Stella Maris, Stella Caeli, Sterna Paradisaea 08. Names of the Pickie Terno II

Stella Maris, Stella Caeli, Sterna Paradisaea 03. They Travel from Seas of Ice

Stella Maris, Stella Caeli, Sterna Paradisaea 06. The Sky Harps in Our Feathers

Stella Maris, Stella Caeli, Sterna Paradisaea 02. The Waves of the South Sing

Performers: 
Rachel Schutz, soprano; Omar Najmi, tenor
Ithaca College Treble Chorale  (names?)
Sean Linfors, conductor
Tegan Faran, violin; Ho-Yin Kwok, violin; Kyle Armbrust, viola; Greg Hesselink, cello; Tristen Jarvis, double bass
Dancers:  Helen Hartney, Mari Kodama, Lila Mohler


Program Notes:
Stella Maris, Stella Caeli, Sterna Paradisaea (2025) World Premiere
is a 30-minute semi-staged cantata for soprano and tenor soli, treble chorus and string quintet. This production is directed by Ben Robinson and incorporates choreography by Amy O'Brien and projections of photography by Orkney-based artist Nicki Gywnn- Jones. 
The text by Orkney poet Yvonne Gray celebrates the Arctic tern, an adept but now threatened survivor in a changing world. The year of the tern is presented as two seasons summer in the south; summer in the north -  as the birds span the earth, flying over 60,000 miles from their feeding grounds in the Antarctic Ocean to their breeding grounds on land in the sub-Arctic and back. 
 
The form of the eleven-movement work is symmetrical, featuring accompanied Latin chants at the beginning and end, with alternating choruses and arias which incorporate, at times, phonetic representations of bird calls.  In the central movement, a solo tern sings “the sky harps in our feathers - a morning song!”  In "Come, Come! Remembered Songs!" the bird chorus sings of the growing light in the north and the urge to return for the breeding season.  In “Totus pulcher Es” (You are entirely beautiful) and in “They travel from seas of ice”, soprano and tenor soloists (birders) reflect on what they know of the birds, awe and concern mingled. 
 
The harmonic language of the music is largely tonal, incorporating modes and other scales, and the music makes full use of text painting opportunities, “crissing” and “crossing” and “soaring”.   

 
The year’s cycle ends with silence – the "dread" – that falls when the flock is poised to take off on its return journey south after the chicks have fledged. That pause might invite questions. What lies ahead – for bird and for human – and how well will we adapt? The final chant and chorus express hope and a plea to look at and listen closely to the world around us. 
- SM & YG

Stella Maris, Stella Caeli, Sterna Paradisaea 01. Totus Pulcher Es

Stella Maris, Stella Caeli, Sterna Paradisaea 09.  Criss-Cross

Stella Maris, Stella Caeli, Sterna Paradisaea 04. Names of the Pickie Terno I

This is a recording of the world premiere performance of the sixth movement (Chant for Bass) of Aaron Alter's "Cantata of Praise" for chorus and chamber orchestra on March 23, 2025 by The New Mexico Bach Society Chorale and Orchestra at the Hope in the Desert Episcopal Church, Albuquerque, New Mexico.

Cantata of Praise is a setting of the poetic interpretation of Psalms 118 and 150 by the Elizabethan poet Mary Sidney Herbert, from her book "The Sidney Psalter" from around the year 1599, with some added text from Psalm 118 in the original Hebrew and from The King James Bible.

The music in Cantata of Praise displays a wide range of influences. As the title suggests, the sixth movement is influenced by Gregorian Chant and Jewish Chant.

Cantata of Praise was commissioned by the New Mexico Performing Arts Society.

The performers were:
New Mexico Bach Society Chorale and Orchestra
Franz Vote, Artistic Director and Conductor

Javier Ortiz, bass soloist

New Mexico Bach Society Orchestra
Linda Marianiello, flute
Joshua Petersen, clarinet
Lisa Grodin, concertmaster
Carla Kountoupes, violin 2
Lisa Di Carlo, viola
Joel Becktell, cello
Bob Barney, double bass
Joshua Pielemeier, piano

Text: 6th Movement (Chant for Bass:)
(from Psalm 118)
For be assured I shall not die;
But live God's works to testify:
Who though he sore did scourging pain me
He hath but scourged, he hath not slain me.
Who opens to me Justice gate?
I ent'ring may God's praise relate.
This gate unto Ha-Shem showeth
By this to him the righteous goeth.

