Entries in the Category "Podcasts"
Propers for the last Sundays before Advent
I'm almost too late for this. Here are recordings of my settings of the Introit, Gradual, and Communio for the "pre-Advent holding pattern". The Offertory has been previously posted. Performances are by the enhanced Schola Cantorum of Immaculate Conception Church, directed by me.
Some miscellaneous compositions by moi
I've been noticing some holes on my web page, pieces I have recordings of but they aren't in e-land.
For instance, there was the wonderful recording of Queen and Huntress that Allie Laurie did with the Old Stone Singers (Text by Ben Jonson). Or in a similar vein, Andrew White singing my setting of Herrick's To the virgins, to make much of time. And my one any only solo guitar work, Trois pieces de salon, in a recording nearly obliterated by furnace noise. Enjoy!
Several bits from a wedding I sang recently
I haven't blogged here in awhile, but this seems as good a place as any to park several mp3s.
Then there's a setting of O Sacrum Convivium by Francesco Feroci, cathedral-master in Florence 1719-1757. I edited this from a manuscript on the Internet Culturale; you can download the edition from cpdl.
I'm the crappy-sounding out of tune guy, with Evan Bescan, tenor, and Brian MacGilvray, bass.
I've had a specific reason to get some band things up, and so I'm doing that.
First up is When Heroes Die, my attempt at a Grade 1 band piece. My wife likes this one a lot. It's basically a funeral march. This is a reading by the Cleveland Youth Wind Symphony.
Next is a historical oddity, what I guess is my Opus One (age 17), Exordium. This is the Croswell-Lexington High School Band, directed by Paul Parets, recorded in 1974. It was done in a gym, with cheap cassette equipment even by 1974 standards, and a pretty primitive digital transfer. I'm going to have the entire concert digitized professionally; maybe they can pull some high frequencies out of thin air. The piece itself stands up pretty well, and has elements of "my voice", to the extent that I have one. The thin scoring in the middle left no margin for error (and error there was), but I'm not even sure I would have done that differently.
Then there's The Hi! in Hiram, one of three marches I wrote before I realized that I suck at writing marches. They're all civic-boosterish (Heroes of Jarbidge, Hi! in Hiram, Windham Bicentennial). I might revisit the scoring of this, to see if I can fill the middle a bit. I was short of horns and trumpets that year, and you can really tell. This is the Hiram Community Band, the band that appears once a year like Brigadoon, directed by a humble euphonium player who was Peter Principled onto the podium.
Wind quintet, and an anthem
First, the two completed movements from my Light and Variable Winds, 20 MPH, played by the Solaris Wind Quintet in concert, March 17, 2013
Assualt March of the Assistant Deputy County Environmental Safety Director, a strange little ditty made up entirely of political and national songs of various more-or-less odious regimes.
And then, from Mass this morning, the Mary Queen of Peace Schola Cantorum premieres my Shout joyfully to God (Offertory for Easter 5, but we did it on Easter 6, go fig). This is actually the piece twice, as we did it. The first time is better, but there was no way with the software at hand to edit the second away without it sounding abrupt. Done with a Tascam DR-05, with bad mic placement and level too low, so a lot of background noise, thurible clang, etc.
Shawm band stuff
Here is my Parvulus enim natus est nobis, as recently performed by the Case Concert Choir under Dr. Matthew Garrett. This is the bootleg version; the official professional recording will come soon.
"For unto us a Child is born..."
Because there isn't enough of my music on the Net...
Ok, it's almost-Lent, not All Souls, but here's an old chamber piece with a Halloweenish theme, Samhain Music, for English horn, viola, and string bass. The movements:
1. Autumnal separations (canonic rondo), which runs into:
2. Dance of the teenage Satanists
3. First night below
Performers are Margi Griebling-Haigh, Diana Packer, Scott Haigh (respectively)
The pianist is Nicholas Underhill, with some horrendous baritone who had no business singing solo in public.
Time for a few new pieces with a religious bent
First let's have On This Mountain, the piece just done at the New Voices @ CUA Festival in D.C. (This isn't that performance, but the premiere). It's for soprano, flute, oboe and piano
And here is Prayers in the Night Sky, for orchestra. Maybe stretching the religious theme a bit.
And while we're on religion, here's a religious piece of quite a different bent: Ritual for the Mother, for women's voices with flute and harp. Not sure I should be spreading paganism, but it is what it is.
And Huntress for orchestra is also a bit Old time Religion too, I'm afraid.
Some new choral music
Here's a recording of my recent choral work, The Beatitudes, from a concert given 8/28/11 at immaculate Conception Church, Cleveland.
