Name: Fugue in Fm M.M. 12 (remastered 2018) by Miras in Mixed Friends 44
Duration: 6 min 35 s
Description: Three-part fugue written for strings in the key of F minor. This fugue is presented here with slight changes/additions in articulation, dynamics and some of its melodies, in order to better adapt it to the composer's musical intentions.

Beautiful piece, Matheus: intense and stylish!

Indeed the mastering seems better and as I like the original I still like it better.

Mixed Friends 44

Harmony of Love unfolds as a delicate solo felt piano piece, embodying the quiet depth of an intimate connection. The notes, soft and resonant, intertwine like a deep, sincere whisper. The music evokes an indissoluble bond, forged from a shared essence without boundaries. Each chord flows like gentle rain, carrying the tenderness of kisses and the vastness of embraces like oceans. It’s as if love itself becomes tangible—a gift of one soul to another, inseparable and eternal. Composed by Francesco Adornetto and performed and adapted for piano by Roberto Guerra, this felt version adds an intimate and enveloping touch to the melody, transforming it into a moment of pure harmony.

Harmony Of Love

Harmony Of Love (Francesco Adornetto & Roberto Guerra

Many people have many pasts, and I'm sure there are things that are painful and still drag on today. I think those things, including fun things, make up people's world and universe. Sometimes we daydream about them and feel them, but when we come back to ourselves, what emotions do we feel? Thanks for your interest in my music. And you are a good person for reading here :)

universe of the mind

Song about spiritual release from some physical attributes.

Let Me Go (electric) remastered 2025

A heartfelt duet of piano by Roberto Guerra and voice by the luminous Oddrun Eikli, composed by Francesco Adornetto.

In a world that often trembles under the weight of conflict and noise, love remains our quiet rebellion.
A gesture, a word, a melody — sometimes that’s all it takes to remind someone they’re not alone.

These tender lines, written and sung by the beautiful soul of Oddrun Eikli, carry that reminder — and borrow from the timeless words of Emily Brontë, who left us far too soon, yet gifted the world with her poetry:

“He’s more myself than I am.
Whatever our souls are made of, his and mine are the same.
If raindrops were kisses, I’d send you showers.
If hugs were seas, I’d send you oceans.
And if love was a person, I’d send you me.”

Let’s keep sharing love — through notes, through silence, through presence.
Because love is the only thing that grows when it’s given. 💙


#HarmonyOfLove #OddrunEikli #FrancescoAdornetto #RobertoGuerra #EmilyBronte #NewMusic #PoetryInMusic #PianoAndVoice #Neoclassical

Harmony Of Love (vocals by Oddrun Eikli)

Welcome to my latest trilogy based on the famous children’s novel, ‘Alice in Wonderland.’ This is the second track in the series. I hope you enjoy it.

Part Two:
It was during Charles' time at Christ Church in Oxford that he befriended the Dean, Henry Liddell, along with his wife, Lorina, and their three children, Lorina, Edith, and Alice. On 4th July 1862, during a family rowing trip, he told a simple story to Alice. She begged him to write it down. In November 1864, he presented her with a handwritten, illustrated manuscript entitled ‘Alice's Adventures Under Ground.’ Though it’s assumed that Alice Liddell was his ‘little heroine’ in the book, Charles later denied that it was based on any real child. Whatever the truth behind the story, the book was his greatest and best-loved literary success. 
Trivia: Charles is thought to have drawn inspiration for the March Hare character from the common English idiom "mad as a March hare", a phrase dating back to the 16th century. It referred to the erratic behaviour that hares exhibit during their breeding season in the spring, particularly early in the season when females fend off overly eager males.
Part 3 of his story follows on the third and final track in the trilogy…

Alice Trilogy

Alice No. 02 (Trilogy)

This is the fourth and final piece of a set of marches for orchestra.

March No. 4 in C minor

Rising Over Bellsford

A short 8-minute symphonic work in one movement with a celebratory sound. Originally composed in 2001 and slightly revised in 2025. This music is also heard on my YouTube channel with photo montage aimed at celebrating the Earth's oceans: https://youtu.be/ycY4vBPfn0E

The audio track in this video is rendered with NotePerformer4 software. Good quality headphones or speakers are highly recommended for listening.

Sinfonia Brevis

https://soundcloud.com/myopus/sets/serenade-for-string-orchestra
Serenade for string orchestra:
3rd movement

III. Scherzo

Donde El Gesto Habla (“Where the Gesture Speaks”) was born from an unexpected invitation to perform at an international animal-rights event. I wasn’t ready for the stage, yet the gesture—someone truly caring about my music and what it stands for—spoke louder than words.
The piece doesn’t run; it walks. Two even steps, like two hands reaching for each other. Deep down a low heartbeat holds the breath; above it, a gentle voice answers in fragments—one held word, then two whispers—climbing and descending in small steps. The wave swells, lays down, grows quiet again. And often, before it fades, it leaves a tiny falling sigh, like a softly spoken “yes.”
Dedicated to those who give voice to the voiceless.

Donde El Gesto Habla

Three-part fugue written for strings in the key of F minor. This fugue is presented here with slight changes/additions in articulation, dynamics and some of its melodies, in order to better adapt it to the composer's musical intentions.

06/04/2018

Fugue in Fm M.M. 12 (remastered 2018)

Improvisation III

Indian summer:
dragonfly shadows seldom
brush the window.

Poem by Masaoka Shiki https://terebess.hu/english/haiku/shiki.html
Picture by Gabriele Diwald https://unsplash.com/@gabrielediwald

clicK-herE

halF dragonflY [naviarhaiku232]

An all-interval 12-tone row (serialism!) gets repeated over and over (minimalism!), but the tones are gradually revealed as 4th harmonics of implicit fundamentals (spectralism!) that get randomly (aleatoricism!) replaced, in each clarinet's part, by other harmonics.  The result is not midway between tonality and atonality, but rather, paradoxically fully committed to both logics at all times.  The harmonic cloud around the row gradually obscures its structure, and something happens at the midway point that may only seem obvious to the listener who gets to the end and goes back to the beginning.  This imparts a certain approximate symmetry (formalism!).  

The affect of the effect reminds the composer of butterfly flight, and the title refers, casually, to some recent research concerning how that all actually works.   The hidden crucial moment might suggest a "butterfly effect," but chaos theory is not literally implicated in the piece.

The practical score will call for three players even though effectively the work sounds as a mere duet.

Butterfly Waggle Vortex Rings, for clarinets

Boson Spin - Ossmilor

Submission for Disquiet Junto Project 0337: Through Composted
(Create a piece of music that is through-composed, but built entirely from samples.) For more information, see: https://disquiet.com/0337

Having written a through-composed folk song for February Album Writing Month 2011, I sampled my demo from YouTube ( https://www.youtube.com/watch?v=My_7VH9PRw4 )and used this as the backbone for my assembled tragedy.

Prince Of Thorough Compost [disquiet0337]

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.

Curly Compositions from a German Composer.

Fugue in Fm M.M. 12 (remastered 2018)

Miras

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