You're seriously my piano hero. I listen to Piano Solos every morning while doing my makeup. Danken!

classical

Order the digital from iTunes now : http://smarturl.it/howilivenow
Order the CD here : http://tinyurl.com/How-I-Live-Now 

Jon Hopkins - How I Live Now (excerpts)

Passio was recorded in S:t Jacobs church march 27, 2010.

Jesus, Staffan Alveteg
Pilatus, Michael Axelsson 

Evangelist/solo quartett:
Linda Öhlin, soprano
Carina Aronsson, alto
Carl Slettengren, tenor
Gustav Nordlander, bass

Instrumental ensemble:
Hanna Helgegren, violin
Christina Wirdegren Alin, cello
Hedvig Marklund, oboe
Marie Nilsson, basson
Ulf Norberg, organ

Photo: Adriano Scognamillo

Jesus Regnum Meum Non Est De Hoc Mundo

Pilatus Quam Accusationen Affertis Adversus

Birch Forest

The Pachas are the "worlds within worlds", an ancient Incan concept for dividing the different spheres of the cosmos. Not unlike modern-day physicists' concept of "Universes within the Multiverse"! So Pachamama refers to the mother of the UNIVERSE, the mother of us all, including our dear Mother Earth Pachamama's Daughter, Gaia

Pachamama (World Mother)

Berlin by overnight

Discover a new track of Might & Magic Heroes VII soundtrack with the Necropolis faction theme from Rob King & Paul Romero. More information on mmh7.com


Heroes VII - Mystos Mountains (Necropolis Faction Theme)

Erik Satie - Gymnopédie no. 1 
Appears truncated on Endless Fantasy (2013)

gymnopédie (Erik Satie)

When I was touring in Mexico, I was lucky enough to have some days off during a visit to Mexico City, and took a trip to a nearby Toltec/Aztec Pyramid site called Teotihuacan. It's a beautiful place, but when I asked about its history I was told that most of the knowledge and culture of the people who built it was lost, with the arrival of the Europeans. Now it's turned into a rebuilt money making tourist trap, with the loss of its real meaning.

I recorded the space and sounds there with binaural mics, so I could try and capture some of the feeling of it, including a storm which came in, and then I wrote a strings part inspired by the feelings of the visit there. Tom Hodge brought the piece to life by playing a piano part in addition, and I loved the piano so much I decided to make two parts, the first with the piano only, combined with the binaural recordings and a randomising delay feedback network, and the second part with the strings. The first part of Teotihuacan is available exclusively from the free download Quotient Series, and the second part will be coming on the Artefact EP in April.

preorder available - www.smarturl.it/ArtefactEP‏

FREE DOWNLOAD HERE

Teotihuacan - Part 1 - with Tom Hodge - Quotient 4/6

Confrontations

“Glass Piano” is a sublime collection of  solo piano versions of Philip Glass by a master interpreter of the legendary minimalist composer. All formats have various tracklistings and will be released June 1st 2015 (and 2nd in the USA).  

Meet Bruce @ Vynil Factory : http://www.thevinylfactory.com/vinyl-factory-news/premiere-listen-to-a-track-from-bruce-brubakers-glass-piano-a-new-album-reimagining-phillip-glass/

Glass Piano

Metamorphosis 2

Nowness

Bruce Brubaker - Metamorphosis 2

Calyra

Made for Naviar Records' 614th Haiku Challenge

Includes a re-worked version of an old, old track of mine which contains traces of the beautiful piano of Dave Greening.   https://soundcloud.com/tuonela-1/dave-greenings-numb-the-water

Dragonfly determination [naviarhaiku 614]

Wrote this seven years ago. It's actually my very first music piece (: It's really simple and ordinary but I still somehow like the melody. 

Picture taken by my father, must haven been around 1996.



Unberührt

Sometimes when I´m locked, not feeling the music I like to take a fixed something and just play around it. Thats what this improv is, right hand just keeping the beat (mostly fixed but some errors there :) ), and the left hand just doing melodic and harmonic stuff around it. 

Not my best work but kind of liked to do something tonight.

Center

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Veil

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.

Confrontations

Dustinohalloran

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