"You shouldn't have come here, young one. This basement is not like the one you grew up in - filled with toys and sports equipment and happy memories. It's an entrance to a world more terrifying than your little mind can imagine." 

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https://freesound.org/people/SilverIllusionist/sounds/558996/

The Basement

https://soundcloud.com/myopus/sets/piano-trio-d-flat-major-des
The fourth movement of my piano trio in D flat-major. The final movement: Rondo - Allegro ma non troppo
After my father's death, I really wanted to use one of my favorite chorales.
https://gerhardrichter.at/out/Gotteslob_505.mp4

Score; https://www.youtube.com/watch?v=Do0gIBndNsY&t=1878s

full score

Piano trio D flat-major (Des-Dur) op. 12 - 4. mvt. (Finale - Allegro ma non troppo)

There must be loose screws in the clockwork... the strike of every hour is another melodrama!

Composition by Mariza Costa-Cabral for piano, flute and English horn.
Another "baroquemantic" miniature.

Illustration credit: Mark Cela Graphics (markcelagraphics.com)

The Clock Goes Cuckoo

This piece is for Trumpet, Flute, Oboe, Clarinet and Bassoon.  It is in three parts.  I hope you enjoy listening.

Trumpet And Wind Ensemble - Part 1

Inside a forest it sang

This piece is for a small ensemble of six instruments (flute, bass clarinet, violin, cello, piano, and percussion). It is inspired by a popular Catalan song that has precisely the same title, in Catalan "A dins d'un bosc cantava". The lyrics of the song explain that "Inside a forest a cuckoo sang with great eagerness, from the top of a towering oak, calling his companion ...".  Thus, the starting musical material has been the melody of this song. Material subjected to various transformations. The most notable is in the melodic field and has been to "chromatize" the initial diatonic melody by incorporating the necessary notes to achieve the basic melodic phrase formed by all the notes of the chromatic scale. This melodic phrase has been the effective base on which the entire work has been built. However, I have not wanted to completely dispense with the initial diatonic melody, but it also appears at different times, but with careful treatment, using the complementary musical elements to achieve a sufficiently coherent result that would overcome the possible contradiction caused by the simultaneous presence of diatonic materials and dodecaphonic materials.

Randomization is another important element that appears in composition. I have tried to present a continuous evolution of the presence of a controlled randomness, obtaining three different phases in the course of the work. The beginning has a more chaotic nature and evolves towards a much more orderly and clear-cut environment to end in the last part that takes up the more uncertain and agitated aspect of the beginning but that definitively overcomes the initial disorder.

With this approach, I wanted to achieve a music that would maintain the naive, innocent and playful character that the initial song has, but trying to make a musical rereading that was more modern and with a few more doses of complexity. All this imbued with a festive and Christmas atmosphere, which would serve to congratulate the Christmas holidays this year, which is the pragmatic reason why I wanted to compose this piece.

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Traducció al català:
https://drive.google.com/file/d/1070-eXNJGZ-Kd3d4WDnGVkjw0PAMCYgi/view?usp=sharing

Traducción al castellano:
https://drive.google.com/file/d/1A9tLdBA_H0Y5-PTGQ0nGve2nm6j_LC7l/view?usp=sharing

A dins d'un bosc cantava

This work has been composed for a brass quintet (horn, 2 trumpets, trombone and tuba) but with the addition of a complementary part of electronic synthesis. 
In the following links there are the PDF files with the theoretical introduction to this piece and also its score:

Explanation in English language:
https://drive.google.com/file/d/1Hja15n07xtgLOH0xPJw4Yrq8o94KjpWj/view?usp=sharing

Explicació en català:
https://drive.google.com/file/d/19L0ikzhDGwtVb9LgITglNW2XQShRtWNu/view?usp=sharing

Explicación en castellano:
https://drive.google.com/file/d/16FXnr-bdmvRe1rPxRBRKp32Uz5AzY9NA/view?usp=sharing

Score / Partitura:
https://drive.google.com/file/d/1DW1ACXAtPLe2pAiOScOBAcT1zEEG9Lty/view?usp=sharing

From French Horn To Sinusoid

Gospel Action Strings. Some sort of mixture with hopefully gospel chorus and Native Instr Action Strings - GAS

For string orchestra with solo violin and cello.
Played back by Noteperformer apart from solo violin played by Aria Player.

