This funky tune comes from my "Roland SH-1000 Rescue!" video on my YouTube channel, and it features sounds from the Roland SH-1000 and my Rhodes MK-III EK-10.

Zawinul (from "Roland SH-1000 Rescue!")

This is my outro jam from my Roland SH-1000 Rescue video on YouTube and features the SH-1000 and my Rhodes in a quick but catchy little number.

Jam Master P (from "Roland SH-1000 Rescue!")

This an original composition and music video that features the Arturia Polybrute and is inspired by the 1980's funk style of Prince, Cameo, Janet Jackson, Morris Day and the Time, etc. The song actually started right after I made one of the new sounds featured here, "Haywyre", which itself was inspired from the keyboardist of the same name. All of the sounds, with the exception of "VHS Keys", were programmed by me and were very fun to create on the Polybrute.

Boombox Slide (from "Polybrute 80s Funk")

Four movement sonata for piano: I Allegreto Misterioso; II Andante; III Vivace; IV Allegro
Dedicated to Suzanne Ward Dusch

Piano Sonata No. 1

Written: 2012
Duration: 38'
Instrumentation: orchestra, SATB chorus and narrator
Performed by the American Modern Orchestra and Albany Pro Musica, Mostly Modern Festival, Kent Tritle, conductor, Larry Pine, Narrator. Special thanks to Jose Daniel Flores Caraballo for preparing the choir for this performance.
Publisher: Bill Holab Music: http://www.billholabmusic.com/composers/robert-paterson/

Also Available: Choral Suite from A New Eaarth consisting of the choral movements from the orchestral work re-scored for SATB choir and piano. The choral suite may be performed as a stand-alone work.
For more information on this work: http://robertpaterson.com/a-new-eaarth. http://robertpaterson.com/choral-suite-from-a-new-eaarth

A New Eaarth for Orchestra, Chorus and Narrator

Music / Lyrics: Christian Silvosa

Oh you little Beatrice, would you like to sing a song for me? 

Would you please tell me about the sunrise of life? 
Or could you please show me the path to my heart? 
I'm lost, I've been trying but I don't know why I fell so sad 
Perhaps I've been poisoned by bitter of life 

In your sparkling blue eyed I dig up the same sky 
We all could fly when we were young 
I wonder if you will remember your dreams, your fantasies 
Hoping you grow keeping them free, keeping them free 
Oh you little Beatrice 

Baby, why are you crying? 
tonight I'm holding your hand baby 

Would you please tell me about the sunrise of life? 
Or could you please show me the path to my heart? 
I would really like to play some time but know it is bed time 
Bye bye baby, good night

credits: from "Blood Moon Eclipse" EP 
Voice: Esmeralda Escalante 
Chorus: Ines Maguire 
Harp: Sarah Stern 
Flutes: Dalia Montaldo 
Clarinets: Pedro Alvide 
Trompets: Jeanette Nenezian 
Trombone: Nahuel Ybarra 
Violin: Ivana Traboulsi 
Viola: Rodrigo Salas Zorilla 
Violonchelo: Tomas Fizsman 
Double Bass: Ignacio Zulga / Ivana Traboulsi 

Recorded by: Federico Alzugaray / Ignacio Gulias 
Mix: Federico Alzugaray / Francisco Rodriguez Amenabar 
Mastering: Francisco Rodriguez Amenabar

Christian Silvosa - Beatrice Lullaby

Autumn Songs (for Mezzo-Soprano and Chamber Ensemble)
Duration: ca. 18'

MOVEMENTS
I. Ascension: Autumn Dusk in Central Park (Evelyn Scott)
II. Under the Harvest Moon (Carl Sandburg)
III. All Hallows’ Eve (Dorothea Tanning)
IV. November for Beginners (Rita Dove)
V. Leaves Before The Wind (May Sarton)

Performers: American Modern Ensemble, Blythe Gaissert, Mezzo-Soprano
For more information: https://robertpaterson.com/autumn-songs
Publisher: Bill Holab Music: http://billholabmusic.com/store/index...
Purchase Sheet Music: http://billholabmusic.com/store/index.php?keyword=autumn&main_page=advanced_search_result&search_in_description=1
View Perusal Score: https://issuu.com/robertpaterson/docs...
Also available as a version for mezzo-soprano and piano: https://robertpaterson.com/autumn-songs-version-for-mezzo-soprano-and-piano

PROGRAM NOTE
Autumn Songs for mezzo-soprano is my final song cycle celebrating the seasons. As with my previous three seasonal cycles for different voice types, this cycle contains settings of poems by various American poets.

