What an experience, and I thank you for it. Christopher, God bless you!

This is amazing! Hats off to the extreme intricacy and care throughout the journey

Today the main theme of this movement entered my mind and stayed there for a long time, producing many heart-felt variations, as if I had created it myself. It seems to have seriously permeated my subconscious... :)

This is brilliant, so excited for the road ahead

Wow! Grand, ambitious, truly a work of art!

Loving this again today - thank you Christopher.

Such a remarkable, searching development of the motifs -

classix

Obtained from: YT Jam Tracks
YouTube site: https://www.youtube.com/channel/UCdMqonsla0BK21Fnf9Qx5Wg
Backing Track Title: Cool Dreamy Melodic Rock Backing Track in A Minor
YouTube Track channel: https://www.youtube.com/watch?v=vCxuLkl1MKc
Bandcamp website: https://ytjamtracks.bandcamp.com/track/cool-dreamy-melodic-rock-backing-track-in-a-minor-3

Song Title: At the Intersection of Life
The lead, improvising over the track was done with the following;
Picture with Track: Is what the Guitar looks like.
Guitar Used: 1998 Ernie Ball Wolf Gang Axis in HH configuration.
Color: Crimson Red, Flame body and neck
Strings: Ernie Ball Super Slinky Hybrid 9-46
DAW: Reaper
AmpSim: Amplitube 4
Preset: Mesa Rectifier EL-34 Lead
Interface: Focusrite 2i2 2nd Gen

Raw: What does RAW mean to me, not having undergone processes of preparing, finishing, refining, or mastering: It is what was recorded at that time in its current state.
Comments: Please follow if you like, comment if you like and I’m opened to feedback to improve my playing, recording, mixing etc.  Thanks for listening \m/.

Encounter_00X

At the Intersection of Life

ducks on the water

A Warm And Golden October by Marco Lucchi  Rework

A single word has power and should be chosen wisely. It can bless or curse, elevate or diminish, and contribute to happiness or sorrow. Just one word has the power to ignite a miracle.  It can create a positive ripple effect. Today more than ever, we can make a difference in the lives of others with just one word.

Just One Word

When I was living in Boston, I saw Vladimir Horowitz play this Sonata in one of his most remarkable and final concerts at Boston Symphony Hall before he died in 1989. He was well into his 80's. I went back to my teacher and said, "I want to learn that!"  Well I did, many moons ago.  I still have the music with notes.  I don't perform written music any longer (well Chrismas songs, and family favorites), and I can't play any of my old repertoire from memory, but the beautiful melodic theme has stayed with me.  This is my tribute to Scarlatti, a genius composer, ahead of his time, but more than that,  his music has a profound depth of emotion as if it were written today!
Horwowitz Playing Scarlatti Sonata F Minor
https://youtu.be/PAFkkEdJaCE?si=kr7EywcyAeFXesXW
https://www.britannica.com/biography/Domenico-Scarlatti
December 31, 2023 All rights reserved

Scarlatti, My love ~ Inspired by Sonata in F minor, K466 D. Scarlatti

Lalla In The Rainbow

Moon River: 
https://gyro.to/200666MoonRiver

Presave Romance in Time EP (29 Feb) (Over the Rainbow): https://gyro.to/RomanceinTime

The lyrics composer, Johnny Mercer, wanted to write about his home in the south of the USA where he lived by the water. Moon River looks to the future and the past simultaneously. The river represents time and the journey from start to finish.. the journey of life. 

commemorates Audrey Hepburn’s passing 20 Jan 1993.
This poem was read at her funeral.

“For attractive lips, speak words of kindness,” “For lovely eyes, seek out the good in people,” “For a slim figure, share your food with the hungry,” and “For beautiful hair, let a child run his fingers through it once a day.”
~Sam Levenson
.
.

Most beautiful romantic melodies (Full piano performances of the works in Romance in Time EP)
https://youtu.be/K62TuGv0VL8

Sat Feb 24 , 2024 Piano Livestream 8 PM MST
https://www.youtube.com/watch?v=TyP8LHN3sa0

Romance in Time

Moon River

“Le Joli Cœur” is a re-issue of an album released by Webbed Hand Records in 2008
webbedhandrecords.com/wh115-oes-le-joli-coeur/

The music - commissioned for an exhibition of works by Jean Cocteau - is entirely based on the final piano cadenza of "Now nothing" by the Penguin Cafe Orchestra.

It features contributions by Simon Jeffes, Marco Lucchi, Roberto Corsini, Mario Nobile, Dario Derek Lucchi, Lucio Bosi, Giampaolo Violi, Giza (Bram de Jonge), Alejo Nobili, _ , Umiomiomiomio (Umio Miyazaki), Hidekazu Wakabayashi, Christian Vasseur, Jimmy Lolek, Rainier Lericolais, Duet for Theremin and Lap Steel (Scott Burland) and Louise Bronx.

*

A project by Marco Lucchi
https://marcolucchi.bandcamp.com/album/le-joli-c-ur

Le Joli Coeur [1]

Don´t forget (Rehearsal)

2024-05-14

Dream Your Dream

Composed in 1999. Commissioned by the National Youth Orchestra of Wales and performed by them at St David's Hall Cardiff conducted by Christopher Adey. 

The starting point for this work is Italo Calvino’s novel of the same name which deals, on the surface, with Marco Polo’s descriptions to Kubla Khan of the fantastical cities which he has seen on his many travels. Although he describes many cities he is, in fact, describing many facets of the same city, Venice.

