Music for a Dream is my attempt to musicalize a recurring dream I had as a child. The dream was always very simple: I was chased by a humanoid figure, and the creature got closer and closer to catching me until I woke up at the very last second.

The beginning of the piece reflects the process of falling into a deep sleep; the music is murky and unsettled. Then, the musical material begins to crystallize and distill itself as the dream is brought into focus and the chase begins. The music grows ever more frantic and wild until it suddenly vanishes into thin air, and we are whisked back to reality.

Music for a Dream was written for the Lake Champlain Chamber Music Festival Young Composers Seminar and was recorded by Ji Hye Jung, percussion and Jeewon Park, piano at the Elley-Long Music Center in Colchester, VT on August 21, 2024.

Music for a Dream

Sonata 2020 para violino solo, "para um ano que não existiu"
1o. mov. Calmo, com alguma inocência. Mais movido. Come prima.
2o. mov. Agitado e fugidio. Muito estático. Tempo primo.
3o. mov. Distante, quase inalcançável. 

Sofia Leandro (Portugal/Brasil), violino.

Sonata 2020 para violino solo (para um ano que não existiu)

Ma's gate

"Sfumato" for large orchestra and augmented theremin (2023-2024)
3 fl, 3 ob, 3 cl, 3 bsn | 3 tpt, 4 hn, 3 tbn, tb | 5 perc | 2 hp, pno/cel | theremin solo | 32 vln, 12 vl, 10 vc, 8 cb

Performed by:
Polish National Radio Symphony Orchestra, Vincent Kozlovsky – conductor, Paweł Romańczuk – theremin, computer

Recording, Mix & Mastering: Polish Radio
Post-mastering: Paweł Hendrich 

The title of the piece refers to sfumato – a Renaissance painting technique characterized by the subtle blending of tones andcolors, softening the transition between them. These gentle chiaroscuro transitions create a sense of depth and blur, resemblingsmoke or mist. The sfumato method was employed by artists such as Leonardo da Vinci and Raphael. When translated into themusical domain, sfumato similarly manifests as a blurring of orchestral texture and a continuous, delicate modulation of timbres.

To reinforce connections with the Renaissance era, I took inspiration from the microtonal madrigal "Madonna il poco dolce" byNicola Vicentino as the starting point for my composition. I processed a fragment of this piece to such an extent that only itsunusual harmonic connections and the ‘sonic aura’ of the original remain.

In my composition, the rich orchestral framework is complemented by an electronically and mechanically modified theremin. Asan extraordinary instrument played without physical contact, the theremin offers vast experimental possibilities. This unique partis performed by Paweł Romańczuk, who is also the co-author of the instrument’s reconstruction concept, tailored specifically forthis work.

All these elements come together to form a cohesive whole, where sounds are like colors on a Renaissance canvas – fluid,subtle, and imbued with depth.

 

Commisioned bythe 11th Festival of Premieres and the Polish National Radio Symphony Orchestra based in Katowice.

Sfumato (2023-2024)

Rainy City

Serie dodecafónica #!

FRANTICALLY STRIVING TO FEEL OPTIMISTIC by Gary Lloyd Noland. For more information on the composer, please visit his website at: garynolandcomposer.com

FRANTICALLY STRIVING TO FEEL  OPTIMISTIC

Driven by visions of the jagged Californian coastline and the aquatic fauna intricately depicted in Ernst Haeckel's drawings, "Cove" whips the trio of musicians into a state of sweeping synergy and symbiotism.

Emiliano Gavito - flute
Adam Starkie - clarinet
Sophie Wahlmüller - viola

Cove [live recording]- David Bird + collective lovemusic

Court Dances (2024) for viola and piano
I. Allemande (0:05)
II. Sarabande (3:32)
III. Gavottes (10:06)
IV. Gigue (12:01)

Oriana Hawley, viola
Shiqin Wang, piano

As with many musicians, Baroque dance forms are a genre I have encountered many times throughout my life. Writing this piece afforded me the opportunity to finally delve into this treasured corner of the repertoire and begin to understand what makes these forms work. In Court Dances, I sought to honor Baroque dance forms while simultaneously reinterpreting them using my own stylistic palette. In a typical Baroque suite, the Allemande is a stately dance in moderate tempo. The Sarabande is a slow dance in triple meter with a characteristic emphasis on the second beat of the bar. The Gavotte is a moderately quick dance in duple meter which begins on the third beat of the measure. Finally, the Gigue is a lively, vivacious dance in compound meter.

