Some Kinda Way: part 1 (without)
By Connor D'Netto

Music composed by Connor D’Netto
Performed by Jason Noble (clarinets)

Produced and mixed by Connor D’Netto and Ben Gibson
Recorded at Gasworks Recording Studio by Ben Gibson and Daniel Kassulke
Mastering by Lawrence English at Negative Space
Album Art by Connor D’Netto

This project has been supported by the Australia Government through Creative Australia, its arts funding and advisory body, and the Queensland Government through Arts Queensland.

Some Kinda Way

Some Kinda Way: part 1 (without)

Some Kinda Way: part 3 (through)

Music composed by Connor D’Netto
Performed by Jason Noble (clarinets)

Produced and mixed by Connor D’Netto and Ben Gibson
Recorded at Gasworks Recording Studio by Ben Gibson and Daniel Kassulke
Mastering by Lawrence English at Negative Space
Album Art by Connor D’Netto

This project has been supported by the Australia Government through Creative Australia, its arts funding and advisory body, and the Queensland Government through Arts Queensland.

Some Kinda Way: part 3 (through)

Some Kinda Way: part 2 (over)

Music composed by Connor D’Netto
Performed by Jason Noble (clarinets)

Produced and mixed by Connor D’Netto and Ben Gibson
Recorded at Gasworks Recording Studio by Ben Gibson and Daniel Kassulke
Mastering by Lawrence English at Negative Space
Album Art by Connor D’Netto

This project has been supported by the Australia Government through Creative Australia, its arts funding and advisory body, and the Queensland Government through Arts Queensland.

Some Kinda Way: part 2 (over)

interlude/nails

Music composed by Connor D’Netto
Performed by Jason Noble (clarinets) and Shannon Luk (viola da gamba & nyckylharpa)

Produced and mixed by Connor D’Netto and Ben Gibson
Recorded at Gasworks Recording Studio by Ben Gibson and Daniel Kassulke
Mastering by Lawrence English at Negative Space
Album Art by Connor D’Netto

This project has been supported by the Australia Government through Creative Australia, its arts funding and advisory body, and the Queensland Government through Arts Queensland.

interlude/nails

The Tree Passes the Seasons

Morning Dew

In and out

Temps Passé

Return of the Swallows

The Heron Glides

Settings of three slightly surreal poems for voice+piano
· This music is intended for live performance by live musicians. The score and parts are available at https://www.crockermusic.com/
· This demo recording was performed solely by Finale®

Crocker: 3 Hansenlieder (1987)

A setting of seven poems by Mortimer Collins for Tenor voice, string trio, oboe, clarinet, and bassoon
· This music is intended for live performance by live musicians. The score and parts are available at https://www.crockermusic.com/
· This demo recording was performed solely by Finale®

Crocker: Songs from Mortimer Collins (2022)

SN Variations invites George Barton and Siwan Rhys aka GBSR. 

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Remember the days we'd stroll along Diagonal
To the apartment we were blessed to call home
Under palm trees & plane trees with squawking parakeets
You & I, punch drunk happy, with not a care in the world

The blue skies above made my heart sing
The city, we love, felt alive, vivid with everything
After all this time, we still move & groove in harmony together
Side by side, we meander the path, then, now, here & forever
  
This city, our city, my love, our life
My god I never thought we could get it this right
This city, our city, my love, our life
Maybe this time is our time to shine heavenly bright

A life odyssey is to journey, to choose adventures next to you 
Where soft shadows of gold reflect all I know to be true
This is our story, now a fond memory in flight 
Tales of warm afternoons in the Barcelona sunlight...

Odyssey

Chamber Music. 

Instrumentation: bass clarinet, 2 violins, viola, cello, contrabass. 

Performed with virtual instruments. 

Towards the Delta

AGARES 'Vocis Occultae Magistrum' - Demon No.2

Confessions Of A Pangolin

Written in December 2025. Orchestra.
Ring, Creator Unknown, 1500/1550.

Pietà (3)

It belongs to the "Journey on Guitars" series

Journey on Guitars III

Whispers in the Pines blends minimalist piano with a soft haunting tone, creating a calm and emotionally reflective soundscape. Inspired by snowy forests and the quiet hush of winter nights, this track offers warmth, space, and serenity.

