A set of 12 Rhapsodies for the piano.

Composed and Played by Dr Michael Spacie.

The Rhapsodies are Copyright ©

Rhapsody For Piano Op. 9, No. 1. Composed and Played By Dr Michael Spacie. Copyright ©

Arrival of the Queen of Sheba from 'Solomon' by German-born composer George Frideric Handel.

Played by Dr Michael Spacie.

Copyright ©

Arrival Of The Queen Of Sheba From 'Solomon' By George Frideric Handel. Played By Dr Michael Spacie.

Chorale Prelude Wachet auf, ruft uns die Stimme BWV 645 by German composer Johann Sebastian Bach. 

Played by Dr Michael Spacie.

Copyright ©

Chorale Prelude Wachet auf, ruft uns die Stimme BWV 645 By J. S. Bach. Played By Dr Michael Spacie.

Rachel Perkins is a long-standing piano student of Dr Michael Spacie.

This recording is of Rachel playing 'Flakes of Foam' from 'In Southern Seas' by Walter Carroll.

Copyright ©

Piano Student Rachel Perkins Plays 'Flakes Of Foam' From 'In Southern Seas' By Walter Carroll.

Rachel Perkins is a long-standing piano student of Dr Michael Spacie.

This recording is of Rachel playing 'Mermaid's Lullaby' from 'Water Sprites' by Walter Carroll.

Copyright ©

Piano Student Rachel Perkins Plays 'Mermaid's Lullaby' From 'Water Sprites' By Walter Carroll.

Op. 10, No. 2. Recessional Wedding March in E major (composed for friends). 

Composed and Played by Dr Michael Spacie. Copyright ©

Both the Processional ('going in') and Recessional ('going out') Wedding March in D major and E major respectively, make extensive use of △7 (+9th) within the orbit of the key but particular enhancement of the timbre of tonic harmony which as a result gives out a contemporary classical feel and clear brightness of sound inherent in such additions of beautified dissonance to diatonic chord patterning along with effectiveness through manipulative tension from and to consonant chord shapes and a harnessing to rhythmic figurations, dotted or otherwise, contribute added emotional poignancy befitting of the music, likewise does the use of appoggiatura and melodic invention with underpinning chord progression of contrasting tone colours.

Dynamic structure enhances the presence of the main themes with interpolated reflective episodic/bridge writing giving rise to a balance of tone, structure and musical sonority whilst a generated and resolved tension curve on phrase shapes gives out an indigenous character and mood without any loss of the overall March style allowing something of spirituality in sound, inside or outside a wedding context.

This Recessional Wedding March in E major is Copyright ©

Op. 10, No. 2. Wedding March In E Major Copyright © Composed And Played By Dr Michael Spacie.

Op. 10, No. 1. Processional Wedding March in D major (composed for friends). 

Composed and Played by Dr Michael Spacie. Copyright ©

Both the Processional ('going in') and Recessional ('going out') Wedding March in D major and E major respectively, make extensive use of △7 (+9th) within the orbit of the key but particular enhancement of the timbre of tonic harmony which as a result gives out a contemporary classical feel and clear brightness of sound inherent in such additions of beautified dissonance to diatonic chord patterning along with effectiveness through manipulative tension from and to consonant chord shapes and a harnessing to rhythmic figurations, dotted or otherwise, contribute added emotional poignancy befitting of the music, likewise does the use of appoggiatura and melodic invention with underpinning chord progression of contrasting tone colours.

Dynamic structure enhances the presence of the main themes with interpolated reflective episodic/bridge writing giving rise to a balance of tone, structure and musical sonority whilst a generated and resolved tension curve on phrase shapes gives out an indigenous character and mood without any loss of the overall March style allowing something of spirituality in sound, inside or outside a wedding context.

This Processional Wedding March in D major is Copyright ©

Op. 10, No. 1. Wedding March In D Major Copyright © Composed And Played By Dr Michael Spacie.

Six Moments Musicaux D. 780 (Op. 94) No. 6 in A flat major by Austrian composer Franz Schubert.

Played by Dr Michael Spacie.

Copyright ©

Moments Musicaux D. 780 (Op. 94) No. 6 By Franz Schubert. Played By Dr Michael Spacie.