Like Spring Songs, Autumn Songs begins with New York: a setting of Evelyn Scott’s Ascension: Autumn Dusk in Central Park, an early 20th century Imagist poem in which people seem to merge at dusk. The second movement is a setting of Under the Harvest Moon by Carl Sandburg. In this poem, Sandburg uses autumn and summer as a metaphor for people in two different periods of life, revealing beauty in both stages. Memory is the primary concern for someone who is older, and possibly for someone who is younger. The third movement is a setting of All Hallows’ Eve by Dorothea Tanning, who was not only a poet, but also a well-known visual artist whose early work was inspired by Surrealism. This is perhaps the most playful setting, and I used Tanning’s evocative, Surrealistic imagery as inspiration for colorful sounds and angular dissonances in the ensemble. November for Beginners by Rita Dove is the text for the fourth movement. In this setting, Dove beautifully encapsulates the feeling of waiting for winter in November, and the sense of anticipation one feels during the fall months. At the end of her poem, she uses the sound of zithers as a metaphor for the sounds of wind and rain when spring comes. The final movement, a setting of Leaves Before The Wind by May Sarton, is inspired by Irish jigs, and mimics leaves blowing in the wind. The penultimate section is anthemic, and the end of the movement is more calm and similar to the beginning.

Autumn Songs was made possible, in part, by generous support from the Gerson Family Foundation.

ARTISTS
American Modern Ensemble: http://www.americanmodernensemble.org
Blythe Gaissert, mezzo-soprano: http://www.blythegaissert.com/
Sato Moughalian, flute
Pascal Archer, clarinet
Matt Ward, percussion
Esther Noh, violin
Dave Eggar, cello
Geoffrey Burleson, piano
Robert Paterson, conductor

The Four Seasons

Autumn Songs - V. Leaves Before The Wind (Text by May Sarton)

Inspired by Awwa, AKA Alan Walker: artist, musician, humanitarian.

The Awwa Suite

Springs Songs (for Tenor and Chamber Ensemble)
Duration: ca. 20'

MOVEMENTS:
I. English Sparrows (Washington Square) (Edna St. Vincent Millay)
II. April 5, 1974 (Richard Wilbur)
III. Done With (Ann Stanford)
IV. The Widow’s Lament in Springtime (William Carlos Williams)
V. Spring Rain (Sara Teasdale)

Performers: American Modern Ensemble; Alok Kumar, Tenor
For More Information: https://robertpaterson.com/spring-songs
Publisher: Bill Holab Music: http://www.billholabmusic.com/composers/robert-paterson/
Purchase Sheet Music: http://billholabmusic.com/store/index.php?keyword=spring%20songs%20-&main_page=advanced_search_result&search_in_description=1
Also available as a version for tenor and piano: https://robertpaterson.com/spring-songs


PROGRAM NOTE
Spring Songs for tenor and chamber ensemble or piano is my third song cycle celebrating the seasons. As with the first two, Winter Songs for bass-baritone and Summer Songs for soprano, this cycle contains settings of poems by various American poets.

Whereas both Winter Songs and Summer Songs end with scenes in New York City, Spring Songs begins with New York: a setting of English Sparrows (Washington Square) by Edna St. Vincent Millay, a poem about a scene that takes place in the morning in Greenwich Village, a neighborhood in New York City where Millay lived in the early 1900s. The second movement is a setting of April 5, 1974 by Richard Wilbur, a poem Wilbur wrote in honor of Robert Frost’s one-hundredth birthday, and I interpret as being about overcoming self-doubt through wisdom, and about understanding the change of seasons, but also a change of mind. The third movement, Done With by Ann Stanford, I interpret to be about death and rebirth. Stanford symbolizes this by a house being torn down and the ground paved over, the now suffocated plant life yearning to break through. The Widow’s Lament in Springtime, the fourth movement, is a setting of a poem by William Carlos Williams. I interpret this poem as a modernist, pastoral elegy that uses images of nature to lament the death of a loved one. The final movement, a setting of the poem Spring Rain by Sara Teasdale, is about a happy memory of a lover brought about by an evening thunderstorm.

