SCRIPT

You (???) why 
I wasn’t that afraid the first time we met but after a while after noon (?) Those weird, love, exchanges, my thoughts went from attraction to worries and still I’m thinking out what’s the way, what’s the end of such worries Since we know what’s the end of such worries…  So I, call me back, call me back, I will try to be as strong as I can which means nothing, fucked up Saturday morning I shouldn’t have come, but I had to come, so I came, not for fame, afraid of fame, but I enjoyed watchin’ you fragile speaking half confident still I like to drink a little booze to spur my young confidence even getting to make lil’ dance steps towards you my friend, cheering me up from these way way way too sad times since last summer when I left on this Sunday morning so suddenly still waiting at the station telling you what to do join me join me leave your family for a while come to me and we’ll see what’s going on but it was probably too late already That’s already what I had felt that pushed me to pretend that I would go to the pool but I didn’t go I went to the lake with my backpack already packed head to the station We were different we knew that but still there was a quiet there was a soothing atmosphere when you looked at me when we made love which is not the case now which is not the case now This girl rough cat demonic spirit worries me reaching me I know I do good for what I can but I’m so tired I’m so tired that I can’t go on I come back home again. That is the last words. Gimme a break.

Marseille, February 11-2023

Love & Fame & Death ~ LOVE & FAME & DEATH

Keith Jarrett Recitative

A musical setting of Shakespeare's Sonnet 2 in recitative, performed by Alejo Alvarez Castillo.

Score:
https://drive.google.com/file/d/1KVG0K-ZeVU8EPvLrTQvlHYfJcS52oUxA/view?usp=share_link

Text by William Shakespeare:
"When forty winters shall besiege thy brow
And dig deep trenches in thy beauty’s field,
Thy youth’s proud livery, so gazed on now,
Will be a tattered weed, of small worth held.
Then being asked where all thy beauty lies—
Where all the treasure of thy lusty days—
To say within thine own deep-sunken eyes
Were an all-eating shame and thriftless praise.
How much more praise deserved thy beauty’s use 
If thou couldst answer 'This fair child of mine
Shall sum my count and make my old excuse', 
Proving his beauty by succession thine.
    This were to be new made when thou art old,
    And see thy blood warm when thou feel’st it cold."

Recitative for Sonnet 2

Не вини

天国の色

いつか

Лучше ужасный конец, чем ужас без конца.

2hlatina

This is a recording of the world premiere performance of the second movement (Recitative) 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. The second movement shows influences of Bach’s sacred cantatas and "Classic" Rock ballads.

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, soprano soloist

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

Text for 2nd Movement (Recitative for Soprano:)
(from Psalm 118)
Ha-Shem doth my party take;
Should fear of man then cause me quake?
Nay, with my friends sith God is placèd,
How can my foes but be disgracèd?

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 - 2nd movement (Recitative) for Soprano soloist and Chamber Orchestra

[Soprano nel registro grave, solo inizia come recitativo]
O Lord, why standest Thou afar?
 The wicked strut through gilded gates,
 They tax the sweat, they bind the jar,
  And turn our grain to golden plates.

 They decree injustice with the pen,
 They crush the child, forget the men.
 Widows weep, and orphans cry—
  "How long, O Lord? Must we still die?"

[Baritone solo]
    I came with sandals worn and thin,
    No parchment seal, no clan within.
    A whisper marked me as unclean—
    Yet am I not made by the King?

[Chorus of Israel]
    Remember Egypt’s bitter rod:
    You too were strangers, cries to God.
    You too were chained, your sons were sold,
    Until His arm made Pharaoh fold.

[Baritone]
    Babylon sits on scarlet seas,
    Decked in pearls, drunk on decrees.
    She sells the bodies, names them trade,
    And on her throne, the tax is laid.

[ Alto (as Babylon – seductive, mocking):

    I am no widow; I shall not mourn.
    I built this throne from blood and corn.
    Let kings and merchants drink my wine—
    The coin is yours, the soul is mine.

[chorus of Israel, idem]

[Soprano]
    Fallen, fallen is the harlot’s place!
    Smoke shall rise and blot her face.
    Come out, O people, from her sin,
    Lest ye partake of wrath within.

[Baritone, as God]
I  have seen. I will arise.
 I will break their sharpened lies.

    [Baritone]
Behold, He comes to judge the earth,
    With fire, and truth, and fearful worth.
    The books are opened, none escape,
    Each crown is weighed, each cloak and cape.

[Chorus of Angels]
    O nations, tremble! Princes fall!
    The Lamb shall level great and small.
    He shall not judge as men have done—
    The meek shall rise; the proud shall run.

