Lyrics and Vocal: TaNezha (Tetyana Nizhynska)
Music: Andrii Averin

Imagination - Prosynaysa by TaNezha (no back vocal version)

The Peony Pavilion is a romantic tragicomedy play written by dramatist Tang Xianzu in 1598. The play has a total of 55 scenes and the plot depicts a love story between the young scholar Liu and his beloved Du, a maiden of sixteen, whom he first meets in a dream and later successfully marries after she has died of longing for him. The play was originally written for staging as Kunqu opera, one of the genres of traditional Chinese theatre arts.
Written for solo violin and solo cello accompanied by two antiphonal string ensembles consisting of 10 violins, 4 violas, 2 cellos, and 2 double basses, Peony Pavilion for Violin, Violoncello and Orchestra was first performed on March 12, 2009, by the National Symphony Orchestra of Taiwan. The work lasts 12 minutes and has two sections.  The first section depicts Du visiting her deserted family garden with her maidservant. The second section depicts Du sinking into a daydream in which she encounters Liu and falls in love with him; and then, the dream is suddenly interrupted. When Du wakes and realizes that all is a dream, she is heartbroken and falls ill.  Peony Pavilion is distributed by the Universal Edition.
https://www.universaledition.com/Werke/PEONY-PAVILION/P0209366

Peony Pavilion for Violin, Violoncello and Orchestra (8-minute excerpt)

The meditative, calm second movement of my Second Piano Concerto, "Confluence," is a reconstruction of a Hakka folk tune.
Yiu Kwong Chung conducts the Taoyuan Chinese Orchestra, Piano Soloist: Fan-Chiang Yi

Piano Concerto No. 2 "Confluence" 2nd Movement

This is an experimental composition about the evolution of the most brutal and ruthless carnivore (man) in four historical eras: Stone Age, Middle Ages, Industrial Age and Modern Age.

I wanted to explore and push my artistic boundaries as a composer and worked a lot with sound recordings, vocals and cello.
Check out my full-length "behind the scenes" video on YouTube to see more of the process: https://youtu.be/YuCrwUpMZxA

Many thanks to everyone who supported this crazy journey:
Daniela Fugger (italian area vocals, "feed me meat" choir)
Anne Courbier (stone-age vocals, "feed me meat" choir)

Alexander Dürlich, Alexander Weck, Amelie Courbier, Annika Fugger, Carina Miletic, Daniel Heinrichs, Dirk Steinert, Felix Kistler, Julie Courbier, Marcel Gruhn, Mauricio Berg, Sebastian Meusel, Thomas Müller, Tina Lillicotch ("feed me meat" choir)

Carnivores

Happy Now

Newman

This was a bit of a personal struggle. As a beginner cellist (1.5 years into playing) I decided to push the boundaries and perform the cello part of my piece myself. After many takes, a bit of post-processing and a lot of self-doubt this is the final result.
It‘s probably the most vulnerable piece of music I‘ve ever released and it was quite hard to let it go. So may it serve you well as consolation in times you need it and be shared among those who might need it.

The Wound That Time Won't Heal

cry me a river

I first wrote the idea for this piece about three years ago and only recently decided to return to it and take it as far as I could. I’d even call it an experiment rather than a polished track, something I explored despite its rough edges and imperfections.
It still touches me, and I hope it reaches someone who feels the same.

Beneath the Ashen Sky

A quiet memory opens
like a door you thought you’d already walked through.
Inside, something shifts — soft at first, then impossible to ignore.

A journey from idealized memory toward honest exposure,
asking whether the place you once called home
was ever really home at all.

⸻

Act I — Idealization

Innocence. Lightness. Possibility.
The way we sometimes place another person
at the center of our inner world
before we’ve learned how to stand on our own.

⸻

Act II — Collapse

The fracture.
When projection breaks, timing fails,
and the story we lived inside can no longer hold.

Here lives the grief of recognition —
where fear and old patterns
quietly undo what once felt pure.

⸻

Act III — Suspension

Not reunion.
Not resolution.

Just the space that remains
after illusion falls away —
where nothing is fixed yet,
but something is finally real.

Not arrival,
but the ability to stay.

⸻

Final Note

This track carries what I never found words for.
It ends suspended — not in perfect resolution,
but in truth held gently.

For every unfinished story
that hasn’t found its ending,
and may not need one.

Was It Ever Really Home?

I'm a web developer who compose modern classical piano and produce EDM, DnB and trap - and sometimes I like to mix it up. 

I love to make music 🫨

Was It Ever Really Home?

Trapzart