This track is part of the Open Path: https://soundcloud.com/ariad-music/sets/the-open-path-wip  
Around the piano composition, I recorded clarinet, percussions and sounds to bring some extra-life and also asked my friend @plex-auchta to play drums. He did an excellent job! I just found the file just recently on my old backup. All my sounds were recorded with my old Zoom H2 recorder, so it's quite noisy. Also, I did an automatic mastering because I'm incredibly too lazy to do so correctly. I should record in more decent way. We can say that was a mockup. Hope you can enjoy it. You can watch me playing this composition in the streets here: https://www.youtube.com/watch?v=zeuBQ2pn5nI

The Open Path

Life

Download

Alabao

The Presence Of Love #pianoday2022

Puccini: Tosca by Maria Callas

Mario! Mario! Mario! (Tosca, Cavaradossi) - Act 1, Tosca (Remastered 2022, Version 1953)

Included in the 4th album: into the shadows.
http://www.fleursy.com/riccolabel/discography/ric024_english.html

into the shadows

BandCamp

autumn waltz (Anoice 'into the shadows')

Sorry, Charlie

A silent weight floats over invisible horizons, where echoes dissolve in the breath of extinguished lanterns. Each sound lingers like the memory of forgotten skies, breaking fragments of light among the ruins of silence. Time bends into fragile reflections, and in the stillness, a hidden current draws everything toward an infinite horizon.

Static Rituals

A Waste Land Companion is, as its title implies, an addendum to Boris Rogowski‘s
album The Waste Land which was released in February 2023 on Piano and Coffee
Records. A meditation on the infamous eponymous 1922 poem by T.S. Eliot, The
Waste Land traces its psychological journey through a barren world in search of lifegiving
water as well as its physical journey through London on the zenith of
Modernism.

During the recording sessions for the album—whose sound is characterised by the
interplay between a string quartet, flute and a collection of specifically created,
deeply warped and tape-weathered samples—over 20 pieces were recorded.
Rogowski had originally intended to use all of them in chronological order, beginning
with the famous part about April being the „cruellest month“. However, it turned out
that a shorter playlist and a strictly musical order worked better for the album.
Rogowski decided to focus on the string-centred pieces to give the album a dreamlike,
hypnotic pull. However, as he valued the shorter, piano-based pieces just as
much, the idea for a companion (mini) album was born almost immediately.

It was a most sensible decision: Chamber gems like „The Hyacinth Girl“ and „A
Wicked Pack of Cards“, mixing English folklore with nods to Richard Wagner’s Tristan
and Isolde, might have gotten lost between the dark, monolithic soundscapes of the
album. Here, however, framed by works for solo piano and harmonium, they are
allowed to shine. A Waste Land Companion begins and ends with two piano pieces
only loosely connected to T.S. Eliot’s poem: „Dear Jessie (to Jessie Laidlay Weston)“ is
an ethereal miniature in reverence of the brilliant English medievalist whose book
From Ritual to Romance, a historical examination of the King Arthur legend, greatly
influenced Eliot while working on The Waste Land. „Universe on a shoestring“ is even
serener, a kind of exhalation after a long and arduous journey. It was the last piece
Rogowski composed during his concluding writing session in the mountains of the
island of La Palma. Here, close to the GTC, the world’s largest optical telescope, the
universe seemed closer than anywhere else on earth—and the grim world of The
Waste Land already a distant memory.

Bandcamp

Unreal City II

'Umrika' is a 2015 feature film directed by Prashant Nair with an original score by Dustin O'Halloran. The film stars Suraj Sharma ('Life of Pi') and Tony Revolori ('The Grand Budapest Hotel').

iTunes: http://apple.co/1RJT4R4

Dustin O'Halloran – Prologue (Umrika OST)

Graham Reynolds loves to explore narrative in his work. This tendency makes him a natural fit for the film, theater and dance work that form one of the cores to his composing career. In fusing a loose concerto format with the story of Charles Babbage and his invention the difference engine, Reynolds' composing voice finds itself in a work that is intense and driving, beautiful and intimate, personally expressive and broadly accessible all at the same time. Developed over a course of years, the initial ideas for each movement were introduced and inspired separately before being woven into this one piece.

The musical onslaught of the opening movement came to Reynolds during a lecture by LB Deyo on Babbage and his work, inspired by the ferocious pace of both Babbage's thinking and the calculating speed of his invention. The fourth movement was developed in a very different form for the Rude Mechs play "The Method Gun", now touring the country. The fifth movement started as a solo piano piece, an Austin Museum of Art commission, in response to the work of Sol Lewitt. Reynolds joins other alt-classical voices in a 21st century approach that is no longer in rebellion against tonality and melody, nor desperate to prove their validity through focus on a "unique" extended technique, while folding 20th century ideas from clusters to modal harmonies to polyrhythms into a broad vocabulary.

The completed concerto "The Difference Engine" premiered on February 6th, 2010 with a 35-piece string orchestra in a Golden Hornet Project performance at Ballet Austin’s Austin Ventures Studio Theater. Soloists Leah Zeger on violin, Jonathan Dexter on cello, and the composer himself on piano fronted the debut, with parts written specifically for their skill set and personal voices. Those voices were then captured for this CD. Not fully realized in his lifetime, the difference engine was the masterwork of 19th century inventor and mathematician Charles Babbage, an attempt to create the world's first computer. A remix of each movement forms the album's second half with contributions from DJ Spooky, Octopus Project, Grammy-nominated producer Adrian Quesada of Grupo Fantasma, Golden Hornet Project's Peter Stopschinski, and finally one from the composer himself.

04 Movement IV  Late at Night The Astronomer

Psyche in Tarantus don't say a word.
Silently gathers the flock, and hopes to be heard
Skins for a lover, both golden and new.
Grains for forgiveness, with a heart that's true

But she can't get the words out
but she can't get the words out
but she can't get the words out
but she can't, say a thing.

Younger, flown zephyrus- to tendings of need.
Faceless a lover, trusting her creed.
Sisters would warn her, know not the man.
A knife and the oil, a misguided lamp.

But she can't get the words out
but she can't get the words out
but she can't get the words out
but she can't, say a thing.

When she knows that he loves her.
and she knows she loves him,
and she's gathered her penance
but she can't, give in.

Lantern (Piano Day 2019)

Adam Weikert

Recent comments

shletten

Juve Ttito

Jaume Garcia Castro

Related tracks