Great composition. There is so much I have to learn in music.

This music is truly magnificent. She is gentle and helps me relax.

this keeps me off balance in a delightful way :)

Fantasie Mélancholique Franco Di Nitto & Orchestra

track taken from the album:

Eternalkeys - Eternal Rose (2016)

Link to donwload the whole album: https://archive.org/details/Eternalkeys_EternalroseHCR2016

Eternal Rose

Eternalkeys - Eternal Rose

Summer breeze  (String quartet no. 1  part 3)

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

2001/rev 2019 (appx. 17') for solo piano

I – with dramatic intensity
II – with exquisite grace
III – affirmative
IV – with grandeur
V- with pleasing grace
VI – with still serenity
VII – with effervescence
VIII – with rigour
IX – with sensitivity
X – with simple beauty

Programme note: 
The two ‘books’ of 'On Beauty' respond directly to Immanuel Kant’s ‘Analytic of the Beautiful’ and his ‘Analytic of the Sublime’. In order to clearly allude to these important works of philosophical debate, the third exquisite and highly poignant movement of Beethoven’s Piano Sonata in Major, Op 109, becomes more than a skeletal framework for the compositions. In Book 1, and within the spirit of the ‘theme and variations’ design as used by Beethoven, the music evolves from a stark presentation of ideas, gradually exploring these in a series of diverse and occasionally terse ways, yet always with a keen eye to aspects of symmetry and grace of pattern that ultimately reveal their beauty as opposed to their sublimity. Book 2 goes further and uses Beethoven’s melody as a starting point to an exploration of its line via use of harmonic and sub-harmonic series. Beethoven’s music makes this music, though it would be impossible to perceive without prior knowledge. The complex series of lines that make up the first of two movements in Book 2 are delineated by the use of colour. The second movement is utterly serene and hopes to finally respond to the sublime due to its understanding of what makes things ‘beautiful’ and that nature and natural process is what takes things to the ultimate point at which we may feel a sense of ‘sublimity’. 
© Paul Max Edlin 2002

This recording is for study purposes and is made using sample sounds.

On Beauty - Book 1 (2001/rev 2019)

Third song of the Green Chromatic EP, Secrets Under the Weeping Willow just came out as it is... Short piece with smooth melodies.

For once I'm pretty proud of this one and I hope you'll enjoy it !

Don't forget to share if you can, like if you do, comment if you want, it will be a great pleasure !

Cheers !

Rahab

Secrets Under the Weeping Willow

This piece was conceived on the piano but is realized as a virtual performance with string quintet - 2 violin, viola, cello, double bass - and piano.

I have spent a lot of time reworking how I can use my virtual instruments, including allowing cross-fading between different articulations on the same note.  This piece is the first time I have used my "new" instruments (Solo strings only - still working slowly to convert the whole orchestra).   Perhaps you can hear much wider and more engaging use of articulations in this work compared to earlier ones?


Thanks you for listening and I hope you enjoy!

Nothing More - String Quintet with Piano

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

Summer breeze (String quartet no. 1 part 3)

Ivan Novosad

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