Calm classical music. Updates every Wednesday with popular tracks in East and South East Asia.

Classicalm

An album to indulge thoughts about how you can grow to become your best you.

Count To Ten

12 Epilogue

Henry Purcell - Triosonate met blokfluit, discant gamba & continuo in d, Z.806, 809 & 796

11 Track 11

This is a track we help promote because we find it pleasant! https://open.spotify.com/playlist/0J7EFptNh6K6Qebrsrcx8d?si=ae32df247fdd4a1d


Idlewild

2025
Nicolò Biemmi, basson
Giulia Contaldo, piano

Mario Castelnuovo-Tedesco - Sonatina for bassoon and piano, Op. 130 - I. Allegretto

clouds, fascinating how quick and slow they can change and move

Clouds 1

ALIEN STAGE /  ALNST

WIEGE (FULL SONG): 
https://youtu.be/DDea4MGjGk0?si=NAAF_1FGVkvbeNID

WIEGE (WITH MV):
https://youtu.be/rrngM9DmDfk?si=mjPhtqGrDUlxqJWL

WIEGE (STRING SPECIAL SOUNDTRACK): 
https://youtu.be/yh8RI4QeGJE?si=PBuDtNrvD2t1G1pg

VIVINOS:
www.youtube.com/@VIVINOS

QMENG:
www.youtube.com/@QMENG

STUDIO LICO:
www.youtube.com/@STUDIOLICO

Wiege | ALIEN STAGE (String Special Soundtrack)

Celestial Pianos (Notas do Infinito)

No Jardim Com Deus

Banda sonora original del curtmetratge "Tot s'aprofita"

Conversa final

Francesco Cilea’s opera Adriana Lecouvreur, with a libretto by Arturo Colautti, was composed between 1899 and 1902, drawing from the eponymous drama by Eugène Scribe and Ernest Legouvé. The work recounts the life of the historical figure Adrienne Lecouvreur, a Comédie-Française actress, and her rumored poisoning, linked to her affair with the Count of Saxony, betrothed to the Princess of Bouillon, her suspected murderer. Commissioned by Sonzogno, the opera premiered on November 6, 1902, at Milan’s Teatro Lirico, achieving resounding success and cementing Cilea’s status as a leading figure in Italian Verismo.
The opera’s intermezzo weaves themes from its four acts, adhering to classical opera conventions. Its orchestration is deliberately sparse, typically using strings and select woodwinds, offering performers and audiences a brief respite. In this wind ensemble adaptation, the intermezzo transcends its operatic origins, reimagined as a standalone symphonic work. The enriched instrumentation emphasizes contrapuntal interplay, highlighting individual voices within the wind orchestra. This transcription showcases the ensemble’s potential, challenging the historical undervaluation of such groups. By revitalizing this rarely performed opera, the arrangement promotes a renewed appreciation of its legacy.

Intermezzo from F. Cilea Opera "Adriana Lecouvreur" (for Symphonic Band)

This "Chaconne Paysanne" from "Dance Suite no.2", draws inspiration from the traditional chaconne form while incorporating elements evocative of rural life. Built around a recurring rhythmic motif, the piece explores a range of harmonic and melodic variations that alternately reflect the discipline of agricultural work and the vitality of popular folk dances.

The composition stands out for its balance between the classical structure inherited from the Baroque era and a more direct, intentionally uncluttered writing style that highlights the simplicity and authenticity of the sonorities. This approach creates an atmosphere that is both solid and lively, remaining faithful to the spirit of the rural traditions that inspired the work. 
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Cette "Chaconne Paysanne" issu de la "Suite de Danse no.2" pour piano, composée par Pierre Fontaine, s’inspire de la forme traditionnelle de la chaconne tout en y intégrant des éléments évocateurs du monde rural. Basée sur un motif rythmique répété, la pièce explore différentes variations harmoniques et mélodiques qui traduisent tour à tour la rigueur du travail de la terre et la vitalité des danses populaires.

La composition se distingue par son équilibre entre la structure classique héritée du baroque et une écriture plus moderne, volontairement dépouillée, qui met en valeur la simplicité et l’authenticité des sonorités. Cette approche permet de créer une atmosphère à la fois solide et vivante, fidèle à l’esprit des traditions paysannes qui ont inspiré l’œuvre.


