Lynday Promane, mezzo-soprano
Stephen Boda, organ
Michael Murphy, glockenspiel
Evan Bowen, tam-tam and chimes

April 10th, 2022
Saint Matthew's Anglican Church, Islington

1. Stabat mater dolorósa
juxta Crucem lacrimósa,
dum pendébat Fílius.

2. Cuius ánimam geméntem,
contristátam et doléntem
pertransívit gládius.

3. O quam tristis et afflícta
fuit illa benedícta,
mater Unigéniti!

4. Quae mœrébat et dolébat,
pia Mater, dum vidébat
nati pœnas ínclyti.

5. Quis est homo qui non fleret,
matrem Christi si vidéret
in tanto supplício?

6. Quis non posset contristári
Christi Matrem contemplári
doléntem cum Fílio?

7. Pro peccátis suæ gentis
vidit Jésum in torméntis,
et flagéllis súbditum.

(Organ solo: "...and they led Him away to be crucified.")

8. Vidit suum dulcem Natum
moriéndo desolátum,
dum emísit spíritum.

9. O, Mater, fons amóris
me sentíre vim dolóris
fac, ut tecum lúgeam.

10. Fac, ut árdeat cor meum
in amándo Christum Deum
ut sibi compláceam.

11. Quando corpus moriétur,
fac, ut ánimæ donétur
paradísi glória. Amen.

---------

The sorrowful mother was standing
beside the Cross weeping,
while the Son was hanging.

Whose moaning soul,
depressed and grieving,
the sword has passed through.

O how sad and stricken
was that blessed [woman],
mother of the Only-begotten [one]!

Who was mourning and suffering,
the pious Mother, while she was watching
the punishments of the glorious son.

Who is the person who would not weep,
if he had seen the mother of Christ
in such great suffering?

Who would not be able to be saddened
to behold the Mother of Christ
grieving with the Son?

For the sins of his people
she saw Jesus in torments,
and subjected to lashes.

(Organ solo: "...and they led Him away to be crucified.")

She saw her sweet Son
dying forsaken,
while he sent forth [his] spirit.

Come now, O Mother, fountain of love
Make me feel the power of sorrow
that I might mourn with you.

Grant that my heart may burn
in loving Christ the God
that I might please him.

When the body will decay,
grant that it may be bestowed on [my] soul
the glory of paradise. Amen.

Stabat Mater (2021) for soprano, organ and percussion

Baritone solo: Lars J. Nilsson

Urmas Sisask: Gloria Patri II

This is the World Premiere from a live recording in Storkyrkan, Stockholm, November 12, 2022 of one of Urmas Sisask's last mayor compositions. It contains 24 sacred songs in tones of exoplanets and lyrics by Jaan Tammsalu. At this occasion S:t Jacobs Chamber Choir performed 19 of the 24 pieces.

Urmas Sisask tragically passed away a month after this concert. Sisask didn't have the possibility to come to the concert in Stockholm but a recording of the concert was sent to him at the hospital the week after the concert.

S:t Jacobs Chamber Choir 
Gary Graden - conductor 
(Martin Hellberg - conductor track 7,9,10,11)
 Sound engineer: Mats Helgesson

16. In Stella Pueribus – The Star With Children (Gliese)

performed by Neue Vocalsolisten Stuttgart
Chiesa di San Giovanni Battista (Onsernone), 30 June 2023

This piece is the third and the last piece of my Wittgenstein cycle and also an homage to Solage to express my fumeusement**
for his Rondeaux ‘’fumeux fume par fumee’’. 

The idea behind the polytext use is based on how much each text can be perceived 
as explanatory, commentary and complementary in relation with each other. 
As a composer I consider myself very lucky because the self-contained and self-explanatory qualities of each text
make it possible for me to stay silent whereof I can't speak as Witgenstein suggest in his famous sentence.

**fumeusement: with sadness, with grief, quarreling, with haziness, intangibility,
 tendency to rise, shifts in shape, easily wafted or dissipated  with the heat that fum produces, just like the fumeurs.

fumeux fume par fumèe, a whole world of fume (2023) for five voices

1 August 2023, Theater im Palais, Leonhardstraße 19, 8010 Graz

zone expérimentale basel

Clara Giner Franco, bass flute 
Manca Dornik, accordion  
Pietro Elia Barcellona, double bass

‘’Eros concerns the other in strong sense, namely, what cannot be encompassed by the regime of the ego.’’*
- 
Byung-Chul Han

Throughout the composing process I deeply hesitated  to write any words about the piece. This uneasiness was not caused by the complicatedness of the questions and intentions behind the piece. Rather, it was their inner contradictions and radical dispositions which made articulating them so difficult. They seemed to me very irrational, erratic and reactive to be helpful  to the listener throughout the listening process. 

However, at first the piece was motivated to explore perceptual roots of erotic experience caused by an encounter with the other or  one's own otherness. Unfortunately, the exploration did not  succeed. Rather it turned out to be a confrontation with the agony of Eros who is burning in the inferno of the same.

Ankara, 12.04.2023
*Han Byung-Chul et al. The Agony of Eros. MIT Press 2017.

