A beautful play with the pedal and the overtones. I like the immersive rhythm.

Gentle soulful piece. Performed beautifully

As it grows increasingly apparent that humanity lacks the wherewithal to unify over the existential threat of climate change, my response has been to write music intended to evoke, in the hearts and minds of those who hear it, a comprehension that it is humanity's obligation to act as caretakers, rather than destroyers, of the life that surrounds us. This album includes three orchestral works from my Music for the Earth series.

GAIA’S LAMENT. In the background, music for violin and orchestra was playing for quite a while, but I didn’t quite muster the courage to embark on writing it down until recently. At the time I began to think seriously about writing a concerto for violin, the United Nations was in session and what, if anything, would come out of the climate change discussions was the hot topic of the day. The young activist Greta Thunberg had sailed to the U.S. on a solar powered sailing vessel and having been invited to speak before the assembled members, gave all of the adults in the room the thrashing they well deserved. With all of this going on, somehow a scene from the 1960 film of H.G. Wells “The Time Machine” kept coming to mind – a brief scene where he travels to the far, far distant future to arrive to find a dying earth, a huge red sun suspended on the horizon, and a desolate landscape nearly devoid of life.

It was with this somber vision that I set about writing music, filled with sorrow at what our species is doing to our only home, with little hope that we have the awareness, rationality or willingness to act as we must.

GAIA’S SONG.  A companion work to Gaia’s Lament, this bucolic music was nearing completion when the Intergovernmental Panel on Climate Change published its Sixth Assessment Report, Climate Change 2021. While reading the findings of the report was, unsurprisingly, deeply distressing, my vision for the earth which helped inform the writing of the music is the opposite. A vision for humanity that is built on hope rather than the reality of human nature, one where humans come to recognize our responsibilities as caretakers rather than destroyers of the earth and the living creatures with whom we share the planet. This is gentle music, intended to inspire a gentler approach to living.

Whatever anger or despair I feel at the realization that our species will prove, in all likelihood, incapable of taking the necessary actions to stave off environmental catastrophe in the coming decades, I laid those feelings aside when writing this song. Let Gaia sing, not a song of lament, but a song of peace and hope.

SEASON OF RAIN. A symphony in four movements, composed during a mostly rainy season. The music is also a rather somber reflection on the state of the world, as it becomes devastatingly apparent that climate change is a certainty and, at the same time, the rise of populist politics around the world makes it equally certain that humanity will not respond to the alarms.


Gaia's Lament (Andante)

An epilogue to the human race. Why do we so firmly believe that our species will survive? Over 99% of species that roamed the earth in the course of the past 4 billion years have vanished again. We only know of them, when we examine the fossile record. So, chances are (unfortunately) very high, that also we will become extinct some time and our memories are only preserved in the depths of the earth. 
Also, the Fermi Paradox (see, e.g., https://www.youtube.com/watch?v=sNhhvQGsMEc) leaves us puzzled why we see no other forms of life in the universe. 
Let us not get extinct! (and, on a personal note, I think, the  travelling to Mars is not exactly the solution to ensure the survival of our species. Rather, it is, not ruining our wonderful home planet)
A lyrics version will come out soon.

Compositionwise, the piece is structured in four parts. 
Part 1, introduces the lamenting theme, first in a very basic relaxed fashion with slow accompaniment and then becoming a tad more agitated. The chromatically descending accompaniment underlines the mournful mood. The second half of the part starting @0:24 is a bit more consoling but keeps the overall spirit. The other three parts (starting @ 0:48, 1:31, 2:15) are variations of the main theme with the last part leading @2:40 into the end that leaves more questions than answers)

The VST piano used for this recording was the Nils Frahm Noire (not the felt version) which I slightly brightened up to have more of the singing overtones.

Fossiles in the Making (Piano Miniature)

An ambient piano track that I hope will create some emotion for you, probably best heard on headphones, I hope you enjoy it.

Originally this idea came by listening to a YouTube video on composition then I used it as the basis for a short challenge piece on Max Konyi’s Sonic Sorcery channel under the title “Where I Must Return“

I turned it into this ambient track, I will possibly use the idea to create a choral piece in the future (maybe!).

