Cain (1996), Chamber Opera in 2 Acts

My chamber opera Cain takes a symbolist look at the Genesis story. The original family are here portrayed as Every Family, where long-hidden secrets and resentments eventually lead to murder. 

In Act I, Scene 2, Adam and Eve pray before an altar as Cain and Abel play a symbolic game of cards that unfold all the psychological undercurrents of the opera. We hear the fears of the parents in their prayer, and the growing tensions between the brothers in their game. At the climax of the scene, Cain, having lost his last hand to Abel, storms out after accusing him of trickery, to the consternation of the others. Eve attempts to bring calm to the situation by pretending that all will be well in the end.

Act I, Scene 4 (Reading with piano. live performance)
Giuseppe Spoletini, baritone (Adam); Elaine Alvarez, soprano (Eve); Stanford Felix, bass-baritone (Cain); James Schaffner, tenor (Abel); J. Mark Stambaugh, piano.

Cain's monologue from Act II, Scene 2 portrays the fatal progress of his thoughts leading up to his moment of decision to kill Abel.

Act II, Scene 2 (Reading with piano. live performance)
Stanford Felix, bass-baritone (Cain); J. Mark Stambaugh, piano. 

The last recording is an ensemble reading of the entirety of Act II, Scene 2, including the preceding interlude, Cain's monolgue, and the murder scene.

Act II Scene 2 (entire) Reading with chamber ensemble
Paul Kolecki, baritone; Scott Joiner, tenor; Tactus: Patti Monson conducting.

Unknown Album (12/29/2005 3:10:43 PM)

Cain (1996)

This piece was premiered here at Ades Performance Hall at Manhattan School of Music on February 19 2024. 
Jonah Murphy - Flute
Anna Zhang - Bassoon
Zachary Solano - Tuba
Mischa Gerbrecht and Hwanee Pak - Percussion
Melis Turker - Viola
Conductor- Isaac Cortijo

Composer's Note:
‘Van Gogh’s View’ is a piece that aims to depict the mental, spiritual, and
physical processes that Van Gogh experienced when painting some of his
greatest masterpieces.
Each movement of this piece focuses on a different painting, and so a
different aspect of Van Gogh’s character and life.
In my depictions, I have undertaken a light-hearted tone, one which Van
Gogh is not often granted. After reading Van Gogh’s personal letters, I
discovered a man in awe of the world and determined to share his
fascination with others. This is much disconnected from the tortured
artist we see him as today.

Dit stuk is voor Nana en Opa

Van Gogh's View (2023)

One of the world’s leading music conservatories, Manhattan School of Music is deeply committed to excellence in education, performance, and creative activity, and to the cultural enrichment of the larger community. Founded as a settlement music school by Janet Daniels Schenck in 1918, today it is recognized for its superbly talented students; a world-renowned artist-teacher faculty; and innovative curricula. MSM prepares students to be passionate performers and composers and imaginative, effective contributors to the arts and to society. Our graduates are among the most distinguished artists performing in concert halls, opera houses, and on jazz stages throughout the world today.

Recorded by Myers Recording Studio of Manhattan School of Music
Christianne Orto, Dean of Distance Learning and Recording Arts, Producer
Chris Shade, Recording Manager, Associate Producer
Kevin Boutote, Chief Recording Engineer and Mastering Engineer
Yao Lu and Sarah Bruguiere, Recording Engineers

*Recorded by Leszek Maria Wojcik, Noriko Okabe, and Shao-Ting Sun at the Cathedral of St. John the Divine

© 2015 Manhattan School of Music.
All Rights Reserved. 

MSM Symphony, Symphonic Chorus & Oratorio Society NY - VERDI Requiem - VII. Libera Me, Dies Irae*

Lullaby & Fugue
Composed by Aris Antoniades
Yutong Li, Chinese dulcimer
Sheng-Ching Hsu, violin
Amber Ho, cello
Daniel Feng, piano

Score available for purchase: https://www.arisantoniades.com/product-page/lullaby-fugue

This recording is from the premiere performance at the Riverside Church (Christs' Chapel, NYC, on August 4, 2017

This piece was commissioned by the Sforzando Composers' Collective for the New Asia Chamber Music Society.

When I was presented with the challenge of composing a work combining traditional Chinese instruments with conventional Western instruments, I was quite intrigued: merging different sound-worlds has always been a strong compositional interest of mine. I am fascinated by folk music and, being born and raised on the Mediterranean island of Cyprus, much of my music is greatly influenced by my Greek cultural heritage. This piece is no different: I’ve attempted to use the enchanting sound of the Chinese Dulcimer in a way that reminds me of my home.

Lullaby and Fugue is a work inspired by the magical art of storytelling. I still remember many of the bedtime stories my grandparents used to tell me when I was young. Their stories were not just entertaining, but also didactic: I follow many of their teachings to this very day, and I believe that these stories have played a vital role in shaping my character. The Lullaby portrays the soothing aspect of a bedtime story, whilst the Fugue represents the hidden, ‘cerebral’ aspect. I would like to thank my friends at the Sforzando Composers Collective for this great opportunity and all of the performers for their time and dedication. Additionally, I would like to thank my mentor, Dr. J. Mark Stambaugh for helping me discover the true “magic” of counterpoint, back in college. Finally, I would like to dedicate this piece to the greatest storytellers in the world: my grandparents George, Panayiota, Anthis, and Persoulla.

Website: https://www.arisantoniades.com

Cain (1996)

J. Mark Stambaugh

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