Text is from The Sidney Psalter, The Psalms of Sir Philip and Mary Sidney
Published by the Oxford University Press (2009)
Copyright Hannibal Hamlin, Michael G. Brennan, Margaret P. Hannay and
Noel J. Kinnamon, 2009
Reproduced with permission of the Licensor through PLSclear.

Cantata of Praise - 6th movement (Chant) for Bass soloist and Chamber Orchestra

This is a recording of the world premiere performance of the seventh movement (Finale) of Aaron Alter's "Cantata of Praise" for chorus and chamber orchestra on March 23, 2025 at the Hope in the Desert Episcopal Church, Albuquerque, New Mexico.

Cantata of Praise is a setting of the poetic interpretation of Psalms 118 and 150 by the Elizabethan poet Mary Sidney Herbert, from her book "The Sidney Psalter" from around the year 1599, with some added text from Psalm 118 in the original Hebrew and from The King James Bible.

The structure of Cantata of Praise is similar to many of Bach's sacred cantatas with large choral movements at the beginning and at the end, and shorter middle movements that feature soloists. The seventh movement (Finale) is for the full chorus and instrumental ensemble.

The music in Cantata of Praise displays a wide range of influences. The seventh movement shows influences of Renaissance sacred music, Bach’s sacred cantatas, "Classic" Rock and Pop/Rock.

Cantata of Praise was commissioned by the New Mexico Performing Arts Society.

The performers were:
New Mexico Bach Society Chorale and Orchestra
Franz Vote, Artistic Director and Conductor

Hannah Stevens and Camille Tierney, sopranos
Patricia Henning, Kehar Koslowsky and Melissa Riedel, altos
Gregory Gallagher and André García-Nuthmann, tenors
Javier Ortiz and Andrew Paulson, basses

New Mexico Bach Society Orchestra
Linda Marianiello, flute
Elaine Heltman, oboe
Joshua Petersen, clarinet
Lisa Grodin, concertmaster
Carla Kountoupes, violin 2
Lisa Di Carlo, viola
Joel Becktell, cello
Bob Barney, double bass
Joshua Pielemeier, piano

Text: Selections from Psalms 118 and 150 by Mary Sidney Herbert from
The Sidney Psalter (1599), with some Hebrew text from the original Biblical Psalm
and quotes from the King James Bible.

7th Movement (Finale for Chorus and Chamber Orchestra:)
(from Psalm 118)
Here, here, O Lord, I will thee praise,
Who didst my life to safety raise:
The stone the builders erst refusèd,
In corner now is laid and usèd.
This workmanship in deed divine
Doth in our eyes with wonder shine.
God made this day, he did us send it,
In joy and mirth then let us spend it.
Oh, help us, Lord, oh, help we say,
Oh, prosper, prosper us we pray.
Blest in thy name who coming rideth,
Blest in thy house who dwelling bideth:
Thy house, Lord, mighty God, whence we
Both have our light and sight to see:
O God, my mighty God thou art,
And I to thee will praise impart:
O God, thou art my God, and ever
I will extol thee, ceasing never.

(from Psalm 150)
Let ringing timbrels so his honour sound,
Let sounding cymbals so his glory ring,
That in their tunes such melody be found,
As fits the pomp of most triumphant king.
Conclude: by all that air or life enfold,
Let high Ha-Shem highly be extolled.

Text is from The Sidney Psalter, The Psalms of Sir Philip and Mary Sidney
Published by the Oxford University Press (2009)
Copyright Hannibal Hamlin, Michael G. Brennan, Margaret P. Hannay and
Noel J. Kinnamon, 2009
Reproduced with permission of the Licensor through PLSclear.

Cantata of Praise - 7th movement (Finale) for Chorus and Chamber Orchestra

A$AP Rocky - Praise The Lord (Da Shine) [feat. Skepta]
                                        x
BWV 137 "Lobe den Herren, den mächtigen König der Ehren"
Albercht Mayer, Trinity Baroques & The English Concert -

Praise The Lord (Da Shine) [BWV 137 feat. Skepta]

LYRICS:
It was a crisp autumn in 1984...
The bustling mall, an oasis of fashion and trends. And in the midst of that neon glow of record shops and vintage boutiques, I saw him – not the heartthrob of now, but a teenage Timothee Chalamet, an apparition from a future unknown.

There he was... browsing through vinyl records in that tiny music shop known for eclectic collections. His slender fingers delicately flipping through the albums, his eyes alive with the curiosity of a young James Dean.

I approached him cautiously, not to disturb his world of melodies. And as he wistfully moved toward the New Wave section, I followed suit, compelled by the inexplicable desire to share a fleeting moment with this unknown icon.

