A Universe of Sounds

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Islands: Essential Einaudi is the first time that all of Einaudi's best known music appears in a single collection. It’s available as both a single disc and special double disc version. Islands also includes new tracks The Earth Prelude and High Heels as well as two new remixes of Lady Labyrinth and Eros.

Available to order now:
iTunes: http://po.st/EinSoundCIiT
Google Play: http://po.st/EinSoundCIGP
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Divenire

Monday

Una Mattina

Nuvole Bianche

Listen to more 2CELLOS and get new tracks and live performances at www.youtube.com/2CELLOSlive

Listen to 2CELLOS on Spotify http://open.spotify.com/artist/6Fi8CHfO8WGtu3yO8c2Mc4

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Viva La Vida

This album focuses on love, romance, weddings and emotional music that embodies feelings of ardor.

License this music at The Music Bed: http://www.themusicbed.com/The-Time-To-Run-Part-2-3402.php

www.dexterbritain.co.uk
www.facebook.com/thedexterbritain
www.twitter.com/dexterbritain

The Time To Run (Part 2)

September 20th marks the 30th birthday of Berlin pianist Nils Frahm, but also the day he has chosen to give his fans a special gift in the form of 9 songs he recorded with 9 fingers, entitled 'Screws'.

Nils experienced an unfortunate accident which saw him fall from his bunk bed located directly above his studio, which resulted in a broken thumb. But through inspiration from his fans and after a gentle walk and talk through the park with a close friend, he decided to deal with the situation in the only way he knew – playing his piano.

With four screws surgically placed inside his thumb, he started recording with his remaining 9 fingers, what later resulted in 9 intimate piano recordings.

Fans can download 'Screws' as mp3s or in full 24-bit 44.100 kHz audio quality here (http://screws.durtonstudio.com), and pre-order a Vinyl/CD edition from the Erased Tapes online store (http://erasedtapes.com/store/index/ERATP046), which will be released later this year.

'I am sitting in front of a sheet of paper. My right hand is bending over my left thumb. The first day I got out of my cast I could bend it by 15°. Now I am already at 50° and that makes me happy. Things are going uphill...

As you can imagine, it is really bad news for a pianist when he gets diagnosed with a broken thumb. That day I was sitting in the emergency room, feeling rather dizzy while thinking of a zillion shows coming up and all the people involved around it. I realised in that moment how busy things have become. It is hard to turn down interesting projects and opportunities, since I surely love my work. It actually never felt like work. Playing piano and playing it for wonderful people is the greatest joy I can imagine.

For a couple of days I felt like this all could be over. How pathetic. But hey – also feeling sorry for yourself has its place somewhere. All of a sudden I had so much time, an unexpected holiday. I cancelled most of my schedule and found myself being a little bored. Even though my doctor told me not to touch a piano for a while, I just couldn't resist. I started playing a silent song with 4 fingers on my left and the remaining 5 on my right hand. I set up one microphone and recorded another tune every other night before falling asleep.

The day I got rid of my cast I had recorded 9 little tunes. They have helped me feel less annoyed about my accident and reminded me that any good is something I can only achieve, when I am making the most out of what I've got.

Thank you all for listening!

With lots of love,

Nils


9FINGERS North American Tour 2012

09/16 New York (US) – West Park Presbyterian Church 
09/21 Boulder (US) – Cherryvale Studios
09/22 Colorado Springs (US) – The Mesa
09/23 Santa Fe (US) – O'Shaughnessy Performance Space @ Santa Fe Uni
09/24 San Fransisco (US) – private show (RSVP only)
09/29 Seattle (US) – Decibel Festival @ Broadway Performance Hall
09/30 Portland (US) – Classic Pianos
10/03 Mexico City (MX) – Mutek

ERASED TAPES 5th Anniversary Tour w/ Ólafur Arnalds & A Winged Victory For The Sullen

10/08 HAMBURG (DE) – Fliegende Bauten
10/09 PRAGUE (CZ) – Palac Akropolis
10/10 BUDAPEST (HU) – Trafo
10/11 MANNHEIM (DE) – Alte Feuerwache
10/13-14 BERLIN (DE) – Radialsystem
10/15 AMSTERDAM (NL) – Paradiso
10/16-17 LEUVEN (BE) – Stuk
10/18 LONDON (UK) – Hackney Empire
10/19-20 ISTANBUL (TR) – Salon IKSV

PREVIOUS PRESS:

'No. 42 Best Albums Of 2011' -The Guardian
'Felt is a transportative album, a balm for troubled minds.' BBC Music
'Frahm’s hyper-intimate recording technique for the album makes Felt a captivating listen' (9/10) DIS

★ ★ ★ ★ – Popmatters ★ ★ ★ ★ – Uncut ★ ★ ★ ★ – Clash ★ ★ ★ ★ – Mojo

OFFICIAL WEBSITES: screws.durtonstudio.com · facebook.com/nilsfrahm · twitter.com/nilsfrahm · erasedtapes.com

Screws

Buy CD/LP/DL

Nils Frahm - Re

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.”


