PIANO

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The Willow
I composed The Willow in West New York, NJ in 2015. This piece was commissioned by Carolyn Eynon as a gift to Carolyn Eynon Singers, on their 9th anniversary. This piece was premiered by “The Carolyn Eynon Singers” in Scottsdale, AZ on February 21st of 2016.
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$2.00
The Lord has brought me Home
I composed The Lord Has Brought Me Home in New York City in 2015. This piece was commissioned by the St. Luke’s Episcopal Church Choir, San Francisco, CA, USA. This piece sounds like a hymn with a jazzy approach. Originally, it was written for SATB choir, jazz trio, trombone and alto saxophone.
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Pater Noster
I composed Pater Noster in New York City in 2015. Pater Noster (The Lord's Prayer) is a venerated Latin Christian prayer that, according to the New Testament, was taught by Jesus to his disciples. This text is commonly used in sacred liturgies, and it has been set to music by many composers. The choral texture is very light, with homophonic and polyphonic moments, and the melody is mostly featured in the soprano line. Right after the choral setting, there is also a voice/piano version.
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$3.50
Extase
I composed Extase in New York City in 2015. This piece was commissioned by the French choir “Do Mi Sol Chorale” for their choral season in 2015.
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Ave Maria
I composed Ave Maria in New York City in 2014. This piece was commissioned by The Men and Boys choir of The Church of the Transfiguration in New York City. This piece has a traditional latin Christian prayer asking for the intercession of the Virgin Mary, the mother of Jesus. This text is commonly used in sacred liturgies and it has been set to music by many classical composers such as F. Schubert and C. Gounod. The choral texture is very light, homophonic, and the piece should be sung as someone making a sincere prayer. Right after the choral setting, there is also a voice/piano version.
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I am my own Path
I my own Path was composed in New York City in 2015, and was commissioned by the Metropolitan University of Denver, Colorado, USA. The text is an attempt to talk briefly about questions that we usually ask ourselves such as “Where I come from?” and “Where I am going?” when we try to understand the meaning of life. The final “conclusion” is that “Love is the creator of all things”. Despite any religion orientation, I believe that we are our own “Path”, and based on “Love” we have the power to create new things and to give meaning to our lives.
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The Five Stages of Loss
“The 5 Stages of Loss” was composed in New York City in 2014. I based the idea of this song cycle on the attempt to express each of the emotional stages that someone may experience when faced with impending death or death of a beloved one. The five stages are Denial, Anger, Bargaining, Depression, and Acceptance. Those emotional stages together are known as the KüblerRoss model. This model was first introduced by Swiss-American Psychiatrist Elisabeth KüblerRoss in her 1969 book, “On Death and Dying,” and was inspired by her work with terminally ill patients. I wrote one song per emotional stage, and I wrote the texts based on what someone experiencing one of those stages may feel, think, and say. In honor to all of those who are gone, I dedicate this work to all of those who lost someone in their lives. Each movement can be performed separately, and the order can be different from the order on the score. However, I would like to suggest that any performance of this work begins with the conductor announcing a minute silence in honor to all of those who are already gone. At that moment, everyone in the choir and in the audience is invited to think about any loss that may have experienced in their lives.
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$7.50
They that wait upon the Lord
I composed They that wait upon the Lord in New York City in 2015. This piece was commissioned by the choir of Wesley United Methodist Church, Vienna, VA, USA. This piece features a lively beginning in which the piano part presents the theme from the middle section. The first entrance of the choir presents the main theme, and right after that, the text is underlined by unison on different voice parts. There are some moments of polyphony and key changes. The choral texture is appropriate for an operatic approach. The piano part is complimentary in activity to the voices parts, but at the same time, it has a completely independent chord progression. The overall dynamic is forte, and there is an uplifting feeling throughout the entire piece.
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$3.00
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