The sub-plot of the novel deals with people’s varying perceptions of the same scene and also with perceptions of time and its continuity. This problem of a single scene causing different reactions and emotions in different people lends itself, musically, to a continuous process of symphonic variations where the same material is woven together to form diverse images.

I was further influenced by a visit to the “Venice through Canaletto’s Eyes” exhibition at the National Gallery. Canaletto’s paintings with their intense detail depict the glory of Venice but it is a Venice that never existed as he painted it. Many of his views are painted from impossible viewpoints with obstructing buildings removed or with the perspective altered so as to show more of the scene than is actually visible. These paintings are a tangible example of what Calvino is describing, the view as Canaletto perceived it not as it actually was. I was particularly impressed by both “The Stonemason’s Yard” and, more importantly, “A Regatta on the Grand Canal” and had these in mind during various stages of the composition.

I was also conscious of the musical history of Venice and the many composers who have been associated with it. It is possible to discern the ghostly shadows of some of these composers moving through these invisible cities should one wish to look for them.

The work is continuous and is cast in four sections, Moderato; Allegro malevolente; Lento tranquillo; and Allegro giocoso.

The musical material is derived from a specially derived set of note-rows which have been manipulated to provide the threads with which the fabric is constructed. These note-rows are used contrapuntally and have no bearing on the harmonic (vertical) structure of the work but are linked to the tonal scheme of the sections. The form is derived from Venice’s golden period with much use of canzona, fugue, ostinato and ritornelli.

I have chosen the following descriptions from Calvino’s text as my images whilst composing this work. They are not necessarily presented here in the same order as the music as the listener should feel free to conjure their own images according to their perception of the music.

“...three soldiers on a platform played the trumpet, and all around wheels turned and colored banners fluttered in the wind.”

“...there is the great roller coaster with its steep humps, the carousel with its chain spokes, the Ferris wheel of spinning cages, the death-ride with crouching motorcyclists, the big top with the clump of trapezes hanging in the middle.”

“...most of the corpses are seated around laden tables, or placed in dancing positions, or made to play little trumpets...”

“...the city visible when you lean out from the edge of the plateau at the hour when the lights come on, and in the limpid air, the pink of the settlement can be discerned spread out in the distance below: where the windows are more concentrated, where it collects the shadows of gardens, where it raises towers with signal fires; and if the evening is misty, a hazy glow swells like a milky sponge...”

“At times the wind brings a music of bass drums and trumpets, the bang of firecrackers in the light-display of a festival; at times the rattle of guns...”

“Recurrent invasions racked the city...in the centuries of its history; no sooner was one enemy routed than another gained strength and threatened the survival of the inhabitants."



Invisible Cities

Awakening

Nocturne#1

www.1631recordings.bandcamp.com

#PianoDay2020

Akira Kosemura - Asymptote

After taking a long break last summer and fall from composing, I started again in earnest at the end of the year.  Rather than rush a piece out, I decided to take time and really invest in a work.  This first movement of my 4th Symphony is the result - and other movements are well underway too.  I hope that the end result will be a Symphony that I can finally be proud of.  Time will tell.

During the development of this movement, I had the good fortune to receive the very generous and insightful guidance from the marvelous and rightfully accomplished composer John Hopkins @john-hopkins-941786350, particularly with regard to the movement's structure.
 
I am very thankful to John.  I would also like to take this opportunity to thank all the other people that have helped me along the way.  Starting with my wonderful twin sister Catherine who showed me how to start playing the piano.  My dear and kind friend Jonathon Chappell who wrote out my first score.  The wonderful person and composer Rob Wilsmore who gave me great encouragement. Nerissa Dando, the violaist who so kindly was first to play a piece of mine.  The violinist Claire Sharpe and the composer John Webb @webb-john who played my piano and violin piece, and also especially to Claire who introduced me to the City of Birmingham Symphony Orchestra.  It was watching the CBSO and Simon Rattle's face from student seats behind the orchestra that taught me so much about symphonic music.

From more recent years I will like to thank Tom Foley who gave me my first DAW software so I could finally start writing what I could not play.  Then I would very much like to thank all the SoundCloud community for their generous support and wonderful feedback.  I would particularly like to mention the very talented composer Joseph Haspel @joseph-haspel who has so generously performed a piano work of mine and has helped clean up several piano scores.  Finally, I would like to thank the superb composer Paul Max Edlin @paulmaxedlin who has given great advice and encouragement, has so generously worked on scores of mine and was planning to have a piece of mine performed until Covid19 came along.

Given that I have never studied music, nor was ever taught to play an instrument, I greatly appreciate  everyone who has helped and encouraged me along my musical journey. Thank you.

Finally, I would like to especially thank my amazing and beautiful wife, and my lovely sons and stepsons.

Hope you enjoy the work.  And as always, thank you so much for listening.

Be well.
Christopher

Larkins | Symphony No. 4, Movement 1

When I write music, I try to go on a journey to feel emotions, whatever they may be.  To me, music is a celebration of life; for all the pain and suffering we may endure, it is a gift to be alive. 

I hope music can take you on journeys of your own to places where you may want to be.  Thank you for listening.

 *** If you'd like To REPOST a Classical Music Track, submit it to Classical Music Repost: soundcloud.com/classical_music_repost ***

If anyone is interested in performing any of my works, please let me know.  I have scores available for some pieces and would gladly create the score for other works.

@mai-fiatalok_bp
#krimelife #soulterraz #theweedkidz
Hajrá BudaF*ck!!
BUD[HUN{EU}]

Larkins | Symphony No. 4, Movement 1

Christopher Larkins | Composer

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