Did not expect opera! Very talented [via https://sc.repostexchange.com]

Somber lyrics.  Beautiful singing and playing.

Very interesting operatic lied, the piano themes are both striking and gentle when needed

Is perfect. Sounds like something unique and high-definition to a certain feeling. I love it. Great work. [via https://sc.repostexchange.com]

Re-Ex/Classical&Soothe.Joints

Music for Content Creators – DIRECT DOWNLOAD from SoundCloud!

***
Track name: Between
Music by Michael Herter
Free Download:  
Video:  https://www.youtube.com/watch?v=jsenuh2RRrc

Between – baroque orchestral classical musical composition.

Music speaks of Paradise and Hell, remembering Dante's "The Divine Comedy", where the inscription on the door to Hell says: "Abandon all hope, ye who enter here".

Inspired by "Confutatis Maledictis" from Mozart's Requiem Mass.

d-moll; 4/4; 120 bpm

The top prize for #bachtobasics of "Bandlab"!

Here’s what judges had to say:
"Stupendous! We are immediately taken into the medieval times of war and conflict, preparing our hero’s tale before entering into battle. Great tones from Michael Herter‘s instrumentation; that violin performance is what we’ll remember for ages! You can already imagine how many historical TV shows this track could fit. Aw-inspiring!"

► Support my Creativity:

Bandcamp (Maecenas): https://michaelherter.bandcamp.com/maecenas

Patreon: https://www.patreon.com/sibviolin

Boosty: https://boosty.to/sibviolin/

Donate: https://cutt.us/DONATE

***
A Commercial License can be purchased on Audiostocks: 

Pond5:
https://www.pond5.com/artist/sibviolin/

Jamendo: 
https://www.jamendo.com/user/7644668/sibviolin

► Subscribe to my Social Networks:

YouTube:
https://www.youtube.com/channel/UC87NSwe22xVAdTxkDqPbW6A/

Instagram:
https://www.instagram.com/sibviolin/

Bandcamp: 
https://michaelherter.bandcamp.com/

___
Stay tuned as more tracks will be released in the coming weeks and months.

Do not forget: Like, Share and Subscribe!

Thanks For Listening!

Between

Annette Fischer, soprano
Laura Bos, pianist
Orgelpark Amsterdam, 18th of October 2013

I Felt a Funeral in my Brain - Aaron Copland (Annette Fischer, Soprano)

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

"Discover 'Vader's Revenge', an orchestral composition that musically captures the ambivalent side of Darth Vader. With majestic sounds and dark melodies, the piece tells of revenge, power and the inner conflict of the iconic character."

Follow me on Instagram =Nomax_composer or on Spotify. thank you for any support greetings Nomax

Free Download

Vader's Revenge Theme Instrumental Prod. and Composed By Nomax

"Finale Steps " Prod. and Composed by Nomax

"The Final Boss" Epic Dark Evil Fantasy Score Prod. and Composed by Nomax

Thanks for the great support !!!

"The Final Boss" Epic Dark Evil Fantasy Score Prod. and Composed by Nomax

Toad's Improv

La mélodie délicate du piano se mêle aux accords chauds des violons, créant une harmonie qui semble à la fois familière et novatrice. "Lou" est comme un parfum précieux qui persiste, ses notes se révélant lentement, nous plongeant dans une réflexion profonde.

A chaque nouvelle écoute, on découvre de nouvelles subtilités, comme si on revivait un souvenir précieux sous un nouvel angle. C'est cette beauté perpétuelle qui rend "Lou" si spéciale, comme une photographie bien-aimée que l'on peut regarder encore et encore, découvrant toujours quelque chose de nouveau.

"Lou" est une boucle infinie de beauté et de nostalgie, une composition qui ne cesse d'évoquer et de capturer l'essence des souvenirs et des émotions les plus profondes.

