@user-587678360: Many thanks for your kind words !

Fantasie Mélancholique Franco Di Nitto & Orchestra

The Gymnopédies, published in Paris starting in 1888, are three piano compositions written by French composer and pianist Erik Satie.

The melodies of the pieces use deliberate, but mild, dissonances against the harmony, producing a piquant, melancholy effect that matches the performance instructions, which are to play each piece "painfully", "sadly" or "gravely".

Audius Classical Music
https://audius.co/classicalmusic

Best of Satie
https://music.apple.com/gb/album/gymnopedie-no-1-single/847714522

Satie on Spotify
https://open.spotify.com/album/0vzKMInu4PzU2Qyi6NgmRK

Satie Album on Amazon
https://www.amazon.com/Erik-Satie-Essential-Collection/dp/B00J0LBFIG/

Erik Satie - The Essential Collection

Classical Music - The Essential Collection

ᯤ Spotify

Jazzopédie

SCHILLER - SYMPHONIA: Live with a symphonic orchestra // The Essence in 7 Minutes // amazon: http://bitly.com/schillersymphonia // itunes: http://bit.ly/itunes_symphonia

7 Minutes of SYMPHONIA

A set of piano pieces from 2021, to celebrate my partner Tricia's 70th birthday.
A variety of moods, phases, and energies.
As if imitating the sould of both running river water, and resonant metallic instruments.

Fifteen Steps

The Truth Inside (From The Gothic Musical Captured)

Andrew's Song by Steven Vitali
Composed and Performed by Steven Vitali

This song is dedicated to the loving memory of Andrew Simeoni.
At the time of his passing, Andrew was Steven Vitali's best friend.
Steven wrote this for Andrew so that his name would live on. 

Cover Photo by - Lisa Weyenberg 
Cover Design by MGM Records Hollywood

Published by Warner Chappell Music and Dream Music Publishing
Released by MGM Records Hollywood

Andrew's Song

The Story of a Sea
Vocal: Mohammadreza Shajarian
Lyrics: Attar Neyshabouri

The Story of a Sea

A Tiger With Wings

Dreamcatcher

Intimite talks (Sonata for flute and cello)

Santa Rosa Symphony
Jan Mikušek - cimbalom
Bruno Ferrandis - conductor

The first session with Jan Mikušek happend in 2014, when performing together in a liturgical music performance on Palm Sunday in Prague. I organised cimbalom, viola da gamba, male vocalist and myself on life electronics to perform an electro-acoustic collage of a world instrument, period instrument, gregorian chant and computer based sound synthesis.

The experience with cimbalom revealed memories from walking down the streets of Berkeley in 2007 – 08, when conducting my post-doc research in CNMAT, UC Berkeley, meeting and listening the street cimbalom player Michael Masley every other day, particularly his strange finger-bows producing incredible sustained sound of this fascinating instrument. He inspired a special micro-bow, which we developed for the Temporis concerto.

In 2014 I worked on a large-scale radio composition with texts by Czech writer Pavel Kolmačka. For this work I was looking for some new way of organizing harmonic material in my music. At that time a new technique appeared which has become a new material world for me since than: in a stream of music there are twelve consecutive and always different harmonic centers, spectral fundamentals, upon which harmonic relation ships are organized. 

The liturgical work from 2014 came back into action. The sounds of cimbalom, viola da gamba and electronics unfolded into basic material, around which this radio work has emerged and has been shaped into twelve-tone-based harmonic series, following the diary-like structure of the text from January through December.

It was a story of time in a year, which grasped me. And the very new experience with cimbalom (either in live performace, or later in a studio work) has shaped an idea for writing concerto, a big challenge. 

In 2013 I composed an ensemble piece called Spatialis. The pieces deals with issues of sound and space, combining live ensemble with 8 loudspeakers set up in a spiral around and above listeners heads. The idea of space has been suddenly prolonged into another attribute of space, which is TIME. Thus Temporis began. 


It’s been directly connected to the sound material of the radio work from 2014. I analysed the sound material using the computer and kept the form of 12 consecutive parts featuring 12 different harmonic fundamentals: C#-D#-F#-A-G#-G-A#-B-D-F-E-C(/D). Starting with the longest / slowest part over the C fundamental each part becomes shorter until the last one of about 3 seconds only. 

Temporis tributes the cosmological time, its compression and expansion and its reflection in our own minds. The piece has been dedicated to Jan Mikušek, who discovered the cimbalom for me and also to my music mentor, Milan Slavický, who first taught me about time in music.

Special thanks to Bruno Ferrandis, who has believed to my music.

Temporis for cimbalom solo and large orchestra

Elements of Synergy : Continuum 
1. Antiqua
2. Cantus
3. Closing In 
4. El Ultimo
5. Lady of Snow
6. Trove
7. Perihelion
8. Subliminal
9. You Have the Key
10. For All

Intimite talks (Sonata for flute and cello)

Ivan Novosad

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