Para programar (classical ambient)

Allude

Join the official newsletter for your free download: http://po.st/EinSoundCFD

Islands: Essential Einaudi is the first time that all of Einaudi's best known music appears in a single collection. It’s available as both a single disc and special double disc version. Islands also includes new tracks The Earth Prelude and High Heels as well as two new remixes of Lady Labyrinth and Eros.

Available to order now:
iTunes: http://po.st/EinSoundCIiT
Google Play: http://po.st/EinSoundCIGP
Spotify: http://po.st/EinSoundCISpot

Una Mattina

Nuvole Bianche

train to elsewhere

Pure Imagination - Orchestra

Federico Albanese - THE BLUE HOUR


'The Blue Hour' will be released on LP, CD, Download via Berlin Classics Neue Meister on 15 January, 2016   

Buy on Itunes - https://itunes.apple.com/us/album/the-blue-hour/id1053970394

Berlin based, ‘piano poet’ Federico Albanese took inspiration from the brief transitional state between day and night, writing a collection of chamber-music miniatures that withdraw, explore, yet assert their laconic melodies all the more decisively. The emotions to which Albanese has given expression in his thirteen compositions have been articulated with well-considered gestures.   

Equally well-considered is the choice of instruments that Federico Albanese deploys on ‘The Blue Hour’. Piano and synthesizers are joined by a cello, magnified by over-dubbing and sound effects that culminate into a little chamber orchestra, which swells the acoustics while checking the dominance of a clear solo voice. Albanese esteems the Gesamtklang, the overall sound image, with its mixture of compositional precision and dreamlike fluidity. For this reason, the pieces are recorded from start to finish on analogue equipment, further enhancing the warmth of their sound. In ‘Céline’ we hear a discreet beat, scarcely perceptible, a gentle pulse that lends structure without jeopardizing the charm of ‘The Blue Hour’.  

“There is a particular moment when opposites are very close, almost touching one another. When there is still light but not quite darkness. A world in between, where all things are uncertain, vague, floating into shade. We can follow or observe, unsure where this would lead - into darkness or light; into the shadow of memories and dreams. A reflection of our desires and hopes, ready to be seen or unseen. It can be a sudden glimpse, with ideas turning into shapes, not yet complete. You can see things, but are unsure what they are. It is an unrevealed choice. A place to recover and heal, lulled by the security of the warm shadow of an ancient tree upon a hill" – Federico Albanese

Buy on itunes

Migrants

Taken from my debut LP "Ichiru".

Stream/Buy the full album (12 tracks LP)-(CD/Digital): 
Bandcamp : modernarecords.bandcamp.com/album/ichiru
iTunes : itunes.apple.com/ca/album/ichiru/id1198539909
Spotify : open.spotify.com/album/4rVHa8DsyPyT12IMpdSQOL

written and recorded by me


""
happy new year :') 
this recording is a 2016 version of "close". well.. kind of.

i want to say a huge thank you to everyone who has been taking your time to listen to my pieces since 2015.  i had an amazing year and learned so much about music, cultures and got to know so many amazing people through sound cloud. this year, i will be more active so i hope you will stay in touch with me and my music.  arigato gozaimasu :')

love,
daigo

Ichiru

Buy CD/Digital

Close (2016)

Another Sunday piece, when everything is shimmering and still... If you like this, check out my mini-album on  1631 Recordings, titled "Unhinged" : https://1631recordings.bandcamp.com/album/unhinged

Mike Lazarev - Sunday

Composed for "Life is flux", a film project by Müge Yıldız.

İstanbul

Icelandic composer Ólafur Arnalds set to release his first Hollywood film score.

Ólafur Arnalds’ original motion picture soundtrack for Sam Levinson’s feature film debut ‘Another Happy Day’, starring Ellen Barkin and Demi Moore, will see a worldwide release via UK modern classical label Erased Tapes Records on February 27, 2012.

PRE-ORDER it on CD/Vinyl/Digital now from: http://erasedtapes.com/store/index/ERATP038

IN HIS OWN WORDS: 

‘In mid-December 2010 I was on a holiday in China when I received an email from Sam Levinson about the film. We got on the phone at like 4 in the morning Beijing time and ended up talking all through the night, instantly connecting. He told me that they had been listening to my music while making the film, so the film was already very influenced by my music. However, it was not until Ellen Barkin – the beautiful force that she is – had pestered the producers for a week, calling them every day about how I am the right one for this film, that they finally gave in. The only catch was that it had to be done two weeks later, in the first week of January. So I ended up scoring nonstop all throughout Christmas, making my mother mad in the process.’ - Ólafur Arnalds

CONTEXT:

Born in the suburban Icelandic town of Mosfellsbær, a few kilometres outside of Reykjavík, the 24-year old composer has always enjoyed pushing boundaries with both his studio work and his live-shows. Through relentless touring and determination this young artist has steadily gained recognition worldwide and continues his mission to lure an indie-generation of pop and rock fans into an emotive world of beguiling electronic chamber music and delicate classical arrangements.

'The indie kid who knows the score’ – Guardian’s Observer

'An artist who can exert power with the lightest of touches’ – BBC Music


TRACK LISTING:  

1. The Land Of Nod  2. Through The Screen  3. Before The Calm  4. Lynn's Theme  5. Alice Enters  6. The Wait  7. A Family Stroll  8. Poland  9. Out To Sea  10. Autumn Day  11. Everything Must Change

OFFICIAL WEBSITES:

OLAFURARNALDS.COM
ERASEDTAPES.COM

Erased Tapes Collection IV

Ólafur Arnalds - Poland

The Blue Hour

Federico Albanese - The Blue Hour

Music for piano.

