What a great "rabbit hole" you went down, and a great track note to read as a guide, especially about Emperor Joseph II, who also famously said Mozart's music had "too many notes";)

Fabulous composition and performance, Konrad, and I really enjoyed reading the track note!

super composition and enjoyed the notes ..love this "House" you built carefully

A beautiful and engaging composition, Konrad.

Absolutely magnificent composition and performance, Konrad! Enjoyed it very much.

Knowing that you have to let someone go eventually.

This song is inspired by someone who has been very important to me and who is one of the reasons I'm able to create my own music now. I'm forever grateful for that 🙏

Lyrics

Finally, I had a good thing going
Or at least, that’s what I thought
But now it’s slipping through my fingers
Till there’s nothing left to hold

All relationships I’m in are so unbalanced
Just like me
Such a challenge to be less than half
Of who I’d like to be

You can’t give me what I want, I understand
To be fair, you never really were my friend
Eventually, all good things must come to an end
So here I go again

I know I’m not the one you’d choose
But I’m so scared of losing you
It’s taking me over
It’s making me go to places I

Would rather not be
But I guess that’s just me
And if it’s all gonna be over
I think you should know

That I’m happy for you
I’m happy for you
I’m happy for you

Even if there’s no room for me

I’m happy for you
I’m happy for you
I’m happy for you

So here I go
Full-on panic mode
So here I go
Full-on panic mode

So here I go
Full-on panic mode
Full-on panic mode
Full-on panic mode

So here I go
Full-on panic mode
Full-on panic mode, full-on panic mode
Full-on panic mode, panic mode, panic mode, panic mode

Eventually, all good things must come to an end
So here I go again

I know I’m not the one you’d choose
But I’m so scared of losing you
It’s taking me over
It’s making me go to places I

Would rather not be
But I guess that’s just me
And if it’s all gonna be over
I think you should know

That I’m happy for you
I’m happy for you
I’m happy for you

Even if there’s no room for me

I’m happy for you
I’m happy for you
I’m happy for you

No hard feelings
Just wanted to get this off my chest
I’ll leave you alone now
It’s okay, I really wish you all the best

Scared Of Losing You

This piece started as a late-night piano mood that kept growing over a few days — no plan, no program — just following the harmony where it wanted to go.

Only afterwards, when I listened back, the section around 1:00 suddenly caught my ear. It had that old “Rising Sun” kind of pull and swing . Not copied — but clearly from the same emotional neighborhood. And I thought: alright… if there’s a house in New Orleans — then in my version there’s a house on Spittelberg.

So I went down the rabbit hole a bit deeper. The New Orleans “house” is often linked to a brothel in the traditional backstory of the song. And guess what — Spittelberg in Vienna also had a long and colorful history with exactly that kind of establishments. Narrow streets, night life, questionable doors, and stories behind every window. Vienna has always been polite in daylight and complicated after dark.

One of my favorite old Vienna stories says that Emperor Joseph II used to walk the city at night in disguise to see how things really were — without court sycophants professionally distorting reality for career reasons. (I’m no monarchist — but I do have a soft spot for leaders who verify facts with their own eyes instead of outsourcing truth to loyal echo chambers.)

According to the tale, he once visited a brothel in the Spittelberg area — and when it came time to pay, he realized he had no money on him — dealing with cash was apparently not something he encountered very often. After all, who expects an emperor to carry cash for such profane matters when the whole country is supposedly his ;-) Anyway, he didn’t pull rank — so, with no money and no patience for excuses, they reportedly showed him the door like any other unlucky late-night guest — emperor or not.

There is a house on Spittelberg. And if you walk there at night — you might still feel it.

From a compositional point of view, the piece follows an A–A′–B–B′–A″ structure (A at the opening, A′ around 0:47, B at 1:16, B′ at 1:37, and the final A″ at 2:12). The melancholic main theme returns in several variations, separated by a contrasting interlude with a slightly jazzy character. In parts, the left and right hands move in tight sync — especially at the opening — while other variations draw their character from the off-sync interplay between both hands. The B sections feature strong contrasts between pedal-rich passages and dry, sudden (“subito”) attacks.

Recorded using Noir in Cubase.

