Various Artists | Girtain: Trio, Music for Voices and Strings

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Girtain: Trio, Music for Voices and Strings

by Various Artists

From the concert halls of New Brunswick, New Jersey, here are the most popular recent works of emerging composer Edgar Girtain.
Genre: Classical: Art songs
Release Date: 

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  Song Share Time Download
1. Trio for Flute, Violin, and Cello: I. Andante con moto
Helix! New Music Ensemble, Yu Jin Oh, Min Ji Kwon & Diana Golden
4:29 $0.99
2. Trio for Flute, Violin, and Cello: II. Andante
Helix! New Music Ensemble, Min Ji Kwon, Yu Jin Oh & Diana Golden
3:37 $0.99
3. Trio for Flute, Violin, and Cello: III. Energetically
Helix! New Music Ensemble, Min Ji Kwon, Diana Golden & Yu Jin Oh
3:41 $0.99
4. The Three Seasons, for Women's Choir and Piano Trio: I. Autumn
Voorhees Chapel Choir, Carlos Vazquez, Go Woon Choi, Paul Conrad, Diana Golden & Hingrid Kujawinski
6:28 $0.99
5. The Three Seasons, for Women's Choir and Piano Trio: II. Winter (feat. Go Woon Choi, Violin, Diana Golden, Cello, Paul Conrad, Piano & Carlos Vazquez, Percussion)
Voorhees Chapel Choir & Hingrid Kujawinski
5:38 $0.99
6. The Three Seasons, for Women's Choir and Piano Trio: III. Spring
Voorhees Chapel Choir, Carlos Vazquez, Paul Conrad, Go Woon Choi, Hingrid Kujawinski & Diana Golden
4:21 $0.99
7. Four Catalan Songs: I. Book of Wonders
New Brunswick Chamber Orchestra, Mark Hyczko & Charles Schneider
3:20 $0.99
8. Four Catalan Songs: II. The Lover
New Brunswick Chamber Orchestra, Mark Hyczko & Charles Schneider
5:33 $0.99
9. Four Catalan Songs: III. The Finger of Death
New Brunswick Chamber Orchestra, Mark Hyczko & Charles Schneider
3:05 $0.99
10. Four Catalan Songs: IV. Foundations of Rage
New Brunswick Chamber Orchestra, Mark Hyczko & Charles Schneider
6:29 $0.99
11. Isolation: Day 253, for Soprano and Orchestra
Rutgers Symphony Orchestra & Liza Sobel
7:35 $0.99
Downloads are available as MP3-320 files.


Album Notes

Written in three attacca movements, this piece is part of the composer's search for an "American Sound." There are tuneful melodies, lean textures, and an exciting finish.


These three pieces came about through a year-long collaboration with Hingrid Kujawinski, the Brazilian director of the Voorhees Chapel Choir. Hingrid wanted to bring the poetry of her country to an American audience, so we worked closely together to choose these texts, all written by Mario Quintana. Translations by Jan Reinhart:

I. Autumn

Autumn turns the barrel organ
In the courtyard of my life
An old song always the same
Beneath the falling window pane...

Sadness? Delight? Desire?
How could one possibly know?
An uncertain joy,
Of a caress against the grain...

Setting forth, oh soul, what do you say?
Harvest the hours, in short...
But the roads of Autumn
They lead nowhere!

II. Winter

The rushing wind whistles so coldly
through the streets of my native city
even while the rose of the winds
is ceaselessly stripped of its petals....

I invoke a fiery and lively tone
--the wax seal on the envelope?
and the mists, then, of another century
envelop me in their frigid cloak...

I feel as though I am in old London
where I wish that I could have gone strolling
in the days of Sherlock - the Logician
and of Oscar - that sorry Magician...

I remember that other Mario
surrounded by the ruins of Carthage
but I alone inquire: Where will they go
to dwell now there poor spirits of ours!?

And forever losing itself
in the byways of the New City,
the wind attempts, without hope
to read from the aging hand bills.

