Music

As the saying goes: nothing ever ends well, otherwise it would not end. And yet large parts of us still wish things would not end, even after we convince ourselves it is for the best. Is it an act of grace to accept fate and slowly fade away without a fight, or does the universe want to test our resolve and see just how far we are willing to go to obtain, and more importantly perhaps to keep, the object of our desires? It is human not to know; it is human to exist in bewilderment regarding such matters. Being aware of this, however, never makes it any easier. Endings always bring an emptiness in a person's heart and soul. No one ever wants to fail, but sometimes we wait too long to really try in the right ways to truly succeed. The eleventh hour concession is always the hardest case to handle. It leaves one with many doubts. It leaves a person with the hope that things would be, could be, should be, better if only... In such cases the weather can be forever raining in one's heart. 

ALBUM INFO:

"The Idea Of You" is the first of a trio of neoclassical solo piano albums composed, performed, and produced by Andrew Souter. These projects have been two decades in the making and represent a return to traditional music composition, engaging song-writing, and the pure passion of emotional story-telling. This Andrew's most personal and intimate music. It is quite literally a love project. We hope it may it help you on your journey, as it has us...

The Idea Of You Cover Art "The Idea Of You" is music inspired by the spirit of Eros and all of its blessings as well as its tribulations. It explores the vicissitudes of romantic love, the delicate seasons and contour of life, and all the lessons learned along the way. Themes of desire, passion, limerence, romantic love, idolatry, jealousy, envy, loss, regret, forgiveness, acknowledgment, appreciation, acceptance, and eventually glimpses of true understanding permeate the work. It attempts to communicate that which so many of us can never quite communicate properly with words. It is an open apology for the clumsy mistakes we all make when coming to maturity in learning how to care selflessly for another human being. It is a gentle reminder as to what is most important in life, as well as an invocation to continuously seek self-improvement regarding our understanding of such matters.

Andrew Souter -- Still Raining There

New England Conservatory President Emeritus and Walter W. Naumburg Chair in Music, Laurence Lesser Bach: Suite for Cello solo no 1 in G major, BWV 1007. Recorded live in Jordan Hall, Boston, by Alex Hug

Bach: Suite for Cello solo no 1 in G major-Sarabande

My take on Chopin's saddest little prelude.  Two and a half minutes of ache.


Chopin Prelude No. 4 In E Minor, Op. 28

Buy it here

Korablove - Frosty Morning

Live recording of Lucas's performance at the Marianopolis Prix d'Expression 2013. 
**First place**

Saint - Saens - Introduction And Rondo Capriccioso - Qian

November

Anjunadeep 06
iTunes: http://po.st/anjunadeep06
Spotify: http://po.st/Deep06Spotify
Anjunastore: http://po.st/anjunadeep06cd

Ryan Davis' variation of Ólafur Arnalds' beautiful "Only The Winds". Out on Beatport on Aug 25th, and featured on 'Anjunadeep 06 Mixed by James Grant & Jody Wisternoff", released worldwide on September 8th.

Premiered by Clash: http://www.clashmusic.com/news/listen-%C3%B3lafur-arnalds-only-the-winds-ryan-davis-from-far-away-variation

Pre-Order Anjunadeep 06 on iTunes: po.st/anjunadeep06
Pre-Order Anjunadeep 06 on Anjunastore: po.st/anjunadeep06cd

The sixth instalment of their iTunes Dance Chart-topping series sees Anjunadeep showcase the label’s sound across two discs of ambient electronica, melodic deep house, upfront garage and spacey techno. For the first time, both CD’s are mixed not by one artist apiece, but by both James Grant and Jody Wisternoff as a duo, allowing for a true journey through the Anjunadeep sound.

The highly anticipated compilation is made up almost entirely of brand new exclusives - from names both familiar and fresh, including new material from Dusky, Lane 8, Croquet Club, Ólafur Arnalds, Vincenzo, Cubicolor, Dave Angel and many more.

