I Lie - David Lang

The composer writes: I’m often attracted to historical models for my compositions. And this miniature, two-movement sonata (similar to contrasting movements in a Handel sonata) is full of references to baroque- and gallant-era styles. When I began to compose it, I wasn’t quite sure what solo instrument would be best suited to what I was creating: The solo part could, of course, be played on a variety of instruments. But I am very pleased with my final choice of tenor recorder.

Performed by Alison Melville, recorder; and Christopher Bagan, harpsichord.

Recorded and edited by John Gray

Two Pieces for Tenor Recorder and Harpsichord (2022)

Rodney Sharman - In A Room

THE SEVEN LAST WORDS OF CHRIST - "PROLOGUE: FILIAE JERUSALEM" from the live performance by the University of Southern Mississippi, April 28, 20016, Dr. Greg Fuller, conductor.

The Seven Last Words of Christ

The Seven Last Words of Christ: Prologue

This is the second movement of my Two Poems by Walt Whitman (2017). It's given a fine performance here by the Pittsburgh Camerata, Mark Anderson conducting.

TEXT

Darest thou now, O Soul,
Walk out with me toward the Unknown Region,
Where neither ground is for the feet, nor any path to follow?
No map there, nor guide,
Nor voice sounding, nor touch of human hand,
Nor face with blooming flesh, nor lips, nor eyes, are in that land.
I know it not, O Soul;
Nor dost thou. All is a blank before us.
All waits, undream'd of, in that region, that inaccessible land.
Till, when the ties loosen,
All but the ties eternal, Time and Space,
Nor darkness, gravitation, sense, nor any bounds bound us.
Then we burst forth. We float,
In Time and Space, O Soul, prepared for them;
Equal, equipt at last (O joy! O Fruit of All!) them to fulfill,
O Soul!

Darest Thou Now, O Soul (2017)

Heavenly Fire

Choir of Worcester College Oxford: Jonathan Dove: Seek Him That Maketh The Seven Stars

Using text from Salman Rushdie’s novel 'The Ground Beneath Her Feet' and from abbreviated versions of the Latin Mass, Keys to the Unseen examines the subject of music itself. Two of its parts, Kyrie and Sanctus, refer to music from the past that survives in our consciousness and continues to exert an influence on the way we hear things today. If We Were Worthy of the World is about the transcendent power of singing and its uneasy connection with what used to be called the sacred. 

Instrumentation:
For children’s chorus, mixed chorus, strings, organ, vibraphone.

This work was premiered on February 6, 2000 during the '4 Choirs in Concert' presented by Soundstreams at St. Patrick's Church in Toronto, Canada

For more information about Randolph Peters and his work, please visit our SoundMakers website: http://www.soundmakers.ca/composers/randolph-peters



Keys to the Unseen by Randolph Peters

Colin Eatock was born in Hamilton, Canada, in 1958, and began composing music as a teenager. He has written in a variety of media, composing works for solo instruments, voice, chamber ensembles, choir and orchestra. His works have been performed in North America and Europe by various ensembles, including Toronto’s Evergreen Club Contemporary Gamelan, Toronto's Canzona Players, Vancouver’s Erato Ensemble, Ottawa's Capital Chamber Choir and the Houston Chamber Choir, and have been recorded by the CentreDiscs, Toreador and Echiquier labels.

Two Pieces for Tenor Recorder and Harpsichord (2022)

Colin Eatock

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