Music

As the saying goes: nothing ever ends well, otherwise it would not end. And yet large parts of us still wish things would not end, even after we convince ourselves it is for the best. Is it an act of grace to accept fate and slowly fade away without a fight, or does the universe want to test our resolve and see just how far we are willing to go to obtain, and more importantly perhaps to keep, the object of our desires? It is human not to know; it is human to exist in bewilderment regarding such matters. Being aware of this, however, never makes it any easier. Endings always bring an emptiness in a person's heart and soul. No one ever wants to fail, but sometimes we wait too long to really try in the right ways to truly succeed. The eleventh hour concession is always the hardest case to handle. It leaves one with many doubts. It leaves a person with the hope that things would be, could be, should be, better if only... In such cases the weather can be forever raining in one's heart. 

ALBUM INFO:

"The Idea Of You" is the first of a trio of neoclassical solo piano albums composed, performed, and produced by Andrew Souter. These projects have been two decades in the making and represent a return to traditional music composition, engaging song-writing, and the pure passion of emotional story-telling. This Andrew's most personal and intimate music. It is quite literally a love project. We hope it may it help you on your journey, as it has us...

The Idea Of You Cover Art "The Idea Of You" is music inspired by the spirit of Eros and all of its blessings as well as its tribulations. It explores the vicissitudes of romantic love, the delicate seasons and contour of life, and all the lessons learned along the way. Themes of desire, passion, limerence, romantic love, idolatry, jealousy, envy, loss, regret, forgiveness, acknowledgment, appreciation, acceptance, and eventually glimpses of true understanding permeate the work. It attempts to communicate that which so many of us can never quite communicate properly with words. It is an open apology for the clumsy mistakes we all make when coming to maturity in learning how to care selflessly for another human being. It is a gentle reminder as to what is most important in life, as well as an invocation to continuously seek self-improvement regarding our understanding of such matters.

Andrew Souter -- Still Raining There

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Korablove - Frosty Morning

Live recording of Lucas's performance at the Marianopolis Prix d'Expression 2013. 
**First place**

Saint - Saens - Introduction And Rondo Capriccioso - Qian

Life itself is a piano theme composed by Mario Viñuela. 

Listen to my music on Spotify / Escucha toda mi música en: https://open.spotify.com/artist/4hAdpygElM5qnAI534XVRp

Life itself

Life Itself

Jackson fights to rescue an ark from the looming tragedy.

Jackson Underwater_mastered

For more information visit: http://www.klassikakzente.de/recomposed/home 

Some works are so familiar that it is almost impossible to hear them afresh, but that is what Max Richter has achieved with Vivaldi “Recomposed”. This is no mere arrangement; instead Richter has absorbed Vivaldi’s The Four Seasons into his own musical bloodstream. At first Richter followed the example of other works in the “Recomposed” series, which re-mix existing recordings, but, he says, “I wanted to open up the score on a note-by-note level, and working with an existing recording was like digging a mineshaft through an incredibly rich seam, discovering diamonds and not being able to pull them out. That became frustrating. I wanted to get inside the score at the level of the notes and in essence re-write it, re-composing it in a literal way.”Richter calculates that, in the process, he has discarded around three-quarters of Vivaldi’s original. He opens with what he describes as “a dubby cloud which I’ve called Spring 0. It functions as a sort of prelude, setting up an electronic, ambient space for the first Spring movement to step into. I’ve used electronics in several movements, subtle, almost inaudible things to do withthe bass, but I wanted certain moments to connect to the whole electronic universe that is so much part of our musical language today.” Other resonances are no less unexpected: Richter describes part of the first movement of his Summer as “heavy music for the orchestra. It’s relentless pulsed music, which is a quality that contemporary dance music has; and perhaps I was also thinking about John Bonham’s drumming. Then, in the second movement of Autumn I asked the harpsichordist Raphael Alpermann to play in what is a rather old-fashioned way, very regularly, rather like a ticking clock. That was partly because I didn’t want the harpsichord part to be attention-seeking, but also because that style connects to various pop records from the 1970s where the harpsichord or Clavinet was featured, including various Beach Boys albums and the Beatles’ Abbey Road.” Clearly, Richter has brought his own frame of reference to the project. As he says, “Vivaldi’s music is made of regular patterns, and that connects with post-minimalism, which is one strand in the music that I write. That felt like a natural link, but even so it was surprisingly difficult to navigate my way through it. At every point I had to work out how much is Vivaldi and how much is me. It was difficult but also rewarding because the raw material is so fascinating.”Just as Richter’s Seasons plays tricks with the way we hear Vivaldi’s original, so it also asks questions of the soloist, Daniel Hope. “Violinists have Vivaldi’s The Four Seasons hardwired in their brain. Daniel is likely to play the original I don’t know how many times in a year, and for him to have my parallel text going on in another part of his brain is a challenge. I think he did a wonderful job. He brought to it a deep engagement with the original, but he was fully prepared to cut this new swathe through the text.”


Recomposed By Max Richter: Vivaldi, The Four Seasons

Richter: Recomposed By Max Richter: Vivaldi, The Four Seasons: Winter 1 (2012)

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Bedřich Smetana - Má Vlast Moldau (Vltava)

Max Richter trained in composition and piano at Edinburgh University, at the Royal Academy of Music, and with Luciano Berio in Florence.

On completing his studies, Max co-founded the iconoclastic classical ensemble Piano Circus, where he stayed for ten years, commissioning and performing works by Arvo Pärt, Brian Eno, Philip Glass, Julia Wolfe and Steve Reich.

In the late 90s he worked with a number of electronic artists, notably Future Sound of London on their album 'Dead Cities". He subsequently collaborated with FSOL over a period of two years, also contributing to the albums "The Isness" and "The Peppermint Tree and Seeds of Superconsciousness". Max also collaborated with Mercury Prize winner Roni Size, on "In the Mode".

In June 2002, Max released his debut solo album, "memoryhouse", recorded with The BBC Philharmonic Orchestra. This was followed in March 2004 by FatCat's release of "The Blue Notebooks", with featured readings by Tilda Swinton.

In 2005 Max produced Vashti Bunyan's outstanding comeback album "Lookaftering".

2006 saw the release of "Songs From Before" based on Haruki Murakami texts read by Robert Wyatt. That same year, Max began performing "from The Art of Mirrors", an evolving score to previously unseen Super 8mm films of Derek Jarman.

Max's more recent work continues to stretch the notions of what Classical music is.  ‘24 Postcards In Full Colour’, released in August 2008, is an experimental work made up of 24 composed ringtones.

Max works widely in film music, installation and the theatre, most recently on INFRA, made with Wayne MacGregor and Julian Opie for The Royal Ballet, London. The Ballet was the subject of a BBC 'making of' documentary.

Max was named 2008 European Composer Of The Year for his score to Ari Folman's Waltz With Bashir, for which he was also nominated for the Prix France Musique.

Richter: Recomposed By Max Richter: Vivaldi, The Four Seasons: Winter 1 (2012)

max richter

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