Name: Prelud in rem - to Chopin by Luis de Arquer in classicaaaaa
Duration: 3 min 38 s
Description: This Prelude, is dedicated to Chopin with all of my respect for his incredible music.

Dios mio, es maravillosa esta obra. Pude escucharle en concierto y es increíble.

classicaaaaa

Prelude for piano
Written (completed) on 22nd January 2014 hence '220114' in title.

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Prelude 220114 for piano


The most important change from the original version is the preparation of the "orchestral tutti"   including also a related new melody with the flute. Then i interperse the orchestral tutti with the voice to can be heard clearly that magic moment. I have used, repeated, sectioned these parts: Brass, Choir, Percussion, String, Trumpet, Wood and Woman voice and harp and I added another flute.

Nacimiento - Bleending Fingers Contest - Luis de Arquer

Taken from 'The Epic', released 4th May 2015 on Brainfeeder.

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'Re Run Home'
Composed, Arranged and Produced by Kamasi Washington. Copyright Control. Recorded at King Size Sound Labs. Engineered by Tony Austin. Mixed by Benjamin Tierney. Mastered by Stephen Marcussen at Marcussen Mastering.

Kamasi Washington - Tenor Saxophone
Ryan Porter - Trombone
Igmar Thomas - Trumpet
Cameron Graves - Piano
Brandon Coleman - Keyboards
Miles Mosley - Acoustic Bass
Stephen "Thundercat" Bruner - Electric Bass
Tony Austin - Drums (Right Side)
Ronald Bruner Jr. - Drums (Left Side)
Leon Mobley - Percussion


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Kamasi Washington - 'Re Run Home'

ENRIC GRANADOS (1862-1916) - CONCERTO FOR PIANO AND ORCHESTRA "PATÉTICO"

Enrique Granados is internationally esteemed as one of the most important composers in Spanish musical nationalism in the second half of the 19th century, and is recognised as one of the greatest pianists in the world from the piano golden age. Along with Ricard Vinyes, Joaquim Malats and Isaac Albéniz, he is representative of Spanish piano at the end of the 19th and beginning of the 20th centuries.
However, what is unfortunately less well-known is his side as a composer of symphonic music. Nearly 100 years after his tragic disappearance, Granados’ orchestral music remains completely unknown, unpublished and surprisingly untouched.
Most of Granados’ orchestral works written as of 1900 are still unpublished. Nor have any been published until today, with the exceptions of Goyescas, the symphonic poem Dante and some lesser lyrical works such as El Fullet.
The fact is that due to the lack of publications, editions and performances of his orchestral and chamber works, Granados has earned unjustified fame as a composer of works for the piano who did not have either the sufficient knowledge or skill to take on large format works or simply orchestral works. This is entirely false. Once I had the chance to study Granados’ symphonic work in depth, I came to the evident conclusion that all of these fallacies and ideas about him have no foundation at all.
The case we are concerned with, his First Concerto for Piano and Orchestra, subtitled with the sobriquet of “Patético”, is a clear example of this.
Granados was not only very knowledgeable about forms, as demonstrated by the fact that the concerto’s first movement alone lasts nearly twenty minutes, but his treatment of the orchestration and his concept of the concerto genre, apart from being very idiosyncratic, are totally different from what Granados had written till then. This entailed the need to perfectly master orchestral writing, as well as the treatment and knowledge of the instruments and orchestration. He had acquired these facets thanks to his personal experience as a soloist pianist and at that time also as an educator through the concertos by Beethoven, Chopin, Liszt, Saint-Saens, etc. that he made his students study.

The reviewer’s considerations:
The finding of the unpublished manuscript that Granados named Primer Concierto para Piano y Orquesta (First Concerto for Piano and Orchestra), conserved in the archives of the Music Section of the Library of Catalonia in Barcelona and recently catalogued within the Fondo Granados fund, is the most important musicological proof that provides the chance not only to re-write Granados’ biography but also to define, consider and properly catalogue the work of one of the greatest international composers that our country has produced.
Most interesting of all, however, is being able to do justice to a work that Granados dedicated to his colleague and great friend, the composer Camille Saint-Saens. He had actively collaborated with him in 1908 and was not able to finish due to important commissions he received as of 1911 with regard to the Opera Goyescas, which kept him busy until the opera’s first performance. His unexpected death in 1916 definitively cut short this project.
Due to the type of ending proposed by Granados and the lack of material that prevents it from being linked to the second, I decided not to connect Granados’ first movement to the second; I wrote over the composer’s music myself. In this way it is much clearer that 90 % of the first movement is by Granados and that all the rest is there to balance the work’s structural sense to respect the wish of the composer to write more than one movement. The result is thus a finished work that can be presented in public with logical, coherent musical sense which follows widely known and internationally accepted musical restoration and musicological techniques.

Melani Mestre
Barcelona, May 2010

I - Concert pour piano et orchestre "Patético" by Enrique Granados (reconstructed by Melani Mestre)

The Happy Prince - Second Edition

En el recull, El pas de l’any, Maragall inclou un seguit de poemes dedicats al temps de Nadal, i els anomena genèricament així, Nadal. Quasi diria que son assaigs de poema molt lligats a una línia de tradició popular, on, fins i tot, inclou petites referències de cançons tradicionals. De tots ells, i com a exercici de Nadala, he triat  "Els reis" perquè la màgia dels tres reis de l’Orient sempre m'ha fascinat. 

15 - ELS REIS

This Prelude, is dedicated to Chopin with all of my respect for his incredible music.

Prelud in rem - to Chopin

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Illustration: Conrad Roset

Berlinist - Pioneer to the falls (an Interpol cover in three movements)

우리는 만날 때에 떠날 것을 염려하는 것과 같이, 
떠날 때에 다시 만날 것을 믿습니다.
Just as we fear parting when we meet,
 so we believe we will meet again when we part.

Since I sat down at the piano when I was 5 years old, I haven't stopped playing..!! 
I am a composer, improviser and performer. I founded a music school for adults as well as a small theatre in Barcelona, and have produced 4 operas; one of them, a poetic musical, was composed and written by me. 
I've played at various music festivals during the last 10 years and created the term 'PopClass' to define the style of my music as everything these days must have a 'recognizable' name...
I have been playing in my little theatre in Barcelona every Saturday for the last 6 years, where I offer 3 shows which have been very successful: 'Solo Piano', 'No Solo Piano', and 'Improvisations'.
'' I love to give it all I've got through the sound of the piano'' (Luis de Arquer). 

"Desde que a los 5 años me senté en un piano, no he parado de tocarlo obsesivamente...!!"
Compositor, improvisador, intérprete, productor de 4 óperas,he fundado una escuela de música para adultos, un pequeño teatro, he producido cuatro óperas, una de ellas compuesta y escrita por mí,  una obra poético-musical, 2 Festivales de música durante 10 años, he creado el término PopClass
para definir el estilo de mi música en estos días en lo que todo debe tener un nombre "reconocible"...
Toco todos los sábados en mi pequeño teatro en Barcelona desde hace 6 años en tres espectáculos que han tenido y siguen teniendo un enorme éxito: Solo Piano, No Solo Piano e Improviso... "Me encanta sacarlo todo a través del sonido del piano"... Luis de Arquer


Prelud in rem - to Chopin

Luis de Arquer

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