"Excuse me," I said, my voice crackling with surprise and admiration. 
"You seem to have a wonderful eye for music."

Timothee slowly turned, his earnest gaze meeting mine. There was a spark of unexplainable recognition, a flicker of something unspoken in that brief exchange lost to space and song.

"Thank you," he replied with a warm and gentle smile, his eyes crinkling at the corners. "I'm always on the lookout for something new." I paused, then said, "I'm something new. I'm where the past and future are blending into one." He laughed.

We exchanged a few words about our favorite bands, lost in a conversation that danced between now and then... His enthusiasm contagious, his passion for the arts, palpable... Even back when it was 1984.

Finally, we parted ways, and he disappeared into a sea of vintage clothing, with his lean silhouette melding into the tapestry of '80s fashion... And I couldn't help but wonder about the path that lay ahead for this unassuming boy, who was not yet born, and somehow existed way back in 1984.

-----------------------------



CHALAMET {1984 Record Shop}

Antonio Carlos Gomes - Era un tramonto d'oro - It was a golden sunset, from Colombo (1892)
Conductor - Abel Rocha
Orquestra Sinfônica de Santo Andre
Live recording - Teatro Sérgio Cardoso, São Paulo, SP, Brazil - March 27 2022
Illustration - Frederic Edwin Church 

Antonio Carlos Gomes - Era un tramonto d'oro, from Colombo - São Paulo - 2022

pastel pure(sœur rêve style)

Awake - V302

Enjoy my interpretation of this majestic Organ Choral (own Transcription) by J. S. Bach in another recording! ❤️🎵

For donations: www.paypal.com/paypalme/carlocozzula

Bach J. S. - Choral "Wachet auf, ruft uns die Stimme" Bwv645 (organ) alternative recording

Der Friede sei mit dir, BWV 158 - J.S. Bach
The Bach Project, directed by Andrew Sheranian
Dashon Burton, bass-baritone
The Parish of All Saints, Dorchester, MA
Recorded by Matt Ettore, Willow Pond Productions
September 22, 2019

I. Recit - Der Friede sei mit dir
II. Aria with chorale - Welt, ade, ich bin dein müde
III. Recit - Nun Herr, regiere meinen Sinn
IV. Chorale - Hier ist das rechte Osterlamm

Dashon Burton, bass-baritone
Asako Takeuchi, violin
Fiona Last, oboe
Colleen McGary-Smith, cello
Andrew Arceci, violin
Olav Chris Henriksen, theorbo
Andrew Sheranian, organ and direction
with the Trebles of the All Saints' Choir of Men and Boys
Carrie Cheron, mezzo-soprano
Corey Dalton Hart, tenor

Der Friede sei mit dir, BWV 158 - J.S. Bach

Ich habe genug - BWV 82 - J.S. Bach
The Bach Project, directed by Andrew Sheranian
Dashon Burton, bass-baritone
The Parish of All Saints, Dorchester, MA
Recorded by Matt Ettore, Willow Pond Productions
September 22, 2019

I. Aria - Ich habe genug
II. Recit - Ich habe genug
III. Aria - Schlummert ein, ihr matten Augen
IV. Recit - Mein Gott! Wenn kommt das schöne: Nun!
V. Aria - Ich freue mich auf meinen Tod

Dashon Burton, bass-baritone
Julia McKenzie and Asako Takeuchi, violin
Anna Griffis, viola
Fiona Last, oboe
Colleen McGary-Smith, cello
Andrew Arceci, violin
Olav Chris Henriksen, theorbo
Andrew Sheranian, organ and direction

Ich habe genug - BWV 82 - J.S. Bach

My music is very popular with SoundCloud robots.

Aaron Alter is a composer from Carlsbad, California.  His new music, which he calls his "New Beginning" is an exploration of a new style and energy that defies categorization.    

A native of Chicago, Aaron Alter's musical background was a product of the rich musical life that he found growing up in the Windy City.  While a high-school student, Aaron studied Jazz Piano with Alan Swain and Classical Piano with Helen Engler at the Chicago Conservatory of Music. For two years, while in high school, Aaron played piano in a band led by the legendary Chicago-based saxophonist Fred Anderson (Aaron's work for violin and piano, “For Fred” was written in memory of Fred Anderson.) Aaron received his Bachelor of Music degree from Northwestern University, where he studied piano with Frances Larimer and Gui Mombaerts, and composition with Lynden DeYoung and David Noon. He received his Master of Fine Arts Degree from Princeton University, where he studied with Milton Babbitt and James K. Randall.  

