Beautiful piece and performance, Sebastian

Susurrus =  low soft sound, as of whispering or muttering; a whisper; a rustling’

Susurrus

The composition was inspired by the poem "Crossing the Water" by the American poet Sylvia Plath (1932-1963).

Crossing the Water

Black lake, black boat, two black, cut-paper people.
Where do the black trees go that drink here?
Their shadows must cover Canada.

A little light is filtering from the water flowers.
Their leaves do not wish us to hurry:
They are round and flat and full of dark advice.

Cold worlds shake from the oar.
The spirit of blackness is in us, it is in the fishes.
A snag is lifting a valedictory, pale hand;

Stars open among the lilies.
Are you not blinded by such expressionless sirens?
This is the silence of astounded souls.

Crossing the Water

Video: https://youtu.be/AfVQB4Bo_v8
First, a confession.
I don’t play Etude No.1 as fast as Mr. Glass indicated in his score. The honest truth? It’s a little too fast for me—and for Mme Bechstein, as I call my piano. But perhaps that’s part of the charm of this version: it’s a bit slower, more grounded. And in that space, something opens up. The dynamic expression has room to breathe. The tempo becomes a gently rising tide, like waking up slowly, aligning fingers, mind, and breath into harmony.

Admittedly, this is a rather personal interpretation. I’m not entirely sure Mr. Glass would give it his blessing. But then again, it is an etude—and I find this piece simply wonderful.

Over the past weeks, it has become something of a quiet companion in the early hours of the day. I’ve worked from the published score, gradually sketching my own notation to help understand how the sections interlock, how the pulse shifts and evolves. This slow discovery revealed a surprising depth—a kind of secret logic running beneath the surface.

There’s something endlessly captivating about Glass’s harmonic language. It’s modern, never cloying, and crafted with quiet intelligence. His use of subtle shifts—almost imperceptible at first—creates patterns that, through repetition, become almost meditative.

This recording isn’t about perfection or polish and not meant to compete with the many beautiful renditions already out there, performed on the most luxurious grand pianos. It’s my personal take—played honestly, on my own instrument, at my own pace. A moment captured in sound, without the pressure to impress.

If you’re a pianist—especially one still finding their way, as I am—I warmly encourage you to spend time with this piece. It has a way of revealing itself slowly, like light unfolding across a morning room. And perhaps, in its simplicity, you’ll find something of yourself reflected there.

I’d love to hear how this piece resonates with you. Leave a comment if you’d like to share your thoughts or your own experience with Glass’s music.

Yours truly,
Sebastian Morawietz

>> Video <<

Studio Diaries: Glass Etude No.1 – My Morning Ritual

Music, piano, prog. strings, mix: Vicente Bueso
Voices: versolun4

Cloud goes by

Hey, it’s me again. I just uploaded a new piece – something quiet, something gentle.

This piece was written and recorded in my small studio in Berlin,
on my felted Bechstein piano.

It’s a quiet track – not slow, just gentle.
There’s a kind of weightlessness in it
that reminded me of how things felt
before we started calling them memories.

The title came early. Letters of Lightness.
I didn’t imagine them written down.
More like: moments you carry without knowing.
Not written, but felt.

I’d love to hear what it brings up for you.
Thanks for listening.

Yours truly,
Sebastian Morawietz

Letters Of Lightness

Hey, it’s me again.

Today’s post is a quiet snapshot from a rainy afternoon in the studio. I was sitting at the Bechstein, playing around with textures and loops, and this short improvisation just happened — simple, moody, and full of echo.

It’s part of an ongoing shift I feel in my work: towards more atmosphere, more grain, more space. The setup is still evolving, but this recording captures a moment of transition — somewhere between felt piano and layered soundscapes. A loop emerged, and I followed it.

If you’d like to see the video version of this moment, you can find it here:
👉 https://youtu.be/p80XGK_ycoE

And as always — if it resonates, feel free to leave a like or share a thought. Thanks for listening.

Yours truly,
Sebastian

Another Loopy Rainy Day (Studio Diaries, Day 148)

My soul is greater than the world

Ara_Piano returns with “Pain”, an evocative piano piece that explores the silent weight of melancholy and sorrow. 
With each phrase, she unfolds a sparse and restrained narrative, a composition that doesn’t speak out loud, yet resonates deeply. As part of the ad21 family, Ara_Piano continues to create works that invite us to feel more and listen inward. ad21.

Pain

Listen

Step into a warm and cozy evening with Ellie ✨
Evening with Books invites you into a world of calm thoughts, open books, and soft lofi melodies, perfect for studying, reading, or simply unwinding after a long day. Feel the quiet atmosphere of focus and gentle dreams under the soothing rhythms of Studyverse 📚

Out of It

Astrokid Frequencies Vol.7 - Interactive Bundle

Zen Playgrounds - Track 16

Space Exploration - Track 13

Hello, I’m a composer based in Berlin, working at the intersection of classical, minimalism, and electronic music.

Thank you for listening and for adding my music to your playlists.

♡ Sebastian

If you’d like to get in touch, feel free to say hello here or through any of the social links below.

Another Loopy Rainy Day (Studio Diaries, Day 148)

Sebastian Morawietz

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Bruce Klepper | Composer

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