Thank you so much to Oriana and Shiqin for a fantastic performance and for being such wonderful collaborators through the composition and rehearsal process! Huge thanks also to Professor Carol Rodland for organizing the viola/composition department collaboration, and to my teacher, Dr. David Ludwig, for his invaluable support and guidance.

This recording is from the world premiere performance of Court Dances, which took place on Thursday, April 4, 2024 at the Viola Premieres 2024: Rodland Viola Studio Collaborates with Juilliard Composition Students event in Paul Hall at The Juilliard School in New York City, NY.

Website: https://www.jonahcohenmusic.com/
YouTube: https://youtube.com/@jonahcohencomposer?si=YoYKSm5qjJxix6VL
Instagram: @jonahcohen.music

For inquiries about this piece, please contact me at through my website: https://www.jonahcohenmusic.com/contact

Copyright Jonah Cohen 2024.

Court Dances

The G-d Clause (2025) for piano trio

Pierce Wang, violin
Alice Lee, cello
Nabeel Haik, piano

In January 2025, I found myself sitting at my keyboard in my apartment, trying desperately to begin this piece. Clearly, I was not having much luck, because at one point I began reading the warranty for the digital piano. As I read, I came across this line: “This warranty does not cover [...] damages attributable to power line surge or related electrical anomalies, lightning damage or acts of G-d”. I was struck by the last part of the line and how something so apparently archaic and theological as “acts of G-d” made its way into an otherwise secular warranty.

After doing some research, I discovered that the act of G-d clause is ubiquitous in legal documents, and that it refers to catastrophic natural events, like tornadoes, floods, and hurricanes, which are considered outside human control. Essentially, the act of G-d clause is used as an exception to liability for damages caused by these events.

At first, I was amused by the presence of this ancient-sounding stipulation in a modern warranty. However, my amusement soon turned to worry. Extreme weather events are hugely consequential on a global level, costing hundreds of billions of dollars a year and resulting in countless fatalities. And due to the climate crisis, the frequency and intensity of extreme weather events is only increasing. Moreover, climate disasters have been proven to be affected and worsened by human activity. Is it not negligent and unjust to claim that these so-called “acts of G-d” are completely outside the scope of human responsibility? How much money and resources has the G-d clause already cost people, and how much more will it impact us in the future?

My composition is a rumination on these themes of responsibility and negligence. Throughout the piece, the central motive is continually confronted by impending danger, but the motive refuses to acknowledge it and blindly proceeds ahead. As the music continues, the interjections of danger become more frequent and more violent, and eventually, the motive is swallowed up and forced to reckon with it.

Note on the title: I am an observant Jew, and we avoid writing the full name of G-d because of the risk that the written name might later be defaced, obliterated or destroyed.

Thank you so much to Pierce, Alice, and Nabeel for being such wonderful, inspiring collaborators and for a truly fantastic performance! Huge thanks also to my teachers, Dr. David Ludwig and Dr. A.B. Kirsten, for their invaluable support and guidance.

This recording is from the world premiere performance of The G-d Clause, which took place on April 30, 2025 at the Wednesdays at One: Chamber Music concert in Alice Tully Hall in New York City, NY.

Website: https://www.jonahcohenmusic.com/
YouTube: https://youtube.com/@jonahcohencomposer?si=dxAUcN89pE_VXuQe
Instagram: @jonahcohen.music

For inquiries about this piece, please contact me through my website: https://www.jonahcohenmusic.com/contact

Copyright Jonah Cohen 2025.

The G-d Clause

Get Out the Way! Get Off the Road! (GTA) Welcome to San Andreas

Recorded 07-29-2025. "Pent-up Pandemonium" describes the inner voice of the music as "unrestrained disorder" without devolving into "utter chaos."  The piece has a rhythmic thrust. 

SKETCHES 14 - Pent-up Pandemonium

This work was created for CROWHILL's CHALLENGE “PIZZ_FEET_UNDER.”

