Name: Lost hope by Julia Lesnichy compositions in 2020|06 - The Composer's New Music Playlist.
Duration: 3 min 50 s
Description: Electronic and orchestral slow composition about lost hope written as a competition entry

I really dig the tonal shifts in this piece. The dark echoing head and tail are so nicely broken by slow building middle section.

2020|06 - The Composer's New Music Playlist.

Sergei Rachmaninoff: Prelude in C Sharp Minor, Op. 3 No. 2. 

Played by me with my Korg SGProX digital stage piano controlling Yamaha Montage 8. The piano preset: Yamaha Montage CFX Stage. It sounds even better than my 2005 Motif ES synthesizer's piano sound which was already quite impressive. 

Played substantially slower than many pro players and e.g. the honourable Mr. Rachmaninoff himself on one recording (it may be also that I prefer this piece to be played a little slower than it is usually played). I got some speed however somewhere in the middle part.. I played it a lot faster however when I was young and didn't have to think about tomorrow. Because that's what this Prelude is about (much like the Scriabine etude Op. 8 No. 12): you really have to play it like there would be no tomorrow, so to speak, meaning, among other things, that you cannot think about some "secondary" things like hand injuries..

I learned this prelude initially in the 1990's at the time when also the piano movie "Shine" was released (the movie definitely was an inspiration). I practiced it countless hours with my Korg M1 synthesizer which was indeed not the best machine for this kind of piano music.  This was one of the first classical piano pieces I ever learned and, since I have learned it by myself without receiving any formal piano training whatsoever, this warrants the following conclusion: Anything is possible, remember that!

Sergei Rachmaninoff: Prelude in C Sharp Minor Op. 3 No. 2

Flare (2021), Yale Philharmonia under conductor Ryan Tarni Dec 9th 2021 Woolsey Hall, Yale University.

The first non-essential item I bought after arriving in New Haven for my composition studies was an anthology of poems by Mary Oliver. I had never heard of this outstanding poet before I came across her work in a bookstore in New Haven, and so I discovered her poetry in an unprejudiced and casual way. Her positive, curious, and thoughtful look at the world and life itself was like a cool mountain stream that refreshed me after this exhausting pandemic-year and the first stressful weeks in my temporary country of residence. I felt very touched by her work, and so it naturally found its way into my music, which is why I named this orchestra piece on which I was working at the time after her poem “Flare".

Flare (excerpt)
Did you know that the ant has a tongue with which to gather in all that it can
of sweetness
Did you know that?

Flare

New wars are raging, now in Gaza, I wish I could hug all the people who suffer them in first person, for all the hugs not given. Hold me close.


SI DEBO MORIR

Si debo morir, tú debes vivir para contar mi historia,  para vender mis cosas, comprar un trozo de tela y algunas cuerdas, (hazlo blanco con una cola larga) para que un niño, en algún lugar de Gaza…

mientras mira el cielo a los ojos esperando a su padre que se fue en llamas —y no te despidas de nadie, ni siquiera a su carne, ni siquiera a si mismo— Ve la cometa, mi cometa que tú hiciste, volando arriba  y piensa por un momento que un ángel está ahí, trae de vuelta el amor.

1979-2023 Refaat Alareer

Si debo morir  deja que traiga esperanza… deja que sea un cuento.

Artwork cover by aura.songs

Hold Me Close

hold me close

Silent is an emotional piece with great dynamics. Don't tell anyone about it, because it has to stay secret.....
Update: The attempt to keep it secret didn't work, it's now on spotify ...

Silent

Piano track from "Nightsongs" new album released on January 2025

Music, piano, mix: Vicente Bueso

Falling stars

A sad, emotional cinematic music featuring piano, heartfelt cello solos, warm strings, and brass creates a longing and dramatic mood.
It’s great for cinematic trailers, documentaries, films, dramatic war stories, and time-lapse videos.

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Thanks!

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● Spotify: https://open.spotify.com/artist/6vkZyofPX0Tl6yjLGKho0R?si=xAm0YRV7TGeQ2T07gd76cg
● YouTube: https://bit.ly/3bzidxY
● Facebook: https://bit.ly/39170aD
● Instagram: https://bit.ly/2Nb1gCy

► Listen to our music on Spotify: https://open.spotify.com/artist/3RJEH9kG2WiFynk0sqeu4m
● iTunes / Apple: https://itunes.apple.com/us/artist/1495275679
● Deezer: https://bit.ly/4e2Q7f0

If you like my music and would like to support me, you can buy me a coffee here:
www.buymeacoffee.com/melodrama
Thanks!

Bul License

Last Goodbye - Mélodrama | Neoclassical Cinematic Music (Free Download)

“Rebirth” is a meditative neo-classical composition that weaves piano, string quartet and clarinet into a poignant soundscape representing renewal and transformation.

