Hermosa mezcla entre lo celta, árabe, español y gitano y un dejo de cuento en un bosque de hadas (xilofón)

enjoyed every second !! 😁 Just Great 👍

Lovely interplay between the instruments, beatiful production and arrangement, I like this very much. :)

🌜👩‍👦🌛📡♥️💋🌛🛰️🌜💃🕺🌛

strings

Self Discovery

Composed, played & produced by www.StanLeonard.com
Pls, follow me also on Spotify:  https://open.spotify.com/artist/2G3gYHbQ46UPckIS7nrjk4?si=cG1_GQ-xSkaeS2BFt1dbSA&nd=1
Thank You.

Hope Is Coming

"Have patience with all things, but, first of all, with yourself." - Saint Francis de Sales
________________________________________________
Image (c) 2013 <a href=https://www.facebook.com/photo.php?fbid=772341389449116&set=a.674844345865488.1073741828.156806751002586&type=1&theater>Cap Photography</a>

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Wait

Flying

From Giles Lambs Album. ‘Before The Birds’

Before the Birds

Onset

I feel very thankful and fortunate to have had a truly amazing summer in 2014.  I visited no fewer than seven counties between July and August.  I witnessed so many amazing things in Romania, Russia, Finland, Sweden, Estonia, Denmark, and Iceland. I spent quality time, working, playing, and planning for the future with close friends and colleagues. I met and befriended many new and truly wonderful people whom I now consider close friends.

I was asked many times both by friends and family in the US, as well as the local people in the various cities I was in, what I thought about all the various political instability in the world today.  The questions invariably centered around something to the effect of "Aren't you worried/concerned/afraid to be traveling at the moment?"

My standard answer, which I became quite practiced in reciting, was:  I think that if some alien species which did not speak any human language came to Earth and visited New York, Washington DC, Bucharest, Moscow, St. Petersburg, Helsinki, Stockholm, Tallinn, Copenhagen, and Reykjavik it would have a very hard time telling us all apart.  Despite our small cultural differences, people everywhere generally want the same things.  We all look quite similar when we smile and laugh as well as when we cry.

It is said,  everybody loves something, is afraid of something, has lost something, and is looking to find something.  Which will you focus on?  Will you give love unconditionally, or will you help create fear in effort to mask your own?  Will you help yourself and others get lost, or will you try your best to find something of true value and meaning?  Will you focus on artificial divisions and all the reasons why you think you can not do something, or will you open the borders of your heart to new experiences and opportunities for growth? The choice is yours.  It is all of ours.



A deep and humble thanks to everyone in Romania, Russia, Finland, Sweden, Estonia, Denmark, and Iceland for sharing part of your lives and wonderful culture with me.  The memories will last a lifetime and have already become a formative experience to my creative process.  Thank you!

//////////////////////////////////////////////////////////////

"Autumn Rains" is the second installment in a trio of neoclassical solo piano albums composed, performed, and produced by Andrew Souter. These projects have been two decades in the making and represent a return to traditional music composition, engaging song-writing, and the pure passion of emotional story-telling. This trio represents Andrew's most personal and intimate music. It is quite literally a love project. We hope it may help you on your journey, as it has us...

"Autumn Rains" is music inspired by the spirit of Agape. It is an album dedicated to the concept of spiritual love and universal compassion clothed in the metaphor of transcendental natural beauty. It is an album that simultaneously expresses deep love for both the creator as well as the creation. It is said God gave us music so that we could pray without words. It could be added that nature was provided as an example of exactly how to do this effectively. In this spirit, Autumn Rains is a prayer of gratitude for the opportunity to learn from the natural beauty of this world, and an expression of a sense of respect for the inescapable universal equality that nature imposes. It humbly attempts to capture deep feelings of awe, granduer, idealism, and a belief in the innate goodness of the world even when we all face exceptionally hard lessons.


