Uploaded May 2025 | Updated September 2026, 1 hour ago
As its CEO Randolph Pitts turned a small, new film production company, Lumière Films, Inc., into the most successful independent producer/financier in Hollywood, best known for the multi-award winning film "Leaving Las Vegas", for which Nicolas Cage won the Oscar as Best Actor. Today he is a widely respected international motion picture producer and production company executive. He holds Summa Cum Laude degrees in Social Psychology and Egyptology from the University of California Berkeley, and a Masters Degree in Motion Picture Production and Entertainment Law from UCLA. He has also done advanced research for the Department of Psychology at UCLA, concentrating on couples and relationships dynamics. He is a member of Phi Beta Kappa and the American Philosophical Association, the organization of university professors of philosophy. He is also an associate member of the Los Angeles County Bar Association. He has a lifelong interest in the relationship between philosophy, psychology and history. He is the founder, writer and host of the Explore Ecstatic Sensuality podcast, the number one sex and sensuality podcast in the world. The first volume of his eagerly anticipated tetralogy of novels will be published during the third quarter of 2025. Pitts' spellbinding novels deal at an unrelenting fever pitch with eroticism, mysticism, terrorism and crime on a global scale. And also… with women and men falling in love. Advance praise for one of Randolph Pitts' novels: "A sexy thriller that shows New York City in the grip of terrorists, natural disasters and voodoo magic, while at the same time being a moving meditation on love, sensuality, and twenty-first century man's fate in the universe. Possibly the greatest novel of our time. I am going to nominate it for the Pulitzer Prize."
The Sonata for Cello and Piano was dedicated to Randolph Pitts' fiancée, Cristie Strongman M.A.
As its CEO Randolph Pitts turned a small, new film production company, Lumière Films, Inc., into the most successful independent producer/financier in Hollywood, best known for the multi-award winning film "Leaving Las Vegas", for which Nicolas Cage won the Oscar as Best Actor. Today he is a widely respected international motion picture producer and production company executive. He holds Summa Cum Laude degrees in Social Psychology and Egyptology from the University of California Berkeley, and a Masters Degree in Motion Picture Production and Entertainment Law from UCLA. He has also done advanced research for the Department of Psychology at UCLA, concentrating on couples and relationships dynamics. He is a member of Phi Beta Kappa and the American Philosophical Association, the organization of university professors of philosophy. He is also an associate member of the Los Angeles County Bar Association. He has a lifelong interest in the relationship between philosophy, psychology and history. He is the founder, writer and host of the Explore Ecstatic Sensuality podcast, the number one sex and sensuality podcast in the world. The first volume of his eagerly anticipated tetralogy of novels will be published during the third quarter of 2025. Pitts' spellbinding novels deal at an unrelenting fever pitch with eroticism, mysticism, terrorism and crime on a global scale. And also… with women and men falling in love. Advance praise for one of Randolph Pitts' novels: "A sexy thriller that shows New York City in the grip of terrorists, natural disasters and voodoo magic, while at the same time being a moving meditation on love, sensuality, and twenty-first century man's fate in the universe. Possibly the greatest novel of our time. I am going to nominate it for the Pulitzer Prize."
The Sonata for Cello and Piano was dedicated to Randolph Pitts' fiancée, Cristie Strongman M.A.
![Jörg Herchet, Komposition 1 für zwei Violinen, Viola und Violoncello (1980) - i.
Jörg Herchets Composition 1 for Two Violins, Viola and Violoncello was written in 1980 and is dedicated to Paul Dessau in veneration and gratitude. Herchets two-movement string quartet is based on a specific dramaturgical conception. The first movement proceeds from a single note to develop a dense web of polyphony that reaches a climax in a passage of chromatic saturation All instruments play arpeggiated four-note chords spanning a total ambitus of four-and-a-half octaves. This, however, does not produce a state of stability. In the further course of the work, as if entering from another world, we hear an episode in which the cello indulges ina solo fling beneath a blanked of high-pitched harmonices. Following this, structural significance increasingly passes to the all-interval chord (D-F-G-C#) with its transpositions and inversions. From now on this chord is ever-present, whether as a particle of melody or as a verticalized sonority. A number of homophonic or polyphonic passages end the chord. Drawing on Paul Klees thory of art, Herchet distinguishes between individual and dividual [i.e., divisible] chordal structures. The all-interval chord, being indivisible, belongs to the former type. Every note of this music has a bearing on the overall structure, none can be omitted. Jörg Herchet wuchs als Sohn eines Kraftfahrers und einer Arbeiterin in bescheidenen Verhältnissen auf. Als Schüler erhielt er zunächst Blockflöten- und Violoncellounterricht, später Klavier- und Gesangsunterricht. Bereits damals verfasste er erste kleinere Kompositionen.
