My chamber music

Mixed Friends 44

clasic

The Best Of Mozart

Piano Concerto No. 21 K. 467, 2nd movement: Andante in F major  by Wolfgang Amadeus Mozart (1785).

Live video: https://youtu.be/vDJdG8Qj4UE

The original is piano solo vs full orchestra. I'm trying to do it all live one one track with piano and some synth. So it feels a little bit empty at times.

The instrument is a Clavia Nord Stage 2 using a sampled Yamaha C7 grand piano and some sampled Mellotron flute and a synth pad.

Spotify

Mozart - Piano Concerto No. 21, Andante [piano + synth]

Audius Classical Music
https://audius.co/classicalmusic

Eine Kleine Nachtmusik (Serenade No. 13 for strings in G major), K. 525, is a 1787 composition for a chamber ensemble by Wolfgang Amadeus Mozart. 

The German title means "a little serenade," though it is often rendered more literally but less accurately as "a little night music." The work is written for an ensemble of two violins, viola, and cello with optional double bass, but is often performed by string orchestras.

This first movement is in sonata-allegro form. It opens with an ascending Mannheim rocket theme. The second theme is more graceful and in D major, the dominant key of G major. 

The exposition closes in D major and is repeated. The development section begins on D major and touches on D minor and C major before the work returns to G major for the recapitulation. There is a brief coda.

Mozart Gifts 
https://www.amazon.co.uk/Generic-Mozart-Gift-Picture-Canvas/dp/B09MV71BQ7/ref=sr_1_202?keywords=mozart+gift&qid=1639156476&sr=8-202


Retailers:

Mozart
https://music.amazon.co.uk/albums/B015NWNCY0

Mozart Tidal
https://listen.tidal.com/album/53171424

Napster
https://us.napster.com/artist/wolfgang-amadeus-mozart/album/mozart-the-essential-collection

Best of Mozart Deezer
https://www.deezer.com/us/album/12179034

Mozart on Spotify
https://open.spotify.com/album/2g0NuO4CPA2uBLjzLqioCN

Mozart Album Amazon
https://www.amazon.com/Mozart-Collection-Haydn-Light-Orchestra/dp/B015NQQFHC/

Mozart Playlist
https://music.youtube.com/playlist?list=OLAK5uy_m4VsdRl4Yv4y63CU_ArM91jVaewHDk0Us

Orchestral samples included in this recording from the Vienna Symphonic Library.

Best of Mozart

Serenade No.13 in G Major, K. 525 "Eine Kleine Nachtmusik" I. Allegro

Mozart40th Symphony

Release: "Somo Lounge Roma Vol.1 - Oriental & Deep Moods"(sound design by Dj Manuel) 
© & ℗ M-Sol Records

[LISTEN/Download Links]
Spotify: https://open.spotify.com/album/7dlkX2rKgZe65IyEhQZfKC?si=OQrH2jEHQ1WAiD25How2ig
Beatport: https://pro.beatport.com/release/somo-lounge-roma-vol-1-oriental-and-deep-sound-experience/1678838
M-Sol Records Store (discount%): http://m-solrecords.com/shop/single-tracks/ad-astra-per-aspera-project-blue-sun/
iTunes: https://itunes.apple.com/us/album/id1069843008?app=itunes
Amazon: https://www.amazon.com/gp/product/B019N4XZXM?ie=UTF8&camp=1642&creative=6746&creativeASIN=B019N4XZXM&linkCode=as2&tag=musique006-21
JunoDownload: http://www.junodownload.com/products/somo-lounge-roma-vol-1-unmixed/2975171-02/

Oriental Lounge & Deep House sounds specially selected by Dj Manuel. World music that fills the air with fantastic atmosphere in the Best Lounge Bar in Roma, Italy “SOMO”. This is first volume of this edition ‘Somo Lounge Roma’ and contains amazing artist names with fresh tracks that keep your attention till the very last one.

