A delicate Renaissance reverie that awakens into a bright modern celebration.
"Winterdance" opens with intimate, Dowland-esque grace—a piano channeling the rhythmic elegance of harpsichord and lute, echoing stately Spanish court dances of centuries past. Then, as if the palace doors swing open to reveal a festive town square, drums and brass ensemble enter with buoyant fanfare, lifting the ancient melody into something vibrant and unmistakably now.
This instrumental piece bridges eras without losing its lightness. The baroque foundation remains—ornate, measured, dignified—while the modern arrangement adds celebration, not weight. It dances rather than marches. It glimmers rather than roars.
An original composition brought to life through AI orchestration, "Winterdance" is Christmas as an elegant procession: one foot in candlelit history, the other stepping joyfully into the present.
The past invites you to dance. The brass says yes.

Winterdance

We met first in school; how fast the life
How blind we set our jewel to roiling
Never coming freely old
Sunk to our long day

ミッシーガール - Llull, Ramon

And all the while them dolls was wind-up
Figure of her face is chasing your tail
You take it pure and rotten
When you got your puppet’s up

Think about it
And leave me alone with your back
He smiles
Hear another one
Here it’s a flat sea
It’s almost your equal
Through it you’re robbing your kingdom
Why the old refrain?
Nothing for free
We got taken below

Wrap me in mail
You dump airtime again
Yeah, your thief mail queen will be flyin’ again
Hop to it

Jesus and my Misato’s mambo takin’ over
Bend down sexy
We’ll cry, get online, and pool our tears
Tokyo City-2

So set my mind on Ranma Shimbun?
I’m new, sir
Am I?
How about you?

ミッシーガール - Mail Thief

Come if you love me, Cal
Gimme some weepy eye
Baby you’re like a pall
When you’re out, sleepin’ lies

Make me pure, read me X and Y
Honey free, Mama gonna let you fly
I’ve been losin’ my time in bed
Even in the night
Even in the light
I’ve been losin’ my mind
Oh yeah

ミッシーガール - Bare

	
Oh I’ll place urgency beside my bed
Where I’ve had you
My frown’s turnin’ easy
Like the eyes of half Jack Row

The vial dividing all impinging wants
And fast I’m in, lucid
Eyeing the ears of half Jack Row

Oh I’m facing the failure
That’s put tears in my head
While fire still feeds the crack
Up your bell
Thy grave now
Hides thy funeral gown
Between narca vea, este llona

The finest on shelf, wasted by
Now, taffeta purse
I’d clutch you crying
I’d feel you gone
Garage floor broomed aside
I’m far too tough
To nurse the moonlight

Here comes a swan
Between two trees
Till tears of laughter
Stain my knees

And reel I would; and gaze above
For thunder's flash upon me, Love
For thunder’s flesh
Upon me low
I'd moan and roll and creep below
Till menace mentioned me in sour gripe
And whittled Wendy upon his knife

ミッシーガール - Half Jack Row

You walk me on through the border
I need you to say
I need you to call
I’m lonely tonight

Like a mime treading a liminal patch
Of grimy hair; as it screws, it cuts
In men she’d mend her agony today

Broke your leg by your shoe
Two were set to the night
To look on pantomimes
No Law
For Mother
You’re just to be quoted
For Mother
I’d have in arm; do flips
Oh Brother, do you see?
“Oh don’t ask me.”
I love her
I’ll dump
A river of beers

ミッシーガール - Mutter

In your eyes I’ve been a foggy pain
Because I plant my wish back there
Tu sune i mi; comme e ma muey la nani demecher
In the cool black sun, you’re passionate grey
You knew they’ll log your mind
In the leafless yield, voyeur needs a coat
The styles that bade you mine

Shoes cussin’ at me
Eye fat cussin’ everything
What’s a trauma to you?
Thistle gankin’ all down my crack
She’s closer to a bussy view
Soulsy Sal under you

Muddy on my putties
Your estrus I will sing
Muddy on a prom night often seen
You see me seemin’ in lucky jeans
The heat’s around gussy V
The heat’s all on you

Atrocity of the naughty moon
Cancel out, then it’s evil, any sun
It’s all of/by a girl

ミッシーガール - Soulsy Sal

Pack your lovin’ slacks
It’s cool God sent two bags
Fault though they bear no black
Evicting the bird, no sass

I choose to dance between stars
I choose to go where some heat is

Misato back from hell
Locked up or she would blow
Couple turns to blood
Soon Daddy’s friend came down
Thinkin’ she won my heart
Good boy, noble dark

I choose to gather dream stars
I choose to dull it even
There’s something
We don’t choose to dance

In the strand lay the Abbot
I can’t go, sadly
Our gap floweth here:
Sew our being for rhythms

I’ll fear and I’ll marry
I’ll soon win some lovin’
Fear of slaying a rabbit
With shirt turned to mammon
Anew they are touchin’
Spy you their star?

