Knee deep in snow
let the wind blow
Touch the ice in my 
heart and the frost in my soul
When the moon rises
It melts the snow and ice
Thats in my soul and my body
Relieving my crisis

Rising from the ashes on a silent Christmas eve
The stars are points of Icicles and the wind begins to Freeze
Give me one more chance and I'll tell you what I feel

Christmas comes alive
Before the winter sunrise
Tonight your star will shine
As Christmas comes alive

Snow falling down
But you can't hear a sound
Dancing flakes on the breeze
And sparkles on the ground
We gathered in the night
By the holy candlelight
Where the choir sang along
To the early morning song

Candy cane surprises lie behind the Cristmas tree
Before the dawn arises fairy lights for company
Silent in the night
Now tell me what you feel

Christmas comes alive
Before the winter sunrise
Tonight your star will shine
As Christmas comes alive

Christmas comes alive
Before the winter sunrise
Tonight your star will shine
As Christmas comes alive

When the night gives way
Turns to Christmas day
All the world so still
Peace love and goodwill

Choir sang along
Early morning song
All the world so still
Peace love and goodwill

Cristmas comes alive

Christmas comes Alive

Слова, музика, запис, зведення: Oleksandr Dolbnja

Download the song here -->https://distrokid.com/hyperfollow/mymusicalintention/the-last-fatum-song-2

My Musical Intention - The Last Fatum Song

Follow me on Spotify: https://open.spotify.com/artist/2e0vBs4IYYxaenyMzZkqJk?si=UFOOnTBzSFapRXK5LiUnKg

Written for Game of Thrones
*from the perspective of King Joffrey Baratheon

I am afraid your father has misbehaved 
He made a grave mistake and begged me for my pardon 
Look at his face, bug-eyed, atop the stake! 
Look how his ashes fertilize my royal garden! 

Pretty girl, I'm bad in my bones but 
What does it matter when I'm here on this throne? 

All of my slaves are slaving away today 
They're building me castles 'cross the land 
Where I can house my hands and 
All of my soldiers die for their true king 
Truly, there's no more wars to win but 
Peace is awfully boring 

Pretty girl, I'm bad in my soul but 
What does it matter when I'm in full control? 

You will be my wife and my queen! 
You and me will do whatever we please! 
Torture and death to anyone left who disagrees! 

Sansa, my dear, give me a son tonight 
Raise him to be a powerful king just like his father 
I have grown sore of sitting at this height 
Though it's a thrill to kill, I'd much rather not bother 

Pretty girl, I've got good in my heart but 
What does it matter when I'm playing this part?
...

Written & Produced by Stallion Dunquis
harpsichord: Zachary Seman
© all rights reserved

New Morning

Stallion Dunquis - Sansa My Dear

Music: Wypernet soundcloud.com/laurent-toupet-930624560/tracks
Lyrics, vocal, mixing and mastering: Lukowig www.facebook.com/Lukowig/

D'où je viens
tout est si tranquille
si silencieux
aucun son
aucun bruit
aucun mot
aucune parole.

Une petite voix intérieure
un chant inaudible
une relique d'un autre temps
me dévore une voix à l'intérieur...
Une petite voix intérieure
un chant indicible
un cri qui s'étend...

D'où je viens
tout est si lisse
transparent
aucun pli
aucune couleur
aucune ombre
aucune lumière
d'où je viens on enterre
sous des monceaux de peurs
les rêves des enfants.

Une petite voix intérieure
un chant inaudible
une relique d'un autre temps
me dévore une voix à l'intérieur...
Une petite voix intérieure
un chant indicible
un cri qui s'étend
une voix me consume de l'intérieur
un vestige de mon enfance...

Petite voix intérieure [Wypernet and Lukowig]

Recorded by Latella in the 80s, remastered in 2020.

Shoot The Clock

Cloud Walker

Written: 2019
Duration: ca. 12'
Instrumentation: flute (doubling piccolo), oboe (doubling English horn), clarinet (doubling bass clarinet), and piano (pianist plays from score)
Commissioned by the Exponential Ensemble, with funding from the New York State Council on The Arts (NYSCA)
World Premiere: Exponential Ensemble, Opera America, Marc A. Scorca Hall, New York, NY, October 30, 2019

MOVEMENTS
I. Pascal’s Triangle
II. Noether’s Theorem
III. Einstein’s Daydream
IV. The Hammers of Pythagoras

PROGRAM NOTE
Relative Theory is a four-movement, ca. 12 minute work for flute (doubling piccolo), oboe (doubling English horn), clarinet (doubling bass clarinet), and piano. Each movement is inspired by a mathematician or theoretical physicist. I was inspired by a story that the commissioning ensemble, the Exponential Ensemble, told me about how much they enjoy performing programs for children that relate math to music. In a fun, yet hopefully meaningful way, the movements of my piece are designed to draw parallels between these two distinct, but interrelated worlds.

The title Relative Theory is a play on words: it loosely refers to Albert Einstein’s famous Special Theory of Relativity, but also to musical theories and theoretical principals that are used between each of the movements. All of these movements are inspired by mathematicians or theoretical physicists, and their theorems and theories inspire the music itself.

In Pascal’s Triangle, triads and intervallic content are structured so as to use binomial coefficients in musical ways. In Noether’s Theorem, the music mirrors her theorem, which states that every differentiable symmetry of the action of a physical system has a corresponding conservation law. Einstein’s Daydream, perhaps the most fanciful movement, quotes a few themes from Beethoven, J.S. Bach and Mozart, three composers who’s music Einstein loved to play on his violin. The work ends with a movement entitled The Hammers of Pythagoras, inspired by a legendary, apocryphal but nevertheless playful tale of Pythagoras passing by a blacksmith at work one day, and discovering that musical notes could be translated into mathematical equations.

There are some fascinating programmatic relations that dictate how thematic materials are used in various movements. Albert Einstein thought very highly of Emmy Noether, a mathematician who never achieved the fame she deserved because she was female. In fact, some of her theories inspired Einstein. Therefore, some of the themes in the second movement are used in the third. Einstein and Pythagoras both figure prominently in music history, albeit for different reasons, so themes from each of these movements permeate back and forth.

Relative Theory was commissioned by the Exponential Ensemble, with funding from the New York State Council on The Arts (NYSCA).

LINKS
https://www.exponentialensemble.com/
https://www.robpaterson.com/
https://robertpaterson.com/relative-theory

EXPONENTIAL ENSEMBLE
Anna Urrey, flute
Kemp Jernigan, oboe
Pascal Archer, clarinet
Geoffrey Burleson, guest pianist

Post Process

82 ( Ian Willis )