Mazurka In F Minor Op. 63, No. 2 By Fryderyk Chopin. Played By Dr Michael Spacie.

Six Moments Musicaux D. 780 (Op. 94) No. 2 in A flat major by Austrian composer Franz Schubert.

Played by Dr Michael Spacie.

Copyright ©

Moments Musicaux D. 780 (Op. 94) No. 2 By Franz Schubert. Played By Dr Michael Spacie.

Welcome to my SoundCloud page and a variety of audio recordings. A good set of headphones is advantageous and recommended for listening. To continue reading, please click 'Show more' below:

Please note: click on any audio track for details about the music. 

My first piano lesson was on my tenth birthday and ever since, the piano has been a life-long study with a pursuit of classical music. By 18 years of age I was able enough to achieve Grade 8 piano with distinction from The Associated Board of The Royal Schools of Music as well as Grade 8 Theory of Music (Grade 8 being the final student Grade) and at the time, quite rapidly discovered that Grade 8 was not the end but just the beginning in terms of musical skill and musical development and knowledge.

Post Grade 8 and after further study I achieved two piano performance diplomas (ALCM) and (DipABRSM), I then went on to be successful with the highly demanding and prestigious Licentiate of The Royal Schools of Music Piano Performance Diploma Examination (LRSM) which is recognized the world over; the LRSM examination involved the performance of demanding repertoire, an extensive viva voce of verbal questioning and also, in my case for the 'Quick Study', a previously unseen baroque-style whole Gigue to prepare and perform with only 5 minutes preparation time; there are several examiners assessing live and the whole exam was audio recorded to ensure a rigour and standard appropriate to holding the LRSM. 

Also, I am twice piano performance Licentiate of Trinity College London (LTCL) with different repertoire, and twice piano performance Licentiate of The London College of Music at The University of West London (LLCM) with different repertoire; this along with other music successes including an academic FLCM (Fellow of The London College of Music) - some of my academic study in music being with the London College of Music at the then Thames Valley University. 

My qualifications in music are as follows:
LRSM (Piano Performance), LTCL (Piano Recital), LTCL (Piano Recital), LLCM (Piano Recital), LLCM (Piano Performance), DipABRSM (Piano Performance), ALCM (Piano Performance), LVCM(Hons) (Piano Performance), FLCM (Diploma in Music Literacy – Research Thesis (Music)), FVCM(Hons) (Musicology (by Thesis)), FVCM(Hons) (Composition), BA(Music), MMus, PhD(Music).

I am an experienced music tutor with advanced piano tuition specialty at higher education level as well as experience in teaching all levels of piano from absolute beginner to performance diploma standard with excellent learner results. 

I have also studied the organ and singing and I also enjoy conducting. In addition, I am an established composer of piano music. My own original piano compositions consist of the following which can all be heard on this SoundCloud page: 
- Opus 1, Reflections Series 13 piano pieces.
- Opus 2, 4 piano pieces dedicated to my wife, Mrs Sandra Spacie.
- Opus 3, 4 contemporary piano pieces.
- Opus 4, A set of 45 Mysteries which have something of an 'other-wordly' sound and ethereal feel. They can be used for general relaxed listening and enjoyment, meditation and spiritual life or to ponder the mysteries of the Universe.
- Opus 5, 4 piano pieces dedicated to my wife, Mrs Sandra Spacie.
- Opus 6, Funeral March in C minor and 2 piano pieces dedicated in memory of a neighbour.
- Opus 7, O Tannenbaum [O Christmas Tree]: Variations and Faux Bourdon Composed by Dr Michael Spacie and Finlandia by Finnish Composer Jean Sibelius: Chorale Variations and Faux Bourdon Composed by Dr Michael Spacie.
- Piano Solo Arrangement: Cantique De Noël (O Holy Night) by French Composer Adolphe Adam.
- Opus 8, Funeral March in D minor dedicated in memory of two musical associates.
- Opus 9, A set of 12 Rhapsodies for the piano.
- Opus 10, No. 1. Processional Wedding March in D major composed for friends.
- Opus 10, No. 2. Recessional Wedding March in E major composed for friends.