Official M-Sol Records Youtube Channel

M-Sol Records promotes only high class music and quality artists around the world.
Make sure you subscribe and follow us online for musical news and some Good music!

For more information about M-Sol Records, visit:
Web: www.m-solrecords.com
E-Mail: contact@m-solrecords.com
Facebook: https://www.facebook.com/M-Sol-Recrds
SoundCloud:https://soundcloud.com/m-sol-records
Instagram: https://www.instagram.com/msolrecords/
LinkedIn: https://www.linkedin.com/in/msolrecords

[Official M-Sol Records Soundcloud Channel]
M-Sol Records promotes only high class music and passionate artists around the world.
Make sure you subscribe and follow us online for receiving Good music and Good vibes!

- GIVE A BETTER SOUND OF YOUR LIFE –

Chaikovsky - Dj Nil & Anthony El Mejor Feat. Violin Valent(Original Mix )

Improvisation III

Indian summer:
dragonfly shadows seldom
brush the window.

Poem by Masaoka Shiki https://terebess.hu/english/haiku/shiki.html
Picture by Gabriele Diwald https://unsplash.com/@gabrielediwald

clicK-herE

halF dragonflY [naviarhaiku232]

An all-interval 12-tone row (serialism!) gets repeated over and over (minimalism!), but the tones are gradually revealed as 4th harmonics of implicit fundamentals (spectralism!) that get randomly (aleatoricism!) replaced, in each clarinet's part, by other harmonics.  The result is not midway between tonality and atonality, but rather, paradoxically fully committed to both logics at all times.  The harmonic cloud around the row gradually obscures its structure, and something happens at the midway point that may only seem obvious to the listener who gets to the end and goes back to the beginning.  This imparts a certain approximate symmetry (formalism!).  

The affect of the effect reminds the composer of butterfly flight, and the title refers, casually, to some recent research concerning how that all actually works.   The hidden crucial moment might suggest a "butterfly effect," but chaos theory is not literally implicated in the piece.

The practical score will call for three players even though effectively the work sounds as a mere duet.

Butterfly Waggle Vortex Rings, for clarinets

Boson Spin - Ossmilor

Submission for Disquiet Junto Project 0337: Through Composted
(Create a piece of music that is through-composed, but built entirely from samples.) For more information, see: https://disquiet.com/0337

Having written a through-composed folk song for February Album Writing Month 2011, I sampled my demo from YouTube ( https://www.youtube.com/watch?v=My_7VH9PRw4 )and used this as the backbone for my assembled tragedy.

Prince Of Thorough Compost [disquiet0337]

The heart of this piece is based on the following observation: if one player divides the measure into 7 pulses and accents every five notes, while the other player divides the same measure into 10 pulses and accents every seven notes, the accented notes will slowly phase in a 49:50 ratio.  Since 5 + 7 = 12, one player gets a pentatonic scale while the other gets a diatonic scale, and the pitches then get passed back and forth as the piece progresses.

Primetime for two marimbas (1975)

At first blush this music may seem to hearken back to the the Second Viennese School,  but stay with it for a few minutes and you will hear something altogether different.  This is actually as consonant as that music is dissonant.  The organization is more diatonic than serial though far more than twelve notes occupy each octave, and the harmonic universe slowly progresses through related keys like a symphonic development section does.

Trio for Strings

Six parts, each in a different meter, intertwining in a Brownian way.

Luctuosa desideria for piano, marimba, brass and cello

The 25 sections of this deliberately generic pointillistic music alternate between two types of pitch material:
1) atonal, actually simplistic serial using only untransposed prime form;
2) diatonic (in a sequence of keys that follows the row of 1)).

Babbitt famously described Arthur Berger's Duo for Cello and Piano as "diatonic Webern" (some say "white-note Webern").    If you have the ear for it, the "diatonic Darmstadt" sections will stand in stark contrast from the atonal sections.    Or maybe just in gentle contrast.  And doubtless some people won't detect the boundaries and others will start to hear the structure here only after repeated listenings.

