A hushed confession carried by rosin rich strings, warm tom and conga pulse, and electric arpeggios—an intimate ritual where ordinary things hold the weight of what can’t be said.

Clean Mouth

“Sonhos,” by Peninha, was released in 1977 and became one of his signature songs, built around a deeply emotional reflection on love, loss and memory.  In my version, the song is reimagined as an intimate MPB ballad led by a mature female vocal, nylon-string guitar, piano, organic bass and delicate percussion. A restrained string quartet gradually expands the arrangement, giving the song a more cinematic arc while preserving its melancholy, tenderness and eventual sense of resilience.


Sonhos

'Miracle of Fátima' (2026) premiered by Aldubáran on 7 July 2026 at Hátún, Tórshavn, Faroe Islands. Audio by Heini Ragnarsson.

On October 13, 1917, tens of thousands people witnessed a fantastical display in the sky above the Portuguese town of Fátima. In the months leading up to the event, three shepherd children claimed to have been visited by an apparition of the Virgin Mary who told them she would perform a miracle on that day.

On the day prophesied, approximately 70,000 people gathered in anticipation of the miracle. When the clouds parted after a period of rain, the sun appeared as a spinning disk giving off multicolor lights. At one point, it plunged towards the earth, frightening the masses, before zig-zagging back up to its original position. The display lasted for about ten minutes.

To this day, the event remains a mystery. Could it have been natural aerial phenomena? Optical effects caused by staring at the sun? A visitation by a UFO? Or a true miracle? In any case, tens of thousands of witnesses experienced something on that day. The event has since become known as the Miracle of the Sun or the Miracle of Fátima.

Miracle of Fátima

From the world of The Secret of Nimh. Explore what happens at night in the Rosebush.

Moonlight Mischief in the Rosebush

A sequence of breaking and reforming string quartet chords that bracket and turn focus to a field recording of a Dublin city marina.

Berth

Ecorces - 3 pièces pour quatuor à cordes.

La main sur l’écorce d’un arbre. 
Un geste tout d’abord, puis une sensation, une multitude de sensations.
Ma paume collée, mes doigts courbent 
Un monde se dessine dans l’infini détail de proximité que j’entretiens avec cet épiderme végétal.

Si je frotte, j’arrache.
Si je touche, je caresse.
Si j’effleure, j’écoute.

Écorces est une pièce en trois mouvements pour quatuor à cordes construite autour de l’idée d’une traversée sensible entre l’auditif et le charnel.
Chaque mouvement met en jeu un rapport spécifique au son, de la résistance et de l'extraction de la matière jusqu'à une écoute plus attentive de ses transformations internes. La pièce s'attache aux variations de texture, aux états intermédiaires et aux évolutions progressives du timbre.

00:00 Ecorces I 
09:31  Ecorces II
15:59  Ecorces III

Composition : Samuel Housse

Quatuor Soare :
Clémentine Gaumart - Violon 1
Lorenzo Moldovan - Violon 2
Baptiste Athanassiadis - Alto
Matthieu Chamblas - Violoncelle

record : Lucien Basdevant
Mix : Samuel Housse

Ecorces - 3 pièces pour quatuor à cordes (2026)

I've long been fascinated by the experience of uninterpretable, meaningful utterance, like watching conversations within our local Polish or Nepali communities. Here, I'm trying to find a strictly musical analogue for the vocal, physical and emotional gestures and articulations a solo actor might employ, i.e. everything except the meaning!

Density of Ages, Destiny of Sages

Sand Prayer (2026)
Composed by Amelia Clarkson.

The Talland Quartet perform the live premiere of string quartet Sand Prayer at Mourne Chamber Music Festival.

27th August 2026. Newcastle, County Down, Northern Ireland.

Sand Prayer (2026) - string quartet - Talland Quartet live performance

Undecima began many years ago as a short electronic composition originally titled *Web Loop*. At its center is a persistent rhythmic and melodic ostinato built in 11/8, an intentionally asymmetric cycle that repeats often enough to become familiar while never quite settling into the symmetry the ear expects.

The original recording used electric piano, xylophone, guitar and synthesizers. Beneath those electronic colors, however, the eleven-beat pattern created opportunities for overlapping melodic lines, shifting harmonies and counterpoint that the original realization could only partially reveal.

For this new version, I gave that original performance to Suno v6 and asked it to reimagine the work for string quartet.

The transformation preserves the asymmetric pulse and recognizable musical identity of the original while allowing the material to unfold through four independent string voices. The ostinato becomes a kind of gravitational center: melodies can cross its boundaries, contrapuntal lines emerge and disappear, and changing harmonies continually alter the character of the repeating cycle.

The final four-minute work was assembled from two different Suno realizations, selecting and combining material to create the finished form presented here.

What interests me most about Undecima is the contradiction at its core: repetition creates stability, while asymmetry keeps that stability from becoming predictable.

🎹 Hear where Undecima began:

Listen to the original Web Loop recording, the musical source from which this string-quartet realization was created:

https://youtu.be/sQPbTPWNoGE

I recommend hearing the original and then returning to Undecima. The comparison reveals how the same musical material can take on an entirely different dimension when its inner voices and rhythmic possibilities are allowed to unfold through a string quartet.

Eleven beats. The same musical idea. A new perspective.

