This is a recording of Nevicata by tenor Larson Miller.

Nevicata - Ottorino Respighi

A Maestra Giordana Lube aborda um dos pontos mais importantes para a arte musical que é a voz humana.
A classificação básica da voz para o canto se caracteriza como aguda, média e grave. Em geral a voz humana feminina é mais aguda e em  seu grau mais elevado é conhecida como Soprano, enquanto que, para os homens, denomina-se: Tenor. Quanto a voz  masculina em suas escalas mais graves encontra-se o Baixo que espelha a Contralto  no caso da mulheres.
Como se vê há muito o que se falar sobre vozes humanas, contudo, como sempre, quanto se trata de um Super Batepapo com a maestra Giordana Lube , muito há para ouvir, visto que, além de suas exp0licações e comentários sobre o tema, muitos exemplos de vozes humanas soam como música para os ouvidos atentos.

Vozes Humana na Música

Armed with nothing but rocker emulators and a disembodied voice, the pawn navigates a song that only seems to play against him. But is it the song that's crooked, or the pawn?

Calamity

The "Benedictus" is a poignant movement in Bach’s Mass in B Minor, scored for a tenor solo, a single transverse flute, and continuo, contrasting with the work’s grander sections. Part of the final manuscript section ("Osanna | Benedictus | Agnus Dei et | Dona nobis pacem"), it follows the exuberant D major "Osanna" and precedes the "Agnus Dei." Its text, "Benedictus qui venit in nomine Domini," shifts from collective praise to personal reflection, a transition Bach marks with a contemplative mood in B minor, reinforcing the Mass’s tonal framework (noted by John Butt as tied to the opening Kyrie’s B minor chord).

Musically, it’s a da capo aria (ABA form) with a lyrical, siciliano-style rhythm in 6/8 or 12/8, evoking grace and serenity. The tenor’s warm, middle register conveys an intimate blessing, distinct from the Mass’s soprano or alto solos (e.g., "Christe eleison"). The lone flute, a modern instrument in Bach’s era, adds a galant, pastoral flavor, its delicate timbre weaving around the tenor in a duet-like texture, supported by continuo (organ/harpsichord, cello/bassoon). This sparse scoring stands out against the Mass’s broader orchestration—two SATB choirs, trumpets, and oboes—highlighting Bach’s innovative approach.

The flute’s solo role, rare in sacred works of this scale (cf. "Quoniam" with bassoon), underscores Bach’s expressive intent, possibly drawing from secular cantatas, though no source is specified (unlike the 1724 Sanctus). Composed in 1748–49, it reflects Bach’s late style, blending Baroque forms with emerging Classical elements. Its B minor key ties it structurally to the Mass’s opening, while the flute’s agility enhances the text’s ethereal quality.

Musicologically, the "Benedictus" exemplifies Bach’s ability to unify diverse material, as Butt notes, offering emotional depth amid the Mass’s expanse. Scholars like George Stauffer see it as part of Bach’s encyclopedic vision. Likely unperformed in his lifetime (first full Mass performance: 1859), its beauty emerged posthumously, distinct from Hasse’s Mass in D Minor (with chant and bass features absent here). The "Benedictus" is a gem of simplicity, its tenor-flute pairing a testament to Bach’s mastery of contrast and inventive genius.

JS Bach Mass B Minor (1749) 20. Benedictus - Furness Bach Choir, Ensemble Laus Deo

Inspired by the Pigman Rap collab between ZAM and Dan Bull, our journey leads us to a bouncy rapper showing adventurers around his land - and roasting 'em like pork in the process.

The Underworld

Benjamin Britten: I accept their verdict (Captain Vere, Billy Budd)

Lee David Bowen - Tenor
Michael Pollock - Accompanist

Benjamin Britten: I accept their verdict (Captain Vere, Billy Budd)

Richard Strauss: Salome, komm, trink Wein mit mir (Herod, Salome)

Lee David Bowen - Tenor
Michael Pollock - Accompanist

Richard Strauss: Salome, komm, trink Wein mit mir (Herod, Salome)

This is the MIDI version of my work for tenor and orchestra, Letters from Elbert. The work sets to music letters written by my grandfather to his sister while he was in the U.S. Navy in World War II. They trace his journey from basic training up to a month before his discharge. The letters are at times humorous, at times poignant. They paint a vivid picture of his surroundings and his life in the Navy. I have only two memories of my grandfather from when I was a child, and I am grateful that through these letters I have gotten to know him better.

This work is dedicated to the memory of my grandfather, Lawrence Elbert Bahr, and to those in our family who have kept our family history alive: my great aunt Florence Maltby, my cousin Ed Coleman, and my late sister Julie Bahr-Kostelac.


Letters from Elbert MIDI

The Rexburg Tabernacle will host an Easter concert featuring singer Nathan Pacheco on April 25. Ella Zeigler interviewed Pacheco about this event. 