Whispers in the Pines

Composer | Performer | Producer | Artist

www.connordnetto.com 

_____________________

Timo Kittilä (*1984, Tampere, Finland) has graduated in December 2016 from his composition studies at Tampere University of Applied Sciences where he was taught by Hannu Pohjannoro, Jyrki Linjama and Jovanka Trbojevic. In masterclasses he has been taught by Kaija Saariaho, Jukka Tiensuu and Tomi Räisänen. His works have been performed in Finland and abroad by numerous musicians including the contemporary music ensembles Tampering Ensemble and TampereRaw and the organists Esa Toivola and Jan Lehtola. Timo has been part of the executive committee of the contemporary music association Tampering ry since the association was established in year 2013 and has participated in organizing the Tampering Festival of years 2014, 2015, 2017, 2019 and 2022.

Recent performances of Timo’s works include his work Chants for chamber ensemble performed at the Tampering Festival 2022 in Tampere, Finland, August 2022.

As a composer, Timo is inspired by the interplay of the conscious and the unconscious in music. His musical language and composing method have evolved from using the broader form of a work as a starting point and working towards the details to a more detail-oriented perspective and the emphasis of contrapuntal motion in his latest works.

Contemporary classical composer
Check out www.nicholasvines.com for more information; CD available from http://www.navonarecords.com/catalog/nv5915/

Nicholas Vines’s compositional approach is firmly rooted in the technical resources of the Western classical canon, from plainsong and sixteenth-century counterpoint to recent advances in instrumental technique and electroacoustic technology. At the same time, every opportunity is taken to embrace sounds and ideas from an array of popular, experimental, Australian and non-Western traditions. This combination of rigour and pluralism – stemming from the composer's own heritage, his wide-ranging interests and the communities in which he lives and works - gives rise to music at once vectored and kaleidoscopic. Nostalgia, satire and farce often result from the inherent friction.

At their best, Nicholas Vines’ compositions evoke a sense of naïve idealism at loggerheads - for better or worse - with the realities of the world. Sometimes the music loses itself in innocent physicality or elaborate fantasy, doggedly avoiding the tendrils of cold, hard fact. Often, however, it can’t escape, leading to various states of self-denial, self-mockery, decay and decadence. This on occasion can make the listening experience uncomfortable, even frustrating. Nevertheless, it is hoped through such intellectual and psychological challenge, the music's essential moral and visceral beauty becomes all the more poignant.

Leicester-Leeds-London-Barcelona-Monte Carlo....Church Stretton, Shropshire😳

Soundtrack/Project Demos...raw, lacking finesse & at varying degrees of gestation...😃

Sometimes I'm still a little creative
With a tendency to stare into the past
Gotta keep on moving forward
To write a love letter to treasure
& a legacy that perhaps may last

Disclaimer: 100% Human Made Music

The home for the music of:

Lorin Jones-Stubbs
Panda!
ABC For Giants
Red Dog
The World Famous Camel Tamers
Pocket Zoo
Made From Salvage
The Musical Johnson Parade
Mind Buggering Noise

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Australian composer, born 1960, married to Clare Maclean (New Zealand/Australian composer). The first series of paintings used on my Soundcloud sight were by my father, Barry Carroll. I have used other painters since then. There is a wide variety of music here: recent compositions, pieces written in my thirties, student works, and pieces written in my teenage years. Its mostly based on Finale versions of my scores. There is a full list of my Soundcloud pieces at https://john-carroll-poems.com/soundcloud-recordings/

Soon after I started learning piano I began composing. At university I studied with Peter Sculthorpe (1978-81) [and earlier, with Martin Wesley-Smith, Moya Henderson and Eric Gross]. My style was modernist (In Terra Pax, Sonata for Two Pianos and Horn, Qui Tollis). After my studies I felt drawn to tonality. Many of my pieces were written during my thirties. My style is often tonal, sometimes using the structures of classical music, sometimes incorporating traditional melodies, aiming to express a sense of the timeless goodness in existence. I became a pastor. There was a twenty year exile from composition, during which time I started writing poetry. 

In 2018 I began composing again. Over 1950 new works have been written, each one canonic - using Plainsong, Jewish cantillation, Scottish pibrochs, Icelandic music, early transcriptions of Aboriginal music, Breton and Northumbrian melodies, Gaelic psalms, Irish and English tunes, Welsh folk songs, and my own melodies (and an extended series of works that accompany paintings) "joining our voice to a great communal voice that calls out across the centuries" (Ben Myers). Bruckner greatly influenced me when I was young. May I also create melodies that "arc from heaven" (Colin Davies). 

Facebook: https://www.facebook.com/profile.php?id=100025651981505
Poetry: https://john-carroll-poems.com/ 
Email: yomechad7@gmail.com
Thesis: https://john-carroll-poems.com/lament-and-homecoming-1/

New tracks tagged #Contemporary Classical