III. Spring

Spring Passes over the river
Passes through the dream you are dreaming.
In the slumbering city
Springtime is coming.

The weathercock has gone mad
Has gone turning, turning
And around the weathercock
All of us dance in a flock.

All of us dance, we dance
The beloved, the Dead, the Friends,
All of us dance until
The purpose cannot be recalled...

Until the floss silk trees have
Blossomed over the ramparts


Commissioned by the New Brunswick Chamber Orchestra, these songs were composed and performed in 2014 for Baritone Charles Schneider. The texts are all by Catalonia's greatest poet, Vicent Andrés Estellés. Translations by Jan Reinhart:

I. Book of Wonders

Here I was born and here I am.
And as certain things have happened to me
Here I sing them, here I say them.

Here I was born and here I am.
Here I work and I give kisses.
Here I agonize and here I laugh.

Here I defend the hillsides
Ten truths and four myths.

Here I was born and here I am,
Poor of wealth and rich in experience,
Poor in verse, rich in anticipation.

Song of love and lovers
who live, drink and leave...
I sing a contraband love.

Song of love, I sing the lovers

I do now know if these too are songs.

I say things that are coming, going,
returning one day, going away another,

The contraband hope.

II. The Lover

"Let's go to bed", I propose, kissing you,
dusky, the skin, the breasts, the mouth.
"Let's go to bed", I murmur, taking hold of you
in a handful, tender, so lovingly,
your hair, your earlobe,
with great love and fear of loneliness.
And with the nature of one who can yet,
neither resist nor restrain himself further,
already you are standing, inside my embrace,
all consent, lover: "Let's go to bed."

III. The Finger of Death

This song was originally composed for Soprano and String Orchestra. In this recording you will hear a version that has been adapted for a male voice. Program notes from the original premier:

(Finger of Death AboutFour in the Morning) addresses the death of Estellés’ infant daughter in 1956. Written at the outset of the poet’s career, the poem consists of three short lines: “Portes la nit, portes el dia, portes la clau que obri totes les portes,” translated “You bring the night, you bring the day, you bring the key that opens all the doors” – anguish transformed into wisdom, compassion and wonder. In an attempt to capture the many emotions present in the short poem, composer Edgar Girtain (b. 1988) begins his piece Finger of Death
with a languid unsettled mood. A chromatic melody rises from the lowest strings to the violins, stirring the vocalist to action. The tension is broken on the last utterance of the word
“portes” (doors,) when dissonance is resolved in an outpouring of tonal affirmation.

IV. Foundations of Rage

Slowly and grievously I build
this song, which is a song, more than of love, of rage,
of a rage that founds Biblical dynasties,
of a rage that creates, more than verses, peoples.
It is the rage of a people or the rage of some peoples
crossed from side to side by the sign of war,
a precarious life, a clandestine love,
the words cautiously hidden in drawers,
all that was not possible and is possible,
And all that would have been possible, but wasn’t possible,
As if only now water got into the attic.
We could not kiss if it wasn’t in secret,
and if uniformed Morality didn’t surprise us
and if it was at the beach Morality on horseback.
Men of authority watch sideways what your write,
the men who have grown so large after the war.

We have sinned for this, because they wouldn’t let us
exist fully, love each other fully,
with that shamelessness that life demands,
that love able to melt all fuses,
exploding the light bulbs, leaving the world in darkness.

The narrative behind the text is this: a woman is in a prison and telling herself a story to pass time. The story she tells is self-reflective; the transformation of the magician to a bird is a manifestation of her desire to be free from confinement. However, while she tells the story she can't remember the details because solitary confinement is beginning to take its toll on her mind. She tries to tell the story again but struggles to get through and begins yet again, with each repetition the story fragmenting and falling apart. This is why in the second verse the harmony shifts off track, she voalises on "oooo" to a previous melody, and why eventually the tonality completely breaks down. Each repetition of the character telling the story is signaled with the trombone chord motif.



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