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Sacred Score: A Truffle Odyssey, Leeuwenstein
A cinematic journey designed to gently guide a truffle ceremony from threshold to homecoming. Warm analog pads, cathedral-like choirs, and expressive orchestral themes (with a soft wink to Vangelis) rise and fall like breath, majestic one moment, tender the next. A five-note leitmotif appears throughout as a compass, returning you to center.
What to expect
This album moves in arcs: opening → descent → discovery → peak → release → integration. Massive drums and brass lift you when courage is needed; intimate felt-piano, handpan and strings hold you when the heart opens. Everything is wordless and ceremonial—crafted to support deep inner work without pulling attention away.
Best way to listen
Low or moderate volume, full-range speakers or good headphones, lights soft and warm. Breathe with the swells. Allow the spaces between notes to do their work.
Tracklist
Threshold of Light — 6:30
Descent Through Amber — 7:20
Cathedral of Ferns — 8:00
Mirrors in the Veil — 7:10
The Mountain Remembers — 9:00
Starlight Procession — 6:40
Heart Peak (Lux Intus) — 10:30
Tears Made of Dawn — 7:50
Integration Walk — 6:20
Home to the Infinite — 8:30
Instruments & palette
CS-80-style analog pads, felt-piano, strings & brass, handpan, frame drums, flugelhorn, solo violin, harp, subtle arpeggiators, and a luminous mixed choir (no lyrics).
For facilitators
Arc lengths are intentional; transitions have long tails for seamless cueing. Suitable for deep introspection, breath-led movement, and gentle integration.
Credits
Music, concept & production: Leeuwenstein
Artwork: “Sacred Score: A Truffle Odyssey”

Home to the Infinite

I wrote this piece in memory of a dear life-long friend who passed away in April 2020 after a long battle with ALS. The title is from Walt Whitman's poem of the same name which he wrote after the assassination of President Abraham Lincoln. It is for a large string orchestra. Score/parts are available for sale/hire through music publisher Universal Edition at https://www.universaledition.com/en/Works/When-Lilacs-Last-in-the-Dooryard-Bloom-d/P0334603

When Lilacs Last in the Dooryard Bloom'd

• For official quality, download, and credits, please visit LADIMUSIC.COM

The Prayer

Recomposed By Max Richter: Vivaldi, The Four Seasons

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

Richter: Recomposed By Max Richter: Vivaldi, The Four Seasons: Spring 2 (2012)

Richter: Recomposed By Max Richter: Vivaldi, The Four Seasons: Summer 2 (2012)

Richter: Recomposed By Max Richter: Vivaldi, The Four Seasons: Spring 0 (2012)

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.”


Spring One - Vivaldi Recomposed - The Four Seasons

Spring 1 (2012)

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Richter: Recomposed By Max Richter: Vivaldi, The Four Seasons: Spring 3 (2012)

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.

Stones, Genesis, Fleetwood Mac ect zijn muziek stijlen waar ik van hou

Richter: Recomposed By Max Richter: Vivaldi, The Four Seasons: Summer 2 (2012)

max richter

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