Andrew Souter -- Without Borders

Performed live on March 26th, 2015 with the Gothenburg Symphony Orchestra and Maestro Kent Nagano

I. Allegro moderato 
II. Adagio di molto 
III. Allegro, ma non tanto

LIVE in SWEDEN: Sibelius Violin Concerto 1st Movement extract

Performed live on February 28th, 2015 with the Gothenburg Symphony Orchestra and Maestro Kent Nagano

LIVE IN SWEDEN: Mendelssohn Violin Concerto 1st Movement extract

This instrumental piece is painting this feeling you get when you close the chapter of your day to enter the special realm of evening, like a blurry door to the vibe of the night. This is the first of a weekly series of new music I will be posting on this page and on Soulbow.com - with exclusive content and free downloads to come. I would love to hear your comments and what this music triggers in you!

Evenfall

More music...

.happy mischief night, i wish it was halloween szn longer but i guess that's what makes it so special--thanks for listening.

.when all of us are spirits.

Composed and produced by Oliver Sadie 
Live piano recorded at Red Room One Studio
© 2015 Oliver Sadie
--
I shot an arrow into the air,
It fell to earth, I knew not where;
For, so swiftly it flew, the sight
Could not follow it in its flight.

I breathed a song into the air,
It fell to earth, I knew not where;
For who has sight so keen and strong,
That it can follow the flight of song?

Long, long afterward, in an oak
I found the arrow, still unbroke;
And the song, from beginning to end,
I found again in the heart of a friend.

~ The Arrow and the Song by Henry Wadsworth Longfellow

Use this in film

Elusive

Happy new year my friends,,, 2016 is here, 2015 was the year that mostly nothing happened,,,

2016 I don´t have high hopes for,, but I hope it will bring you all nice things.

Free download if you want this piece.

Una Melodia Dal Passato

Sometimes it's possible to get through dramas in our life on our own, but there are times that we need to ask for that "Helping hand". This can be a difficult thing to admit, for some of us & this solo piano improvisation, is a reflection of these feelings put to music.

Here is a link to the Youtube clip:
https://www.youtube.com/watch?v=2VCm2DshWfo&feature=youtu.be


Helping Hand

Short Stories is a string quartet concerto commissioned by the University of North Carolina at Greensboro, The University of Michigan, The University of Texas, Northwestern University and the University of Colorado and dedicated to Kevin Geraldi.

This performance is live with the McIver Quartet [Marjorie Bagley and Fabian Lopez, violins, Scott Rawls, viola and Alexander Ezerman, cello] and UNCG with Kevin Geraldi conducting.
Approximately 21 minutes long and scored for string quartet, winds and percussion.

View perusal score here: http://joelpuckett.com/Puckett_Short_Stories_perusal
Part I:

1.	Somewhere near the end [tutti]
2.	Introit [quartet]
3.	The Priests [viola and cello duet]

Part II:

4.	Recitative [quartet]
5.	mother and child [violin duet]

Part III:

6.	sonno agitato [ensemble alone]
7.	The Bridge [cadenza] [quartet]
8.	Ma Fin [tutti]

Program Note

“There will come a time when you believe everything is finished;
that will be the beginning.”

		— Louis L’Amour, Lonely on the Mountain

	What makes the construct of the short story itself so unique among other literary devices is the demands placed on the author to create a meaningful narrative. They must describe the relationships between characters, present a conflict, and resolve it in a remarkably short span. It takes a deft writer to cleverly craft within these restrictions, and yet some have pushed the genre further by creating collections of stories that seem at first disparate, but eventually are revealed to be intertwined. Much like these painstakingly crafted works of literature, Joel Puckett’s Short Stories is a study in structure. On the surface, it bears the appearance of eight vignettes strung together into a concerto for solo string quartet and wind ensemble. Upon listening, however, the work’s movements reveal themselves as inextricably linked through a layered thematic language that plays out through a sort of “game of pairs.” 