Disc 1

01 Croquet Club "Only You Can Tell"
02 John Monkman feat. Liz Cass "Open Frontier"
03 Cubicolor "Soul Chords"
04 Steve Huerta "Say It Wasn’t"
05 Danalog "Click, Search (Jody Wisternoff Remix)"
06 Vincenzo & Florian Kruse feat. Raquel Quińones "If He Runs"
07 Cubicolor "Still Linger In My Dreams"
08 Lane 8 "Without You"
09 Lane 8 feat. Solomon Grey "Diamonds"
10 16 Bit Lolitas "Deep In My Soul"
11 Clancy feat. Eli & Fur "I Wanna Know" 
12 Dusky "4T4"
13 Martin Roth "Maya"
14 Journeyman "Crash Reel"
15 16 Bit Lolitas "Premium Emo"

Disc 2

01 Aquilo "Part Of Your Life (Croquet Club Remix)"
02 Choir Of Young Believers "Hollow Talk (Jody Wisternoff, James Grant and Lane 8 Remix)"
03 Cubicolor "Got This Feeling"
04 Eli & Fur "Feel The Fire"
05 Dave Angel "Quartz"
06 Beckwith feat. Natalie Conway "Take Me Home"
07 Lancelot feat. Antony & Cleopatra "Givin’ It Up (Isaac Tichauer & Nibc Remix - Jody Wisternoff & James Grant Edit)"
08 HVOB "Lion (Stimming Remix)"
09 Shingo Nakamura vs. Jody Wisternoff & James Grant "Another Tone"
10 Shur-i-kan "My Love"
11 Ashworth "Rebound"
12 Meramek & Tropixx "Only You"
13 Jody Wisternoff "Paramour"
14 Leftwing & Kody "Tell Me"
15 Universal Solution "Bandur"
16 Olafur Arnalds "Only The Winds (Ryan Davis’ A Letter From Far Away Variation)"

Follow Anjunadeep:
Website: www.anjunadeep.com
Facebook: www.facebook.com/anjunadeep
Twitter: www.twitter.com/anjunadeep
Instagram: www.instagram.com/anjunadeep
Google+: bit.ly/GAnjunadeep
SoundCloud: @anjunadeep

iTunes

Ólafur Arnalds - Only The Winds (Ryan Davis' A Letter From Far Away Variation)

#1 Billboard Classical
#1 iTunes Classical Album (US)
#1 Amazon Classical

License this piece at - 
https://www.musicbed.com/songs/nocturneinfminore28093op552cno128variation29/12742

Steinway artist, Chad Lawson, decided Chopin needed a new introduction.  Along with violinist Judy Kang (Lady Gaga, Ryuichi Sakamoto) and cellist Rubin Kodheli (Kanye West, Norah Jones), Lawson has arranged ten Chopin works into a minimalist landscape.

It's a risk editing the "poet of the piano" but one that Chopin would be proud of.  

Taking 10 Chopin works, Lawson decided to scale the works down to a minimalist setting.  "I knew even if bare-bones, Chopin's works could still be as spellbinding as the original compositions we are so familiar with." says the pianist.  

Produced by Chad Lawson & Alejandro Clavijo. Mixed by Stephen Lee Price.  Mastered by Michael Graves of Osiris Studios (Atlanta, GA).

Chopin Nocturne in F Minor-Op. 55, No 1 (Variation) Piano, Violin, Cello - Chad Lawson

HBO's The Leftovers Piano Theme - Max Richter

Life itself is a piano theme composed by Mario Viñuela. 

Listen to my music on Spotify / Escucha toda mi música en: https://open.spotify.com/artist/4hAdpygElM5qnAI534XVRp

Life itself

Life Itself

The Theory Of Everything Soundtrack 15 - Forces Of Attraction

Una mattina

Yiruma - River Flows In You ( improvised )

Pre-order 'Trance Frendz' on LP/DL: www.erasedtapes.com/store/index/ERATP081
or digitally iTunes: snip.ftpromo.net/trancefrendz

Having been available exclusively as the second disc to 2015's 'Collaborative Works', Ólafur Arnalds and Nils Frahm's improvised audio recordings 'Trance Frendz', taken from their 45-minute studio film of the same name, have been given their own vinyl release – out March 4th, 2016.

Prior to a string of collaborative Erased Tapes releases, which include 2012's 'Stare' 10” and last year’s 'Life Story Love and Glory' 7” and 'Loon' 12” – compiled on the 'Collaborative Works' 2-CD set, Ólafur Arnalds and Nils Frahm spent many hours together in their studios across Berlin and Reykjavik. Both have carved out genre-defying musical careers and formed unique live shows, creating a fan base loyal to their prolific output.

