Rush, strength

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Ashram

ashram maria and the violin's string

Relax

Likaa

BEst

Ashram - neo classic

Reading music

Shining Silver Skies

Darby Wilcox - Cold ("She Took To The Sea" Available on Bandcamp)

This a cover for Lena Chamamyan's song.

Vocals: Miral 
Music&Production: Ahmed Emad (@AEPianoProductions)

After 5 months of hanging our work together, here comes our new collaboration! After upgrading our equipments - finally - we decided that this song should be our first attempt on covering - sort of - oriental songs. We hope you guys like it and we'd really appreciate your feedback and comments.


Ya Mayla Al Ghosoun | ميرال - يَا مايْلة ع الغُصُونْ (Cover)

November

Check out my newest video!
http://www.youtube.com/watch?v=zOeJ7SxtzyA

This is an arrangement i did of Somebody to Love by Queen.
I arranged it for 8 cellos.I recorded it using garageband with my built in microphone.
Be sure to check out my band
<a href="http://facebook.com/lotusslide" rel="nofollow" target="_blank">facebook.com/lotusslide</a>


Somebody to Love for cello

Stavolta in Italiano ...
Ecco un'altra canzone che non riesco a cantare, e questa poi e' anche venuta male, figuratevi voi!!! (non che le altre poi mi riescano particolarmente bene, senza autocommiserazione). Forse dovrei dargli una veste più' seria. Ma ho ascoltato musica solo negli ultimi anni (seriamente). ..."ma quello che conta sono solo le parole..."
Tanto per cominciare chiedo pubblicamente scusa a Glauco che mi presto' "il Profeta" ma io tronfio di me stesso non gli diedi molta retta. Un grandissimo libro. (più' tardi scoprii che Glauco aveva detto altre grandi verità, e qualche fesseria, ma questa e' un'altra storia).
Qui a Singapore rimasi folgorato dal poema "Anabasi" di St. John Perse. Decisi di fare una canzone lunghissima e molto evocativa che prendesse spunto dal profeta e dall'Anabasi. E' venuta fuori questa canzone. Due strofette , peccato! più' in la non sono riuscito ad andare.  Fa parte dell'ultimo periodo in cui ho deciso di guardarmi un po attorno, niente più' "Signorine", niente più' canzoni con confronto. 


All'imbrunire della sera

Electric - or perhaps more fittingly electrifying - are the sounds emanating from the loudspeakers.  And all of it is unplugged.  The sounds are created by sonic.art - not only one of the finest saxophone quartets but also perhaps the most compelling chamber music formation anywhere. Featuring works by Philip Glass and Michael Nyman.

Philip Glass: String Quartet No. 3 - sonic.art Saxophone Quartet

From the 2006 album, Black Holes and Revelations.

Black Holes and Revelations

Supermassive Black Hole

Ashram - Maria and The Violin's String

Ashram - Elizabeth

Taken from The Cinematic Orchestra presents 'In Motion #1', released 25 June 2012 on Ninja Tune.

Available on CD/2LP/DL - 

Buy at Ninjashop: http://bit.ly/KMbJO2
Buy on Amazon: http://glnk.it/1ay
Download on iTunes: http://itun.es/isr58x

http://www.cinematicorchestra.com
http://www.ninjatune.net

The Cinematic Orchestra presents In Motion #1

The Cinematic Orchestra - 'Necrology' (Edit)

Ashram - Tango Para mi Padre y Marialuna

Guns n' Roses - This i Love

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.”


Ashram - Maria and The Violin's String

skywalker 747