Consonance

Loving Kindness

Dobrawa Czocher - Loving Kindness

Satellite is the 4th album from Graham Richardson's Last Days. Richardson who is now well known for his cinematic electro-acoustic pieces that effortlessly invoke an almost inconceivably tangible imagery has this time around turned ever inward for Satellite's core inspiration. While Richardson credits the album with certain personal themes in tow he's more apt to let the listener gather their own meaning of the album's affinity of satellite and stars. The song New Transmission features vocals by Beth Arzy (Aberdeen, Trembling Blue Stars) and could very well sum up the album's apex while delivering the most pop affected Last Days song to date. Satellite is out Sept 17th on n5MD

Last Days - Fidra

From the Purple Decades "Thought Forms" EP, 2020:  https://tristaneckerson.bandcamp.com/album/thought-forms-ep

Listen on Spotify:  https://open.spotify.com/artist/08lg5wRQNrKKJZzvWTynlv

Listen on Apple Music:
https://music.apple.com/us/artist/purple-decades/1503589897

Purple Decades is the new Ambient project from Composer, Pianist, and Producer Tristan Eckerson.

"The track itself is a beautiful and dreamlike classical piece that echoes with a cinematic feeling."

- Discobelle

“Adriatic” is a softly moving piece, a song that fuses together ambient backdrops and the melancholic tones of neo-classical inspired soundscapes. It’s the first track from composer Tristan Eckerson’s newest ambient project, Purple Decades and it’s an incredibly dreamy, whimsical piece. As I sit back and enjoy the track, visions of a foggy morning come to mind as the song carries this slow soundscape with it, one that is perfect for the more quiet moments of the day."

- Rural Sounds

"Inspired by the minimal works of Jon Hopkins and Ryuichi Sakamoto, electronic and organic textures and ambience have taken the place of the piano as shimmering melodic shapes undulate against the backdrop of a warm, enveloping soundscape. It is an immersive piece of music quite unlike anything Eckerson has created before and which whets the appetite to see how this new project will continue to unfold."

- Stationary Travels

Purple Decades- Adriatic

From "Going Home", Tristan's new album of solo piano improvisations.  Listen to/download the album:  https://tristaneckerson.com/

For "Going Home", Tristan Eckerson's first full length album in two years, the composer/pianist decided to shy away from his normal compositional approach, opting instead for an album of completely improvised pieces for solo piano. Recorded by Tristan with the unique sound of the Una Corda piano, the stream of consciousness tracks evoke the sounds of Tristan's influences, including Ryuichi Sakamoto, Tigran Hamasyan, and Ballaké Sissoko, and hover between the worlds of classical and jazz.

Endless Field (From The New Album - Going Home)

Flare (2021), Yale Philharmonia under conductor Ryan Tarni Dec 9th 2021 Woolsey Hall, Yale University.

The first non-essential item I bought after arriving in New Haven for my composition studies was an anthology of poems by Mary Oliver. I had never heard of this outstanding poet before I came across her work in a bookstore in New Haven, and so I discovered her poetry in an unprejudiced and casual way. Her positive, curious, and thoughtful look at the world and life itself was like a cool mountain stream that refreshed me after this exhausting pandemic-year and the first stressful weeks in my temporary country of residence. I felt very touched by her work, and so it naturally found its way into my music, which is why I named this orchestra piece on which I was working at the time after her poem “Flare".

Flare (excerpt)
Did you know that the ant has a tongue with which to gather in all that it can
of sweetness
Did you know that?

Flare

„Hymne des Jupiter (24.04.2024 )

Majestätisch thront Jupiter in unserem Sonnensystem.
Diesem Planeten widme ich diese Komposition.
So suchte ich nach einem wuchtigem und massivem Instrument das die Erhabenheit und Klangfülle zu erzeugen vermag.
Ich fand diesen in der großen Orgel der Royal Albert Hall und wählte die Registereinstellung
„Stimme des Jupiters“ 
Diese Stimmen also die Orgelpfeifen des Jupiters, verliehen dieser Komposition den richtigen atmosphärischen Klangraum.

Eine erhabene Klangfarbe die nur annähernd die Kraft dieses Planeten auszudrücken vermag.

Vielen Dank für Eure geschätzte Aufmerksamkeit.
SOUNDCLOUD: https://soundcloud.com/cloppenburg-music

Musik :  Björn Cloppenburg  Alle Rechte vorbehalten
Foto	:  Björn Cloppenburg
Es wurden für dieses Projekt virtuelle Instrumente der folgenden Firmen verwendet:
https://www.royalalberthallorgan.com   Enigma Recordings Ltd. 
https://audiobro.com  GENESIS CHILDREN´S CHOIR    
https://www.native-instruments.com/de/  LORES


“Hymn of Jupiter (April 24, 2024)

Jupiter sits majestically in our solar system.
I dedicate this composition to this planet.
So I was looking for a powerful and solid instrument that could produce grandeur and fullness of sound.
I found this in the great organ at the Royal Albert Hall and selected the stop setting
“Voice of Jupiter”
These voices, the organ pipes of Jupiter, gave this composition the right atmospheric sound space.

A sublime timbre that can only come close to expressing the power of this planet.

