Classical

Circular as Our Way

Yamana - KREN ORGANICO

UNNR | Mindbeach

Mystic,Ambient Massive Medicine, Feeling touch...

Sen Kendine Yan

Darkened Vision

Schubert's Serenade
Itzhak Perlman _ Violin
Rohan de Silva _ piano

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Itzhak Perlman _ Schubert's Serenade

Daydream (version 2)

Türkheim

I've been recording this piano record in my living room with a lovely American made Charles Walter upright piano that I found on Craigslist - or maybe it found me - but this record captures three weeks in June when I create some compositions with it and added a few string parts as well.  Enjoy.

An advance look 
Music by East Forest
Recorded in Portland Oregon in my living room.




info

Provenance

Tuva Semmingsen - Lascia ch'io pianga (G. F. Händel) - Antichrist OST

Written and produced by Tambour (Simon P. Castonguay)
Cello recorded at Studio B, Montreal by Benoît Parent
Cello played by Anaïs Constantin
Mixed by Ed Carlsen

Bandcamp : https://bigoandtwigetti.bandcamp.com/album/the-exquisite-corpse

We’re pleased to announce a new collaborative album in conjunction with Bigo & Twigetti. ‘The Exquisite Corpse’ is based on the surrealist game of the same name. Taking Leah Kardos 'Little Phase' as it's starting point, the piece will be reworked by a series of composers and producers to create an album of tracks which continually evolve as each new version is passed from one artist to another, adding to and transforming material from the original piece. We'll be releasing a new track from the album every 2-3 weeks with the first track due towards the end of October and the full album available in April 2017 so keep an eye on our social media for updates.

The Exquisite Corpse

Invisible

Tambour - Invisible

Solipsism

Saturday Morning

The Perlman Sound

Violin Concerto in D Major, Op. 35: I. Allegro moderato

2CELLOS - Now We Are Free - Gladiator [Live At Sydney Opera House]

Tomaso Albinoni - Adagio in G minor for Organ and Strings - Ryan Hebert, org; Haig Mardirosian, cond

Thomas Newman - Any other name

Joep Beving has been one with the piano from an early age. He was forced to end his musical studies at the conservatory and instead continued at university to get a degree in public policy and public administration. However, his love for his instrument never perished. Where once his goal was to hit as many notes per minute as physically possible, his style of playing has changed over the years, searching for a particular aesthetic essence. His path was illuminated by a piano that Beving inherited from his grandmother when she passed away in 2009. This German instrument insisted on a more gentle touch and a gracious pace, which eventually led Beving to adapt to a more classical vocabulary to tell his story.⁣⁣
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This story started to manifest itself relatively late in life, when in 2014 at age 38, he was forced to stay home from work and decided to answer the draw of his piano. In search of tranquility of mind and some form of essence, music started to present itself that he had never played before in his life. Minimal pieces that he later once described as ‘simple music for complex emotions’.  Turned down by the only label he approached, Joep decided to self release his debut album Solipsism in 2015.⁣⁣
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The sound of his piano found its way to the ears of Deutsche Grammophon’s A&R manager Christian Badzura when visiting his favorite Bar in Berlin. This led to the signing of Beving to the world's foremost classical label and consequently the release of equally successful sophomore album ‘Prehension’ in 2017, making Joep one of the most listened to living pianists in the world at that time.⁣⁣
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He has attributed much of his music’s broad appeal to the stream of consciousness in which some of the pieces were conceived. Claiming that the music is already out there and that one has to ‘just’ create the circumstances for it to land. In 2018 he took this idea one step further with the release of ‘Conatus’ of which he said:  “If you see music as a living organism then it is not unthinkable that it has its own innate inclination to continue to exist and enhance itself.” On Conatus, Beving sees compositions from his first two albums travel through the minds of artists he admires (a.o. Suzanne Ciani, Collin Benders, Andrea Belfi), resulting in new pieces of music adding new layers and dimensions which would serve as the upbeat to his next major solo project as would become apparent in April 2019.⁣⁣
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As part of the art piece ‘Franchise Freedom’ by acclaimed artist duo Studio Drift, Joep travels to Burning Man at the end of 2018 to perform in the desert of Black Rock City in front of his largest audience to date. Inspired by the display of human creativity and inclusivity he returns home to finish his third solo album.⁣⁣
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April 2019 sees the release of HENOSIS, Joep Beving’s closing chapter in a trilogy of albums – marking the end of an intensely personal four-year spiritual and philosophical exploration.⁣⁣
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On HENOSIS the Dutch composer continues his minimalist and at times romantic style of writing, but this time explores new territories. It sets off where his sophomore album Prehension left us, the warm intimate sound of the Schimmel piano. With the help of producer Gijs van Klooster and through collaborations with Cappella Amsterdam, Echo Collective, and Maarten Vos, Joep Beving opens up new musical worlds using orchestral and electronic sounds alongside the familiar piano.⁣⁣

Saturday Morning

Joep Beving

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