	The external movements of the work serve as a frame story, not unlike Chuck Palahniuk’s novel Haunted, which the composer cites as an influential on the structure of the work. Between the external movements, Puckett presents three pairs of linked movements. Each of these sections highlights two of the solo voices, featured at the section’s conclusion with a virtuosic duo cadenza. The final internal grouping—the sixth and seventh movements—takes the independent duo cadenzas and superimposes them. It is only at this climactic moment that we hear that the concerto’s primary theme—the basis for both the first and last movements—is the combination of the elements within these cadenzas. In a sense, the entire work evolves from the constituent solo playing of its stars.

	The opening—amusingly titled “Somewhere near the end”—introduces the notion of pairs in its own way. There is diametric conflict between both the soloists and the ensemble as, until the end of the movement, the two groups play almost exclusively in isolation. The harmonic language likewise poses friction, first hinting at the unbridled optimism of D major, and almost immediately thereafter shattering it with a tempestuous dissonance of extended harmonies in G minor. The effect is that of a series of dramatic wailings that set the stage for the players.

	The first internal section, comprising the movements “Introit” and “The Priests,” is based on ancient liturgical materials. The introit itself is a part of the Proper of the Catholic mass, and this placid movement also presents a part of the Mass’ Ordinary by way of a “Kyrie,” passed from instrument to instrument in the movement’s center. The dramatic beginning of “The Priests” is a stark contrast with its bold chorale scored solely for brass and saxophones, and the rhythmic ostinato from the low strings (“Regina Coeli”: a reference to the antiphon to the Virgin Mary). Complex mixed meters dominate the pulse as a punchy homophonic accompaniment supports the vivid rhythms of the soloists.

	The contrasting middle pairing (“Recitative” and “mother and child”) has a basis in Baroque opera, modeling a recitative and aria. “Recitative” serves mostly as an introduction, with a sparse accompaniment of vibraphone, celesta, and harp. The opening of “mother and child” expands the instrumentation to include the woodwinds and horns, dancing about gracefully with a patient, yet lilting tempo. This middle section is the longest single segment of the piece, and harmonically the most static, as it floats past slowly in a cloudy, dreamlike E-flat major. The gentle caress of the violin duet is both captivating and endearing throughout.

	The tonal center of E-flat remains for the sixth movement, but little else is held as the pleasant dream of the middle section is roused by “sonno agitato”—literally, “restless sleep.” This movement, solely for the ripieno, harkens back to the most tumultuous moments of the first movement. The pulse quickens unrelentingly and the ensemble spills over, out of control, into “The Bridge,” a cadenza for the concertino. Here the previous duo cadenzas are pressed into conflict with each other in a manner that seems incompatible and dissonant. As the soloists play together, however, the argument between them is sated and they begin to find a synergy in their florid and virtuosic variations. The energetic realization of the work’s opening motive ushers in the ebullient “Ma Fin” (a nod to Machaut’s rondeau “Ma fin est mon commencement”—literally, “my beginning is my end”). This finale starts with a return to the first movement, but this time, the soloists come together as one and, with a battering of thirty-second notes, breaks through the restlessness of the ensemble and forces them back on track into the brilliant opening, finally moving together toward their happily ever afters.


—Jacob Wallace

Short Stories [string quartet concerto] CBDNA Premiere

Sad-violin

Follow me also on Spotify🙏🏻🙏🏻
https://open.spotify.com/artist/2G3gYHbQ46UPckIS7nrjk4?si=7G3Y27AaQbaAPpl1vu9P7w

I tell my stories through my own composed (and improvised) instrumental guitar music, using a combination of acoustic guitars, sometimes supported by orchestral instruments. Some have described my music as meditative, relaxing, and introspective, with a touch of melancholia and a distinctly Spanish flair. Listen for yourself and let me know what stories my music tells you.
If you want to support my music, thank you | PayPal: stan@stanleonard.com
My music has a Creative Commons Licence, so you can use it for non-commercial purposes.

Hope Is Coming

Stan Leonard

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