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Erik-Peter Mortensen

Erik-Peter Mortensen

Singer Songwriter / Classical Fusion/Crossover / Film Score/Indie New York, NY  US

Shows

  • 2014

    Jan 5

    New York, NY, US | 11:00am

    World premiere of Missa Auld Lang Syne in a liturgical setting! Missa Auld Lang Syne was composed in 2004 by Erik-Peter Mortensen, bass-baritone in the choir of St. Ignatius of Antioch Episcopal Church, NY since 2003. It was intended as a gift for a group of Erik-Peter's musical friends known as "The Friday Night Singing Group" which has gathered for over 3 decades on the Upper West Side for the sole purpose of sight-reading Renaissance polyphony from the vast personal collection of Sigmund Rosen. A parody mass, much like Victoria's Missa Pro Victoria heard this past September at the church, Missa Auld Lang Syne is based on the famous old secular Scottish folk tune often sung to celebrate endings and new beginnings. As such, Missa Auld Lang Syne is appropriate for the first or last Sunday of a year. The tune is quoted quite often throughout each mass movement in every voice part, sometimes in part and sometimes in its entirety or with slight alterations, and freely switching between major and minor modes across various key centers. In sections of the Agnus Dei, the cantus firmus on Auld Lang Syne is elongated and quite prominently heard in the tenor and two soprano parts. The writing is very imitatively polyphonic and highly inspired by such Renaissance masters as Palestrina, Victoria, Tomkins and Byrd. The mass is generally set for two sopranos, alto tenor, and bass (SSATB) However, Agnus I starts with SAT and then adds a soprano on the first setting of "miserere". Agnus II adds a bass part and then another tenor on the second "miserere". Agnus III adds another alto and finally another bass at "dona nobis pacem" to conclude with a luxurious 8 polyphonic parts. Although Missa Auld Lang Syne was performed once in concert in 2004, and will be included in an album released in early 2014 called "Sacred Music in the English Style" featuring works by Byrd, Tallis and Erik-Peter as well as the vocal talents of several members of the St. Ignatius choir, today will be the first time the setting is presented in its truest most meaningful context, the worshipful liturgy of a high solemn mass.

  • 2013

    Oct 12

    New York, NY, US | 7:00pm

    John Bradley - Director Music of Renaissance Poland Bartłomiej Pękiel - Missa pulcherrima ad instar Praenestini Motets by Liban, Leopolita, Zieleński & others Pre-Concert Lecture - 7 PM, Dr. Szymon Paczkowski Influenced by Flemish and Italian models, music composed by Bartłomiej Pękiel and his contemporaries dominated both secular and religious life in the epicenter of arts and culture in Renaissance Poland – the city of Krakow. Both the royal court and the ecclesiastical community of Wawel Cathedral commissioned works from these composers for their pastimes and sumptuous liturgies. Join Polyhymnia as we journey to Krakow to hear Pękiel’s lovely Missa Pulcherrima ad instar Praenestini – composed in the style of Palestrina and based on Polish carols as well as a collection of motets by Polish composers Liban, Leopolita, Zieleński and others.

  • 2013

    Aug 18

    New York, NY, US | 9:30am

    Saint Mary the Virgin: The Feast of the Assumption (tr) (Gaudeamus) Missa “Vidi speciosam” - Tomás Luis de Victoria Vidi speciosam - Tomás Luis de Victoria The music above will be performed by the professional choir of St. Ignatius of Antioch, Episcopal Church in a live mass celebration for the Feast of the Assumption. It is an extraordinary opportunity to hear a capella sacred music of the famous Renaissance master composer, Tomas Luis de Victoria, performed live in its original context of the eucharistic mass setting. People of all ages and faiths are welcome! After the service, there will be a wonderful reception in the church's undercroft where you can meet EP, members of the choir, the musical director, the rector, and other members of the church and clergy. I look forward to seeing you there!