After a long hiatus, Aaron re-emerged in 2012 with a new style and energy to his compositions, which he calls his “New Beginning.” Aaron's new music was first performed in 2015, with the performance of “Homage to Josquin” for two flutes, piano, electric bass and drum set by The New Mexico Performing Arts Society in Santa Fe, New Mexico. “Homage to Josquin” received an Honorable Mention in the 2016 American Prize competition for Chamber Music Composition.

Aaron Alter's music is published by Universal Edition and SilverWinds Publishing.

Works such as "Solar Rays" and "Vanilla, Chocolate and Strawberry" defy genres and exist in Classical ensemble and Jazz Big Band versions. Both the classical piano trio (piano, violin and ‘cello) and Jazz Big Band versions of “Solar Rays” have received Silver medals at the Global Music Awards. Solar Rays for piano, violin and 'cello is published by Universal Edition. Aaron’s Introspective Blues #1 for Flute and Harp has become his most popular work, with over 53,000 plays on Jango Internet Radio and over 27,000 plays on SoundCloud.  Aaron’s music has been featured on the albums “One Minute”, “Two Minutes”, “Gimel” and “Daleth”, by the flutist Iwona Glinka on the Sarton and Phasma Music labels, all of which have won Silver Medals at the Global Music Awards.  In 2019, two albums containing Aaron's music were released by Iwona Glinka on the Phasma Music label, "Four Minutes" and "Zayin." The world premiere recording of Aaron's Piano Sonata (inspired by Beethoven), was released by the pianist and Steinway Artist, Susan Merdinger on her album, "American Melting Pot" in 2020 (the 250th anniversary year of Beethoven's birth.) "American Melting Pot" received a Gold Medal at the 2020 Global Music Awards.  Aaron Alter's Piano Sonata (inspired by Beethoven) is published by Universal Edition. In 2021, Phasma Music released five new albums containing Aaron's music, "New Music for String Quartet", "Lamedh",  "Kaph", "Teth" and "Lament for Theodore Antoniou." Also in 2021, Composers Concordance released an album called "The Process Sessions #1 with Aaron's "Lament, Prayer and Renewal" for tenor saxophone and electric guitar, which was inspired by the COVID pandemic.

In 2023, Phasma Music released a recording of Aaron's Vival-departures for String Orchestra (inspired by the music of Antonio Vivaldi) on an album entitled "LVIV 1" by the Lviv National Philharmonic Orchestra of Ukraine. “LVIV 1” won the “Best Classical Recording” award from the 2023 Clouzine International Music Awards. Vival-departures fuses the influences of Vivaldi's music with Blues and Rock music and is published by Universal Edition. In March, 2023, Aaron Alter's Earth Cantata (inspired by the Cantatas of Johann Sebastian Bach) for Chorus and Chamber Orchestra was premiered by The New Mexico Bach Society Chorale and Orchestra to wide acclaim. Earth Cantata was commissioned by The New Mexico Performing Arts Society and is published by Universal Edition. Earth Cantata was named as a National Finalist Honorable Mention in the 2024 American Prize, Major Choral Works Composition division and a Silver Medalist (for Outstanding Achievement in Composition) at the 2023 Global Music Awards.

On October 4, 2024, Composers Concordance Records released a new album called "Spontaneous" by the CompCord Quartet containing Aaron Alter's First Time Meeting for Clarinet, Violin, ‘Cello and Piano. First Time Meeting is published by Universal Edition.  On December 12, 2024, Phasma Music released a recording of Aaron’s Trio of Jade for Tuba, Cello and Piano as part of a new album, entitled Visions d'Athènes on all streaming platforms.The Steinway artist, Susan Merdinger, will give the premiere of a new solo piano work that Aaron wrote for her in a series of many concerts throughout the U.S. in 2026.

Aaron is a regular contributor of compositions to the repertoire of the flutist Iwona Glinka, the pianist and Steinway Artist, Susan Merdinger, the Cracow Duo, the ÉxQuartet, the pianist Vania Pimentel, The New Mexico Performing Arts Society and Composers Concordance in New York. 

Aaron also serves as an Executive Board Member of the Carlsbad Friends of the Arts and is the former Chair of the Carlsbad Arts Commission.

