Angels and Demons” is an immersive orchestral journey that transports you into an epic cinematic world—where light and shadow collide in a sweeping tapestry of sound. From the very first string tremolo, you’ll feel the tension of divine conflict unfold: soaring brass fanfares beckon the celestial host, while brooding low strings and ominous percussion signal the rise of darker forces. Each track is crafted like its own mini-film sequence, with lush woodwind melodies interwoven alongside thunderous timpani and choral whispers that evoke both awe and dread.

Imagine cathedral-sized halls where choirs chant in Latin, only to be interrupted by demonic growls of brass and swirling tremolos that seem to echo from the abyss. Moments of fragile serenity—harp arpeggios, solo violin laments—remind us of hope, even as the undercurrents of bassoons and contrabass pulse like a heartbeat in the void. Throughout the album, dynamic crescendos build toward transcendent climaxes, then collapse into intimate, shadowed interludes that leave you suspended between worlds.

Whether you close your eyes and see angels locked in battle or feel the demons lurking just beyond the score, “Angels and Demons” delivers a cinematic experience that’s as grand as it is haunting. Press play, let the full orchestra wash over you, and journey through the eternal struggle of light and darkness.

Angels and Demons

Guardian of Hope

Piano played by Sasha Su Chuang
Violin Played by Sasha Su Chuang

Stariways to Heaven

MALAISE - VERY EARLY WIP

I. Tocata Grande do Saltério, anônima (Paranaguá, Séc.XVIII/XIX)
II. Passio, J.J.E. Lobo de Mesquita (Arraial do Tejuco, 1782)
III. Fuga, anônima (Mariana, Séc. XVIII)

Americantiga, reg. Ricardo Bernardes

Gravação ao vivo, Theatre Chatelet, Paris, 05/07/2025.

Os três movimentos da suíte são releituras livres de obras que circularam no Brasil Colonial, em distintas regiões. A “Tocata Grande do Saltério”, anônima, aparece na coleção de “Cifras de Música para Saltério”, de António Vieira dos Santos, em Paranaguá/ PR, no início do Séc. XIX. “Passio” vem de um breve moteto à capela que anuncia a “Paixão segundo S. Mateus”, dentro do Ofício de Domingo de Ramos, de 1782, de José Joaquim Emerico Lobo de Mesquita, a partir de cópias de Mariana e Diamantina/MG. A “Fuga” é a última parte, “In te Domine speravi”, de um “Te Deum” anônimo, cujo manuscrito está preservado em Mariana/MG, erroneamente atribuído a Manuel Dias de Oliveira. As obras originais apresentam estilos e formas contrastantes entre si, mas tem em comum o fato de fazerem parte do passado colonial brasileiro.

Suite Antiga Brasileira no.2

Three concertos for clarinet, bassoon, and piano respectively

Clarinet Concerto - 1st Mvt.

Lovely Days

The sound of things

Sirius (Σείριος) was a Greek street dog, playful and kind. Sirius wandered the Athens streets until he was adopted by a lonely, gifted young boy. The two become inseparable. Sirius, whose name means bright and shining, loved running along the beaches of the Aegean in the summer with his boy. Sirius sadly passed away unexpectedly while his boy was away at work and is now a star shining in the sky. He glows especially brightly during the long, hot Greek summer.

Composer/pianist Samuel H. Gray heard this story from the boy, who is now a young man. Sirius and the sombre major-minor Sirius theme came to Samuel in a dream one night. He woke up and wrote the melody down. The other pieces in the suite are fully spontaneously composed, in honour of Sirius' beautiful, playful nature. More pieces and arrangements of the themes may follow.

Sirius Suite 4

Calm Piano

2025_piano_EmonAm_D7D9_hard_echo

lukas graham - love someone- slower ballad piano

I write classical/post-classical chamber music and play the piano. I also make lo-fi indie rock ('baroque chamber pop') under the name Sam Gray Singing. 
I grew up in New Zealand, where most of my family still lives. I lived in Norway for a decade and am now based in Austria. 
Pencil portrait by Sampo Marjomaa.
www.samuelgray.net

Sirius Suite 4

Samuel Gray