C-Alicante Harbour

Looks Like Love To Me

Commissioned and performed by the Westminster Schola Cantorum and Conductor Heather Buchanan, O God, Why Have You Forsaken Us? is an adaptation by the composer of Psalm 22 to represent the cries of all people who are the victims of genocide. Schola Cantorum consisted of just the sophomores of Westminster Choir College whose average age was 19. This is a recording of the premiere, which took place in Bristol Chapel in Princeton, NJ. I am always proud of my students, but never more than these, whose hard work contributed to this moving performance.

O God, why have You forsaken us?
Why are You so far from helping us and from the words of our roaring?
O God, we cry in the day and in the night, but You do not hear us.

People before us trusted in You.
They trusted and You did deliver them.
They cried to You and were delivered.
They trusted in You and were not confounded.
But we are worms, not people, disgraces despised by the people.
All who see us laugh us to scorn.
They shoot out their lips and shake their heads saying,
They trusted that the Lord would deliver them.
Let Him deliver them!

O God, why have You forsaken us?
Why are You so far from helping us and from the words of our roaring?
O God, we cry in the day and in the night, but You do not hear us.

Mighty bulls surround us,
Gaping upon us with their mouths
Like ravening roaring lions.
We are poured out like water
And all our bones are out of joint.
Our hearts are like wax, 
Melted in the midst of our bowels.
Our strength is dried up like potsherds
And our tongues cleave to our jaws.
You delivered us,
You have delivered us
Into the dust of death!

O God, why did You forsake us?
Why were You so far from helping us and from the words of our roaring?
O God, we cried in the day and in the night, but You did not hear us.
Could You not hear us?


O God, Why Have You Forsaken Us?

Composed 2004 by Peter Machajdík
Official Web Site www.machajdik.com
Score available via https://www.machajdik.com/nellautunno.html

Floraleda Sacchi - harp

From Peter Machajdik's CD 'NAMAH' with Floraleda Sacchi, Jon Anderson, Guido Arbonelli, David Moss, Jozef Lupták, Mayuko Kida Takine, the Jan Pöschl Youth Orchestra, and others.

The 16-track album NAMAH is available to purchase as a physical CD via www.machajdik.com/discography.html

_________________________

Born 1961 in former Czechoslovakia, Peter Machajdík is a composer of a wide range of chamber, orchestral and electronic music. He often takes simple materials and a simple mode of expression, and creates a vibrant and challenging sonic palette. His music, commonly characterised as emotive, hypnotic, imaginary and cinematic, has been performed to international audiences on five continents for over thirty years.

All music is copyright by Peter Machajdík and may not be used for commercial purposes without author's consent.

Unauthorised copying, public performance, broadcasting, hiring or rental of this recording prohibited.

Machajdik NELL'AUTUNNO DEL SUO ABBRACCIO INSONNE for harp [2003]

To live under coercion and discrimination, when a life bound like a servant bowed to the statue of compulsion; the soul, worn down by relentless erosion, gave shape to despair. Thus the creak of the spine turned from a trampled whisper into a rushing roar; and a nascent courage emerged to rebel against the “caste”. This is the image of a three-hundred-thousand-year-old ape, tortured by awareness, still naively seeking healing in repetition.

Autumn 2017
Cover Art by Sadjad Rabaney

زیستن در جبر و تبعیض، زمانی که عمرِ برده‌وار به تندیس اجبار کرنش می‌کرد؛ جان در فرسایشی مدام، استیصال را معنا می‌بخشید. چنین شد که جیرجیرِ فقرات، از نجوایی لگدکوب‌شده به غریوی شتابان بدل شد؛ و جسارتی جوانه زد برای تمرد از "کاست". این است تمثال بوزینه‌ای سیصد هزار ساله، که با هشیاری شکنجه شده، و ساده‌لوحانه التیام را در تکرار می‌جوید

پاییز 1396
طراح کاور: سجاد ربانی

Stuhl

Elliot Greyson brings heartfelt storytelling to life through warm acoustic guitar, piano, and a soulful male vocal. Blending indie, folk, and modern pop, his sound feels both intimate and uplifting — songs made for quiet nights, road trips, and moments of reflection with the people who matter most.

"One Day at a Time" is Elliot Greyson’s debut single — a reflective indie-acoustic song about feeling lost but refusing to give in, finding strength in family, friends, and the peace of casting a line by the water. A modern, emotional track with a timeless acoustic soul, it’s about healing, hope, and living in the moment.

👉 Promo: https://distrokid.com/hyperfollow/elliotgreyson/one-day-at-a-time

Lyrics:

It’s been a long road, I’m still finding home
But I’m learning each day, I’m not alone

Some days I wake up, still heavy inside
Looking for answers I can’t seem to find
But the sun on the water, it steadies my mind
I’m learning to breathe, one moment at a time

I’m not who I was, but I’m not who I’ll be
Each step I’m taking is setting me free

I was lost, but I’m not giving in
I get stronger each day as I let the light in
With my family beside me, my friends by my side
I find peace in my soul when I cast out the line

There’s comfort in laughter, in nights on the porch
Stories and silence, the flame and the torch
The weight of the world feels lighter again
When I’m standing in circles of love that won’t end

And when the storm tries to pull me away
I’ll hold on tighter, I’ll learn to stay

I was lost, but I’m not giving in
I get stronger each day as I let the light in
With my family beside me, my friends by my side
I find peace in my soul when I cast out the line

I was lost, but I’m not giving in
I get stronger each day as I let the light in

One day at a time, I’m finding my way
With the ones that I love… I’ll be okay


One Day at a Time

Stockhausen: Hymnen
New Year New Music Jan 1 2016

A very rare complete performance of one of the great works of the late twentieth century avant-garde: Karlheinz Stockhausen's iconic electroacoustic masterpiece Hymnen.