My aesthetic object here really lies in the staged moment of awareness concerning the distinctions the brain can make (or not), that and awareness concerning how the meaning of a fixed sonic object varies with the listener.  "Experimental music" usually refers to an experiment designed by the composer, and executed by the performer, but here the listener experiments by reflecting inward on what they can hear and how it feels to hear it.

All that said, I hope you find the surface pleasant enough albeit, for me, not an end in itself.

Ishihara Test For The Ear (for piano and harp)

If a composer wishes to avoid tonality, wishes to avoid the monarchical tyranny of tonic, then a simple (but not sure-fire) recipe consists in working a symmetrical treatment of the totality of pitches (with said totality often going by the name "total chromatic," or more generally "aggregate," but aggregate can also mean a totality of anything).  The twelve-tone system treats pitch classes symmetrically by design, and aleatoric methods also prove quite effective.  Other tyrants can arise aside from tonics.  So if mezzo-forte, or the central octave, or the 16th-note should threaten domination, a composer can also serialize (or randomize) dynamics, tessitura, or duration, etc.  In practice, all this fair treatment of possibilities, all this fiat symmetry, can ironically make tyrants out of the relevant aggregates themselves, effectively replacing monarchy, one might say, by obsessive bureaucracy, with the ear experiencing concomitant fatigue (not necessarily a bad thing depending on the composer's artistic goal).  In any case the emergence of this irony perhaps explains the briefness for total serialism's vogue.  Long ago, atonal composers working more freely discovered the trick of "keeping a note in your pocket" only to pull it out again when you need it to sound fresh---and it will.  

This piece plies a latter-day total serialism (but a serialism not anchored in rows) which governs pitch, tessitura, rhythm, dynamics and articulation, but which has the note-in-the-pocket wisdom inscribed in its genetics.  The 81 sections survey all 80 hexachord-up-transposition classes (the final section reprising the first, a whole-tone scale), with each section signaled by the entrance of a single pocketed pitch class and less noticeably by the departure of another (so traversing a Hamiltonian circuit through hexachord space).  Likewise, a Hamiltonian circuit through time-point "hexachords" (a la Babbitt) characterizes the rhythm.  But then each hexachord gets developed by a special type of Hamiltonian circuit through all 20 of its own sub-trichords, with the instantiation of each trichord pulling a note of a shallower pocket. 

The spare texture of the present work pays homage to John Cage, specifically works from his Lou Harrison period, to Morton Feldman, specifically his late pattern pieces, to Jo Kondo, specifically his hockets, and to Jonathan Kramer, specifically his process pieces and works with restricted pitch sets.

The Note in Your Pocket (My Travels Through Hexachord Space), for two melody instruments

There are fundamentally 713 distinct ways to partition the aggregate (a.k.a chromatic scale)into four trichords.  Of these, 290 have no trichord type repeated and these I'm calling the tetra-trichords.  Call two tetra-trichords neighbors if they share at least three trichords types.  

This piece follows a loop, from neighbor-to-neighbor, through most of the space of tetra-trichords, 288 of them.  The two omitted tetra-trichords only neighbor one-another, so refuse to play along.  They deserve a piece all their own (I'll get to it!).

So this is fundamentally "twelve-tone" (but not row) music, as in all twelve tones are more or less constantly active and in equal proportions.  But thinking of the trichords as the-new-notes, the aggregate becomes a kind of super-chord, and the whole piece a super-four-part-chorale, with consecutive super-chords always sharing a common "tone" (actually, a common trichord) for good (super)-voice-leading.  

So this is twelve-tone music with no direct input from common practice, yet very audibly working with analogous ideas.

My Travels Through (Most of) Tetra-trichord Space, for flute, clarinet, bassoon and celesta

Composer, mathematician, visual artist. 
Seeks collaboration with performers and choreographers.

Please don't spam this account!

Primetime for two marimbas (1975)

David Victor Feldman