Autumn Reverie (Op.5 No.17)

New year, new works. As the first of my 6th opus, here this is a piece with a little redemption in it.

Cinema (Op.6 No.1)

Waltz in Db minor, number II, because at the age of 23 I had written a waltz in Db minor also. Made the prelude for this piece (in playlist "Pianoworks"), afterwards (op.6 no.3). 

The boy in the image, generated about the way I wanted it, reminds me of my younger brother with whom I share the sadness of having our mother leaving us way too soon (age 44). There is a darkness, as well as light and joy in this piece. But she made her choice, which I respect.

Waltz in D-sharp minor (Op.6 No.2)

Shortest piece I ever wrote. Started with F major, moving to C (lydian mode) and from both making some jumps to different scales. Then ending in D major. From there I've started my next piece.

Prelude in F Major (Op.6 No.3)

Something To Remember (Op.7 No.10)

"The quality of not changing, as the years go past"

As a child I could endlessly play, find joy, fascination, passion, and even obsession, in the smallest things. With the piano back into my life, I can endlessly play. I feel like a kid again and hope never to grow old.

Nevertheless: Today I've deleted 18 pieces. All of this was made in total suffering of latencies produced by a PC. There is not even a way to properly rehearse, so I've deletetd this 18 publications of MY suffering.

Timelessness (Op.8 No.2)

When 2 years ago my friend passed along his old clavinova to me, I started composing like a train (after not having a piano for over 12 years). The 18th piece finished that first year, was this. It's the one piece inspired by someone else: Chilly Gonzales, "White Keys" (a piece my friend liked a lot).

Echoes of the White Keys (Op.5 No.18)

Circle of Dream (Op.5 No.11)

There are multiple versions of this one. In between the first versions and final version I recorded this jestful improvisation on it. The final still needs to be recorded.

Arabesque (Op.5 No.13)

The compositions from opus one, are actually bits and pieces from childhood; tunes I made from 8 to 13, somewhat evolved. Puberty had gotten me interested in other things, leaving the piano untouched for a while, but at age 18, my mother, who had given me the piano, had kept on trying to motivate me to start playing again. So I did.  At age 19, when my mother died (age 44), I was compelled to make themes from childhood into two pieces, that I would play (and have played) at her funeral. All contain themes I knew she'd appreciate, staring down at us.

Images from Childhood: Jeannette (Op.1 No.1)

If you have no eyes or live deep under ground, in order to navigate, you touch things. But even if a cat would need to find you in total darkness, he is not just giving you cups and leaving its scent on you for one reason. The love for touch. The feeling of wanting to merge with someone. Thedesire for security. 

Idea's for this piece all started being on black keys and using progressions on pentatonic scale and were then transposed. After that I further composed and arranged the piece.

Thigmophilia (Op.5 No.4)

Something is keeping you up at night; it's the tormence of millions of people in my country alone. This short piece expresses the despair of having long nights, day after day. Being in the loop of wanting to sleep, but being just too awake feeding on your silly thoughts after silly thoughts... 
You try to let go, but cant. Until you finally did...

Tormence of Worry (Op.8 No.7)

This one is about a butterfly for a girl not available, as it turned out. Would want that feeling to stay, but the butterfly has gotta go. Its a busy one though; already had been going up and down starting to make the heart into a bloody home. And its a hard one to catch! There is that feeling of melancholy again. Just let go! And the butterfly leaves... 

It was good fun composing and dramatizing this piece. Especially that butterfly, I'm sure you can hear it. Been chasing it for hours :) The techiques on one part of it, I just started doing improvising once and was used in Arabesque too, but in phygian mode. In this piece its worked out more and it consists of both chords, an arpeggio and a glissando with the left pinky on black keys.

Departure of a Butterfly (Op.8 No.7)

The piece is meant as a walk to the train station; romantic, playful and sweet.

Goodbye (Op.8 No.8)

One from over 20 years ago: A mystical serenade for a lonely sorcerer.

The Sorcerer's Nocturne (Op.2 No.4)

After not having been able to play the piano for over 12 years, this piece was the 2nd one I composed. The inspiration I found in Satie's Gnossienes, which (from 1 - 5) each go up one key. I've set this as a rule for the progressions I was going to make in this composition. Another rule I've set for myself, was to have every progression introduce a mode-change. Key to start from and all modes used where new soil to me. Inspiration for the title came from a friend who when hearing this, got visions of a flowing river.

Now I'm gonna need to take a long break from this, untill I have a DAW and my system is upgraded;  Having dealt with the negative inner voice of my father and losing the adrenaline (nearly completely), I am now dealing with latencies - going way up and flunctuating badly when recording with this digital CRAP.

I hope my dreamy world of piano music will continue to paint vivid musical landscapes and will bring joy, peace and serenity to anyone. The paint in my veins wont dry out, but I need to find another brush. Goodbye for now.

Danube's Dance (Op.5 No.2)

An autodidact who made some 73 pianoworks (including 4 finished sonatas). Had to give up on recording for a while, because it was an impossible job really with the setup.

Kevin Bloemhof

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