Follow:

Spotify: https://open.spotify.com/artist/2pHCm7cvE0ADlPp68tScqW

Apple Music: https://music.apple.com/us/artist/steven-gutheinz/1421925543

SoundCloud: https://soundcloud.com/steven-gutheinz

Instagram: https://www.instagram.com/stevengutheinz

Facebook: https://www.facebook.com/stevengutheinzmusic/

YouTube: https://www.youtube.com/@stevengutheinz

Bandcamp: https://stevengutheinz.bandcamp.com

Musicbed: https://www.musicbed.com/artists/steven-gutheinz/4360

Web: https://stevengutheinz.com

Atlas

Original soundtrack composed for the movie "The Cakemaker" (2018) directed by Ofir Raul Graizer. Watch the video of my performance here: https://www.youtube.com/watch?v=lqICyb7fhjY
Watch the movie trailer here: 
www.youtube.com/watch?v=EzJKBdRfk0U
This is a live recording from my studio, July 2018.
All music composed, performed, mixed & mastered by 
Dominique Charpentier © 2018 Dominique Charpentier. 
Unauthorized copying, hiring, lending, public performance & broadcasting prohibited. 
All rights reserved. Made in the E.U

The Cakemaker (Original Motion Picture Soundtrack)

EP + FREE Sheet

The Cakemaker Soundtrack - Live from my Studio (July 2018)

For more information visit: http://www.klassikakzente.de/recomposed/home 

Some works are so familiar that it is almost impossible to hear them afresh, but that is what Max Richter has achieved with Vivaldi “Recomposed”. This is no mere arrangement; instead Richter has absorbed Vivaldi’s The Four Seasons into his own musical bloodstream. At first Richter followed the example of other works in the “Recomposed” series, which re-mix existing recordings, but, he says, “I wanted to open up the score on a note-by-note level, and working with an existing recording was like digging a mineshaft through an incredibly rich seam, discovering diamonds and not being able to pull them out. That became frustrating. I wanted to get inside the score at the level of the notes and in essence re-write it, re-composing it in a literal way.”Richter calculates that, in the process, he has discarded around three-quarters of Vivaldi’s original. He opens with what he describes as “a dubby cloud which I’ve called Spring 0. It functions as a sort of prelude, setting up an electronic, ambient space for the first Spring movement to step into. I’ve used electronics in several movements, subtle, almost inaudible things to do withthe bass, but I wanted certain moments to connect to the whole electronic universe that is so much part of our musical language today.” Other resonances are no less unexpected: Richter describes part of the first movement of his Summer as “heavy music for the orchestra. It’s relentless pulsed music, which is a quality that contemporary dance music has; and perhaps I was also thinking about John Bonham’s drumming. Then, in the second movement of Autumn I asked the harpsichordist Raphael Alpermann to play in what is a rather old-fashioned way, very regularly, rather like a ticking clock. That was partly because I didn’t want the harpsichord part to be attention-seeking, but also because that style connects to various pop records from the 1970s where the harpsichord or Clavinet was featured, including various Beach Boys albums and the Beatles’ Abbey Road.” Clearly, Richter has brought his own frame of reference to the project. As he says, “Vivaldi’s music is made of regular patterns, and that connects with post-minimalism, which is one strand in the music that I write. That felt like a natural link, but even so it was surprisingly difficult to navigate my way through it. At every point I had to work out how much is Vivaldi and how much is me. It was difficult but also rewarding because the raw material is so fascinating.”Just as Richter’s Seasons plays tricks with the way we hear Vivaldi’s original, so it also asks questions of the soloist, Daniel Hope. “Violinists have Vivaldi’s The Four Seasons hardwired in their brain. Daniel is likely to play the original I don’t know how many times in a year, and for him to have my parallel text going on in another part of his brain is a challenge. I think he did a wonderful job. He brought to it a deep engagement with the original, but he was fully prepared to cut this new swathe through the text.”


Spring One - Vivaldi Recomposed - The Four Seasons

Spring 1 (2012)

Download

Recomposed By Max Richter: Vivaldi, The Four Seasons

Richter: Recomposed By Max Richter: Vivaldi, The Four Seasons: Winter 1 (2012)

Die lange Version unseres Pianostückes aus der TV-Werbung

Travel Dreams - HRS Long

Founded by sonic architect and explorer Robert Raths aka ghostworker in 2007, Erased Tapes is a truly independent record label that has disrupted the industry and rejuvenated the musical landscape. The London-based label has consistently nurtured genre-defying artists from all around the world without losing its avant-garde ethos.

2015 saw BBC 6 Music radio presenter Mary Anne Hobbs stage an Erased Tapes evening featuring Nils Frahm and A Winged Victory For The Sullen at the Royal Albert Hall as part of the prestigious BBC Prom. It was the fastest selling ticket of the entire season. Shortly after Erased Tapes was awarded Best Small Label 2015 at the AIM Awards.

On February 5th 2017 Erased Tapes opened the doors to its new East London home, marking the 10th anniversary by introducing fans and the public to the new Erased Tapes Sound Gallery.

“Ten years of one of the most important record labels of the last few years“ — Gilles Peterson

"Over the last decade, Robert Raths’ label Erased Tapes has developed a sonic profile perfectly in step with the growing taste for quiet, meditative works on the cusp of ambient and chamber music" — The Independent

“The heart-string-tugging London label that floats gently between 20th century composition and ambient music” — Rolling Stone

Ólafur Arnalds - Poland

Erased Tapes

Recent comments

Yana Efimova

Victoriya Aleynikova

Susanna

DJ Bronzine

Related tracks