Spotify Link: https://open.spotify.com/intl-de/track/1LtjAEUOO4mx5lGe5rzfB1?si=7577ce8cdaf140d7
Youtube (with Scores): https://www.youtube.com/watch?v=iy7Zq1zUwQw

There is a House on Spittelberg

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Daybreak

Simple, straightforward, and catchy. That's what I consider a good pop song to be. I hope I've hit the mark with at least two of those three adjectives. As for the lyrics... The words "Always in the Dark" popped into my head for some obscure (obviously) reason. And the rest came later. I admit it didn't lend itself to much writing, but for a song with the characteristics I mentioned earlier, I think it's enough. I played the usual instruments and sang a few times, with the help of Abletone, which amplified my voice even further. There's strength in numbers. Ah, the lyrics:
Don't you ride away, I have something to say
It's so hard to see our love just fade away
Please stand by me, at least to take a walk
I'll give you anything for ten minutes in the park,
Let me hold you, I won't leave a mark
see you later, always in the dark

they say love is blind, that's why it is hard to find
Little darling, please make up your mind
And now, a little promotion:
My first LP: https://elasticstage.com/soundcloud/releases/juan-carlos-alquezar-in-the-subway-album
My second LP: https://elasticstage.com/soundcloud/releases/juan-carlos-alquezar-searching-for-some-light-divine-album

always in the dark

Elegant ambient soundscapes for boutique hotels, luxury lobbies and refined spaces. Slow, cinematic and timeless — music that enhances atmosphere without demanding attention. Continuous flow, no vocals, loop-friendly. Produced by Ricco Music.

Marble lobby morning5

Performed and Produced By Raffaele Scoccia
Artwork by S&C Scoccia, featuring 'Le Formiche' by Fabio Vettori.

The Scientist

For me, the key C-sharpe major on the saxophone is still ‘difficult’, so why on earth would anyone do that? In C major, it would be so easy :-) … Exciting is, the result isn’t just a semitone higher – it changes everything!
First layer, piano, second sax, each played in one go ...So everything's full of dents and bumps ;-)

Piano and Alto Sax / Practicing C-sharpe major

The Both Sides

Hi everyone,
my friend Piero sent me this song,  just his voice and a guitalele. From the first listen I was fascinated by it. There was something in the melody and the atmosphere that immediately stayed with me.
When I produce music, I usually try to program drums so they sound as natural and organic as possible. For this track I chose a different approach. The drums were intentionally kept simple and a bit mechanical, almost like a small drum machine. I liked the contrast between the human warmth of the voice and guitalele and the synthetic textures around them.
From that idea the arrangement slowly grew into this dreamy electronic singer-songwriter version.

The lyrics are particularly beautiful, which is why they are included in Italian, English and French. We hope you enjoy listening to the song as much as we enjoyed creating it.


PSICHICA ELETTRICITA'
(P. Bianchi, 2026)

Psichica elettricità
crepita intorno qua e là
evanescente segnale
che cela un codice astrale
Si alza poi vibra si illumina e va
scossa di intensa fisicità
e ci tocchiamo davvero senza sfiorarci
un lampo nel buio del cuore
risplende senza fare rumore
e ci capiamo all'istante anche senza parlarci
Mistica complicità
celeste sinesteticità
scintilla che nasce dal niente
e si trasforma in corrente
Fluttua nell'aria scivola e va
un'onda di pura magneticità
lasciala andare che tanto non serve capire
resta sospesa a metà
tra logica e gravità
alta tensione che cresce e continua a salire
E in questo universo invisibile
tutto diventa possibile
e ci sfioriamo la mente senza toccarci
e ci capiamo davvero anche senza parlarci
___________________________________________

Psychic Electricity
(P. Bianchi, 2026)

Psychic electricity
crackles softly all around,
a fading signal in the air
hiding some astral code.
It rises, trembles, lights the dark—
a surge of living force;
and we touch each other truly
without ever drawing close.
A flash within the heart’s deep night
shines quietly, without a sound,
and in an instant we understand
though not a word is spoken.
Mystic complicity,
a celestial weaving of senses—
a spark born out of nothing
turning slowly into current.
It drifts through air, it slips away,
a wave of pure magnetism.
Let it go—there is no need to know,
no need to understand.
It lingers there between
the pull of reason and of gravity,
a rising charge, a living tension
climbing ever higher.
And in this unseen universe
everything becomes possible:
our minds brush lightly against each other
without a single touch,
and still we understand—
perfectly,
without a word. 
___________________________________________

