Name: “A stream of hopelessness”- piano by Siebe L. in classique
Duration: 4 min 42 s
Description: I just can’t anymore here is a piece of my mental state after falling in love with someone who is very dear to me not knowing how to process it I just wrote

classique

Tekstura is a series of instrumental piano compositions coloured with textures.

With the aim of combining melody and sonic texture deriving solely from the piano, the project started life as an investigation into sustaining tones using electronic bows on the piano strings.

From these early experiments it expanded organically to incorporate a wider musical palette.

Three singles The Noise He Kept So Quiet, Ostranenie and Prelude in E minor were digitally released in 2020.

The album, Tekstura, will be released in 2021 through London based label Blurred Recordings.

Reflective and intimate in nature Piano Tekstura takes inspiration from the piano itself, the urban environment and early cinema.

Alice Allen: cello
 Fiona Brice: vioilin & viola
 Scott Twynholm: piano, organ, accordion, guitars, percussion & electronics

Blurred Recordings 2021

Cold Open

Extant ii

I just can’t anymore here is a piece of my mental state after falling in love with someone who is very dear to me not knowing how to process it I just wrote

“A stream of hopelessness”- piano

Le Fabuleux destin d'Amélie Poulain (Bande originale du film)

Les deux pianos

L'autre valse d'Amélie (Quatuor à cordes et piano)

Divenire

Primavera

Mariage D Amor

Rachmaninoff plays Rachmaninoff: The Piano Concertos and Solo Pieces

Piano Concerto No. 2 in C Minor, Op. 18: III. Finale: Allegro scherzando

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)

Download

The Piano: Music From The Motion Picture

The Heart Asks Pleasure First / The Promise (Edit)

Michael Ortega - _RAIN_ (A Very Sad Piano Song)

Lucid Little Dream - MDJ Matthias De Jaeger.
Live recorded @ Blue Tree Studio (Belgium).

Also available on Spotify and all other streaming services.

MDJ Matthias De Jaeger (born in 1984) is a Belgian pianist and composer. He composes neo - classical piano music: peaceful, filmic and moving piano songs telling a story. In every song he composes, he tries to tell something.Because for him, making music is writing stories, filling the air with poetry.

His first single was released in 2019.
This was the start of a new chapter in his life.
MDJ Matthias De Jaeger composes and performes the songs himself after rediscovering his (first) love for the piano. 

More info on:
WEBSITE: https://www.mdj-pianist.com
FACEBOOK: https://www.facebook.com/MDJpianist
INSTAGRAM : https://www.instagram.com/mdj_pianist
YOUTUBE: https://www.youtube.com/channel/UCDJ0TmqNqHQXe4Avl-GBjJw
SPOTIFY: “MDJ MATTHIAS DE JAEGER”: 
https://open.spotify.com/artist/2oOx8sdQSXYv3i0kSQqonP

Lucid Little Dream

- Belgian student in classical music/film music -

“A stream of hopelessness”- piano

Siebe L.

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