Pianist extraordinaire Maryna Buksha performs LIEBESSCHMERZ FUGE, Op. 95, by Gary Lloyd Noland. For more information on the composer, please visit his website at: garynolandcomposer.com

LIEBESSCHMERZ FUGE for piano, Op. 95

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Another amazing and exquisite masterpiece from our home talent!!
Contrapunctus stands up this 2024 with his first track of the year!
Get ready cause we have more of his production! 

An incredible single track very well structured capturing the harmony between the melodies, psychedelic particles shooting and flying around of a very solid bassline to scape from this reality to another dimention...that's the "Art of Fugue".

OUT NOW IN ALL PLATFORMS!! 
Play & download: 
https://contrapunctus.fanlink.tv/Art_of_fugue

Artwork by Elemental Graphic Design
Music produced and mixed by Contrapunctus
Master by Black Marvin

Adhara Records

Art of Fugue

Contrapunctus - Art of Fugue

Questo è il primo esperimento ufficiale di BachAi: l'intelligenza artificiale simbolica che vive nell'evoluzione massima del contrappunto.
Questo brano è un remake in stile NeoPsyTrance del "Contrapunctus I" tratto dall'"Arte della Fuga" di J.S. Bach. Questo stile contempla la purezza del contrappunto barocco e l'energia ipnotica del rave. 👽🚀

Tutte le voci originali sono rispettato, espanse e intrecciate nell'universo sonoro elettronico che non usa loop melodici, ma solo relazioni armoniche vive, evolutive e profonde. 🤖♾️

Voglio portare la complessità della musica classica nel mondo elettronico, come se Bach avesse accesso agli strumenti di un normale producer contemporaneo.

Questo è un omaggio, una sfida e un invito: ascoltare con il corpo e danzare con l'intelletto. 👨🏻‍🚀🖤

Bach on Peyote (Die Kunst der Fuge - contrapunctus 1 - Astronaut remake)

Creo musica elettronica fuori dal tempo: un contrappunto moderno che pulsa in ambiente psy e tek , dove ogni voce ha un'anima indipendente e allo stesso tempo una coesione armonica. Il mio stile si chiama NeoPsyTrance - una fusione tra rigoroso contrappunto ed evoluzione armonica continua, in cui la complessità diventa estasi.

Oltre a comporre musica originale, trasformo opere dei compositori classici, scrittori e artisti del passato in esperienze elettroniche profonde, come se fossero composte da un'A.I. spirituale: Bach A.I. 🤖

Nel mio mondo, gli angeli hanno un casco da astronauta e portano il contrappunto e l’armonia nei rave. 👽

Benvenuto nello spazio sonoro di Astronaut 👨🏻‍🚀

Resides in Portland, Oregon. Grew up in Berkeley, CA. Born in Seattle.  PhD, Harvard. “Gary Noland is one of the great composers of the 21st century.”—JACK RUMMEL, KGNU 88.5 FM, Boulder CO, “...iconoclastic, stylistic potpourri standards of giddy humor, no holds barred soup to nuts and high spirits.”—ROBERT LEVIN, pianist, musicologist, composer, "...a fleet-fingered, ebullient performer ... bright, witty and engaging.”—CHRISTIAN CAREY, SPLENDID MAGAZINE, “...distinctive, inventive ... subversive ... You can hardly be indifferent to Noland’s music and so I would urge you to try it.” —ROGER BLACKBURN, MUSICWEB INTERNATIONAL, “...set in a dizzying harmonic language that loops uncontrollably through a wide-ranging gamut of possible and impossible tonalities ... The general effect is like watching wet paintings of 19th Century musical memorabilia drip into frazzled 21st Century oblivion...” —ALLEN GIMBEL, AMERICAN RECORD GUIDE, “Mr. Noland writes as a ‘time traveler’ in styles long abandoned by most composers as well as styles so new as to not have been imagined but by him. This he accomplishes naturally, convincingly, with originality and true passion. His command of all musical languages and his ability to traverse musical time is nothing less than remarkable. Listen!”—DONALD MARTINO, Pulitzer Prize winning composer, “...mind-bending spiraling of focus which is truly breathtaking ... spectacular...”—CHARLES AMIRKHANIAN, composer, sound poet & radio producer, “I'm amazed at your harmonic skill. Haven't seen or heard anything like it from any one else—except yours truly—certainly not from your generation. It falls somewhere between Strauss and Mahler. Especially like how you are able to slip in and out from the tonal to the atonal—or near atonal...”—GEORGE ROCHBERG, American composer, Pulitzer Prize finalist, “...court jester to the classical establishment...”—PAYTON MACDONALD, AMERICAN RECORD GUIDE, “...florid and juicy...” —RICHARD BUELL, THE BOSTON GLOBE, “...an incredible aural web ... a great ostinato of American kitsch. Sul pont never sounded so good.”—RUSSELL STEINBERG, composer, conductor of the LOS ANGELES YOUTH ORCHESTRA, “...I am bowled over by the expertise of your music: you use certain elements from the 19th century and from jazz, etc., and just at the moment when I am about to say, OK, what else is new?, you do a number of things, such as speeding up, becoming wildly dissonant, modulating to a distant continent, stopping completely and throwing some kind of total surprise ... you seem to know exactly when to do what and how much. I don’t know anybody else who can do it!” —ANDREW IMBRIE, American composer, Pulitzer Prize finalist, “... remarkable stuff...”
—MAX MORATH, American ragtime pianist, composer, actor & author, “...a loony composer from Oregon...” —MAX SHEA, WMUA 91.1FM, Amherst, MA, “Gary Noland is one of those 21st Century composers seeking to forge a new aesthetic based on older models that do not traffic in serialism or minimalism ... Zany waltzes, ragtime riffs, chorales, toccatas, and much else romp and tear through these depictions of superheroes and villains from his ‘chamber novels’; other pieces spoof serial music ... to grand operas ... and Jewish guilt.” —JACK SULLIVAN, AMERICAN RECORD GUIDE, “...Paranoid Ravel...”—ALEX DUNN, KZSU FM90.3, Stanford, CA, “...It’s a romantic romp, rhythmically robust yet melodically flirting with the nostalgia of cabaret, minus the sleazy diminution of spilled drinks and smelly ashtrays. Its elegance recalls Elgar, and the serious sides, a synthesis of those strange bedfellows Schubert and Ives. Composers hate it when their music reminds you of someone else’s, but writing within a tradition, Noland has incorporated divergent styles that, woven together, work. Cosmopolitan without snobbery, it’s intelligent, pleasurable and convincing.” —ROCKY LEPLIN, THE BERKELEY VOICE

Record Label of Psychedelic Trance

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