Post-Classical

I’m all out of love
I'm not sure what I’m saying?
When nothing can help us now
And I’m in no mood for praying
I’m all out of tears
Can’t you see that I’m crying?
When no one cares, they take your side
They’re tired of listening to my cries
I can’t even look at your face anymore
Without remembering what we had before
I’m all out of love.
All out of love.
I’m all out of hope
And I see this going no where
When I checked out a long time ago
But it seems like you’re still here
I’m all, out of faith
I'm not sure what I believe in
But I, I have to find it myself
And now I’m looking for a reason
I can’t look to you for the answers anymore,
I need to find what I’ve been searching for
I’m all out of love.
All out of love…
Lift this weight upon my shoulders, I’ve carried it too far and long
Now the time has come to walk away
We can’t listen to what other people say
Just embrace your destiny
You know your home’s not here with me
Don’t be afraid to be alone
You know someone else will love you more than me… 

Athanasia Agnostoua, vocal version lyrics, from the woman's perspective

ALBUM INFO:

"The Idea Of You" is the first of a trio of neoclassical solo piano albums composed, performed, and produced by Andrew Souter. These projects have been two decades in the making and represent a return to traditional music composition, engaging song-writing, and the pure passion of emotional story-telling. This Andrew's most personal and intimate music. It is quite literally a love project. We hope it may it help you on your journey, as it has us...

The Idea Of You Cover Art "The Idea Of You" is music inspired by the spirit of Eros and all of its blessings as well as its tribulations. It explores the vicissitudes of romantic love, the delicate seasons and contour of life, and all the lessons learned along the way. Themes of desire, passion, limerence, romantic love, idolatry, jealousy, envy, loss, regret, forgiveness, acknowledgment, appreciation, acceptance, and eventually glimpses of true understanding permeate the work. It attempts to communicate that which so many of us can never quite communicate properly with words. It is an open apology for the clumsy mistakes we all make when coming to maturity in learning how to care selflessly for another human being. It is a gentle reminder as to what is most important in life, as well as an invocation to continuously seek self-improvement regarding our understanding of such matters.

Andrew Souter -- Other People

1 A Great Divide

Quartet N. 2

5 Opus 43

2 Opus 44

We Move Lightly

1 Opus 20

2 Opus 22

3 Opus 21

9 Opus 30

While "Piano Solo" goes on I wanted to experiment a new piano sound and VST...I mixed this need with my personal feelings, and Les Adieux is the result..

This track is for all those that leave something....a place, a person, a love...memory remains the only thing that keep us alive.

https://www.facebook.com/GianMarcoLaSerra
http://www.reverbnation.com/gianmarcolaserra

http://open.spotify.com/album/4B5nyONn6zVNlqC8T0fUep
http://www.rdio.com/artist/Gian_Marco_La_Serra/album/Piano_Solo/



Les Adieux

same love (lovely piano)

Solo Piano.  Created in Real-Time LIVE at St. Wenceslaus Church, St. Louis MO.

Photo provided by Greg Carr, my brother

Year of Music: September 12, 2025

Download

Blossom

A beautiful track from Alex Kozobolis dedicated to the memory of Mary Skinner. Free to download.

"I found out recently that someone very dear to me had died. 
Her name was Mary, we first met when I was a youth worker in south London nearly ten years ago. The offices of the charity I worked for were in the back of a church, Mary would sit at the reception desk at the front of the building and improve the world of anyone who entered it. Although previously unreleased - I wrote this piece of music about her in 2011, borrowing the title from a book she'd written much earlier in her life (about her travels to Ecuador and the community she'd become part of there)."

http://www.alexkozobolis.com/



If You Came Here To Live (in memory of Mary Skinner) by Alex Kozobolis

Taken from Vitaly Beskrovny's album "Imperfect", released on january 11th 2016

Vitaly Beskrovny – Trust

A self-taught pianist from the age of 7, Dustin O’Halloran’s personal histories give us some clue to the thickly-woven tapestries of his music: he has lived in LA (where he studied art at Santa Monica College and formed the much-adored Devics with Sara Lov), Italy (in the depths of rural Emilia Romagna) and Berlin. His arresting, heartbreaking music is as much an elegant exercise in nuance and grace as it is a pure, intuitive, personal expression – and here is where we see some explanation into Dustin’s quiet rise to notoriety and his continued ascension.



Having gained serious recognition with his stunning score to Sofia Coppola’s 2006 film Marie Antoinette (which sits neatly alongside his soundtrack work for William Olsen’s An American Affair (2010) and Drake Doremus’ Sundance-winning Like Crazy (2011),



Dustin has quickly become one of the most recogniseable names in the broad-reaching “post-classical” field, a definition of the genre rather than vice-versa. Now sitting alongside peers and friends Max Richter, Hauschka and Johann Johannsson (who, incidentally, aided Dustin in mixing his newest album) on FatCat’s dedicated orchestral imprint 130701, new album Lumiere is a glowing addition to O’Halloran’s musical canon, at once an amalgamation of everything that his music has been leading up to, and an unprecedented step forwards in terms of timbral palette and harmony. Featuring NYC’s ACME Quartet, Stars Of The Lid’s Adam Wiltzie and prodigious young composer Peter Broderick among the guest musicians, the scale of Lumiere is expansive: “it made me realize how important it is to find players that truly understand what you do and to create a language with them,” writes Dustin.



Dustin’s rock background - primarily with Bella Union’s “dream-pop” outfit Devics – has yielded an unassuming, perceptive approach to composing modern classical pieces. Inspired by, among others, Arvo Part,  Philip Glass, Hans Otte, John Luther Adams, Olivier Messiaen, Ennio Morricone, Gavin Bryars, there is no lack of articulation or academic musicality in Dustin’s work, but there is also none of the aloofness or detachment that is so readily perceived around contemporary classical music. This can perhaps be attributed to the environments in which Dustin has worked - Lumiere is full of those rare elements of life shared by both vibrant cities and lush countrysides: colour, both organic and rich, sensorial intrigue and a deep awareness of space. Or perhaps it is a product of Dustin’s synaesthesia, a condition he first noticed around the time of his performance at New York’s Guggenheim Museum for their Kandisnky retrospective and 50th anniversary gala. Able to visualize his compositions as vividly as a painter might see his own work, Dustin’s expressiveness is beyond compare.



Lumiere will be Dustin’s third solo full-length, following Bella Union albums released in 2004 and 2006 respectively (Piano Solos vol. 1 and Piano Solos vol. 2). These two records were originally opportunity for Dustin to express a non-Devics creative streak: gently and privately pieced together piano suites written and recorded on a beautifully-restored 1920’s Sabel piano in his Italian farmhouse. The compositions, however, gradually grew into fully-formed solo pieces as Dustin’s ambitions and designs developed. The path, of course, would eventually lead him to Lumiere’s majestic, swooning ensemble arrangements and a focus-shift away from the piano as his work’s primary timbre without losing any of the affection for the instrument that bore his first two records.



A sublime solo live album - entitled Vorleben – will be released by FatCat / 130701 in June.

2 Opus 22

Dustinohalloran

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