[Treble (Soprano) as God, con voce chiara, quasi senza vibrato]
I have seen. I will arise.
I will break their sharpened lies.

[duet] 
No more tributes, no more chains—
    The city shines, washed of its stains.
    No need for sword, nor need for gate,
    The King has come. The hour is late.

    Sing to the Lord a song anew,
    For justice rolls like morning dew.
    The stranger, poor, the orphaned one—
    Now reign beneath the Risen Son.

Tribute and Justice

Aya, you’re out of the game, girl…
What did you think? I’d leave the stage for you?
Check this out, here’s the real slap.

Yeah, you play queen but you’re bland, even your name makes me yawn
All your tracks are déjà vu, even your flow ran away
I’m the spoiler in your story, the real slap in your life
You sold your soul for buzz, I give chills, you give boredom

Dja dja? It’s dead, your chorus puts me to sleep
Auto-tune maxed out, afraid of your real voice, no choice
Your lyrics are soup, sugar for TikTok
I bring the street, the real vibe, you’re fake good vibes

Your love stories on repeat, even kids are bored
Always the same recipe, too lazy to renew yourself
Catch you on a stream? I skip you, I prefer silence
You’re a Shein ad, fashion without substance


Move, Aya, you burned it all
Your throne’s broken, dreaming’s over
Your sweet little act? Not approved
Here it’s raw, you’re a copy, just a counterfeit
Game over, time to face it


You surfed the buzz, but never learned to swim
Your career’s Netflix, puts the real ones to sleep
Your features are fluff, you sniff trends, zero depth
Your team calls you “queen,” but everyone knows it’s fake

I kick for the fam, for the real ones struggling
You make faces, flip your hair, think you’re Beyoncé
But on the field, you flex only for the cam
Aya, you’re an Insta joke, style without fire

Your words are wind, I chew them like a snack
Your voice is plastic, your buzz is a pack
You’re the queen of fake streams, boss of weak punchlines
I hit straight to the plexus, you stammer, scroll


Move, Aya, you burned it all
Your throne’s broken, dreaming’s over
Your sweet little act? Not approved
Here it’s raw, you’re a copy, just a counterfeit
Game over, time to face it


Yeah, I aim at you without filter, I’m the truth
When you arrive it’s boredom, when I arrive it’s the city
You’re the discount aisle, I’m the rare fruit
You’ve got teen streams, but no soul, no story


Game over, ciao, star
The stage is for the real, gotta have guts, gotta have darkness
Sorry, Aya, you fell off the bus
No more room in the sun for fakes, it’s the fall

Ciao @AyaNakamuraa (Baroque Opera reload)

For ten days I'm in RELOAD mode, reworking all my creations from the past twenty days and transforming them into a different musical universe
The entire sound is in my hands. I write cyber poetry, produce, and compose every track ready for Immersive 3D. Every beat is crafted for spatial and next-gen headphones.
Intimate lyrics, total immersion, every track.

For 30 years I kept unfinished demos to myself, never letting them out. Now I finish what I start and release it the moment it’s alive.

I am a musician and an artist by nature. I experiment according to my feelings. Music is my hobby.

Aaron Alter is a composer from Carlsbad, California. His music is published by Universal Edition and Silverwinds Publishing. Aaron calls his new music his "New Beginning" because it 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. 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.  

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.  

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. Aaron’s Introspective Blues #1 for Flute and Harp has become his most popular work, with over 16,100 plays on SoundCloud and over 5,200 plays on Jango Internet Radio. 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.  

Aaron has received two commissions in the past two years for choral works with an instrumental ensemble from The New Mexico Performing Arts Society.  The first commission, “Together We Create and Sing! (inspired by the music of Franz Joseph Haydn”) was a semi-finalist at the 2018 American Prize competition for Choral Music Composition and received a Silver Medal at the August 2019 Global Music Awards.  The latest commission, “Lo Lanu Ha-Shem” (a setting of Psalm 115) received a Silver Medal from the March 2019 Global Music Awards.  

Aaron is a regular contributor of compositions to the repertoire of the flutist Iwona Glinka, the pianist and Steinway Artist, Susan Merdinger, 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.

Professional software developer. Amateur composer, photographer, chef. (Note I am not the other Geoffrey Falk in Toronto who writes music. That's Geoffrey David Falk, who often goes by just "Geoffrey Falk.")

✏️__there__is____no_final____goodbye

smooth operator @paravision-music

Elen Vizerska - Dream twin girl

https://youtube.com/@vizerskaya
https://www.instagram.com/vizerska_official


New tracks tagged #recitative