Carlo Cozzula was born  in Sassari in 1971.
In 1994 he obtained the Experimental Magistral Diploma with the highest grade; in 1996 - under the leading of Hedda Vignanelli Illy – he graduated, with the highest marks, in Organ at the Conservatory of his city and next year, he graduated in Harpsichord at the Conservatory "B. Marcello" of Venice. 
He has studied Choral Music and Choir Conducting and also studied piano at the concert levels since 1985.
He performed on all the instruments as a soloist in chamber ensemble also with vocal soloists, accompanying several polyphonic complexes, among which the "Cantori della Resurrezione" by A. Sanna, with whom, in 2000, he collaborated for a recording of music by G. B. Platti (Bongiovanni Records), and with whom he performed in a concert in July 2003 in the Basilica of the SS. Rosary of Lourdes (France).
He was the main organist at the Monumental Church of S. Maria di Betlem (Sassari) and at the Basilica of S. Gavino (Porto Torres). 
As an organist, in October 1997 he was invited for a tournée in Germany, performing in prestigious places, including Limburg, Wiesbaden, Lorch, Frankfurt, as soloist and chamber musician, in concert seasons including well-known soloists such as W. Stockmeier, R. Haas, M. Pirenne, U. Krupp, W. Rockel, J. Von Erdmann.
He was invited again for the October of 2003 to give a concert at the “Orgelsommer 2003” in St. Josef Church (Frankfurt), achieving great success, playing in a schedule with some of the most famous and acclaimed organists on the world scene, such as J. Parker-Smith, Th. Trotter, H. Vogel, P. Pincemaille, D. Zaretsky, P. Pietiläinen.
In 2007 he was called a part of the Jury of the 1st Art Competition "Il Filo di Arianna", at the Baja Hotel in Cannigione (Sardinia). 
He taught Music Theory and has been pianist accompanist of lyric singing classes at the Civic School of Nuoro, taught in State Schools.
Recently he has edited the Italian translation - in World Premiere - of the essay of 1846 written by the French F. Levacher D'Urclé: "Manual didactic problems in relation to the study of the anatomy of the hand" and also the thesis by M. Punt "The Straube Code-Deciphering the metronome marks in Max Reger's Organ Works".
As a composer, he is the author of music - original and not - dedicates to the international singer Teresa Salgueiro. He is also the author of a series of Concert Transcriptions for organ - even in World Premiere - from the piano and symphonic repertoire, and for pf. from the original organ repertoire, but also from accurate choices concerning the world of jazz, fusion, Brazilian music, French chansons and Soundtracks.
One of the piano transcriptions has already been recently included in a piano recital. These compositions are already available to the international artists such as: Philippe Raskin, Mariangela Vacatello, Irene Veneziano, Simone Pedroni, Igor Roma, Gloria Campaner, Antonio Pompa-Baldi, Alexei Volodin, Roberto Plano, Maurizio Baglini, Andrew Litton, Sandro Russo, Nicholas McCarthy, Ramin Bahrami, Thomas Ospital, Stephen Tharp, Thierry Mechler, Joseph Nolan, Danilo Rea, Enrico Pieranunzi, Carisa Marcelino and Clare Hammond.

Described as “contemporary, edgy, descriptive, and extremely soulful,” Sally Lamb McCune has become an important voice in American contemporary classical music. Her catalog ranges from chamber music to works for chorus, wind ensemble and orchestra.  McCune lives and works in Ithaca, New York, where she teaches at Ithaca College.

【だれがどんな音楽作ってる？】

AltomaLia：オリジナル曲
あけぐさ萌えスタジオ：アニソンREMIX、J-Core、NerdCore、Girls Only
C-take-Is：音MAD、Nerdtronic、ミーム、マッシュアップ、悪意とおふざけ

SINCERE IMPOSTER is an intimate collection of artists exploring a curious mixture of New Wave, Dance, EDM, Folk Rock, Metal, Art Pop, Electro, Dreamwave, and Experimental World Pop. Collectively, this is known as QUIRKPOP — music that pushes the creative limits of traditional pop.

Expect an unpredictable journey through sound, emotion, and humor, where genres collide and pop bends in strange new ways. Each song is conceived, composed, and performed with total sincerity, whether it’s built from voices, instruments, software, or hybrid experimentation. The focus is on the music itself: if it resonates, it resonates. No explanation required.

SINCERE IMPOSTER is curated by two musicians, both living within the same body, sharing a singular existence. They identify as Danielle & Dave. They are both psychologically and musically confused, yet extremely and unapologetically sincere.

Influences range from Weird Al and Nathan Fielder to David Lynch, Rosalia, Monatik, Atarashii Gakko!, Rammstein, T-Pain, and T-Swift. 

Danielle & Dave’s favorite inventions include the vacuum and the peach pitter. Their father is simply known as Vessel… who may be an entity or a god.


New tracks tagged #Cantata