Eros therefore Psyche (or not an Oriental rug) (2023) for bass flute, accordion and double bass

By Christian Asplund
Played by Keith Kirchoff, De Jong Concert Hall, Provo, 2011

Nocturnes

13 March 2024, Orchestre Philharmonique de Radio France, cond. Kristiina Poska, Auditorium de la Maison de la Radio et de la musique, Paris (FR)

Co-commissioned by Radio France, L'Orchestre National des Pays de la Loire and Brno Philharmonics

“Confluere” (from Latin “to flow together”) for chamber orchestra, like one river flowing into another, was composed to be performed just before the W. A. Mozart’s 40th symphony in G minor. The composition takes its first theme - the sighing “sospiro” figure and repeats it breathlessly, almost obsessively through different layers of the dense orchestra texture, while slowing it down extremely. This minor second-based motive is being explored through various angles and colours, harmonies and timbres, gradually expanding its range up to the limits and thus preparing the listeners for the arrival of the Mozart.

"Confluere" for chamber orchestra (2024)

Performed live by Black Box Ensemble, November 23 2024 at Church of St. Luke and St. Matthew, NYC.
Tyler Neidermayer, Recording and mixing engineer

Leonard Bopp, conductor
Annie Nikunen, flute
Tyler Neidermayer, bass clarinet
Lauren Conroy, violin
Jordan Bartow, cello
Yifei Xu, keyboard
J Clancy, pecussion

Originally commissioned by Ensemble Paramirabo. 

ABOUT
“Stygian pulse” (2023) refers to a chronic throbbing pain in my left shoulder and neck that I have been experiencing for over ten years. It is shapeshifting in its colour and intensity and even its sonic properties, but most days it is an inky, dark, and dull recurrence. The normal medical routes for pain relief have proven ineffective beyond a temporary period.

While the pain doesn’t majorly inhibit any of my daily activities, my inability to alleviate it has
created a sort of “settling:” the pain has become mundane, foreverhere – unpredictable in its exact rhythm or temperament, but with a certitude that it will return, beating darkly. As a feature of my body for over a third of my time on Earth, I’m quite sure it’s here until the end. My stygian pulse – tiny focused outbursts until I die.

Stygian Pulse (sextet + electronics)

“Symphony for Strings” (2024) by Polina Nazaykinskaya 
Commissioned by Portland Youth Philharmonic 
Recorded by OpensoundOrchestra:
Violins: Stanislav Malyshev, Maria Fomichenko, Iskander Akhmedov, Inna Zilberman, Irina Chepizhnaya
Violas: Ksenia Zhuleva, Ekaterina Myasnikova
Cellos: Olga Kalinova, Rostislav Chuchalin
Bass: Alexander Pavlov 
Audio engineer Ilya Karpov

Symphony for Strings

Live performance from Hashtag Lab 27.10.2024 in Warsaw

Andrzej Karalow - Luminous Gardens (2024) for vocal-instrumental ensemble and fixed electronics

Luminous Gardens is an ambient space in which the listener freely chooses the path, voices and layers to listen to. The structure of the composition consists of consonances, harmonic structures that shape the narration and segments of individual parts-sound gardens. The musical material consists of vocal-instrumental motifs separated by sections of silence and processed field recordings interspersed with pads recorded with the original Roland Juno-6 synthesizer.
Light, sound "organisms", space, reverberation - these are the main features that make up the sound environment of Luminous Gardens.
The composition was written for Hashtag Ensemble.

Match Match Ensemble (SSAATTBB) 
Hashtag Ensemble
Łucja Chyrzyńska – flute
Bartłomiej Sutt – vibraphone
Aleksandra Demowska-Madejska – viola
Dominik Płociński – cello

Lilianna Krych – conductor

Wojciech Błażejczyk – sound engineer

Andrzej Karałow – Luminous Gardens (2024) for vocal-instrumental ensemble and fixed electronics

Ольга Федосеевна Сергеева - фольклорная певица. Р. 27.09.1922 в д. Перелазы Усвятского района в крестьянской семье. Певицу отличал богатый репертуар и только ей присущая манера исполнения. Песню Сергеевой «Кумушки», а также свадебный плач и имитацию скрипичного наигрыша «языком» Андрей Тарковский процитировал в своей картине «Ностальгия». Псковское телевидение сделало два документальных фильма о певице. В 2003 г. студия Ленфильма выпустила художественную картину «Бабуся», для которой автор сценария и режиссер Л.А. Боброва отобрала несколько записей Сергеевой. Ольга Федосеевна умерла 8 декабря 2002 года на 81 году жизни. В 2004 году, в годовщину её смерти в районном центре Усвяты был устроен фольклорный фестиваль.

Ольга Федосеевна Сергеева "Ой, кумушки"

Колискові Древа з с.Крячківка (Полтавщина)
співає Надія Микитівна Роздабара 

Lullabies of Drevo (village Kryachkivka, Poltava region, Ukraine)
sung by Nadia Mykytivna Rozdabara

2012 


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Надія Микитівна - Ой котино-котино, засни моя дитино

Composer of contemporary classical music. Toronto.

Stabat Mater (2021) for soprano, organ and percussion

Tyler Versluis

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