Warm-up for 7 trumpets
This isn't for 7 trumpets; it's for organ, just like Ezra Sims' String Quartet #2 isn't for string quartet. It's a Book of Revelations reference. This is NOT played on the organ of St. Anne's, Mosely, UK, by the famed Irish/Arabic organist Finn Ali Mack, a Hauptwerk artist. There are a few infelicities in stop management, but I still think it works pretty well. If you're like a real organist and want to play this, drop me a line.
Some organ music
We haven't had a podcast here (or anything else) for awhile, so why not some of my chorale preludes, ably played by Todd Wilson?
O Haupt voll Blut und Wunden
40 Days: a prelude on Heinlein
Mass in Honor of St. Maximilian Kolbe wins prize.
Around noon, I had a brief visit from James Flood, President of the Foundation for the Sacred Arts and music teacher at The Lyceum, whom I had just met Friday as a library patron. He stopped in to tell me that, after being judged by Susan Treacy, William Mahrt, and Richard Rice (and who better to judge me here below?), my _Mass in Honor of St. Maximilian Kolbe_ has been awarded First Prize ($4000) in the International Sacred Music Competition for Composers. The public premiere will be on August 14 by the choir of the Basilica of the National Shrine of the Immaculate Conception, Washington DC, under Dr. Peter Latona.
A bunch of my buds had done a demo in February, which I've been sitting on pending results of the contest. Since we have those, there's no need to hide it anymore. So here it is! Thanks to all those who made it possible (including and especially God).
Glory to God
Memorial acclamation A
Memorial acclamation B
Memorial acclamation C
Lamb of God
Here's my Sonata for Flute and Piano from several years back, as played by the incredible Katherine DeJongh and Eric Charnofsky on 2/28. It's one track, but two movements: "Depressive" and "Manic".
Sonatina for baritone saxophone and piano
Here's a piece I sorta wrote for my stepson Stephen Morgan (except he never got a chance to play it). It's kind of a test piece, showcasing things that a reasonably adept non-pro sax player should be able to do. Saxophonist is Thomas Lempner, pianist Ms. Morikawa
UPDATE: For some strange reason, none of these links are working. I'm sending a letter to the Case Blog-Gods for help, but until then, don't frustrate yourselves clicking on the links above.
UPDATE 1/7: I finally got the upload to work. by using Firefox instead of Safari. Sorry I didn't get to it sooner, and thanks to all interested parties for your patience.
Another podcast: choral things
OK, first we'll have the Missa Oculi Virginis. It was commissioned by Louis Hill for the choir of St. James Anglican Catholic Church, to serve as an easy Latin Ordinary for Marian feasts. It is based on the tune "Farley Castle" by Henry Lawes, which is found in The English Hymnal (217) paired to a text by Bishop T. Ken which begins "Her Virgin eyes saw God incarnate born"; hence the the title "Virgin Eyes Mass". The melody is used as a chorale in the tenor voice, as a source of motives, in retrograde, and briefly as a cantus firmus. The Credo is not set. The total duration is six and one-half minutes. Not the best of all possible performances, but it gets the point across.
Here, for the upcoming season, is a setting of a poem by Robert Herrick, Christmas Ceremonies, sung by the Old Stone Singers. Quite a different mood entirely.
Some more songs
To start with, some anonymous Elizabethan PG13 silliness, My Love in Her Attire, sung by Mr. White.
Now, I set some Poe. I don't know if Poe was a mighty poet, or if these are just mighty po' songs. But here are all 3 of the Three Mighty Poe Songs from 1997, as sung by Mr. White with Paul Gothard at the piano:
And finally, here are Three Songs for Bain (1994), which are meditations on death by Watts, Millay, and Whitman, written in memory of my teacher Bain Murray, and sung here by Andrew White (it might have been Paul Gothard on piano again...I forget which performance this was.)
Here are some miscellaneous songs of mine.
First, a setting of Psalm 23. The flutist here is Allison Ballard, in her high school years. She later went on to become a student at Case (and circ assistant at Kulas Library).
Next, while we're being religious, here is Adoration of the Shepherds, sung by Andrew White. The poem is by Akron-area poet Brooke Horvath. I found out later that there's a whole cycle of these...I could create my own Marienleben.
Now, a nice little love song, Be Still As You Are Beautiful, sung by Allie Laurie.
The going gets weird with the next two. Lost Mistress with Sisters is a rare setting of one of my own poems, which happens more rarely nowadays since I'm a retired poet (and no longer a hormonally-deranged young man). That's Allie Laurie too. Then we have The Defiled Sanctuary, text by Blake, sung by Andrew White. The only other composer I know of who set this was Havergal Brian, and Andy thinks my setting is better.
Whole boatload of new podcastery
I recently got approached by a couple kids at Pittsburgh State who search-engined up my trio for violin, alto sax, and piano, found it here, and want to do it. Way cool! So I am inspired to get more of my stuff out here on da innerwebz.