Von 1962 bis 1965 studierte er an der Hochschule für Musik „Carl Maria von Weber Dresden Komposition bei Johannes Paul Thilman und Manfred Weiss, Violoncello bei Clemens Dillner und Klavier bei Ilse Brähmer. Die Verwendung eines Franz-Kafka-Textes in seiner Komposition interfragmentarium zum werke von franz k. für klavier und alt führte zu Verwerfungen mit der Hochschule, worauf Jörg Herchet von 1967 bis 1969 sein Kompositionsstudium an der Hochschule für Musik „Hanns Eisler in Ost-Berlin bei Rudolf Wagner-Régeny fortsetzte. Seine Diplomarbeit zum Thema Die Bedeutung der musiktheoretischen Schriften Schönbergs und Hindemiths für den Aufbau einer Kompositionslehre wurde mit der Begründung abgelehnt, dass eine Kompositionslehre „zu Hanns Eisler und nicht zu Pierre Boulez führen müsse.
Nachdem Jörg Herchet zunächst als Hilfskraft im Buchhandel gearbeitet hatte, wurde er von 1970 bis 1974 Meisterschüler von Paul Dessau. 1974 zog Herchet wieder nach Dresden und lebte dort als freischaffender Komponist. Mit Werken, deren Besetzung Jörg Herchet nach und nach vergrößerte, wurde er allmählich bekannt. Ein erster großer Erfolg wurde die Orchesterkomposition komposition für flöte und orchester von 1976. Während der Donaueschinger Musiktage 1980 wurde seine komposition für posaune, bariton und orchester uraufgeführt. Ab 1981 erhielt er Lehraufträge für Tonsatz und Komposition an der Hochschule für Musik „Carl Maria von Weber. Dort erfolgte 1992 die Berufung zum Professor für Komposition und Analyse. Zu seinen Schülern gehören Thuon Burtevitz, Reiko Füting, Sergej Newski und Karoline Schulz. Jörg Herchet emeritierte 2009 und lebt heute in Weinböhla.
Auszeichnungen
* 1993 Internationaler Bodensee-Kulturpreis für Musik
* seit 1995 Mitglied der Sächsischen Akademie der Künste
Kompositionen (Auswahl)
* NAMEN GOTTES. komposition 3 für Orgel (Zyklus; 1990-1998)
* DAS GEISTLICHE JAHR (Kantatenzyklus zum geistlichen Jahr; 1978-)
* nachtwache. komposition für das musiktheater (1987)
* abraum. komposition für das musiktheater (1996/97). Libretto: Jörg Milbradt (nach Motiven aus Und Pippa tanzt! von Gerhart Hauptmann). UA 1997 Leipzig, Dirigent: Lothar Zagrosek
* komposition für flöte (auch afl.) und orchester (1976) Jörg Herchet, Komposition 1 für zwei Violinen, Viola und Violoncello (1980) - i.](https://i.ytimg.com/vi/YfIM8NpBKm0/mqdefault.jpg)


![Matthjis Vermeulen, Symphony No. 3 Thrène et Pèan part 1 of 2
Dutch composer Matthijs Vermeulen was born in Helmond in February, 1888. After primary school he initially wanted to follow in the footsteps of his father, who was a blacksmith. During a serious illness his inclination towards the spiritual gained the upper hand. Inspired by a thoroughly Catholic environment, he decided to become a priest. However, at the seminary, where he learned about the principles of counterpoint of the sixteenth-century polyphonic masters, his true calling music came to light. On his eighteenth he abandoned his initial ideas and left school. In the spring of 1907 he moved to Amsterdam, the countrys musical capital. There he approached Daniël de Lange, the director of the conservatory, who recognized his talent and gave him free lessons for two years. In 1909 Vermeulen began to write for the Catholic daily newspaper De Tijd, where he soon distinguished himself by a personal, resolute tone which stood out in stark contrast to the usually long-winded music journalism of the day. The quality of his reviews also struck Alphons Diepenbrock. He warmly recommended Vermeulen with the progressive weekly De Amsterdammer. There Vermeulen revealed himself as an advocate of the music of Claude Debussy, Gustav Mahler and Diepenbrock, whom he later used to call his maître spirituel.