  • 2013

    Jan 5

    New York, NY, US | 10:45am

    World premiere of Missa Auld Lang Syne in a liturgical setting! Missa Auld Lang Syne was composed in 2004 by Erik-Peter Mortensen, bass-baritone in the choir of St. Ignatius of Antioch Episcopal Church, NY since 2003. It was intended as a gift for a group of Erik-Peter's musical friends known as "The Friday Night Singing Group" which has gathered for over 3 decades on the Upper West Side for the sole purpose of sight-reading Renaissance polyphony from the vast personal collection of Sigmund Rosen. A parody mass, much like Victoria's Missa Pro Victoria heard this past September at the church, Missa Auld Lang Syne is based on the famous old secular Scottish folk tune often sung to celebrate endings and new beginnings. As such, Missa Auld Lang Syne is appropriate for the first or last Sunday of a year. The tune is quoted quite often throughout each mass movement in every voice part, sometimes in part and sometimes in its entirety or with slight alterations, and freely switching between major and minor modes across various key centers. In sections of the Agnus Dei, the cantus firmus on Auld Lang Syne is elongated and quite prominently heard in the tenor and two soprano parts. The writing is very imitatively polyphonic and highly inspired by such Renaissance masters as Palestrina, Victoria, Tomkins and Byrd. The mass is generally set for two sopranos, alto tenor, and bass (SSATB) However, Agnus I starts with SAT and then adds a soprano on the first setting of "miserere". Agnus II adds a bass part and then another tenor on the second "miserere". Agnus III adds another alto and finally another bass at "dona nobis pacem" to conclude with a luxurious 8 polyphonic parts. Although Missa Auld Lang Syne was performed once in concert in 2004, and will be included in an album released in early 2014 called "Sacred Music in the English Style" featuring works by Byrd, Tallis and Erik-Peter as well as the vocal talents of several members of the St. Ignatius choir, today will be the first time the setting is presented in its truest most meaningful context, the worshipful liturgy of a high solemn mass.

Comments

Add Comment
  • JAI'$ (Artist)
    JAI'$
    PLEASE FAN BACK. https://www.reverbnation.com/widget_code/html_widget/artist_1408533?widget_id=55&pwc[included_songs]=1&context_type=page_object&spoid=artist_1408533&pwc[size]=small&pwc[branded]=1
  • bekken (Artist)
    bekken
    Jupiter and Europa is very pretty
  • Jeff Crew - APRA Member - (Artist)
    Jeff Crew - APRA Member -
    Stopping by to show my support. Great songs on your profile, Keep up the great work, - JC
  • God's Lil Rebel (Artist)
    God's Lil Rebel
    Impressive profile! I have most of your songs playing nonstop on repeat! :D Maybe we can collaborate?? I am doing BIG things, my music is a positive influence upon the youth!! Listen for yourself, it's all on my profile!! :D
  • Rick Wright (Artist)
    Rick Wright
    Really nice work. Thanks for sharing it and keep.em coming. Regards, Rick Wrigh
  • Anna Zaccaria (Artist)
    Anna Zaccaria
    Wow great stuff here.

Photos

  • Cover Art: Tallis Lamentations of Jeremiah 2
  • Cover Art: Tallis Lamentations of Jeremiah, Part 1

About

Sounds Like: Andrea Bocelli, Bach, Hans Zimmer, Enigma, Danny Elfman

Label: Cathedral

Manager: Erik-Peter Mortensen

Bio: Bio

As a 4th generation musician and son of renowned Filipina concert pianist, Marcelita Lopez-Kabayao and Swedish/Danish opera singer, Erik Mortensen, Erik-Peter Mortensen (aka Erik or EP) started singing professionally since the age of 9, first at the Metropolitan & New York City Opera Childre...See Full Bio

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“Re: Missa Auld Lang Syne-Kyrie: Very shapely and imaginative introduction of this song. Harmonizing was perfectly pieced together in tune, had a professional feel to it. Vocals were intense on delivery. Melodious through the entire song. Gave it that rich and expressive feel. Had such a dynamic range of vocals and mixtures. Impressive and appealing to any listener on how they blended everything perfectly together. Then by the middle of the song it was interesting and creative on how they started the harmonizing over again in a different level. It almost became to complex at parts. But it was so inspiring and inventive on how it was brought out and definitely had talent written all over it. This was skillfully done and carefully presented from beginning to end.”

— Anonymous, ReverbNation Crowd Reviews

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  • Video Plays 574,781
  • Total Fans -1 219,508
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  • YouTube Subscribers -1 392
  • Widget Impressions +12 16,715

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