During a session at Durton Studio in Berlin last summer, Nils and Ólafur invited Alexander Schneider and his camera to document it. The recording continued long after the first take, stretching out into the next day until, eventually, several new improvisations had been recorded in 8 hours with no overdubs or edits. The unexpected nature in which these pieces had been created was reminiscent of their first on-stage improvisation many years ago. It became immediately clear how special these songs were.

"At the end of the night we had all this music that sounded unfamiliar even to us, loudly asking to be included in this collection.”

Originally made available as a 45-minute film on their joint website (www.arnaldsfrahm.com) last September, 'Trance Frendz' will be available to own on vinyl from March 4th, 2016.

Press for their 'Collaborative Works':

'A particularly joyous wash of slinky percussion and juddering layers' (8/10) – Clash

'An enchanting listen. The bar for a Lads' Night In has just been raised a few notches' (7/10) – Drowned In Sound

‘This is music for slowing down the pace of modern life... An immersive listening experience is guaranteed, while we must hope Frahm and Arnalds go on ‘holiday’ together more in future, and don’t forget to take their musical instruments.’ ★★★★ – MusicOMH

'A collection of gorgeously intimate piano compositions and eye-opening synth pieces, each never aggressive but always powerfully poignant' (8/10) – Under The Radar

'What Collaborative Works offers is something strange: a shared world created by two mad geniuses. Long may Arnalds and Frahm tinker' (8/10) – PopMatters

'Collaborative Works further proves just how natural a fit Ólafur Arnalds and Nils Frahm are together' – Resident Advisor

Trance Frendz

20:17

Buy LP/2CD/DL

Ólafur Arnalds & Nils Frahm – 20:17

For more information visit: http://www.klassikakzente.de/recomposed/home 

Some works are so familiar that it is almost impossible to hear them afresh, but that is what Max Richter has achieved with Vivaldi “Recomposed”. This is no mere arrangement; instead Richter has absorbed Vivaldi’s The Four Seasons into his own musical bloodstream. At first Richter followed the example of other works in the “Recomposed” series, which re-mix existing recordings, but, he says, “I wanted to open up the score on a note-by-note level, and working with an existing recording was like digging a mineshaft through an incredibly rich seam, discovering diamonds and not being able to pull them out. That became frustrating. I wanted to get inside the score at the level of the notes and in essence re-write it, re-composing it in a literal way.”Richter calculates that, in the process, he has discarded around three-quarters of Vivaldi’s original. He opens with what he describes as “a dubby cloud which I’ve called Spring 0. It functions as a sort of prelude, setting up an electronic, ambient space for the first Spring movement to step into. I’ve used electronics in several movements, subtle, almost inaudible things to do withthe bass, but I wanted certain moments to connect to the whole electronic universe that is so much part of our musical language today.” Other resonances are no less unexpected: Richter describes part of the first movement of his Summer as “heavy music for the orchestra. It’s relentless pulsed music, which is a quality that contemporary dance music has; and perhaps I was also thinking about John Bonham’s drumming. Then, in the second movement of Autumn I asked the harpsichordist Raphael Alpermann to play in what is a rather old-fashioned way, very regularly, rather like a ticking clock. That was partly because I didn’t want the harpsichord part to be attention-seeking, but also because that style connects to various pop records from the 1970s where the harpsichord or Clavinet was featured, including various Beach Boys albums and the Beatles’ Abbey Road.” Clearly, Richter has brought his own frame of reference to the project. As he says, “Vivaldi’s music is made of regular patterns, and that connects with post-minimalism, which is one strand in the music that I write. That felt like a natural link, but even so it was surprisingly difficult to navigate my way through it. At every point I had to work out how much is Vivaldi and how much is me. It was difficult but also rewarding because the raw material is so fascinating.”Just as Richter’s Seasons plays tricks with the way we hear Vivaldi’s original, so it also asks questions of the soloist, Daniel Hope. “Violinists have Vivaldi’s The Four Seasons hardwired in their brain. Daniel is likely to play the original I don’t know how many times in a year, and for him to have my parallel text going on in another part of his brain is a challenge. I think he did a wonderful job. He brought to it a deep engagement with the original, but he was fully prepared to cut this new swathe through the text.”


Music

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