Vraiment paisible en plus je me vois sur les hauteur de l’Irlande contemplant la mer . 🎼🥰👏👏👏

So successful! The way the instruments alternate between lead and backing parts puts a smile on my face.

Heard this on Debra's cloud this morning, stunning work Phil.

Beautiful and delicate piano from Debra and the same goes for your flute playing in this Phil, amazing collab! Love the name of the song as well and the mix is really well done!

Fell in love with this tune. You and Debra create wonderful melodies.

Your song feels like a journey back in time to a world filled with magic and grace. The instrumentation is so beautifully balanced that one can almost feel standing in a royal court. The melodies are so emotional and profound, evoking both joy and melancholy—a true goosebump moment. It’s simply stunning how you blend tradition and emotion in this piece. Please keep creating; you are crafting true art!🎶🫶🎶

The best of 2024

I’m very proud to present you my latest composition, improvisation on a theme composed by myself between 2005-2008 I think.

I have added a new theme that came into my fingers and in my heart few min ago, while thinking of my amazing Wifey Meem. I dedicate this piece to her
 and I will name it also “Meem”


Enjoy! 😊🤗😊

Meem(The birth of a smile) - 26.05.2024, 13.35.wav

The chance to make music with Debra is always so rewarding, and this wonderful tune composed by @debra_buesking was no exception!  For some reason this music made me remember laying in a field as a kid, and staring up at a lark high above me, singing its song in a big blue sky.

Piano: Debra Buesking
Low Whistle: Philleann

Produced and Mixed by Philip Dale

The Lark above the Meadow

The Lark Above The Meadow (Debra Buesking & Philleann)

Another track that floated unfinished in the digital recorder (and my) memory for a few years, changed several times (only the piano and bass parts remained the same). At first I wanted to do something similar to the opening themes of 1960s TV football programmes; then, by adding and subtracting parts and instruments, it reminded me of Viennese Kaffeehäuser from the early 1900s. Perhaps because of the many overlapping strings: here seem to be many people talking, some even alone. Since this impression does not displease me, I decided to end the long agony of the piece.

Cover image: Moriz Jung, Gespräch zwischen Stummen (1907), Met Museum (NY).

------

Composed by Michele Ansani (2015-2024)
Posted on SoundCloud: 2024, July 18.

Kaffeehaus (a dialogue of the deaf) *

Words&Music by Netta&McGill
Available on Spotify, YouTube, iTunes and most other music streaming platforms

-
When I saw you, long ago caught up so quickly
Just a glance, indeed we knew that we just met
Then a day, a week a month passed rather swiftly
When you told me this that I could not forget

You said, I am pretty sure I have always known you
And time’s been standing still since we first met
You said mine a smile that stood out from a view
That this moment in our life we won’t forget

Could I feel any better than today 
And my smile is even wider than before
you already knew the words I want to say
Only I could not agree with you much more

I am pretty sure that I have always loved you
And time’s been standing still since we first met
When I saw your smile, then I already knew
That this moment in our life I won’t forget

Still In Time

I started writing this in the seventies and first recorded it in the eighties. Finally decided to give it a new try. Just piano and vocals, with a touch of acoustic guitar, accordeon, and a few more details to bring joy and variety to the face of the land.

Assenta os dois pés na beira do abismo.
Enfrenta o mar. Resiste ao vento.
Não caias. Não temas.
Para quê nervosismo?
Despreza a vertigem. Respira o momento.
Não olhes para terra.
Verás a origem de tanta aventura,
de tanto lamento,
do patriotismo.
Verás desse monte os mastros desertos
que crescem e murcham no longe horizonte
com os braços abertos.
Cada barco carrega uma cruz
constrói um caminho no mar-labirinto de ventos incertos
e estradas de luz.

Os mastros por vezes dão frutos
e trazem notícias, saudades,
carícias de vagas fatais
que inventaram delícias
para os cascos cansados que dormem no cais.

E quando uma voz chamar na distância
verás a sereia, o ouro, a ganância.
Cairás com um grito.
Verás nessa altura que a pátria é um mito.
Só existe a vontade, a aventura, a ilusão.
Só existe a saudade que levas contigo
como um porto de abrigo no teu coração.

A saudade vai
no teu coração
como um porto de abrigo.