It was created using only the CROWHILL Instrument Plugin.

I hope you enjoy it.

Fumitake.Onaka_PIZZ_FEET_UNDER

Una pieza para piano en tempo ligero que retrata la travesía de un gato curioso. 
Desde el calor de un sueño hasta el eco distante de un piano en la ciudad, el ritmo a 130 BPM guía su breve exploración urbana hasta su regreso a la calma.

Compuesta en Fa# menor, esta variación felina es una carta abierta a quienes buscan la belleza en lo efímero.

Allegro in F# minor – Neko Variations

Jack Sheen (SN Variations,Trilogy Tapes,Black Truffle) mixes his own selection of tunes  and pieces and curates the second hour with his choice of the Haunted Network Research Initiative.

Jack Sheen is a conductor and composer from Manchester, recognised for his inventive approach to music-making, which blends orchestral traditions with an expansive interdisciplinary perspective. His own music spans orchestral and chamber compositions, installations and site-specific spatial performances.

The Haunted Network Research Initiative is an organisation dedicated to archiving and preserving the work of the composer Cameron Dodds.

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Outsiders: SN Variations w/ Jack Sheen & The Haunted Network Research Initiative @ Kiosk 03.08.2025

From the album 'HOMMAGES', available on double LP at Bandcamp, and streaming everywhere.

Holly Roadfeldt - Piano

Hommage a Hildegard of Bingen (1098-1179) – The music of Hildegard has always amazed and inspired me.  Well, EVERYTHING about Hildegard has amazed and inspired me—the things that she composed, wrote, built, and accomplished—especially in an age when women were completely oppressed.  She is quite simply one of the greatest geniuses this world has ever produced, and it’s criminal that she’s not as well known as other male geniuses from her time (or later).  When I was thinking about this Hommage, I wasn’t sure how to approach it.  Then, one day (July 11th, 2018), I was doing some completely unrelated work, and out of nowhere, the entire piece came to me all at once, as in a vision.  Yeah, I know how that sounds, especially given Hildegard’s history, but that’s what happened.  The piece was written in one afternoon.

Hommage a Hildegard von Bingen

An Exploration of some textures on long drawn out atmospheric chords. The title is a postscript but I think it is apt.

The Earth, The Moon, The Sun:  A Poem 

Beneath the canted dome of a pale beginning
the earth lay veiled in a powder of saffron wind
Ferns stirred in trance,
and in the undergrowth, an unseen bird
called once, like the last echo
of a myth pronounced in reeds

Nothing had perished yet.
The acacias lifted their limbs
with the somnambulant poise
of dancers under water

Time exhaled

But night was born 

The Moon, tremulous
Mineral, colossal
Rose, not ascendant
On the edge of the waters.
Both serene and famished

She turned the salt flats to mirrors.
She annulled the name of the river
She loomed above the mangroves
Like an unanswered invocation
Silvered, sickened
Dragging behind her a trail
Of speechless beasts

What once pulsed, stilled
What once knelt, broke
A great sleep, dense as ash
Draped itself over the wings
Of every visible thing

Then

A crack 
Across the vault of stillness
A flare
The Sun

One strode forth in warmth
A pyre god, a conqueror
With eyes of coal and gold

The air thickened
The stones, blistering, split
Every leaf curled inward
Each shadow fled its source

Even the wind turned brittle

The flocks were scattered.
The earth, harried, trembling
Offered up her dust
As a libation
To something nameless

And so:

The Earth returned

But not as mother
Not as shelter
She stood
A monolith 
Her skin veined 
With the fossils of rain
Her voice
A low thrum in the roots
Beneath abandoned fields

She no longer wept

She remembered

The Sun reversed,
His blaze now spiral
The Moon receded,
Swallowed by her own reflection.
The garden flickered
Half-seen behind a gauze
Of smouldering time.

And again
Earth

But transfigured
But scorched
But holy in its ruin

A single tree remains.
Its branches fork like veins
in the wrist of the world
Its fruit is ash.
Its shadow
An elegy for all that walked.

The Earth is still
And in that stillness
She waits.