So first we have my piece for brass quintet Chasmalim, which is published by Hoyt Editions (maybe still). The Chasmalim are the order of angels assigned to the sephirah Chesed. They correspond to the planet Jupiter and are in charge of good humor. This is by the Parergon Brass Quintet
And next, while we're doing stupid light pieces for winds, how about Picnic Music? This is the original recorder version, not the subsequent flute quartet. It was recorded by me and a bunch of buds, so don't expect Amsterdam Loeki Stardust, 'kay?
I. (no title)
II. Cage is Dead
III. Reel: the Humours of Tremont
Time for another podcast: Responsoria
It's been awhile...
Here is a performance of 3 motets from my Responsoria (1998) by Cantores Cleveland, at Christ Episcopal in Shaker Hts, 2/22/09.
Super flumina Babylonis
Here's my somewhat madrigalian setting of Psalm 137 (Vulgate), sung by Cantores Cleveland (Lisa Rainsong, Barbara Margolis, Evan Bescan, Greg Heislman)
Candlemas at St. James
Some folks may be interested in my new gig, and how that's going. I meant to record the Evensong for Charles I, but I forgot to charge the Minidisc, and it was totally dead. But I had it ready for Monday. Blend isn't all it could be here either, and the first high note in Adorna is wildly sharp. But all in all, it's pretty decent for an 8-person choir.
Gabriel Faure: Messe basse. Kyrie
C. V. Stanford: Nunc dimittis in Bb
Trio for Violin, Alto Saxophone and Piano
II and III are segue, but separate tracks on my CD, so imagine the break isn't here.
Symphony in D
For those who missed it last weekend, here is the Schimpfonie (as its dedicatee, Vienna-based composer David Babcock, calls it), performed by the Suburban Symphony Orchestra under Martin Kessler. It's about 26' long. Enjoy!
Here is the premiere of my new cello and piano piece, played by Eden Raiz (age 16) with Elizabeth Johnson on piano.
String Quartet #1 in A
OK folks, here it is, from the capable hands of Sae Shiragami, Beth Woodside, Lisa Boyko and Linda Atherton of the Cleveland Chamber Collective:
Cuyahoga Boat Song
A bit of salon music for piano, a little barcarolle about dreamily floating down the river that burned.
Piano Trio performance coming
On Weds. the 11th at 8PM at the University of Akron, the Gramercy Trio will be doing my Piano Trio on a CCG concert on the U-Ak New Music Festival. For those who want a taste beforehand, here's a performance by Takako Masame, Linda Atherton, and Nicholas Underhill, of the Cleveland Chamber Collective.
Ave regina coelorum
This is a piece I wrote for Andrew and Brenda Pongracz (and friends, in this case Heather Gullstrand, viola and Mark George, piano), former choristers at St. James Anglican Catholic. Andy is actually a percussionist, but I make him sing a little. Brenda has all kinds of high notes (I take her up to e''' here). This is a little unusual for me...it's a sort of chamber-ensemble take on the Eton Choirbook style.
Divertimento in C
At long last, the Cleveland Chamber Collective performance of 11/5/06, with Mary Kay Fink, flute; Sae Shiragami, violin; Lisa Boyko, viola; Linda Atherton, cello.
Overture in Organum
We haven't had any band music here (or any large ensemble music at all). This is a reading by Cleveland Youth Wind Symphony 1, directed here by Bill Ciabbatari. There are a few scoring changes in the final version (most notably, thinned-out percussion).
Unus ex discipulis
This is the third (and last) of the excerpts from the Responsoria, alternating between rage and lamentation. There are still 6 that haven't been performed or recorded yet, so if you have a choir...
Amicus meus comes before "Judas mercator" (my last podcast) in the Responsoria cycle. Again, from the Mac concert.
Judas mercator pessimus
The Friday Podcast is a bit from the Mac concert...a sick little bit of modal disco for the "commercial apostle."
Mag and Nunc in D.
Poe for baritone and Dilling harp, with Andrew White and Jocelyn Chang.
"Like a very sophisticated sea chantey" -- Klaus George Roy.
De profundis clamavi
The Offertory for the 23rd Sunday after Pentecost (the pre-Advent holding pattern), performed by the (augmented) Schola Cantorum of Immaculate Conception Catholic church, Cleveland, directed by moi.
Grand Polka de Concours
This was written in 1991 as a "5 minute barnburner" for Fred Ziwich's MM clarinet recital. Fred has been nominated for the Cleveland Slovenian-style Polka Hall of Fame, and this was inspired by my experiences (some shared with Fred) in the Oktoberfest industry.
Maria Pla is the pianist. It's a sick piece. Enjoy!
This is my first podcast. The Great Hunger, written to honor the sesquicentennial of the Irish Potato Famine, was done on a Cleveland Composers Guild concert several weeks ago. This is not that performance (which I don't have a recording of yet) but the premiere by the Coryton Ensemble.