obnoxious stray dog interjects with loud barking and then the movement takes off in a different direction. Some of the quotes are re-composed to sound like bird songs, others are textural and a few are so subtle that they are not easy to discern. Some of the parts even sound like they are mocking each other. This movement is a strange, surrealist collage.

The most immediate and obvious reference in the title of the third movement, Melting Clocks, is to Salvador Dali’s famous 1931 painting The Persistence of Memory in which there are images of melting or limp watches. I imagine a room full of clocks all ticking away, yet slightly inaccurately, the “baby clocks” a little faster than the “old grandfather clocks.” The middle section contains a few brief quotes form the first movement, and the “slightly melted” end of the movement brings back the cuckoo, but this time it melts as if it is in a house consumed by fire.

The fourth movement, Klezmeshugeh, derives its title from my combining the words ‘klezmer’—which is a combination of the two Hebrew words, kley and zemer, meaning ‘instrument of song’—and meshugeh, which is a Yiddish word meaning ‘crazy’. Essentially, this made-up title means “crazy instrument song.” In this movement, there are a few “wrong notes” that allude to the players pretending to sight-read. The end also concludes with a few thematic fragments from the second movement.

Wind Quintet was commissioned by Quintet of the Americas and underwritten by the American Composers Forum with funds provided by the Jerome Foundation.

Wind Quintet - IV. Klezmeshugeh

R.E.M. influenced jangly guitar track. Had the chorus lyric and melody for years but never really finished the song off. In my head it's the story of a guy somewhere in the US pining for a girl he left behind in England in search of new life, some north of a statue standing somewhere east of London.

Michael Murray's Album

East of London

From third album - "TOO BLUE"
available where all digital music is sold

Too Blue

Gone Fishing

Beautiful World

April's Fool.mp3

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.

Wind Quintet - IV. Klezmeshugeh

Robert Paterson Composer