Original composition and source performance: Otoniel Rojas
String-quartet realization: AI-assisted using Suno v6
Final selection and assembly: Otoniel Rojas


Undecima

Caustic patterns: the fleeting, infinitely complex geometries formed by light refracting through moving ocean water, serve as the central metaphor for this work. This piece directly invokes Tōru Takemitsu’s lifelong obsession with water as a symbol of fluid time and transformation, capturing that same suspended, luminous naturalism found in ‘From Me Flows What You Call Time’.

Harmonically , the music occupies the lush, evocative realm of Takashi Yoshimatsu, blending pristine crystalline textures with an intense lyricism. While each player is often directed to operate with high autonomy, they remain bound to a collective, wave-like momentum which increases in intensity, tracing a cyclical journey that pulls the quartet from the very edge of silence before
dissolving back into light.

The Woven Tide | 2026 | - [String Quartet]

An Irish singer from Laragh now based in Cáceres crafting nocturnal songs

- Part Pianist, part composer, part poet, part IT technologies technician/programmer, 100% musician. -

Otoniel Rojas is a Dominican pianist and composer celebrated for his unique fusion of classical music with the rich rhythms of his homeland. Born in Santo Domingo, Dominican Republic, he was immersed in a vibrant musical environment from an early age. His father, an accomplished musician, served as the principal flutist and later as the piccolo player in the National Symphony Orchestra of the Dominican Republic, instilling in him a profound appreciation for music.

At just seven years old, Rojas began his formal music education at the National Conservatory of Music, initially focusing on the violin. Simultaneously, he nurtured a passion for the piano, teaching himself to play and developing exceptional sight-reading abilities. His prodigious talent quickly became evident as he accompanied his father in numerous public performances, church services, and television appearances across his native country.

Determined to refine his pianistic skills, Rojas pursued formal piano instruction, excelling in performance, counterpoint, music theory, and solfège at the conservatory. Despite his musical successes, he briefly explored an engineering career at the Universidad Autónoma de Santo Domingo (UASD). However, his unwavering dedication to music led him to resume his artistic journey.

Seeking broader horizons, Otoniel relocated to the United States to study at Brooklyn College of the City University of New York—a hub for international students and a springboard to esteemed institutions like Juilliard. Under the mentorship of acclaimed pianist Agustin Anievas, a celebrated American classical pianist known for his recordings of Chopin and Rachmaninoff. Under Anievas' tutelage, Rojas flourished, graduating with a Bachelor's degree in Piano Performance, earning the distinction of Cum Laude. His exceptional musicianship was recognized when he won the conservatory's piano competition, performing Beethoven's Piano Concerto No. 3 with the college orchestra.

Deeply involved in the college's musical community, Rojas participated in chamber music ensembles, served as a piano accompanist, and sang in both the specialized chamber choir and the conservatory choir. He expanded his compositional skills under the guidance of Robert Starer, an Austrian-born American composer known for his contributions to contemporary classical music. His collaboration with the university's ballet program led to his composition "A Passing of Moment" being incorporated into the ballet's repertoire, which was performed internationally by the university ballet in Prague.

To further diversify his expertise, Rojas studied conducting with Karoly Kope, chamber music with Stoddard Lincoln and Marion Feldman—a distinguished cellist and professor at New York University—and delved into music history under H. Wiley Hitchcock, a leading authority on American music.

Upon returning to the Dominican Republic, Rojas continued to compose and perform. He was commissioned by the Sinfónica del Cibao to create "Mozartina," an orchestral piece that masterfully intertwines traditional merengue rhythms with themes from Mozart's "Jupiter" Symphony. The work features the tambora, a traditional Dominican percussion instrument, symbolizing a fusion of his classical training and cultural roots. "Mozartina" premiered with the Sinfónica del Cibao and was later performed in a revised version by the National Symphony Orchestra in Santo Domingo under the baton of Caonex Peguero, a prominent Dominican violinist/conductor/composer.

Today, Rojas continues to share his music with audiences worldwide. Through platforms like SoundCloud and published sheet music, he brings a unique blend of classical and Dominican musical traditions to listeners and performers alike. His journey reflects a lifelong dedication to music and a commitment to bridging cultures through his art.

Composer of Contemporary Classical Music & Soundtracks for Film/TV.
Christmas at Plumhill Manor (2024) - US Lifetime
2022 Royal Liverpool Philharmonic Rushworth Prize Winner
2022 Brookwright IBBCC Winner

Amelia is a Northern Irish composer. Her work moves between stage and concert hall. Recent highlights include music for the Ulster Orchestra, National Symphony Orchestra of Ireland, BBC Scottish Symphony Orchestra and Dutch National Ballet.

She is a current PhD candidate at the RNCM.

Gabriel Felsberg is a Brazilian guitarist and songwriter based in Toronto. His music draws from Brazilian rock, blues, and folk influences — blending soulful storytelling with honest, genre-versatile compositions across folk, blues, gospel, and original work.

Gabriel performs as a solo artist and leads a roster-based live music business, collaborating with Toronto musicians to create custom live experiences for events and venues. His approach is straightforward: understanding what each event needs, assembling the right musicians, and delivering music that connects.

When composing, Gabriel treats songwriting as craft — building arrangements with intention and collaborating with producers like Roney Giah (Brazilian producer and director) on fully realized recordings. His work is rooted in real musicianship and human performance.

New tracks tagged #string quartet