Buy on Bandcamp

Rebirth | Beautiful Neoclassical Music

102 - Inner Dissonance

Wandering Mind, Drifting Weather is a cross-border collaboration between Norwegian composer and pianist Julia Gjertsen and Swedish trombonist and sound artist Gustav Davidsson. Both artists have a classically trained background, and are known for their improvised sound and Ambient compositions. Between them they’ve released on labels such as Moderna Records, Constellation Tatsu, Bigo & Twigetti and Blue Spiral Records. While Julia is known for her emotive piano-led pieces and evolving electronic textures, Gustav brings his unique approach to the trombone, treating it as both a melodic and atmospheric instrument. They reside in separate but neighbouring countries with Julia in Oslo, Norway and Gustav in the village of Ljungskile near Gothenburg in Sweden.

This album was created as a slow and intuitive exchange of sketches, sent back and forth between these two artists over the course of several months. The result is an immersive suite of compositions which place the piano and trombone front of stage, enhanced by subtle restrained pads, Wurlitzer tones and gentle electronics. Each piece represents a different time of day and evokes a mood akin to weather in motion such as shifting light, drifting clouds or a sudden breeze. The title Wandering Mind, Drifting Weather reflects the intuitive progression of these works, where ideas and improvisations gradually shaped a harmonious collection. Thematically, it paints nature as both a setting and a metaphor; the way a setting can be transformed by meteorological elements, and how thoughts, just like weather, pass with their own emotional charge.

Rather than follow a rigid structure, the music here exists in a space between composition and spontaneity, often capturing a moment rather than refining it. Julia’s minimal and expressive piano sketches form the structural foundation, while Gustav explores the trombone’s many voices not just as a lead instrument, but as a background hum, gentle harmony, or a shadowy atmosphere

Written and produced by Julia Gjertsen and Gustav Davidsson
Mastered by Gustav Davidsson
Photography by Julia Gjertsen
Art and design by Andrew Heath

Wandering Mind, Drifting Weather

wlr187 Julia Gjertsen & Gustav Davidsson - Wandering Mind, Drifting Weather

Pno1

Electronic and orchestral slow composition about lost hope written as a competition entry

Lost hope

Leabhar Aisling

Prism Library

Watershed

Eric Schultheiss stands at the vanguard of contemporary composition, forging a unique path that bridges the rhythmic drive of global percussion with the infinite possibilities of digital sound. As a composer, percussionist, and educator, Schultheiss is acclaimed for his hybrid electro-acoustic works—pieces that fuse the organic pulse of drums with orchestral richness and the sonic innovation of modern electronics.

Rooted in a Southern California upbringing steeped in progressive rock, classical discipline, and the improvisational freedom of jazz, Schultheiss draws on a vast tapestry of influences. His music channels the off-kilter accents of Stewart Copeland, the lyrical intensity of Neil Peart, the storytelling depth of Peter Gabriel and Sting, and the progressive artistry of Genesis, Dream Theater, and Spock’s Beard. This synthesis results in compositions that are as intellectually rigorous as they are emotionally evocative.

Currently, as Head of Percussion Studies and Electro-Acoustic Composition at the Middle Tennessee Conservatory of Music, Schultheiss is an outspoken advocate for the DAW as a true instrument. In his hands, digital workstations become canvases for sonic experimentation, allowing for real-time orchestration, microscopic precision, and the layering of polyrhythms and timbres that would be impossible with traditional notation alone. He champions technology not as a shortcut, but as an authentic extension of the composer’s voice.

Signature works such as Lights Twinkle—a Christmas percussion-ensemble piece blending Japanese Taiko, harp, and haiku-inspired vocal textures—showcase his ability to unite tradition with innovation. Airidea’s Journal explores the dialogue between structure and freedom through dance-driven percussion and atmospheric synths, while As You Sleep and Terminal Memory reveal Schultheiss’ penchant for ambient soundscapes, introspective melodies, and cross-media collaborations. His compositions have been commissioned for film, dance, and multimedia productions, performed by leading ensembles, and praised for their intricate interplay of rhythm and resonance.

As an educator, Schultheiss is dedicated to shaping musicians who are not only technically skilled but also creatively fluent in both acoustic and digital modalities. At the Middle Tennessee Conservatory, he mentors young composers in hybrid techniques, polyrhythmic structures, and DAW-based workflows, encouraging them to embrace technology as a creative partner. His influence extends beyond the classroom, as he helps students gain visibility in the digital era and equips them to thrive in an evolving musical landscape.

Through his relentless curiosity, innovative spirit, and commitment to artistic growth, Eric Schultheiss is redefining what it means to be a composer in the 21st century. His work is a testament to the power of bridging tradition and technology, and to the limitless frontiers that await those willing to explore them.

I am a classically trained composer, finished music school in Russia and took private lessons in music composition. I write and orchestrate my works myself.  I am influenced by music of Tchaikovsy, Chopin, Beethoven, Shubert, Alexander Desplat, Thomas and Randy Newman, Danny Elfman. I write in cinematic, orchestral, classical, epic and ambient genres. I have practice writing for short scenes in cartoons and documentaries and trailers. You can view some of my cues here https://vimeo.com/user105330114. I will consider any offer to write a soundtrack for a short documentary, cartoon or a film score. Please contact me via julialesnichy@aol.com

Lost hope

Julia Lesnichy compositions

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Karin-Maria Brunner

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