The Google translator produced a nice English translation:

Place both feet on the edge of the abyss.
Face the sea. Resist the wind.
Don't fall. Don't be afraid.
Why be nervous?
Ignore vertigo. Breathe in the moment.
Don't look at land.
You will see the origin of so much adventure,
of so much lamentation,
of patriotism.

From that mountain you will see the deserted masts
that grow and wither on the distant horizon
with open arms.
Each boat carries a cross
and builds a path in the labyrinthine sea of ​​uncertain winds
and roads of light.

The masts sometimes bear fruit
and bring news, memories,
caresses of fatal waves
that invented delights
for the tired hulls that sleep on the dock.

And when a voice calls in the distance
you will see the mermaid, the gold, the greed.
You will fall with a scream.
At that moment you will see that the homeland is a myth.
There is only the desire, the adventure, the illusion.
There is only the longing that you carry with you
like a safe haven in your heart.

Longing goes
in your heart
like a safe haven.

Porto De Abrigo

YouTube video: https://youtu.be/oVBVW2MgRrs?si=05cpLtGiltoWTH13

Everyone has people they have loved who are no longer here.  We think of them and we miss them.  Have you ever dreamed about them? Had talks with them and could feel the warm from them? I have.  Most of them were with my father, who died when I was 35. Half my life ago.  When he hugged me, I could feel the warmth. When he walked away I felt such sadness. But that was not the only time we met in a dream.

Only In Our Dreams

Mise en ligne: 13/11/2024
Musique, arrangements, mastering, claviers, basse: Cyril MENDEZ

© Cyril MENDEZ 2024, All Rights Reserved.


Massilia 2

Mise en ligne: 20/11/2024
Musique, arrangements, claviers, mixage, mastering: Cyril MENDEZ

© Cyril MENDEZ 2024, All Rights Reserved.

SPACE
Just because I’m not doing anything
doesn’t mean I’m bored
I’m just creating Space for what is still to come
The Space where I can go deeper
Deep into the silent nothings
My natural state of allowing
Listening…
Being.
Accepting what is
and what isn’t
The space between my body and my mind
where I just observe
I don’t need anything when I’m here
cause it feels like home
It feels like the part of me
I’ve always been searching for
The Space where I can just
Be

ESPACE 
Ce n’est pas parce que je ne fais rien
que je m’ennuie, 
je ne fais que créer de l’espace pour ce qui est encore à venir 
L’espace où je peux aller plus profondément 
Dans les néants silencieux 
Mon état naturel de permettre à l’écoute... 
Être. 
Accepter ce qui est 
et ce qui n’est pas 
L’espace entre mon corps et mon esprit 
où je me contente d’observer que 
je n’ai besoin de rien quand je suis ici 
parce que je me sens comme chez moi 
J’ai l’impression que la partie de moi 
que j’ai toujours recherchée 
L’espace où je peux simplement être

Space

Pathétique: 2nd Movement

Anything Goes
IPG1 Vocals and Verses: 
https://soundcloud.com/ipg1/anything-goes-vocals-106-bpm
Paploviante E Bass, Music, Mix, Mastering and Production:

Anything Goes - IPG1 & Paploviante

Outside Agitators

23 8 20

My very last track of 2024 ... dedicated to the best cat I've ever had the pleasure of knowing and calling a friend.

Percy

Huggies

Composed for the VI Chongqing International Modern & Contemporary Art Exhibition

VI Chongqing International Modern & Contemporary Art Exhibition

Mountains & Echoes (West Europe)

Moonlit Whispers

Rún

Composer/Producer blending folk melodies with neoclassical vibes, and cinematic verve, my work is a mix of original compositions and contemporary arrangements of traditional tunes.  I hope you enjoy the music! 

Philleann (pronouced PHILLY-ENN) is a mash up of my name Phil and one of the instruments I play, the Uilleann Pipes.  I also play the Whistle and Accordion.

I'm a Brit now residing in the beautiful Pacific Northwest. I'm also a member of Bellow Bridge a traditional celtic folk band.

http://francoispierremorin.com  Home of storytelling , 
 I do play Music for the love of it, playing guitar,  percussionist  ,composing  on a computer and Guitar, Piano, creator of mood and sound design

The Lark Above The Meadow (Debra Buesking & Philleann)

Philleann

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