Rexburg Tabernacle welcomes Nathan Pacheco in Easter concert

Willie Doonan
Opera in 3 Acts

Music by Nicholas Skedgell
Libretto by Valentina Dotsenko

Willie Doonan (Baritone) – black US auto worker
Philip (Tenor) – Willie’s white coworker and friend
*Katya (Soprano) – Russian coworker
*Tonya (Mezzo) – Katya’s friend and coworker
*Ivan (Baritone) NKVD officer
American Ambassador (Bass Baritone) 
* NOTE: Russian roles are sung in Russian.

Synopsis

Act I
Two American auto workers, black and white, are struggling to survive during the early 1930s. Desperate for work, Willie and Philip accept jobs at the company's new plant in Russia. Willie's life abroad is difficult but compensated by a lack of racism. He befriends a young Russian co-worker (Katya). The result is a racial attack from 2 American workers. Willie prevails, is proclaimed a hero by local authorities and
invited to the new American embassy gala in Moscow.

Act II
At the gala, Willie dances with Katya, but Ivan (an NKVD officer), wants Katya for himself.
To prevent a conflict, Philip intervenes by proclaiming Ivan a "tough guy". He celebrates the title with
foreboding consequences.

Act III
Months later the Stalinist terror begins. Willie is advised to leave. Indecision leads to his detention after a Russian-American baseball game. Katya is later arrested at her apartment. One year on, they meet at a gulag. Despite poor health, they bolster each other's waning desire to live. They rejoin their respective work details with renewed determination and hope.

Willie Doonan Act 1

Smile

Amapola

Chica de Ipanema

Tu eres mi tesoro

Por una cabeza

"Tenderness" is a ukulele composition by Choan Galvez

Played on tenor Kala Elite - solid mahogany wir Uke Logic soft tension astrings.
Recorded from SM58 mic and condenser microphone CAD GLX1200 (pickup L, mic R).
Reverb added in Reaper - OriRiver plugin.

No.1 Tenderness (20250503) tenor

Backing Track: https://www.youtube.com/watch?v=sZX1ceihgX8

Eki (Station) Mariya Takeuchi

Paradise (TTBB) by Malcolm Dalglish

"Tenderness" is a ukulele composition by Choan Galvez

Played on tenor Kala Elite - solid mahogany with d'Addario titanium EJ87T strings.
Recorded from SM58 mic and condenser microphone CAD GLX1200 (pickup L, mic R).
Reverb added in Reaper - OriRiver plugin.

Tenderness (20250508) tenor take 2

The BYU-Idaho Radio Podcast includes local news, interviews, and BYU-Idaho devotional addresses. Check out our other podcasts for more content: BYU-Idaho Radio Headlines, BYU-Idaho Radio's The Spot, and BYU-Idaho Disciple Journeys.

Jason Bahr is a composer living in southwest Florida. He has had over 600 combined performances of his works. Bahr has received a MacDowell Colony Residency, a Fromm Foundation commission, the Northridge Prize for Orchestral Composition and the Cambridge Madrigal Singers Choral Composition Competition. He holds masters and doctorate degrees in music composition from the Indiana University Jacobs School of Music, and a bachelor's degree in music composition from the University of Missouri at Kansas City Conservatory.

Bahr has written a one-act opera (The Gift of the Magi), a choral symphony, a symphony for band, a flute concerto and other assorted works for orchestra, 20 chamber works, 15 piano preludes, 13 additional works for solo instruments, ten choral works, and 20 songs. His current project, Letters from Elbert, sets to music letters written by his grandfather while he was in the Navy during World War II.

Bahr is an active performer and is the bass section leader for the Opera Naples Chorus in Naples, FL. He has also served as the bass section leader for the First Presbyterian Church of Bonita Springs, the Fort Myers Symphonic Mastersingers and has sung with Gulfshore Opera among other groups.

A Kansas City native, Bahr is an avid fan of the Royals and Chiefs. He makes his home with his wife Rebecca and their cat Ray. SDG

Welsh Opera Singer - Tenor | Represented by Connaught Artists

Operatic Tenor. Larson Miller’s soaring range and tender expression lifts hearts and spirits in classic traditionals and contemporary pieces alike.

Nicholas Skedgell - b. 1952
is a concert music composer whose work has been performed by leading musicians, including members of the New York Philharmonic, Metropolitan Opera, Elmar Oliveira, Dale Clevenger, Leonard Raver, Orchestra New England and presented at Carnegie Hall, Yale University, Brooklyn College and St. Patrick's Cathedral in New York. He is a graduate of Manhattan School of Music, a student of Nicolas Flagello, violin with Louis Carlini and a member of ASCAP since 1974.

Postamos aqui os Podcasts do Programa Super Papo com Douglas, Luizão e Bene. São reflexões abordando assuntos dentro de quatro temas: Cultura, Esporte, Politica e Sociedade.

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