In the years 1912-1914 Vermeulen composed his actual opus 1, the First Symphony, which he called Symphonia carminum. In this work, expressing the joys of summer and youth, he already employed the technique he would remain loyal to for the rest of his life: polymelodicism. The four songs Vermeulen wrote in 1917 display, each in its own special way, the composers preoccupation with war. In the reviews for De Telegraaf, a daily newspaper he worked for since 1915 as head of the Art and Literature department, he also showed just how much in his view politics and culture were inseparable.
Vermeulens polemic against the unidirectional German orientation of Dutch musical life got him into trouble. After having presented his First Symphony to Willem Mengelberg, whom he much admired, he was disdainfully rejected after a one-year period of keen anticipation. Consequently, Vermeulens orchestral work did not stand a chance in Amsterdam. The first performance, given by the Arnhem Orchestral Society in March 1919, took place under abominable circumstances and was a traumatic experience. Yet, Vermeulen started to work on his Second Symphony, Prélude à la nouvelle journée, shortly after that, and a year later he gave up journalism in order to fully dedicate himself to composing, while financially backed by some friends. After a last, fruitless appeal to Mengelberg, Vermeulen moved to France with his family in 1921 in the hope of finding a more favorable climate for his music. There he completed work on his Third Symphony Thrène et Péan, and composed the String Trio and the Violin Sonata.
However, Vermeulens symphonic works did not find their way into the French concert halls either. From sheer necessity Vermeulen returned to journalism. In 1926 he became the Paris correspondent for the Soerabaiasch Handelsblad, a daily paper in the Dutch East Indies (now Indonesia). For fourteen years he wrote two weekly extensive articles on every possible topic. The commission, in 1930, to compose the incidental music to the play De Vliegende Hollander [The flying Dutchman] by Martinus Nijhoff was encouraging. Nine years later he received a new impetus with the first performance of his Third Symphony by the Concertgebouw Orchestra conducted by Eduard van Beinum. The long-awaited confrontation with the resounding notes confirmed the effectiveness of his concepts. The vitality of his works is the result of the aim he had in mind: to compose as an ode to the beauty of the earth and in astonishment about life, creating music which appeals to the spirituality of man, bestowing feelings of happiness on him and making him acquainted with the source of life, the Creative Spirit. These ambitions, put into words in the book titled Princiepen der Europese muziek (Principles of European music) and numerous articles, were at right angles to the mainstream movements. Consequently, Vermeulen did not have followers or disciples.
Apart from the aesthetic-ethical message, which is also the subject of most of his songs, Vermeulens symphonies and chamber music offer an ingenious interplay of melodies, a colorful (orchestral) sound with many felicitous instrumental ideas, fascinating sound fields, innovating parallel harmony and a captivating canon technique.
Vermeulens work has been quoted as seminal by influential Dutch composers such as Louis Andriessen, but his direct influence is much more difficult to trace - his style, after all, is eclectic and highly personal. Moreover, his actual collaboration with other composers remained very limited. Almost all of his recognition took place well after his death. Matthjis Vermeulen, Symphony No. 3 Thrène et Pèan part 1 of 2](https://i.ytimg.com/vi/_4u-5N1UCmM/mqdefault.jpg)


![Claude Ballif, Sonate pour flûte et piano Op. 23 [1958] - 2 of 2
The work establishes an even dialogue between the two protagonists, giving rise to a very light pianistic discourse. The sonata is in one movement, in the form of an arc, with a return to the beginning. The central part is a virtuoso piece for the flute, with nervous sputterings and impressions of counterpoint for two voices, which recall a preliminary draft for violin and piano. In the score, a line by Dante prolongs the impressionof the last bars with a diamond-like purity: Quanto grazia e dolcezza si vede il loro. He allows the resonance to die down in an atrosphere of perfect serentiy. Claude Ballif, Sonate pour flûte et piano Op. 23 [1958] - 2 of 2](https://i.ytimg.com/vi/_LQ2MxF9Wuo/mqdefault.jpg)