Under the Moon

Please welcome to join Syntaleta community on www.patreon.com/syntaleta
Remastered by Houman (https://soundcloud.com/houmans)

But I've Got the Wings

"Dans mes pensées" est une composition pour piano aux accents néoclassiques, à la fois mélodieuse et empreinte de mélancolie. Elle évoque un voyage intérieur, entre rêverie et émotion retenue.



Dans mes pensées

Composed by Michele Ansani (2025).
Saxophone and female vocals (reworked) are courtesy by Daze of Nostalgia and Cinematic Vocals.
Cover picture: René Magritte, The Art of Conversation (1963).

Posted on SoundCloud:  2025 June 1.

Talking about our lifetime

Welcome to the second track in the Three Colours Blue Trilogy. I hope you enjoy it.

Blue Trilogy

Blue No. 02 (Trilogy)

After the harrowing collapse (Demise) and the stark realization of utter isolation (Lost), a musical lament begins to unfold. Tears pour forth— for the loss of all that was familiar: life, hope, the rhythm of what once was.
The English horn leads the orchestra through a descent into despair, guiding it gently, relentlessly, to the edge of desolation.
This piece ends not with silence, but with one final, desperate cry— a powerful minor chord, resonating with the weight of sorrow.

Pandemic Suite – 07. Lamento

pour Benjamin Fontaine


En février, alors qu'il neige encore en Sibérie, l'ajonc fleurit en Bretagne.

version vidéo:
https://youtube.com/shorts/cvyRrJ_Dcy8?si=M9yGj-PpfCbP5wqv

la musique de Benjamin :
https://on.soundcloud.com/hAl7RVNaqO5dRKg7WO

quand les ajoncs fleurissent

Embark on an aural journey with "Voxel Voyage", our exclusive collection of 12 distinctive piano tracks, thoughtfully designed for RPG-style games.

Every note in this musical assortment is intended to strike a chord with your game players, plunging them into the fantastical realms you've created and intensifying their in-game experience. Each piece in "Voxel Voyage" is curated to cover a diverse spectrum of emotional and situational tones, from peaceful tranquility and introspective moments to tense suspense and epic climaxes.

This collection serves as an ideal audio companion to game developers, blending seamlessly with your storylines and enhancing the gaming atmosphere. Easy to integrate, the tracks in "Voxel Voyage" are ready to breathe life into your worlds, shape the mood of your scenes and help narrate your game's narrative through the power of music.

Whether it's an enchanted forest, a haunted castle, or a bustling alien city, our music will set the perfect tone, making each gaming moment unforgettable. With "Voxel Voyage", ensure that your players are not just playing a game, but living a captivating adventure.

1 - Phat Phrog Studios - Voxel Voyage - Elegy for an Elven King

Loosely inspired by Sweet Sounds of Heaven from the Rolling Stones...! :D

Piano M 7982 6:14 05-09-2025

In my early years I took piano lessons, regretfully I stopped them in my teens. I've always had a piano in the house and over the years have composed a number of songs (without words). What’s important to me is the melodic nature of the pieces and I wanted to share them with others. The origins of the music are probably influenced by my early classical lessons, Chopin and Schubert to name a couple. I love Liszt’s Hungarian and Rachmaninoff’s Russian styles but sadly my technical ability hampers the inclusion of their techniques.
Today’s home recording software allows many opportunities to develop compositions using other instruments to compliment the piano however, using the software has been a challenge, trying to get the “right” sound for the piano has been the most difficult part of the process. I’m slowly learning and will probably remix some of my current tracks as my experience grows.
Once I have recorded my heritage pieces, I plan to write a new selection of music predominantly piano but also experimenting with more or different instruments, watch this space!
Thank you for listening and commenting on my compositions and for the reposts, please don’t hesitate to offer constructive criticism, it could speed up the learning process.
Best Wishes,
Chris Cummins

Under the Moon

Chris Cummins Music

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