Spring One - Vivaldi Recomposed - The Four Seasons

Spring 1 (2012)

Creative Commons Volume. 5
Contemporary Classical soundtrack music.

Download at dexterbritain.bandcamp.com

www.dexterbritain.co.uk

Like me on Facebook: www.facebook.com/thedexterbritain
Follow me on Twitter: www.twitter.com/dexterbritain

Download / License

The Time To Run (Finale)

Benedictus

Manon Theme, from the contemporary dance theatre choreographed by Kimiho Hulbert in Japan 2012.
Sync/Licensing inquiry to: info@schole-inc.com

official site: https://akirakosemura.com/
bandcamp: https://akirakosemura.bandcamp.com/
spotify: https://open.spotify.com/artist/4n1lW38WKgyPEIZowQ3AND?si=gwGM3HyeRACgj5z4pSVlug
itunes/apple: https://itunes.apple.com/artist/akirakosemura/216327255

Bandcamp

Manon Theme (2012)

A track for the new year.

Keep me making free music by licensing its use on my website.
www.dexterbritain.co.uk
(www.dexterbritain.co.uk/products/nothing-to-fear)

Like me on Facebook: www.facebook.com/thedexterbritain
and follow me on Twitter: www.twitter.com/dexterbritain

Name Your Price

Nothing To Fear

A Work In Progress. This album focuses on love, romance, weddings and emotional music that embodies feelings of ardor.

License this music at The Music Bed: http://www.themusicbed.com/get-music-list.php?artist=Dexter%20Britain

www.dexterbritain.co.uk
www.facebook.com/thedexterbritain
www.twitter.com/dexterbritain

Our Biggest Day Yet

from my new album, For Now I am Winter. Out now!

Amazon: http://smarturl.it/OAamazon
iTunes: smarturl.it/OAiTunes 

For Now I Am Winter

A Stutter (feat. Arnór Dan)

Light Dance, from the solo album "how my heart sings" in 2011.
Sync/Licensing inquiry to: info@schole-inc.com

official site: https://akirakosemura.com/
bandcamp: https://akirakosemura.bandcamp.com/
spotify: https://open.spotify.com/artist/4n1lW38WKgyPEIZowQ3AND?si=gwGM3HyeRACgj5z4pSVlug
itunes/apple: https://itunes.apple.com/artist/akirakosemura/216327255

Light Dance (with violin) (2011)

Lucky Ones

Ljósið was the 7nd and last track in a week long project, called Found Songs, where i wrote, recorded and released one song per day, for free. I thought it was nice to end the week with something uplifting. Esteban Diacono's video to the song has been very popular.

You can down all the Found Songs for free at http://foundsongs.erasedtapes.com

Ljósið

Uploaded by your request! This is my personal favorite track off my first album, Eulogy for Evolution. 


3055

Light Of Life

A little/ long improvisation. Literally the raw almost 7 minutes of me playing piano. Why? Because why not!

Opus 04

My flute concerto, The Shadow of Sirius, in a fantastic live performance by the University of Texas Wind Ensemble, Jerry Junkin conducting and Marianne Gedigian, flute soloist.

Find out more: www.joelpuckett.com/shadow.html

[To buy a fantastic studio recording of this work, follow the itunes link.]

Program note: 
I have always found comfort in poetry. While in school, I was the guy with a collection of Bukowski under one arm and a collection 
of Yeats under the other. I have always enjoyed the rhythm of other people’s thoughts and feelings.

In the winter of 2009, my wife and I experienced a heartbreak that left me unsure of how to even breathe, let alone grieve. 
On March 1st, 2009, I found a copy of W.S. Merwin’s, The Shadow of Sirius, and I began to feel myself heal. I have almost no idea 
what most of this poetry means. But I know that it fills me with a profound sadness that is, at the same time, brimming with hope.
I recently heard Mr. Merwin discussing the origin of the title of his collection. He related that scientists have discovered that the star 
known as Sirius is actually a star system. What looks to our eye like a single object is actually many. Merwin found himself 
wondering what is on the other side of Sirus, lying in its shadow.
A friend once said to me, “many concerti explore a virtuosity of technique but not many explore a virtuosity of expression.” It was 
with that thought in mind that I began work on my, The Shadow of Sirius, for solo flute and wind orchestra.

Each movement offers my reflection on a single Merwin poem from the collection. Although the work is played without pause, the 
soloist plays unaccompanied solos to separates the individual movements. 

A consortium of American wind ensembles led by Michael Haithcock and the University of Michigan commissioned The Shadow of Sirius. The work is dedicated to the fantastic Amy Porter.

Grateful acknowledgment is made to the Copper Press, which has granted permission to reprint W.S. Merwin’s poetry. All poems 
Copyright 2008 by W.S. Merwin. More information about this poetry can be found at www.coppercanyonpress.com.

A Universe of Sounds

Andrei Vasii