Classical

My original piano composition feat. magical Miramia's cello to support and motivate everyone – Keep Holding On...

I'm a Ukrainian and I stay strong believing in peace no matter what.
Please support and pray for Ukraine. Together we're strong! 

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Available on all major platforms including:
https://open.spotify.com/album/6eAVr71N3qm9dHYmhgUnUt
https://music.apple.com/us/album/sadness-single/1494225563
https://piamime.com

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https://www.youtube.com/channel/UC1d5WmwxI-Sl1b2dfYwhJsQ?sub_confirmation=1
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https://itunes.apple.com/ua/album/uprising-single/1438474777


Все буде Україна.
Please support and pray for Ukraine. Together we're strong!

In Support of Ukraine ❤️ Keep Holding On by Piamime feat. Miramia

A Story

Ballade in G minor, first draft.
Harmonically and melodically mostly written in the last couple of months, although some themes were drafted almost a decade ago which in itself has a special meaning for me since it always lingered in my mind until I decided to finish it.
Will possibly expand upon the composition in the near future.

Ballade for Piano, G Minor

"The Stairs Grow Dark," the opening masterpiece from Jeremias Langsämmer's album "Sleepers," is a captivating journey into classical piano brilliance. As a virtuoso on the piano, Langsämmer, accompanied by the emotive cello of Ída Sigurðardóttir, creates a musical experience that seamlessly intertwines classical elements with contemporary expression.

Influenced by the evocative style of Satie's Gnossiennes, Langsämmer weaves a narrative that transcends time and emotion. The haunting notes of the ostinato felt piano, reminiscent of Satie's minimalist approach, set a contemplative tone. Ída Sigurðardóttir's cello adds a mournful depth, echoing the expressive nuances found in Satie's compositions.

**"A beautiful ambient piano piece. I can see this being used in a film, during a montage or a slow, emotional scene where someone is staring out a window at the rain, waxing nostalgic or missing someone. Great track!"**

Listeners are transported into a world where classical and modern sensibilities converge, guided by Langsämmer's expert piano craftsmanship. The interplay between the grand piano and the cello creates a rich sonic tapestry, reminiscent of Satie's ability to evoke profound emotions through simplicity.

"The Stairs Grow Dark" stands as a testament to Jeremias Langsämmer's prowess as a classical pianist, incorporating hints of Satie's Gnossiennes to craft a unique and enchanting musical experience. This piece is a must-listen for aficionados of classical piano and cello collaborations. #classicalpiano #piano #classicalmusic #pianist #pianomusic #pianoplayer #music #pianosolo #pianoforte #classicalpianist #classical #cello #pianolove #grandpiano #pianovideo #pianolover #classicalpianomusic #pianotime #classicalmusician #cello #Satie #Gnossiennes #ambientpiano #filmscore #montage #emotionalscene #nostalgia

The Stairs Grow Dark by Jeremias Langsämmer. Modern classical piano and cello.

Imaginary

From There To Here appears on Jeremias Langsämmer's latest album "The Cold Wind That Blows".

From There To Here by Jeremias Langsämmer

Seq57  Impossible and Improbable 77

Пусть Я Буду...

Written: 2022-23
Duration: 30'
for piano trio (violin, cello, and piano) and orchestra (2-2-2-2 / 4-2-3-1 / 3 percussion, timpani, strings)
Commissioned by Neave Trio
World Premiere: Mostly Modern Orchestra with Neave Trio, JoAnn Falletta, conductor, Mostly Modern Festival, Arthur Zankel Music Center, Helen Filene Ladd Concert Hall, Skidmore College, Saratoga Springs, NY, June 17, 2023.
Publisher: Bill Holab Music

As we live through a sixth mass extinction, it is not difficult to question whether we can act as good stewards of our earth. While I often feel a sense of despair — how could we have messed this up so badly? — my thoughts are often, perhaps irrationally, tempered by a sense of optimism. Maybe we can fix this, or at least that’s what I tell myself. Triple Concerto is essentially an exploration of these emotions. As a scenic point of departure, the entire work also uses three types of geographical regions as inspiration.

Triple Concerto is structured a bit differently than a traditional concerto. An introduction and three larger movements are interspersed with three small trio-centric movements that loosely function as either a prelude, interlude, or cadenza. These three smaller movements also exist as a stand-alone version for the piano trio that may be performed as a sort of “teaser” for the concerto on a chamber music concert.

The first movement, Introduction, loosely evokes a sunrise. Toward the end of the movement, bird song melodies from around the world are incorporated and performed by the winds. This leads to a movement entitled Chorale Prelude, focusing on the piano trio, leading to a joyful third movement, Bright Pastorale, filled with bright, sunlit bell-like chords and sounds reminiscent of birdsong. Moments of despair begin to appear as the movement progresses. The movement ends darkly, like an overcast sky before a storm. The fourth movement, Interlude, echoes the beginning, focusing on the trio once again and evoking a sense of longing, the sound of a more innocent time. Tundra, the fifth movement, is cold, dark, and bleak but with swaths of color. A sense of sadness and loneliness permeates this movement, at times represented by various mournful effects such as bent notes created by dipping tubular bells in water and glissandi in the strings and brass.