I was lucky enough to purchase a hand-crafted acoustic upright 'Welmar' piano manufactured by the piano factory Whelpdale, Maxwell and Codd, London. It has a delightful responsive touch and 'warm' sound and resides in my dedicated home music studio.

Each item digitally recorded by me was done in one ‘take’ without any technological tweaking per se. Also, a big thank you to all those many listeners who have 'liked' tracks. Statistics are not displayed publicly as all tracks are then presented equally as pieces of music. I like to let the music speak for itself and communicate accordingly. 

I hope to share more music with you on my SoundCloud page in the future.

Composition:-
This is a lifetime's study and requires much practice to be musically satisfying. Imagination and creativity require quiet contemplation with experience and knowledge of technique in so much as how to play the notes composed in order to produce the best possible sound. My original compositions featured on this SoundCloud page portray self-expression and some insight into the world of harmony sometimes manifesting a musical colouration with mainly diatonicism peppered with some chromatic detail giving rise to various energy levels through dissonance and resolution: there are basic chord shapes which are altered; clusters giving beauty of sound; various tensions arising from chords and melody outside the key centre whether specific or vague and unusual combinations of chords and harmony with an effective intervallic structure. Some of the pieces are evocative and somewhat lyrical whilst others create a mood which is timeless and calming, yet other pieces are haunting, being restrained and subtle. The rhythm can vary from being completely free to measured with some 'rubato' flexibility. Any bar lines are not necessarily part of the mix with a natural accentuation in phrasing often indicating a surreptitious rise and fall of tone levels. The damper pedal gives at times an 'extra-wordly' feel and makes use of the harmonics and overtones which in some instances add atmosphere, mood and character, often giving rise to a combination of sophistication and simplicity of musical content with a feeling of an ebb and flow where nothing is static but an ever changing scene with space for individual freedom and emotion within a framework of appeal and accessibility for the listener.
 
Pianist with advanced performance skill:-
There is no sense of be-all and end-all of piano performance. Nowadays, the term ‘concert pianist’ is very much in vogue, has widespread usage, popular acceptance and is somewhat used mainly for elitist purposes, designation of level and has been since the mid to late 19th-century.
Although certainly not in every single case, the term ‘concert pianist’ somewhat generally carries something of the reality of egoism and showmanship and thus artificial performance which somewhat blights much of the modern-day field of piano-playing and has indeed done for a very long time since the mid to late 19th-century. For example: an unnecessary robust fortissimo followed by a dramatic pianissimo where a composer didn't require it and where it doesn't suit the music which causes a piece to sound rather brittle, artificial and false; for show, a much faster tempo than the composer intended; an engagement with physical complexity for the sake of complexity, a mechanical virtuosity, which is very often the direct antithesis of both emotional awareness and communication and spiritual awareness and communication in music and performance.
Whilst I hold the highly recognised LRSM qualification in piano performance, a qualification for whatever reason many concert pianists don’t hold, I nevertheless simply regard myself as a pianist, a servant of the composer and a servant of the music and it is always my wish that my performances speak to the listener in some profound way rather than simply to impress musically, and that they are primarily free from ‘egoism’, ‘showmanship’ and all things ‘artificial’, but instead to musically communicate and share is one’s desire rather than of show and promotion of the ego.
Prior to the mid to late 19th-century, even the greatest composers and performers performed keyboard works at concert-level by reading from the music and portraying the emotion and spirituality of that music with a very high degree of accuracy without many (if any) wrong notes as well as maturity of contemporary stylistic awareness. I have personally adopted this as my particular performance model (no matter which era of piano music I am performing). This I strive to do with utmost integrity of feeling, to immerse oneself in the wonderment of each subjective interpretation of feeling, of mood and character, atmosphere and new insight with a distinctive tone-quality somewhat unique to me and my playing. And, last but not least, how a subjective interpretation appears and disappears from the ether involving the player but without the player getting in the way!

I can be contacted using gmail.com with the prefix: pianistmusicianmikespacie@

Thank you for visiting my SoundCloud page.

Dr Mike Spacie

Mazurka In F Minor Op. 63, No. 2 By Fryderyk Chopin. Played By Dr Michael Spacie.

Dr Michael Spacie, LRSM LTCL LTCL LLCM LLCM, etc.

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