Spring Songs was commissioned by Rick Teller for the American Modern Ensemble.

AME ARTISTS
Robert Paterson, Conductor
Alok Kumar, tenor
Grace Law, flute
Nuno Antunes, clarinet
Samuel Z. Solomon, percussion
Geoffrey Burleson, piano
Victoria Paterson, violin
Peter Sachon, cello

Spring Songs - V. Spring Rain (Text by Sara Teasdale)

Spring Songs - II. April 5, 1974 (Text by Richard Wilbur)

Winter Songs (for Bass-Baritone and Chamber Ensemble)
Duration: ca. 20'

MOVEMENTS:
I. Icicles filled the long window (Wallace Stevens)
II. Dark Day, Warm and Windy (A. R. Ammons)
III. The Snow Man (Wallace Stevens)
IV. Boy at The Window (Richard Wilbur)
V. Old Story (Robert Creeley)
VI. Neither Snow (Billy Collins)

Performers: American Modern Ensemble; David Neal, Bass-Baritone
For More Information: https://robertpaterson.com/winter-songs
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=1357
Online Perusal Score: https://issuu.com/robertpaterson/docs/winter_songs_perusal_score


PROGRAM NOTES
The idea for Winter Songs occurred to me after I wrote a short song based on the sixth poem from Thirteen Ways of Looking at a Blackbird by Wallace Stevens for a group composition project at Cornell University. The original idea was to have each student in the department set a different poem in this work, culminating in an evening long song cycle. There are many compelling settings ofThirteen Ways, so instead of trying to contribute yet another, I decided to compose a song cycle using winter-themed poems by a variety of poets. David Neal, the bass-baritone who sang my initial song, Icicles Filled the Long Window, liked the idea so much that he asked me for a complete cycle. I spent months collecting and reading as many poems about winter as I could find. Winter-themed poems seem to fall into two categories: those that are playful and fun, and those that are quite serious. I chose to set six serious poems, including another one by Wallace Stevens, and one each by Robert Creeley, Richard Wilbur, A.R. Ammons and Billy Collins.

Winter Songs was commissioned by David Neal and The Arts at Grace through the New York State Music Fund and was premiered by David Neal and the Society for New Music in April 2008.

ARTISTS:
Robert Paterson, Conductor
'David Neal, bass-baritone
Sato Moughalian, flute
Benjamin Fingland, clarinet
Matthew Ward, percussion
Blair McMillen, piano
Robin Zeh, violin
Robert Burkhart, cello

Winter Songs

Winter Songs - V. Old Story (Text by Robert Creeley)

I have written for a variety of ensembles that include instruments as diverse as the marimba, the oboe, and the Theremin. I am conversant with harmony from the common practice period as well as with more modern developments.

Education

Educated as an electrical engineer, I received my BSEE in 1985 and have worked almost entirely for professional and consumer audio electronics manufacturers in the Boston area for thirty years, enabling me to combine my skill in circuit design with my love of music.

While I am a largely self-taught musician, I have taken composition lessons with Thomas Benjamin during my studies at Peabody Conservatory and am currently studying with composer Douglas Helvering. 

Film

My composition Road Side Reverie is featured as the soundtrack of a short film, Road Trip Through America, that is archived in the Moving Image Research Collection at the University of South Carolina. 

Performances

In September of 2014, at the Essex Street Pedestrian Mall in Salem, Massachusetts, at an event sponsored by the Theatre of Words & Music, my Sonatinas for Flute and Piano Nos. 6, 7, and 9 were performed by flautist Sandra McCahill and pianist Leonard Scoggin. 

Recordings

In January, 2015, at Wellspring Sound in Acton, Massachusetts, Sandra McCahill and Leonard Scoggin recorded my Sonatinas for Flute and Piano Nos. 6, 7, and 9.

Piano Sonata No. 1

Stephen L. Martin