The seeds are there

The Earth, The Moon, The Sun - Symphonic Poem for Trumpet and Large Orchestra

My music is presented in instrumental music and contemporary classical on guitar. It's a subtle blend of classical and popular musical genres. It fits in any playlists of soft guitar, soothing and relax guitar. But It's not cover songs or hits in instrumental version, it's a new original musics recorded on classical guitar in a peaceful and pleasant atmosphere, which can be listened in various moments of day.

In The Stream

Life size

Pianist, Composer, Arranger, and a former Broadway and Off-Broadway stage performer and singer.

Hi, Thank you for your access (˶' ᵕ ' ˶)

YouTube
https://www.youtube.com/@everythingmakesnoise

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https://music.youtube.com/channel/UCzZzeXd9liHKE7MsdHCfQ6Q

spotify
https://open.spotify.com/intl-ja/artist/5r0SEtNY8AaeeQgpnt0hOE

Hola! que tal!, me llamo "NekoTori"

Y soy aprendiz de Producción Musical en FL Studio principalmente.

Aquí compartiré mis experimentos musicales, siempre buscando calidad y evolución en cada nuevo proyecto. Mis géneros principales son LoFi, Synthwave, House, Deep, Drum and Bass, explorando ritmos vibrantes y envolventes. En un futuro, me gustaría hacer soundtracks cinematográficos y de videojuegos, ya que ese tipo de género musical siempre ha sido parte de mi inspiración. 

Mis influencias incluyen grandes compositores como Basil Poledouris, Steve Jablonsky, Hans Zimmer, así como artistas de videojuegos que han marcado mi estilo, como Akemi Kimura, Naoto Tanaka, Soichi Terada y los talentosos creadores detrás de soundtracks como Blue Archive, Nier, Hoyo-Mix, o Vanguard Sound Studio...

Si disfrutas de atmósferas sonoras con toques nostálgicos y cinematográficos, ¡este es tu lugar!

Paweł Hendrich was born in 1979 in Wrocław (Poland). After studying engineering and economics at the Wrocław University of Economics he studied composition at the K. Lipiński Academy of Music in Wrocław (prof. Grażyna Pstrokońska Nawratil) and at the Hochschule für Musik in Cologne (prof. York Höller).

The works of Paweł Hendrich have been performed at concerts and festivals in Austria, China, Czech Republic, Denmark, Estonia, Germany, Hungary, Latvia, Lithuania, Malta, Norway, Poland, Russia, Slovakia, Spain, Sweden, Switzerland, Turkey and United States of America.

The composer has received commissions from: Warsaw Autumn Festival (Ensemble Musikfabrik, Basel Sinfonietta, Warsaw Philharmonic Orchestra), Warsaw Philharmonic, Polish National Radio Symphony Orchestra, Deutschlandfunk (Kwartludium), Goethe-Institut, BHF BANK Stiftung and Ensemble Modern, The Municipality of Wrocław (NOSPR), Polish Institute in Madrid (PluralEnsemble), Institute of Music and Dance, Orkiestra Muzyki Nowej, Chain Ensemble, The Forbidden City Chamber Orchestra, National Forum of Music (Lutosławski Quartet, LutosAir Quintet, NFM Leopoldinum String Trio, Studio Dan), ZAiKS Polish Authors' Association as well as from the Polish Composers' Union (Pablostrom, Orkest De Ereprijs).

Among Paweł Hendrich’s most significant awards and distinctions are: The Decoration of Honor Meritorious for Polish Culture (2017) and the Bronze Cross of Merit (2022) – both awarded by the Polish Ministry of Culture and National Heritage, the Scholarship of the Mayor of Wrocław (2020), and the Annual Award of the Polish Composers' Union (2025).

For several years now, he has been programming, composing and performing live electroacoustic music. With Cezary Duchnowski and Sławomir Kupczak he founded the electroacoustic group Phonos ek Mechanes. So far, trio has performed at festivals of improvised, contemporary and electroacoustic music, and at concerts in Poland and abroad.

In 2010 DUX released Paweł Hendrich's monographic record "Chamber Works", in 2017 second one called  "Metaforma" and in 2025 the third "Fractalized". In 2012 Bôłt Records released Phonos ek Mechanes’ first CD called  "C+-". In addition, his works have been published on several other CDs, including Ensemble Modern label.