Deus Sive Natura

Lou - Mythmaker and Antonio Giardina

What’s the time on your Rolex 
Big boy I’m feeling you can you tell me what’s next
I’ve been in to you since our very first text
No reciprocation or signs that I expect
Come more often so I get to see you more 
You know my home is open walk straight trough my door
You that monster beast come to charm your queen 
You can leave the streets my haven is clean,
I won’t give you hell no matter where you’ve been.
And when you’re hungry I’m not one to leave you lean
You’re my king, you’re my drug and I’m the fiend 
You’re that monster truck come level my walk

How do we go, go where nobody goes
Where the wind always blows
where love oceans would flow
How do we go, go where nobody goes
Where the wind always blows
where love oceans would flow

So you got me locked in diamond grip
I’m an opened well come and take a sip
I’ll move at turtle’s speed make sure you don’t trip
We’ll take it real slow walk before you leap
Forget bout my ex that boy was a creep 
I don’t wear fakes that boy was so cheap
If you ever fall I would carry all
You will never walk alone I’ll be there on call
when I think of how good our life can be, I want to be your one and only fantasy

How do we go, go where nobody goes
Where the wind always blows
where love oceans would flow
How do we go, go where nobody goes
Where the wind always blows
where love oceans would flow

I wanna hold you closer, feel me though
I wanna be in your corner, you should know
I wannabe the one you’ll always hold
Even when the storm comes and you’re feeling cold
How would we fare, when our feelings grow old, when our wrinkles would show, when our body’s won’t glow

How do we go, go where nobody goes
Where the wind always blows
where love oceans would flow
How do we go, go where nobody goes
Where the wind always blows
where love oceans would flow

Written & Composed by Jah-Femi Telewa

Vocal arrangement by Jah-Femi Telewa

Sang by Jaydi Zavala
Co-produced by Thom Maurice

RnB: Where feat. Jaydi Zavala

Seq77  Every Beginning Has An End And Every Ending Is A New Beginning.

12 July Spotify release date, artist page:
https://open.spotify.com/artist/0PNwmEhruCVDzJzYewdrMt?si=de5e726b179f4cb0

12.07.2023

Alterlift - Traces Of Strength

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)

Speak Soft

Carmilla: Opera in 2 Acts
Act I, Scene 4 (Piano/vocal)
Music by Robert Paterson/Libretto by John de los Santos
Video: https://www.youtube.com/watch?v=AG7-EP-yMO8

"Mother of Poisons" Aria begins at 6:32

SCENE/ARIA SUMMARY
A young woman named Laura is in the middle of a difficult French lesson with her impatient tutor, Madame Clotilde. Laura's mysterious, young houseguest, Carmilla, who is actually an eight- hundred-year-old vampire. Carmilla insists she is a superior teacher, and scares Madame Clotilde away. Laura admires the color of Carmilla's nail paint, called Mother of Poisons. Carmilla explains that the hue comes from a beautiful flower which has the toxicity to easily kill man or beast. Laura is intrigued by Carmilla's words, and joins her in French song.

OPERA: BRIEF SYNOPSIS
Inspired by Sheridan Le Fanu's novella (which predates Bram Stoker's Dracula), Carmilla tells of a precocious young woman named Laura Torehaven, who lives with her widowed mother. Though intended to wed the strapping son of their neighbors, Laura yearns for more in life and love. One evening a coach crashes outside the house and a strange woman named Carmilla is found inside and given refuge in the Torehaven house. Laura finds herself drawn to Carmilla's strange beauty and worldly knowledge, despite a series of nightmares and violent deaths that plague the surrounding village in the following days. Laura willfully relents to Carmilla's charms and comes to know her heart's true nature. A good friend of Laura's mother, Dr. Suero, suspects that Carmilla is a centuries-old mullo (the Romani word for vampire). As Laura grows more and more sick, she refuses to marry her intended or undergo any treatment to cure her. Carmilla seduces Dr. Suero one night, and then murders him. Unable to conceal her identity any longer, Carmilla begs Laura to join her for eternity. Torn by her love, Laura kills Carmilla to stop the cycle of death. In an epilogue, we see that Laura's neighbor has married another and Laura has inherited her family's fortune. She is a free and independent woman, forever stamped by the kiss of her true love, Carmilla.