After the fifth movement, the trio performs a virtuosic Cadenza, full of grief and rage but with signs of hope. This leads to the final movement, entitled Summit. Ascending lines suggest climbing a mountain, both literally and figuratively. After a brief climax, eleven bell-like chords sound one after the other, symbolizing the chimes of the Doomsday Clock. The winds perform birdsong once again, perhaps of songbirds that may soon become endangered or even extinct. In a nod to Haydn’s Symphony No. 45 (his “Farewell Symphony”), the players leave the stage one by one until all that is left are the trio and conductor.

Triple Concerto was commissioned by the Neave Trio and premiered by the trio and Mostly Modern Orchestra, JoAnn Falletta, conductor, at Mostly Modern Festival in Saratoga Springs, NY.

– RP

Movements:
I. Introduction
II. Chorale Prelude
III. Bright Pastorale
IV. Interlude
V. Tundra
VI. Cadenza
VII. Summit

Triple Concerto, "Summit" for Piano Trio and Orchestra (World Premiere)

This Nocturne, or at least its main themes, represents my first true attempt at composing on the piano several years ago. I composed or improvised a bunch of fragments and musical ideas together with the basic framework of the Nocturne.

As I've already implied in the description of my Fantasy, the two compositions were once conjoined when I finally decided to separate them and develop them independently. However, besides sharing the same key, a lot of textural fragments are still shared that can be noticed, and I bluntly quoted the main theme of the fantasy as a homage to their shared heritage. Personally, I'm particularly fond of the A-major melodic line starting at 0:38, which I consider one of the smoothest and most beautiful melodies I've written so far. Considering the hammering intro, it is one of the last additions I've made for this nocturne, and it helped me with a lot of structural problems. As with my other compositions, further changes will likely happen down the line.

I dedicate this work to another of my great friends, Ivan Dadić, a masterful smith, who once gifted me a beautiful crusader helmet he crafted (he even took measurements of my head for the undertaking). I humbly hope this endeavor will honour the gift he blessed me with!

Nocturne for Piano, F-sharp Minor

Willaume Theme [ STAGE II ]

By Moshe Levi and Giovanni Puocci.
Released on all major music media including Spotify and YouTube on November 8, 2023.

Sunset in Jerusalem Redux

Sunset In Jerusalem Redux

The main theme of my Aria was also written during my teenage years on a cheap Yamaha keyboard, as a simple flute melody. A dozen years later, after vigorously immersing myself in the music of the old masters, I finally managed to breathe completely new life and meaning into it.

I can confidently say that I drew inspiration from the enchanting and, at times, ethereal serenity of a particular Mediterranean landscape also found in my native province of Dalmatia. This was perfectly captured by a beautiful watercolor painting (courtesy of a magnificent painter, Vanja Kalemba) depicting a white church nestled in a lavender field. The painting may have even spurred me on further to try to encapsulate the feeling of the landscape, a beauty that no one from Dalmatia can ever take for granted due to its constant and ever-present allure.

The form of this composition falls somewhere between a rondo and theme & variations, since all the episode of the rondo form stem from the main melody as, after many experiments, I concluded that a more straightforward musical language better suits the vision of this piece, without the need for complex ornamentation and texture.

I dedicate this composition to my beloved son Karlo, who has brought more serenity and beauty into my life than anything else.

Aria for Piano, C Major

Azure Room (mirrors)

Vītulārī

Songwriter - Composer - Percussionist - Vocalist - Producer
Contact, collabs & Booking: philswain.music@gmail.com

Songwriter, composer, performer, Phil Swain started his musical adventures in 2013. Diversity in his music, depth in his lyrics characterise his style. A subtle blend of funk, jazz, house and groove afford the listener and the spectator a very special experience...
From his very beginnings in music as backing vocalist and drummer in a choir, his project was to create tracks composed only with percussions. But the idea soon evolved. Adding a melodic voice and chords were the starting point of a long series of eclectic compositions. His voice gained in subtlety and his style was enriched with various influences – 70s English pop, jazz, funk and reggae from the 80s, 90s electro, Drum’n’Bass, House and African music. To enrich his compositions, Phil collaborates with musicians coming from various horizons. He describes his style as electro pop, and has created his own electro biotope, influenced by funk, reggae, jazz and Latino music – a universe very much his own. 
He performs very frequently in Costa Rica, where he takes a big part of his inspiration. The incredible lushness of nature there allows him to recreate an atmosphere of universal horizons. 
In May 2017, he released his debut album, Evolution on the Move, with 11 tracks, distributed on digital platforms. We discover diversity in the musical style and depth in the texts... This album has the lush atmosphere of the vegetation that envelops the recording studio in which he works during his stays – as well the blue shades of hope that dwells in his lyrics, directed towards peace and harmony through self-change. 
The Buddhist philosophical influence in his texts give depth to his world. The meeting of nature and keyboards produces a wonderfully groovy ecological electronic music. 
Fluids of positive energy also emerge from lyrics that call for refusing the fury of the present world and enjoying the present moment. Each track reminds us of the urgency to respect our good old planet and the earthlings that populate it, sung in a very warm voice...

Classical

PHIL SWAIN