Recorded: July 23rd, 2025
Composer & Pianist: Pierre Fontaine
Dedicated to Stéphane Delplace.

Score available for purchase on pierrefontaine.composer@gmail.com

Sound Mixing : Thérence Guillerme (https://www.therenceguillerme.fr/)

#composer #piano #PianoSolo #ContemporaryClassical #ModernPiano #NeoClassical #InstrumentalMusic #PianoMusic #SoundtrackVibes
#BaroqueDance #MedievalMusic #EarlyMusicInfluence #AncientMelodies #BaroqueVibes #MedievalVibes #ModernBaroque #NeoMedieval #CrossoverMusic #TimelessSounds #ClassicalFusion #HistoricVibes #PastAndPresent #CinematicPiano #AtmosphericPiano #EmotionalPiano #MinimalistPiano #FantasyMusic

Chaconne Paysanne - Piano Solo

Recorded at Zion Community Commons, August 21, 2025

Laura Harada, violin
Aaron Kerr, cello
Rebecca Hass, piano

About “Ad Parnassum” (Ad Parnassum, 1932)
The dark outline of a pyramid-shaped mountain glows beneath a warm orange sun while an open archway invites the viewer to take the first step on their journey towards enlightenment. Inspired by the pyramids and temples of Egypt, Paul Klee’s pointillistic masterpiece from 1932 is built from contrasting blocks of color built up brick by brick in a style that he called “divisionism.” In the same way, the music takes the form of a rondeau as repeated musical progressions are developed through textural variations. In Greek mythology, Mount Parnassus is associated with Orpheus and the home of the nine muses and “a step towards Parnassus” (gradus ad Parnassum) came to define the gradual process of pursuing mastery in scholarship or the arts through diligent, repeated practice. The climb towards any summit begins with a single step and although that journey can be defined as a series of steps towards a goal, there is no guarantee that the path will be straightforward. The path may be winding, or may double back on itself, or seem to disappear altogether – it is built from small victories, epiphanies, frustrations and defeats – and by the end you have come full circle, stepping through the door towards Parnassus once again, both an exit and an entrance.

Ad Parnassum (1932) - No. 144.1 from Paul Klee : Painted Songs

Muses of the Valley is my ambient chamber music project featuring women from around the Yarra Valley. We perform in beautiful settings to take you into a dreamy world of bygone eras, Celtic fantasy and magical places. The Muses use a range of instruments to create a sparkling fusion of traditional, modern, and early music.

This recording features:
Amy Earl (harp)
Chrissy de Jong (flute, tin whistle, cajon)

Example tracks above:
1. King of the Fairies (trad. Irish Hornpipe)
2. Circle of Joy (Lisa Lynne & Aryeh Frankfurter)
3. Song of the Water Kelpie (trad. Manx tune)
4. Iris (Guido Piccard, Ensemble Galilei)
5. Planxty Irwin (O'Carolan)
6. The Musical Priest (trad. Irish reel)
7. Var det Du (trad. Swedish)
8. Douglas and Fiona Shearer (Jenna Reid)
9. Swan LK243 (Catriona McKay)
10. Chanter's Tune (trad. Irish)
11. Stockford Carol (Loreena McKennit)
12. Captain O'Kane (O'Carolan)
13. Castle Kelly (trad. Irish reel)

“The mystical Muses of the Valley will whisk you away into a world at once fantastical and familiar, with a selection of traditional and modern folk music, Celtic tunes and medieval gems.” - Cranbourne Chorale

Recorded and mixed by Amy Earl

Flute & Harp duo examples

Undiscovered Debussy

Debussy Violin Sonata No 2 - Movt 3

Hi Friends,

I'm on an extensive journey to explore and write for the orchestra. The piece below is originally for piano, but I've adapted it for harp—yes, the harp is the whole reason I did this! What an ancient, wonderful, and truly unique instrument.

I am exploring on fairly safe grounds here: Sibelius in Symphony Fantastic wrote parts for a cluster of 3 sometimes 4 harpts to be integrated in his masterpiece. La Mer of Debussy is another modern more advanced writing. But for now here it is: A lullaby that will most likely put you to sleep.

I'm not entirely sure everything is playable on harp… but I'll find out on Monday when it’s recorded live.
Enjoy,
Itzhak

12 Epilogue

Martin Hackleman

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