Name: Sufjan Stevens - No Shade in the Shadow of the Cross (piano) by heavypiano
Duration: 3 min 29 s
Description: Prepared piano arrangement of Sufjan Steven's "No Shade in the Shadow of the Cross"

One of 6 instrumental tracks I wrote during my final year at Juilliard, this is a jazzy tune recorded at the Juilliard Studio.

Tommy Gardner, tenor sax
Ola Gjeilo, piano
Ryland Kelly, bass
Tomoya Aomori, drums
Claudia Schaer, violin
Katherine Bormann, violin
Gareth Zehngut, viola
Andrew Ford, cello

The D Minor Sessions

Opus 36 (comp. Dustin O'Halloran)

Bright blue in colour, like a cloudless sky: white beaches surrounded by azure seas. 

Azure

watch the video at https://vimeo.com/91175635

Anna Rose Carter & Alex Kozobolis - To Move

Hey guys!, just thought I'd put out a little something for Piano day!:)
Not sure if it'll stay up or not!

White

Beneath dark skies and broken hearts, the silence glows with the warmth of something almost remembered. Shadows move like whispers across glass and gold, tracing the outline of devotion twisted by time. Each breath feels distant yet close at the same time, trembling on the edge of surrender. In that space between pain and reverence, love becomes its own echo: strange, infinite, and beautifully undone.

Monarch’s Shadow

petals

Panique

Showdown

Prepared piano arrangement of Sufjan Steven's "No Shade in the Shadow of the Cross"

Sufjan Stevens - No Shade in the Shadow of the Cross (piano)

Original Score from 3,000 Miles by Sean Wang.

Featuring:
Piano - Jonathan Keith
Mix and master - Greg Hayes
Title Card - Cindy T. Mai

3,000 Miles

From the album Occasus available April 13, 2018 on Western Vinyl

Bandcamp https://goldmund.bandcamp.com/album/occasus
iTunes https://itunes.apple.com/us/album/occasus/1343456707
WV http://westernvinyl.com/shop/wv169

Pennsylvania native Keith Kenniff’s output as Goldmund has established him as one of the preeminent composers of minimal piano-based ambient music alongside peers like Hauschka, Dustin O’Halloran, and even Ryuichi Sakamoto, who himself once described Kenniff’s work as “so, so, so beautiful.”  Hyperbolic as it may sound, Goldmund’s newest collection Occasus may be his most exquisite yet. Where his previous recordings trod faithfully and sincerely on paths of dimly lit, polaroid-esque nostalgia, Occasus deepens the undeniable aesthetic that was hard-won over eight previous Goldmund albums, while expanding the palette to include desultory clouds of synthesizer and a tastefully distressed analog sheen.

The word Occasus means downfall, end, or the rising and falling of heavenly bodies. The title is apt in more ways than one: while the emotional tone of the album denotes bittersweet feelings of conclusiveness, it also perfectly soundtracks the quiet moments when we look up to the sky, and humbly relearn the smallness of our lives as cosmic objects churn slowly overhead with bewitching indifference. Occasus feels deeply personal, private, and hushed yet simultaneously grand, colossal, and profound. Remarkably Kenniff is able to capture micro and macro with equal fidelity.

Sufjan Stevens - No Shade in the Shadow of the Cross (piano)

heavypiano

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