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

We are an online community radio streaming 24/7 from a wooden shack in the heart of Brussels’ historic “Parc Royal”.

A meeting point for music freaks from Brussels and beyond. A tiny kiosk bar serving eclectic music and drinks. Sometimes, in sunny summer days, a safe space to dance under the trees.

For general questions: info@kioskradio.com
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Not a musician my content lacks the proper skills, knowledge and techniques

Anthony Joseph Lanman is an active and passionate musician that divides his time between composing, performing, teaching and advocacy for new classical music.

As a composer, Anthony creates music that reaches general audiences as well as new music connoisseurs. Embracing influences that range from progressive rock and metal, to medieval and renaissance music, to jazz, to new classical, Anthony strives to create a sound that is his own. He has written for ensembles and soloists around the world.

Recent commissions include – E.G.S./A.J.L. for guitarist Matthew Cochran, Hear Us! for children’s choir and string ensemble commissioned by Otter Creek Middle School, Automaton – a concerto for 8-string electric guitar and percussion for Clocks In Motion, The Rag and Bone Shop – a song cycle for baritone and piano trio for Brian Lewis and David Small commissioned by the University of Texas Butler School of Music, Rush – a quartet commissioned by the Music Teacher’s National Association and the Indiana Music Teacher’s Association, Hommages for Piano, Book 2, for Holly Roadfeldt, and Damselfly – a duo for 8-string electric guitar and percussion for Kyle Lutes.

Anthony’s performing career began in high school while singing and playing electric guitar with his touring progressive band Canvas. His principle instrument changed to classical guitar during his undergraduate years at University of Texas at Austin where he studied with Adam Holzman. Through his graduate study at Indiana University he added renaissance lute and theorbo to his instrumental arsenal, studying with Nigel North. He has performed with the University of Texas New Music Ensemble, the University of Texas Early Music Ensemble, the Indiana University New Music Ensemble, the Indiana State University Wind Ensemble, and Clocks in Motion. He has also performed many concerts of solo and chamber music.

Anthony’s advocacy is life-long. In the nineties, he hosted a contemporary classical music radio show on KVRX in Austin, Texas. In the 21st century, he promoted fellow Indiana University composers through a web presence on Mp3.com (now defunct); created Guitar Heroes, a weekly presentation series in Second Life; and produced more than 100 episodes of his ongoing music-centric podcasts All the Cool Parts and the 1,000 Recordings Podcast. He has appeared as a guest on Soundnotion, Composer Quest, Classical Guitar Insider, Goes 2 Eleven, and The Portfolio Composer.  His new podcast 1 Track focuses on the music of the contemporary classical world.  In addition, he has exposed thousands of new listeners to contemporary classical composers by sharing this music to his more than 400,000 followers on Soundcloud.

Anthony has held several positions at multiple universities and colleges, as well as K-12 public schools. In 2016, he held an adjunct position at Butler University in addition to teaching choir and music at West Vigo Middle School. He holds a BM in composition from the University of Texas, and an MM and DM in composition from Indiana University.

Anthony currently resides in Bloomington, IN with his wife Jenna and their cats Silas and Bod.

Musician, author, composer, and arranger. Academically trained and self-taught. Being in the musical field for several years under various representations.

Harry Crowl is a Brazilian composer and musicologist (Belo Horizonte, Oct. 6th, 1958). His early music studies took place in his native town and later, in the USA, where he took composition lessons with Charles Jones, both privately and at the Juilliard School of Music. Further composition studies later, took place under Peter Sculthorpe in Dartington, UK. He has written numerous chamber, orchestral and vocal works, as well as incidental music for film and theater. His music has been performed all over the world, especially is Europe and Latin-America.

Hi, I'm Jonah Cohen, a composer, conductor, pianist, and cellist from Michigan! Feel free to check out my music on this channel, and for any inquiries, email jcohen0504@gmail.com. Thanks so much for visiting my channel!

Into The Moss is broadcast Fridays at 17:15 (repeated Saturdays at 11:45) on Resonance FM 104.4 in the London area and online at www.resonancefm.com

New tracks tagged #Contemporary ClassicaL