Adagio written for strings ensemble in the key of C# minor.

Adagio in C#m M.M. 50

My daughter's quote...






























"Angels talking through your music....."

I hope you will enjoy listening......

Thank you for your time here....

I'm a baritone sax player & composer in a contemporary jazz genre from Cologne, Germany (and play clarinet and flute, and the other saxes as well). All woodwind parts on these tracks are played by me (multitrack rec.), all other instruments by virtousi virtuali (with three or four exceptions). All arrangements and by far most compositions are by me.
I very much appreciate every kind of collaboration.

Matheus Miras was born in Campinas, Brazil, in 1997. He began studying guitar at the age of 9 and piano at 10. At 13, he became interested in composition through the music of J. S. Bach, marking the beginning of his artistic output. Since then, Matheus has composed over 200 pieces for various settings, such as piano, harpsichord, string quartet, string orchestra, wind quartet, symphony orchestra, SATB choir, electronic and experimental music. Miras' work is mostly polyphonic and contrapuntal in nature, though his craft is often extremely exploratory.

Starting in 2017, he studied classical piano with professor Norberto Égon Osis and classical violin with professor Antônio Carlos Gomes at the Instituto Musical Souza Campos in Campinas. At the same time, he taught himself cello. In 2019, he pursued a degree in Musical Composition at the University of Campinas (Unicamp), where he was exposed to various styles, such as electronic, experimental, and atonal music, studying under professors like José Augusto Mannis, Jônatas Manzolli, Luiz Henrique Xavier, Suzel Ana Reily, Leandro Barsalini, Fernando Hashimoto, Paulo Adriano Ronqui and Carlos Fernando Fiorini.

Composer of serious, commercial, film/tv, music.  Berklee allumni.  www.gorankjellgren.com

M'Z, is a solo project shaped by a wide variety of music :
Canterbury, Progressive, Rock in opposition, Metal, Electronica, Space rock, Noise, Jazz, free-rock, Ambient, Psyche, Heavy, Punk, Drum'n bass...

My name is Mathieu Torres and I am also a guitarist and composer in various artistic projects:
La théorie des cordes / Zhorhann / The diogenes / Matziz / Dirt in the wind / Urban BallShit / Inland Motel / Collectif La Barraque / Aux arts etc / Dirt and Cpu / no Skeletons / composer of music for the image...

The driving idea of ​​this particular project is to create parallels between poetic or philosophical concepts and music, without setting aesthetic barriers.

Born from the vital need to create, at the end of 2017, M'Z has since performed around fifty dates (Streets/Markets/Café-concerts (Cave a rock - L'usine à musique - Le Maquis - Red turtle café...)/Festivals (Résistance/Semaine jaune...)Off /Marciac - Bourges / Various support concerts...)
and released 4 albums, 1 EP and 2 singles which received very good press
(Diego Pinheiro Review - ProfilProg - Athos di MAT2020 - Autopoeitican - COREandCO webzine - AM: Plified - areARock - Mazik - Plus PROG de Vous - Eternal Terror - L'oreille à l'envers - Exposé . org - DPRP . net - The Elite Extremophile - Litzic...)

"Prisme" the first album, made the link between Colors, feelings and Music,

"L'autopsie du dogme" the second, attacked the music industry while working to analyze dogma in general and psychoanalyzing the members of M'Z in this quagmire in passing,

"Cool is watching you" (EP) was interested in demolishing, in music and lyrics, the idea of ​​the "Cool" posture that seems to be a norm in the era of social networks and the "start-upized" world

"La Nef" (single) as for it, tried to extract a source, more or less healthy, of the need for human spirituality, when it is freed from religious doctrines
"Hympécita" (single) paid tribute to an animal friend.

"La Civilisation de la Graine" the third was a musical reflection on the essence of our patriarchal organizations and our tendency to organize ourselves into civilizations, certainly elegant but undeniably unjust, ephemeral, violent and rickety. 8 pieces to try to analyze these phenomena.

And finally 'Emancipés du Vides ?'(emancipated from the void?) The fourth album, is a melancholic reflection on our emotional abysses, on the difficulty of extricating ourselves from our various attractions for nothingness, our inability to look at the mental waste that we produce without going through the guilt box, a critique of normalization, of the conformism of the hollow positivism praised by our overly marketed minds in search of the fastest path to "A Meaning". Finally, it symbolizes the vital necessity of finding our lost naivety.