Thank you for your valued attention.
SOUNDCLOUD: https://soundcloud.com/cloppenburg-music

Music: Björn Cloppenburg All rights reserved
Photo: Björn Cloppenburg
Virtual instruments from the following companies were used for this project:
https://www.royalalberthallorgan.com Enigma Recordings Ltd.
https://audiobro.com GENESIS CHILDREN'S CHOIR
https://www.native-instruments.com/de/ LORES

Hymn of Jupiter

Hymn Of Jupiter

from compilation ‘Algorithmics’ (Piano Day 2017)
Bandcamp: http://bit.ly/2oG1fbz
iTunes: https://itun.es/ca/wNf5ib
Spotify: http://spoti.fi/2pfs44p

@daigohanada
Written and recorded by Daigo Hanada
Mastered by Emil Thomsen at ET Mastering

Artwork by Marin Blanc (http://www.marinblanc.com)
Layout by Nicolas Hyatt

Daigo Hanada - Once Heard (Algorithmics/Piano Day 2017)

Demo for my next album, The Gramophone Suite, which will be released late 2018. The track will also feature on the Soundcolours compilation "Chilltronica No6"

Film Two

When I was commissioned to write a piece for orchestra in early 2018, I had my concerns at first. For me an orchestra is some sort of a controversial beast, that origins from another time and is hard to be tamed, yet it is one of the western culture's most admirable achievements, that should be taken along to the 21st century. 
As an artist the freedom to express my thoughts in the most honest and genuine way without being constricted by structures and other people's mindsets is very important to me. As a composer though, I am aware that my art is not able to become alive without the hard work and - in the best case - love of other musicians. The more musicians are needed for a piece, the more minds need to be convinced. And this puts a composer in a complicated position, because you need to write music that is comprehensible for the musicians, but at the same time this should not keep you from exploring and writing down unusual ideas. Especially in the case of composing for an orchestra, which needs quite some abilities in terms of craft, escaping from tradition is even more difficult, also taking into account the very restricted rehearsal time (1 hour in this case). This makes composing for orchestra an insanely humbling and challenging undertaking - which is exactly what I ended up loving about it!

What do flowers do at night?

Matthew Shaw’s travels continue. His wanderings have led him to Seatown, Sandbanks, the woods of Zeist, and the inner city of Vancouver. Now he documents a week-long trip to Lamorna, Cornwall, in the summer of 2012.

Shaw writes: “The recordings were made in the Lamorna valley, the cove, the woods and also within the Iron Age Boleigh Fogou which is an underground structure over 2,000 years old. The Fogou derives from the Cornish for Fou or Vou, meaning cave.”

“In terms of the sound of the finished music, it was recorded largely on location using acoustic guitar, bowed guitars, Moog Prodigy, my voice and a sprinkling of effects where required. It relied on the sounds of the places themselves, the trees, river and Fogou in particular. The mixing process was based on taking these raw ingredients and sculpting them into a finished whole, with the place as the focus.”

The result is a slow tide of strings, ambient vistas, and delirious harmonies that echo, then dissipate into the eponymous landscape. From the inner triumph of “Rosemerrynwood” to the tense and pulse-quickening modern composition “Bo-Lech” and the buoyant, living title track, Lamorna is a remembered call from an ancient place.

Fluid Audio presents Lamorna in a limited edition run of 100 hand made letter pressed CD’s, along with 6 large format (150mm x 150mm) double sided photographic prints taken by the artist on his journey. The package also includes a natural Larch wood slice, pressed Viola flower, rare poem by Ithell Colquhoun, download code and scent. All of the above rests inside hand typed/numbered/sealed Manilla envelopes.

Release Date: 29.03.13

Matthew Shaw: Bo-Lech

“Some of it reminds me of minimal music, the repetitions, the different layers that build up little by little, but she doesn’t hide behind them, she uses these techniques to express her own ideas. I find it wonderful how carefully she goes about it. When she’s onto an idea, she doesn’t just grab it, but approaches it carefully and gives the idea time to blossom.” – Tuula Simon, WDR 3, “3 von jetzt” (“3 of now”)

Sophia Jani is a German composer of contemporary classical music who takes a poetically minimalist approach to composition. She is the current Composer in Residence of the Dallas Symphony for the 2023/24 and 2024/25 seasons, as well as the 2023 Musical Artist in Residence of the Arvo Pärt Center and recipient of the APC Fellowship.

Her music has recently been performed by the New Jersey Symphony, the Munich Symphony, Bang on a Can, musicians of the Dallas Symphony, the Goldmund Quartet, vocal sextet Sjaella, and pianist Eunbi Kim, among others. She has also contributed music to successful film, theater, dance and album projects.

In 2021, Jani was awarded the prestigious Scholarship for Music by the City of Munich for her solo violin piece III. Her debut album of chamber works, 2022’s Music as a mirror, received a nomination for the German Classical Music Prize “Opus Klassik.” In June 2022, she co-composed and produced “Tulips” with violinist Darian Donovan Thomas, which was featured on !K7’s String Layers Vol. II. And in July 2022, she participated in the Edward T. Cone Composition Institute at Princeton University, where her composition “What Do Flowers Do at Night?” was performed by the New Jersey Symphony under conductor David Robertson.

In addition to her work as a composer, Jani is passionate about building a diverse and international community of artists that open-mindedly addresses the challenges notated music faces in the 21st century. To that end, she is one of the founders and artistic directors of “Feet Become Ears”, which is a platform that commissions, presents, and celebrates contemporary chamber music.

Jani holds degrees from the University of Augsburg, the University of Music and Performing Arts Munich and the Yale University School of Music where she studied with Martin Bresnick and David Lang, made possible through the generous support of the Fulbright foundation.

What do flowers do at night?

Sophia Jani

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