Incredibly beautiful:) waiting to purchase your vinyl and CD. Thank you gor sharing your beautiful talent.🙏🏻👍🏻

Best Classical Music

🌟 Alex and His Friends’ Space Adventure is an inspiring story for young dreamers! Join Alex and his friends as they transform an old scrapyard spaceship into a gateway to the stars. With the help of the onboard computer Stellar-Ai 🤖, they discover that science and faith can coexist and guide them through challenges in deep space.

Experience the journey of the Cosmic Explorer as it sails among the stars, guided by faith, courage, and the quiet wisdom of Stellar-Ai. This symphonic piece captures the awe of space exploration—from the serene beauty of the cosmos to the ship’s trials and its rise again. It reflects hope, friendship, and the belief that God’s light shines even in the farthest reaches of the universe. 🌌✨🙏

📖 Learn more about the story that inspired this music:
👉 https://www.amazon.com/Alex-His-Friends-Space-Adventure/dp/B0CPWQ8BF6/

Book with the story

Chapter 1:  The Cosmic Explorer - Symphonic Version v5

Immerse yourself in the serene melodies of this elegant chill-jazz piano piece. With its melancholic yet comforting piano lines, subtle upright bass, and delicate brushed drums, it creates a sophisticated and reflective atmosphere. Perfect for unwinding, focused work, or simply enjoying a moment of quiet introspection.

Minimalist Neo-Classical

Link to Book (English):
getinkspired.com/pt/story/520449/…english-version/

Link to Book (Portuguese):
getinkspired.com/pt/story/414704/aequus/

ADVICE: MUSIC — ESPECIALLY ORCHESTRAL MUSIC — SHOULD BE LISTENED TO THROUGH SPEAKERS WITH A GOOD BALANCE OF BASS AND TREBLE. IF YOU LISTEN TO THESE PIECES ON A CELLPHONE, YOU’LL LOSE AT LEAST 40% OF THEIR QUALITY.

Context:

At the edge of the endless dunes of the Desert of Tennura, where the wind sings ancient memories and the light bends over the sands, stands Tenaza’s Oasis, a rare and almost sacred refuge marked by both relief and the scars of the past. There, Vertere, Luci, and Akrios found shelter as they fled the unrelenting shadow of the Inquisition. Among palm trees that whisper forgotten tales and clear waters that seem to guard their own secrets, the three warriors could finally breathe, heal their bodies, and soothe their spirits.
But Tenaza’s was not only a place of rest, the fracture in the Trisfasma’s fabric had left its mark, the magic behaved in strange ways, as if the oasis carried its own memory, sorrowful and incomplete. Even so, Vertere and Luci grew deeply attached to the place, perhaps for its rare stillness, perhaps for the fleeting peace they found there in a world ablaze.
Now, however, the time to depart has come. The South calls to them, and their destinies await beyond the unpredictable sands. Each step away from Tenaza’s calm waters weighs heavily on their hearts, which waver between gratitude and longing, between the comfort of the past and the uncertainty of what lies ahead. “Tenaza’s Oasis Goodbye” captures this suspended moment, the bitter farewell to the only safe breath before they dive once more into the vast unknown.

Tenaza's Oasis Theme: 
https://soundcloud.com/emersonmarshall/the-tenazas-oasis-no-dialogue

Tenaza's Oasis Theme With Audiobook:
https://soundcloud.com/emersonmarshall/the-tenazas-oasis

Tenaza's Oasis Goodbye

Classics On Line - Volume 4

J.S. Bach: Cello Suite No. 1 in G Major, BWV 1007: I. Prélude

Tune Your Brain for Stress Relief

Liszt: Consolations, S. 172: No. 3 in D-Flat Major. Lento, placido

Chopin: Études

No. 3 in E Major

Songs from the Arc of Life

Songs My Mother Taught Me (from "Gypsy Songs", Op. 55, No. 4)

Classical Music For Infants (Classical Piano For Relaxation)

Beethoven Piano Sonata No. 8 in C minor, Opus 13, II. Adagio (as made famous by Ludwig van Beethoven)

Saint-Saëns: Le Carnaval des animaux, R.125 - 13. The Swan (Arr. Cello, Harp & Ensemble)

Saint-Saëns: Le carnaval des animaux, R. 125: XIII. The Swan (Arr. Hodge for Cello, Harp & Ensemble)

For more information visit: http://www.klassikakzente.de/recomposed/home 

Some works are so familiar that it is almost impossible to hear them afresh, but that is what Max Richter has achieved with Vivaldi “Recomposed”. This is no mere arrangement; instead Richter has absorbed Vivaldi’s The Four Seasons into his own musical bloodstream. At first Richter followed the example of other works in the “Recomposed” series, which re-mix existing recordings, but, he says, “I wanted to open up the score on a note-by-note level, and working with an existing recording was like digging a mineshaft through an incredibly rich seam, discovering diamonds and not being able to pull them out. That became frustrating. I wanted to get inside the score at the level of the notes and in essence re-write it, re-composing it in a literal way.”Richter calculates that, in the process, he has discarded around three-quarters of Vivaldi’s original. He opens with what he describes as “a dubby cloud which I’ve called Spring 0. It functions as a sort of prelude, setting up an electronic, ambient space for the first Spring movement to step into. I’ve used electronics in several movements, subtle, almost inaudible things to do withthe bass, but I wanted certain moments to connect to the whole electronic universe that is so much part of our musical language today.” Other resonances are no less unexpected: Richter describes part of the first movement of his Summer as “heavy music for the orchestra. It’s relentless pulsed music, which is a quality that contemporary dance music has; and perhaps I was also thinking about John Bonham’s drumming. Then, in the second movement of Autumn I asked the harpsichordist Raphael Alpermann to play in what is a rather old-fashioned way, very regularly, rather like a ticking clock. That was partly because I didn’t want the harpsichord part to be attention-seeking, but also because that style connects to various pop records from the 1970s where the harpsichord or Clavinet was featured, including various Beach Boys albums and the Beatles’ Abbey Road.” Clearly, Richter has brought his own frame of reference to the project. As he says, “Vivaldi’s music is made of regular patterns, and that connects with post-minimalism, which is one strand in the music that I write. That felt like a natural link, but even so it was surprisingly difficult to navigate my way through it. At every point I had to work out how much is Vivaldi and how much is me. It was difficult but also rewarding because the raw material is so fascinating.”Just as Richter’s Seasons plays tricks with the way we hear Vivaldi’s original, so it also asks questions of the soloist, Daniel Hope. “Violinists have Vivaldi’s The Four Seasons hardwired in their brain. Daniel is likely to play the original I don’t know how many times in a year, and for him to have my parallel text going on in another part of his brain is a challenge. I think he did a wonderful job. He brought to it a deep engagement with the original, but he was fully prepared to cut this new swathe through the text.”


Spring One - Vivaldi Recomposed - The Four Seasons

Spring 1 (2012)

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Saint-Saëns: Le carnaval des animaux, R. 125: XIII. The Swan (Arr. Hodge for Cello, Harp & Ensemble)

Sheku Kanneh-Mason

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