Taking as the starting point a December live performance by the London Sinfonietta of Hymnen's 3rd Region (originally composed to a commission by Leonard Bernstein and the New York Philharmonic), Radio 3 has also acquired copies of the original four-channel tapes of the remaining Regions 1,2 and 4 of Hymnen from The Stockhausen Foundation for Music in Germany. This will be the first time that the whole piece has been broadcast in 4.0 surround sound - a world premiere and seismic broadcasting event in the history of modern music.

The German title "Hymnen" means "(national) anthems", and the work has a utopian theme, blending and transforming recordings of national anthems from around the world with many other sounds and atmospheres to create a powerfully immersive experience.

Presented by Robert Worby.

BBC Radio 3 - New Year New Music - Stockhausen - Hymnen

Two Marimbas   (2018)   6:40
for two marimbas
First Performance: November 9, Cincinnati, USA, Percussive Arts Society International Convention, Room 120; Nick Terry and Justin DeHardt, marimbas.

Two Marimbas

巻一 17・18番 額田王より。近江大津宮遷都まえに三輪山を偲んだ歌。

MIWA 20250831

Recording from Ung Nordisk Musik 2025 in Helsinki. Performed by the fantastic Tapiola Sinfonietta, conductor Kasmir Uusitupa and guitarist Teuvo Taimioja.

Pisces – Mime is a guitar concerto in 4 movements: 
1. Opposite forces
2. The Age of Pisces
3. Mime
4. Coda

We are about two thousand years deep into the Age of Pisces now. My fascination with astrology – which also led to this piece being named accordingly –  lies in how it can push people to find meanings and causalities in their day-to-day. In a way, it's a way of understanding the world, similarly to religion, art or different cultural traditions. The Age of Pisces is said to be characterised by opposing forces: light and dark, life and death, forwards and backwards. For me, this piece – composed and performed during the Age of Pisces – is also about my past and present. While composing it, I kept reminding myself of that same childlike, naive excitement of making a sound and making it again and again… a habit that gave me a bit of a loud reputation as a kid.

We spent a week working together on the solo guitar part in my childhood home in the summer of 2023. During that week, my family suffered a big loss as it was time for the eldest of our family's cats to go. Thus, the Coda of this piece is dedicated to the memory of our Mausu-cat.

Pisces – Mime is a commission by Teuvo Taimioja, originally written for an ensemble of 9 musicians and solo guitar, premiered by the Helsinki Chamber Orchestra and conductor Elisar Riddelin in 2023. For the performance in 2025, the string parts were reorchestrated for string section and the piece saw some other changes too, mainly the separation of the 3rd and 4th movements, with the solo guitar cadenza by Teuvo in the middle.

Recording & sound tech: Julius Johansson, Armi Lampela & Saku Liimatainen

Pisces – Mime

I’m John AI Smith — producer, songwriter, and sonic architect. My music explores what it means to feel in a digital age, where every track is a meeting point between intuition and algorithm.

🎧 The Algorithm of Emotion — that’s my compass, and the heart of everything I make.

Explore my universe through fifteen unique artist identities:

Nordskygge – melancholic Norwegian folk
Vargkald – Viking spirit & Nordic ambient
Isak Evermore – cinematic melancholy
Calisnor – dreamy ambient & piano
Chill Fader – chill & deep house
OrchraX – cinematic soundscapes
Bassvoid – bass-driven abstraction
Obscyron – 80s nostalgia & synthwave
Strengevind – Norwegian folk-rock
ASHCOIL - Industrial, metal, hard rock
Sundown Groove - 70s folk, country, singer-songwriter
Smooth Lounge Project - Smooth Jazz, Lounge
Jarlon - R&B, Soul
Echoic Mind - Experimental
Tiny Star Lullabies - Classic piano lullabies
Elliot Greyson - Contemporary pop, folk, singer-songwriter
And here: John AI Smith – the origin, the core, the experiment.

This page is my playground — where ideas are born, where tracks evolve, and where I can share music with you first. Thanks for listening, commenting, and being part of this journey.

Joel Phillips taught at Westminster Choir College for 39 years. He is co-author of several textbooks in W. W. Norton’s Musician’s Guide series, including The Musician's Guide to Fundamentals, now the mostly widely used musical text in its market. His crowning achievement was winning the 2015 Grand Prize Winner of the Bulwer-Lytton Fiction Contest [https://www.bulwer-lytton.com/2015], an international competition that selects from among thousands of entries the proposed opening sentence to the worst of all possible novels.

As a composer, I work with memories, affects, and the human experience. My works are inhabited by both unexpected, childlike playfulness and deliberately calculated microtones of emotion. My interest lies in iterative composing, in which I filter and transform verbal and musical material through digital, physical, and memory-based processes, such as collage or photography. The idea of artworks as empathetic, supportive spaces for listeners to enter has grown central to my practice.

🐳Thank you for your support. It's very encouraging.🪼
🐱I do not use AI in my music.😊
🌺Have fun! Bandcamp!💞Thank you for your purchase!💞

New tracks tagged #Contemporary