Your child’s twice bound up fish for shine
Drink you now your fare
While sunning fair
I summon their faces
Cold king in bed, what say you?

Ooh wrecking ball
Whisper sere
Canceled bare, her nerve fades here
I’ll see you lit
In the fire pit
You’re such a wit
I’ll come for a stint
Make a mint
Payout and call
Do you accept it?
You’re my deep blue seer

ミッシーガール - Folk

Yer divided
Too weak to tell
I asked who we do
Oh
I asked who we do
For a square?

I’m the ugly type too
Hot shit all up and down
You’re so lavender meaty
Well, well, guy
You’re flyin’, I’m cryin’

Words are chattel
Time tattled
Just like I sing at the moon, right?
We’re not here to have a battle
In fact, I’ve got nothing

One kiss to free you
Now dig down in
My bitter butterfly
And cream
New come on my muff

ミッシーガール - Whale

My recording of a Bransle simple, a beautiful late Renaissance dance composed by Michael Praetorius.
I played it as a trio with 2 soprano recorders and a tenor recorder. 

Bransle simple - Michael Praetorius

Independent digital record label. New dreampop from Missy Girl, The End Times, and Death-Chan, in addition to other Context Eidolon releases.

- Part Pianist, part composer, part poet, part IT technologies technician/programmer, 100% musician. -

Otoniel Rojas is a Dominican pianist and composer celebrated for his unique fusion of classical music with the rich rhythms of his homeland. Born in Santo Domingo, Dominican Republic, he was immersed in a vibrant musical environment from an early age. His father, an accomplished musician, served as the principal flutist and later as the piccolo player in the National Symphony Orchestra of the Dominican Republic, instilling in him a profound appreciation for music.

At just seven years old, Rojas began his formal music education at the National Conservatory of Music, initially focusing on the violin. Simultaneously, he nurtured a passion for the piano, teaching himself to play and developing exceptional sight-reading abilities. His prodigious talent quickly became evident as he accompanied his father in numerous public performances, church services, and television appearances across his native country.

Determined to refine his pianistic skills, Rojas pursued formal piano instruction, excelling in performance, counterpoint, music theory, and solfège at the conservatory. Despite his musical successes, he briefly explored an engineering career at the Universidad Autónoma de Santo Domingo (UASD). However, his unwavering dedication to music led him to resume his artistic journey.

Seeking broader horizons, Otoniel relocated to the United States to study at Brooklyn College of the City University of New York—a hub for international students and a springboard to esteemed institutions like Juilliard. Under the mentorship of acclaimed pianist Agustin Anievas, a celebrated American classical pianist known for his recordings of Chopin and Rachmaninoff. Under Anievas' tutelage, Rojas flourished, graduating with a Bachelor's degree in Piano Performance, earning the distinction of Cum Laude. His exceptional musicianship was recognized when he won the conservatory's piano competition, performing Beethoven's Piano Concerto No. 3 with the college orchestra.

Deeply involved in the college's musical community, Rojas participated in chamber music ensembles, served as a piano accompanist, and sang in both the specialized chamber choir and the conservatory choir. He expanded his compositional skills under the guidance of Robert Starer, an Austrian-born American composer known for his contributions to contemporary classical music. His collaboration with the university's ballet program led to his composition "A Passing of Time" being incorporated into the ballet's repertoire, which was performed internationally by the university ballet in Prague.

To further diversify his expertise, Rojas studied conducting with Karoly Kope, chamber music with Stoddard Lincoln and Marion Feldman—a distinguished cellist and professor at New York University—and delved into music history under H. Wiley Hitchcock, a leading authority on American music.

Upon returning to the Dominican Republic, Rojas continued to compose and perform. He was commissioned by the Sinfónica del Cibao to create "Mozartina," an orchestral piece that masterfully intertwines traditional merengue rhythms with themes from Mozart's "Jupiter" Symphony. The work features the tambora, a traditional Dominican percussion instrument, symbolizing a fusion of his classical training and cultural roots. "Mozartina" premiered with the Sinfónica del Cibao and was later performed in a revised version by the National Symphony Orchestra in Santo Domingo under the baton of Caonex Peguero, a prominent Dominican violinist/conductor/composer.

Today, Rojas continues to share his music with audiences worldwide. Through platforms like SoundCloud and published sheet music, he brings a unique blend of classical and Dominican musical traditions to listeners and performers alike. His journey reflects a lifelong dedication to music and a commitment to bridging cultures through his art.

Amateur recorder player, I decided to record and put online my favorite pieces for the challenge and fun.

New tracks tagged #Renaissance