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NowSloW 4 LoverS 💏 PositiveEarthGuardians !🌍!🤟
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Still!🌍(together to get there)🌍- SailingthewaVz + M!ke Gebauer

Inspired by the short poem "Dust of Snow" by the American poet Robert Frost.

Dust of Snow

The way a crow
Shook down on me
The dust of snow
From a hemlock tree

Has given my heart
A change of mood
And saved some part
Of a day I had rued.


A Dust of Snow

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"The Quilcom Trout synthesiser is a tribute to the Trautonium in its many incarnations and versions", Quote Rex Baxterfield, who created this free vst. The Trautonium is the first Synth from 1930, well known from A. Hitchcock's The Birds. Well, I used Trout 5 times in this track + drum and bass vst + flute ! ....  Famous are compositions for Trautonium from Paul Hindemith, German Composer, who accompanied the development of the Trautonium as a university teacher and was a kind of "Bürgerschreck" (musical bogey) at that time, because of his "modernity" ... :-)

Eclectic // 5 x Trout

Dubiousity Of Love

Fool's Paradise

You can watch a video clip of this music here: https://www.youtube.com/live/iIewllTLxm0
The story of cheerful driver Mauricio Babilonia and about his great love for Meme Buendia. About how a shotgun blast forever confined him to a hospital bed. About how Meme was forcibly taken overseas, to a distant mountain monastery, in whose damp and cold walls she was ordered to forget forever the bright image of her beloved - Mauricio Babilonia, a smiling guy, permanently surrounded by a cloud of fluttering yellow butterflies...

«Mauricio Babilonia» Op.16-06. (2014)

Bach's Composition from the Afterlife

Amy's Tune

Attachments

perfect match

I make music because it is where I let go of the have-to’s, and become part of something larger than myself. The language I speak on the keyboard when I improvise expresses a part of me that only comes out there at the moment of creation - when I’m fully connected and in the flow. In those moments when I disappear in the music, those are where I’m most fully alive. The musical question I pose to myself when I play is largely this: how can I release my inhibitions and let go of patterns sufficient to bring something entirely new, unexpected, and enlightening into the world, with structure, precision, clarity, and depth of expression. These pieces are meditations that are of me, but more precisely, they come through me. When I’m in the flow, I’m channeling the energy and only moderately directing it. The challenge is to be open to take risks while maintaining a structure, melody, and tempo that makes it interesting and satisfying enough to keep listening. I keep doing this nightly because it’s a language, because it’s a connection to something greater than myself, and because it’s very very relaxing.

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Chris Bright

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