CAST
Carmilla: Blythe Gaissert, mezzo-soprano
Laura: Jennifer Goode-Cooper, soprano
Madame Cloutilde: Sarah Heltzel, mezzo-soprano
Geoffrey Burleson, piano

Recorded at Opera America's Marc Scorca Hall at the National Opera Center,  June 4, 2019

Sites:
http://www.robertpaterson.com
http://johndelossantos.com
http://www.blythegaissert.com
https://www.jennifergoodecooper.com
https://www.sarahheltzel.com

Carmilla Opera: Act I, Scene 4, Including "Mother of Poisons" Aria (Piano/vocal)

𝙸'𝚖 𝚊 𝚖𝚞𝚜𝚒𝚌 𝚊𝚛𝚝𝚒𝚜𝚝. 𝙲𝚛𝚎𝚊𝚝𝚒𝚟𝚎𝚕𝚢, 𝙸'𝚖 𝚍𝚛𝚒𝚟𝚎𝚗 𝚋𝚢 𝚌𝚘𝚖𝚙𝚊𝚜𝚜𝚒𝚘𝚗 𝚊𝚗𝚍 𝚒𝚖𝚊𝚐𝚒𝚗𝚊𝚝𝚒𝚘𝚗. 𝙸 𝚐𝚛𝚎𝚠 𝚞𝚙 𝚒𝚗 𝚝𝚑𝚎 𝚛𝚎𝚊𝚕 𝚠𝚘𝚛𝚕𝚍, 𝙸 𝚎𝚡𝚙𝚎𝚛𝚒𝚎𝚗𝚌𝚎𝚍 𝚎𝚗𝚘𝚞𝚐𝚑 𝚝𝚘 𝚞𝚗𝚍𝚎𝚛𝚜𝚝𝚊𝚗𝚍 𝚑𝚎𝚛 𝚊𝚗𝚍 𝚒𝚗 𝚕𝚒𝚏𝚎, 𝙸 𝚙𝚕𝚊𝚢𝚎𝚍 𝚝𝚑𝚎 𝚛𝚘𝚕𝚎 𝚒𝚗 𝚜𝚝𝚒𝚌𝚔-𝚒𝚗 𝚖𝚞𝚜𝚒𝚌 𝚊𝚜 𝚊 𝚠𝚊𝚢 𝚝𝚘 𝚛𝚎𝚕𝚎𝚊𝚜𝚎 𝚊𝚗𝚢 𝚔𝚒𝚗𝚍 𝚘𝚏 𝚏𝚎𝚊𝚛 𝚊𝚗𝚍 𝚙𝚞𝚝 𝚊𝚗 𝚎𝚗𝚍 𝚝𝚘 𝚜𝚘𝚖𝚎𝚝𝚑𝚒𝚗𝚐 𝚙𝚘𝚠𝚎𝚛𝚏𝚞𝚕. 𝙼𝚞𝚜𝚒𝚌 𝚑𝚎𝚕𝚙𝚎𝚍 𝚖𝚎 𝚎𝚜𝚌𝚊𝚙𝚎 𝚜𝚘 𝚖𝚞𝚌𝚑 𝚊𝚗𝚍 𝚜𝚑𝚊𝚙𝚎 𝚖𝚢 𝚕𝚒𝚏𝚎 𝚒𝚗𝚝𝚘 𝚝𝚑𝚎 𝚔𝚒𝚗𝚍 𝚘𝚏 𝚙𝚎𝚛𝚜𝚘𝚗 𝙸 𝚊𝚖 𝚝𝚑𝚎𝚜𝚎 𝚍𝚊𝚢𝚜.

I Felt a Funeral in my Brain - Aaron Copland (Annette Fischer, Soprano)

Laura Bos, pianist

Recent comments

Marco Siri

mKilit

Magenta Roses

Dino Ljubić

Related tracks