Die Ruhe vor der Ruhe

Release Radar

Piano Chill

Best Classical Music

The DG Playlist

Calm and Chill

Reimagined. Volume 1, Chapter 1

Fly (Reimagined by Mercan Dede and Dexter Crowe)

Reimagined. Volume 1, Chapter 2

Drop (Reimagined by Mercan Dede)

Reimagined. Volume 1, Chapter 3

Time Lapse (Reimagined by Mercan Dede)

Waterways (Reimagined by Mercan Dede)

Kaldalóns: Ave María (Arr. Víkingur Ólafsson)

Kaldalóns: Ave María (Arr. Víkingur Ólafsson) (Upright Piano)

"Echo Sax" by Caleb Arredondo offers a one-of-a-kind auditory journey. Composed and performed by Caleb, the album brings out the saxophone's true essence, set against the distinctive acoustics of a parking lot, crafting a listening experience that's as unique as it is captivating.

Download/stream:
→ https://lnk.to/echo-sax

Follow Caleb Arredondo
Soundcloud: @caleb-arredondo-926536616
Spotify: https://spoti.fi/3UzORJh
Apple Music: https://apple.co/49w6TAn
Instagram: https://www.instagram.com/caleb.arredondo/

Echo Sax No.4

Download/Stream

Caleb Arredondo - Echo Sax No.4

Après Fauré

Nocturne No. 13 in B Minor, Op. 119 (1921)

I Am Weary, Don't Let Me Rest

Before the Storm

SCRIABIN – SCARLATTI

TRANSITION III

Field: Nocturne No. 9 in E Minor, H. 46

Nocturne No. 9 in E Minor, H. 46

Monteverdi: Sì dolce è'l tormento

Sì dolce è'l tormento, SV 332 (Arr. Diluka for Piano)

Field: Complete Nocturnes

Nocturne No. 2 in C Minor, H. 25

Shibuya

Waterfall

Tchaikovsky: 6 Romances, Op. 16: No. 1, Lullaby (Cradle Song) [Version for Piano]

Retrospective

Irreversible

Ravel: Jeux d'eau, M. 30

Second Sight

Where the Birds Go to Hum

This Is My House

Sleeping Lotus

Sleeping Lotus (redux)

A Sense of Place

A Sense Of Place

On & On

On & On (Ely Oaks Remix)

Stream

The Contract

Arcando & Julian Jordan - Operator
Out now on STMPD RCRDS

🔊 Stream / download:
» https://stmpd.com/KePjk

● Connect with Arcando on social media:
» linktr.ee/arcandomusic

● Connect with Julian Jordan on social media:
» @julianjordan
» www.instagram.com/itsjulianjordan
» https://x.com/julianjordan

● Connect with STMPD RCRDS:
» @stmpdrcrds
» www.instagram.com/stmpdrcrds

Operator

🔊 Stream / download

Arcando & Julian Jordan - Operator

Breath’s Gentle Tide

OUT NOW via @interstellarxp 
https://interstellar.ffm.to/-stay 

"Stay" began during a jam session where I was experimenting with a new virtual instrument I had just picked up called Anamorph. There was no intention to write a full track at the time; I was simply exploring what the instrument could do. Because of that, I wasn’t too precious about the parts I was laying down but I quickly grew fond of the idea forming! It all started with the main riff. I loved how it evolved over time and I kept jamming with it. Everything fell into place from there! “Stay" has since become one of the most requested IDs in my sets, and it’s always a lot of fun to play live! I’m excited that it’s out and even more excited to have my first release with Insomniac and their ‘Interstellar’ imprint. - Marsh

Buy / Stream

Marsh - Stay (Extended Mix)

Tune Your Brain for Stress Relief

Liszt: Consolations, S. 172: No. 3 in D-Flat Major. Lento, placido

Bright Star

Bright Star (Sunset Mix)

Extracted from the album INSIGHT IV (release date feb. 15) on Whales Records.

INSIGHT IV

Insight XL

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)

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Saint-Saëns: Carnival of the Animals: The Swan

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.⁣⁣