Psychic Electricity
(P. Bianchi, 2026)

Électricité psychique
crépite ici et là autour de nous,
un signal évanescent
qui cache un code astral.
Elle s’élève, puis vibre, s’illumine et s’en va,
une décharge d’intense physicalité,
et nous nous touchons vraiment sans nous effleurer.
Un éclair dans la nuit du cœur
resplendit sans faire de bruit,
et nous nous comprenons à l’instant même, sans parler.
Mystique complicité,
céleste synesthésie,
une étincelle née du néant
qui se transforme en courant.
Elle flotte dans l’air, glisse et s’en va,
une onde de pur magnétisme.
Laisse-la aller, il n’est pas nécessaire de comprendre.
Elle reste suspendue à mi-chemin
entre logique et gravité,
une haute tension qui grandit et continue de monter.
Et dans cet univers invisible
tout devient possible.
Et nous effleurons l’esprit l’un de l’autre sans nous toucher,
et nous nous comprenons vraiment, même sans parler.

Credits:
Piero Bianchi: vocals, guitalele
Axel Menningen: arrangement, all other intruments

Psichica Elettricita

She wanders like a shadow
with elegance
the slightest word would be an offense
I wait for a gesture or a glance
to understand my ignorance
before her silence

I remain here in the shadows
and I wonder
in this fog how to get her back on the path of feelings
oh I know my luck
even in the silence

I count the hours and the nights
I am like a prisoner
of my own mind
and I wait for her to set me free

even though I don't know at all
what she's thinking
even though above all
her love is undeniable

I go around in circles like a madman
I am filled with her presence
even in the silence

Même dans le silence (Translated)

Remixes 2026

White Light (Remix 2026)

The piano is not just an instrument; it is a storyteller. My lifelong companion. Each piece holds the memory of a moment in time, of a period in life. Here, I share my personal journey—one miniature, one experiment, one story at a time.

I’m Konrad Spittelberg, 52 years old. Though I’ve always called Vienna my home, I have pursued various interests, building an interdisciplinary background that spans education in Latin and Greek, studies of Mathematics, Physics and Economics and a carreer in Consulting and Risk Management. Sometimes, you might also find me immersed in games of Go, Chess or D&D. 

But only when I’m not making music. Of course. Still then, all of my interests have shaped the way I think — and, in turn, the way I compose.

The instrument of my life is the piano. I play it since the age of six, the first 16 in music school with my dedicated teacher Margarete Gerlach (and also thanks to the city of Vienna to the incredible publicly funded music schools!). My piano playing saw multiyear interruptions due to travel and workload. But in recent years I’ve found the time to pursue my passion again—with renewed joy. I devote many of my evenings to developing, refining and rehearsing my piano miniatures. 

I inhale music wherever I find it. In the echoes of Renaissance motets or contemporary cluster music with my local choir, which I joined 30 years ago. In music running in the background of a fashion store which I Shazaam for later enjoyment. Or live concerts - there are so many gifted artists in the world! 

My music is a dialogue between tradition and exploration. Rooted in classical and romantic traditions, it ventures into jazz, rock, and pop.  I love to experiment—playing with unexpected tonalities, syncopated rhythms, and dynamic contrasts. My compositions often evolve through shifts in tension, rhythmic complexity, and harmonic modulations, sometimes venturing across the circle of fifths. I’m also diving deeper into the art of mastering, an area where I still have much to explore.

If my music speaks to you, I’d love for you to follow my journey. Follow along, share your thoughts—whether in appreciation or in challenge. Music, after all, is meant to be a conversation—and I’d love to hear your voice in it.
Enjoy your time with my music! 
Contact: konrad.spittelberg@gmail.com
Spotify and Youtube: https:\\konrad-spittelberg.carrd.co

There is a House on Spittelberg

Konrad Spittelberg

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