Ensemble vocal Para L'Elles. Concert du 8 mars 2020 dédié aux "Compositrices du XVIe au XXIe siècle", en la chapElle Sainte-Thérèse de Montmagny (95). Direction : Agnès Blin. Harpe : Adélaïde Legras. De gauche à droite : Harim Kim (soprano), Antoine Moris...  moreEnsemble vocal Para L'Elles. Concert du 8 mars 2020 dédié aux "Compositrices du XVIe au XXIe siècle", en la chapElle Sainte-Thérèse de Montmagny (95). Direction : Agnès Blin. Harpe : Adélaïde Legras. De gauche à droite : Harim Kim (soprano), Antoine Morise (contre-ténor), Hélène Perrin (soprano), Agnès Leclercq (alto), Victoria N’Zingoula (mezzo) et Carine Carpentier (soprano). Référence : Vittoria Aleotti. Cor Mio perche pur piangi. Première édition : dans Ghirlanda de madrigali, no. 6, 1593. Adaptation pour SSAA par Agnès Blin (2019). Cette pièce interroge l’origine de la douleur et des larmes. Paroles : Cor Mio, perchè pur piangi, A che ti struggi, Se alla tua pena inusitata e nuova Rimedio non si trova? Io piango che il Mio pianto Non è sì duro, sì pungente e forte Che mentre io piango tanto Non faccia ai miei martir pietosa morte. Poco sarìa la doglia Se ad ogni suo desire L’uom potesse morire Ma ve’l sostiene in vita e in questa spoglia Acciò più lungo sia nostro languire.  less

Aria CappElla's debut performance at Armstrong's School of Singing mid-year showcase, June 2, 2018. Performers: Amanda Rasmussen (mezzo) Jessica Joan Graham (mezzo) Zoe Dove (mezzo) For bookings, contact ariacappEllamusic@gmail.com To purchase ...  moreAria CappElla's debut performance at Armstrong's School of Singing mid-year showcase, June 2, 2018. Performers: Amanda Rasmussen (mezzo) Jessica Joan Graham (mezzo) Zoe Dove (mezzo) For bookings, contact ariacappEllamusic@gmail.com To purchase arrangements, contact jessica.joan.graham@gmail.com Filmed by: a camera sitting on a tripod. Sorry for the dodgy quality and the occasional spot of mic feedback.  

Greetings,   I am happy to present you with my composition for SSAATB and cEllo Solo and would be interested in your impressions on it.   "Whom My Soul Loveth" was composed on the hebrew Biblical text of Song of Songs 3, 1 and comm...

On Christmas Eve morning 2017, I was approached by a member of our congregation who said he had been inspired by the Holy Ghost to write some words and that he would like me to set them to music. To begin with I wasn't sure, since they seemed somewhat re...  moreOn Christmas Eve morning 2017, I was approached by a member of our congregation who said he had been inspired by the Holy Ghost to write some words and that he would like me to set them to music. To begin with I wasn't sure, since they seemed somewhat repetitive, but as the day progressed to the early afternoon I found that I was also inspired (I even missed lunch!). The piece varies in mode from D Dorian to A Aeolian. The performance is by me (multi-tracking).  

Solo baritone Timur BONDARCHUK Concert in Basilica di San Nicola in Bari, Italy at 19.05.2009

Performed by Universitair Koor Antwerpen at their Christmas Concert "A Fiery Christmas" in december 2013. Solo's by Naomi Riemis, MichaEl Limpens and Simon Callaerts

A part of the choir's winning performance at 43rd Croatian Choral Assembly hEld in October 2010 in Novigrad. soprano Solo: Iva Ivković

pour solistes, choeur d’enfants, choeur SATB violon Solo, violoncElle Solo et orgue interprètes: Maîtrise d'Autun dir. Fabien BarxEll Mathieu POTOT (le Christ), Olivier GANZERLI (l'évangéliste), Yves MARRILLIET (violon), AnnabElle HES (violoncElle), ...  morepour solistes, choeur d’enfants, choeur SATB violon Solo, violoncElle Solo et orgue interprètes: Maîtrise d'Autun dir. Fabien BarxEll Mathieu POTOT (le Christ), Olivier GANZERLI (l'évangéliste), Yves MARRILLIET (violon), AnnabElle HES (violoncElle), Catherine RENOUD (orgue) solistes de la Maîtrise Commande de l'Evêché et de la Maîtrise d'Autun L'oeuvre peut être donnée en concert ou pendant la liturgie. Traductions possibles. Editions de la Schola Cantorum (Suisse) http://www.schola-editions.com/ également: Passion sElon St Luc et Passion sElon St Marc  less

The Song of Ruth, a setting of the most famous passage from the Book of Ruth (Ruth 1:16–17), opens with a gentle polyphonic section for the chorus. (“Do not ask me to leave you, or to stop following you; for where ever you go, I will go, and where you sta...  moreThe Song of Ruth, a setting of the most famous passage from the Book of Ruth (Ruth 1:16–17), opens with a gentle polyphonic section for the chorus. (“Do not ask me to leave you, or to stop following you; for where ever you go, I will go, and where you stay, I will stay. Your people will be my people, and your God my God.”) The soprano joins the choir for the twice-repeated middle section of the piece. The music here is contrastingly homophonic and intense. (“Where you die, I will die and be buried.”) The tune and harmonies are borrowed from a passage in my piece SElections from “The Song of Songs” for male voice and band. That piece is dedicated to my wife, Ruth, hence the connection. If that were not enough, our daughter is named Naomi! The Song of Ruth closes with a recapitulation of the music from the opening, but with new words assigned to it, and with the soprano Soloist providing a descant for it. (“May the Lord cause ill fate to befall me, and more, if anything but death separates me and you.”) Appropriat...    less

Soprano Solo: Natali Boğosyan Double bass Solo: Arda Ardaşes Agoşyan Arr. and Dir.: A.A. Agoşyan