Serenade (String Orchestra)

The piece was written in 2010 for Meitar Ensemble, conductor - Guy Feder

Flute Concerto

Springs Songs (for Tenor and Chamber Ensemble)
Duration: ca. 20'

MOVEMENTS:
I. English Sparrows (Washington Square) (Edna St. Vincent Millay)
II. April 5, 1974 (Richard Wilbur)
III. Done With (Ann Stanford)
IV. The Widow’s Lament in Springtime (William Carlos Williams)
V. Spring Rain (Sara Teasdale)

Performers: American Modern Ensemble; Alok Kumar, Tenor
For More Information: https://robertpaterson.com/spring-songs
Publisher: Bill Holab Music: http://www.billholabmusic.com/composers/robert-paterson/
Purchase Sheet Music: http://billholabmusic.com/store/index.php?keyword=spring%20songs%20-&main_page=advanced_search_result&search_in_description=1
Also available as a version for tenor and piano: https://robertpaterson.com/spring-songs


PROGRAM NOTE
Spring Songs for tenor and chamber ensemble or piano is my third song cycle celebrating the seasons. As with the first two, Winter Songs for bass-baritone and Summer Songs for soprano, this cycle contains settings of poems by various American poets.

Whereas both Winter Songs and Summer Songs end with scenes in New York City, Spring Songs begins with New York: a setting of English Sparrows (Washington Square) by Edna St. Vincent Millay, a poem about a scene that takes place in the morning in Greenwich Village, a neighborhood in New York City where Millay lived in the early 1900s. The second movement is a setting of April 5, 1974 by Richard Wilbur, a poem Wilbur wrote in honor of Robert Frost’s one-hundredth birthday, and I interpret as being about overcoming self-doubt through wisdom, and about understanding the change of seasons, but also a change of mind. The third movement, Done With by Ann Stanford, I interpret to be about death and rebirth. Stanford symbolizes this by a house being torn down and the ground paved over, the now suffocated plant life yearning to break through. The Widow’s Lament in Springtime, the fourth movement, is a setting of a poem by William Carlos Williams. I interpret this poem as a modernist, pastoral elegy that uses images of nature to lament the death of a loved one. The final movement, a setting of the poem Spring Rain by Sara Teasdale, is about a happy memory of a lover brought about by an evening thunderstorm.

Spring Songs was commissioned by Rick Teller for the American Modern Ensemble.

AME ARTISTS
Robert Paterson, Conductor
Alok Kumar, tenor
Grace Law, flute
Nuno Antunes, clarinet
Samuel Z. Solomon, percussion
Geoffrey Burleson, piano
Victoria Paterson, violin
Peter Sachon, cello

The Four Seasons

Spring Songs - I. English Sparrows (Washington Square) (Text by Edna St. Vincent Millay)

Eternal Reflections for mixed a cappella choir
Duration ca. 14'
Mvt. III. Do not stand at my grave and weep, text by Mary E. Frye. Text in the public domain.
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=901
For More Information: https://robertpaterson.com/eternal-reflections

PROGRAM NOTE (LONG VERSION)
Eternal Reflections consists of settings of the poems A Song on the End of the World by Czeslaw Milosz, Life’s Tragedy by Paul Laurence Dunbar and Do not stand at my grave and weep by Mary E. Frye.

Milosz is a Nobel Prize-winning, Lithuanian and Polish-American poet, prose writer and translator, and is widely considered one of the greatest poets of the twentieth century. After spending most of World War II in Nazi-occupied Warsaw working for underground presses, he emigrated to America and taught at the University of California at Berkeley for more than twenty years. I chose this poem partly because I knew this work would be premiered in Berkeley, where he lived for many years.

Paul Laurence Dunbar is America’s first prominent African-American poet and was a child of ex-slaves. Although he died at the relatively young age of 33, he produced a large body of work, including this poem and the lyrics for In Dahomey (1903), the first musical written and performed entirely by African-Americans to appear on Broadway. He was friends with many prominent figures of his day, including Wilbur and Orville Wright, Frederick Douglass and Booker T. Washington, and toward the end of his life he was honored with a ceremonial sword by President Theodore Roosevelt.

Mary E. Frye was a housewife and florist who became well-known because of her poem. According to an article in the London Times, “Frye had never written any poetry before 1932, when she and her husband had a young German Jewish girl, Margaret Schwarzkopf, staying with them. According to Frye, their guest had been concerned about her mother, who was ill in Germany, but she had been warned not to return home because of increasing anti-Semitic unrest. When her mother died, the heartbroken young woman told Frye that she never had the chance to ‘stand by my mother’s grave and shed a tear”.” Although many versions of this un-copyrighted poem exist, the version used in this setting is the one Frye claimed as definitive before she died.

Although the three poems are related thematically, there are a few other details that link them together. They are all by poets who lived in America, and both Dunbar and Frye were born in Dayton, Ohio. The poems by both Milosz and Frye are profoundly influenced by the tragedies of World War II, and both Milosz and Frye passed away in 2004. Finally, all three poems use musical and aural metaphors, which are particularly useful when setting poems for a choir. These movements may be performed individually or together as a three-movement work.

Eternal Reflections

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Eternal Reflections - III. Do not stand at my grave and weep

For the beauty of nature.
My music is played directly from Finale score. 
As playback I use mainly Noteperformer but sometimes also Aria Player (flute, solo violin, piano).
Comments and reactions are welcome and appreciated.

Serenade (String Orchestra)

Kjell Prytz

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