i. am. speed. 
(a playlist for typing at extremely fast speeds due to hella procrastination)

speed

Claire De Lune

Alexandre Desplat - New Moon

I was inspired by 'Diagnosing genius: the life and death of Beethoven' by Martin Mai. I'm really into his dark way of composing, and haven't played anything of Beethoven yet. Also the video lectures of Jonathan Biss at the Curtis institute of music, gave me lots of help. So this month's classical piece will be the Piano Sonata No. 14 in C-sharp minor (Op. 27, No. 2) - written by Beethoven, also known as the Moonlight Sonata (completed in 1801). 

So the process took me 3 days to study the sheets and in the end it was recorded by Feau, who did a great job mixing and mastering the piece.

Moonlight Sonata, Piano Sonata No. 14 in C-sharp minor (Op. 27, No. 2) Beethoven - by New Hansen

New England Conservatory President Emeritus and Walter W. Naumburg Chair in Music, Laurence Lesser Bach: Suite for Cello solo no 1 in G major, BWV 1007. Recorded live in Jordan Hall, Boston, by Alex Hug

Bach: Suite for Cello solo no 1 in G major-Prelude

Recordings of the Amarillo Symphony performances on September 20 - 21, 2013. Conducted by Jacomo Rafael Bairos at the Globe-News Center for the Performing Arts in Amarillo, Texas.

Beethoven's Symphony No. 7 in A major, Op 92 II. Allegretto

The 'lost track' from the 'Sunshine' Soundtrack is finally released.
https://itunes.apple.com/us/album/astro-sunshine-mix-single/id787252516
https://play.spotify.com/album/0lzxotn0AkRt6KSTId1yZG

Get it on iTunes

ASTRO-Ø (Sunshine Mix)

My take on Chopin's saddest little prelude.  Two and a half minutes of ache.


Chopin Prelude No. 4 In E Minor, Op. 28

[Her]OST `Song On The Beach`

Rain Song

https://www.facebook.com/Lena.Violin/posts/888979737979655                   My violin with wonderful piano sound of Dirk Maassen.
Enjoy !!

Night Falls

Night Falls - Dirk Maassen feat. Lena MolFa #follow me on spotify

Bach - Marcello Adagio .... Concerto In D Minor

Quarto Tempo

Oceano

"Rey's Theme", from Star Wars: The Force Awakens, transcribed for piano

Download score (PDF): http://s000.tinyupload.com/index.php?file_id=01207945711447849346

Download MusicXML:
http://s000.tinyupload.com/?file_id=60809696114354643855

Transcribed and sequenced on Finale 2014.5

Rey's Theme (piano transcription)

Chopin - Nocturne in C sharp minor by Nana Peradze  
The Chopin nocturnes constitute 21 short pieces for solo piano written by Frédéric Chopin between 1827 and 1846. They are generally considered among the finest short solo works for the instrument and hold an important place in contemporary concert repertoire.

Nana Peradze plays CHOPIN, Nocturne in C sharp minor

Cristofori's Dream...Re-Envisioned

Cristofori's Dream

Sonata Pathetique - Beethoven

Samuel Barber Adagio For Strings

Ludwig van Beethoven - Melody of Tears

Monti-Csardas

For more information visit: http://www.klassikakzente.de/recomposed/home 

Some works are so familiar that it is almost impossible to hear them afresh, but that is what Max Richter has achieved with Vivaldi “Recomposed”. This is no mere arrangement; instead Richter has absorbed Vivaldi’s The Four Seasons into his own musical bloodstream. At first Richter followed the example of other works in the “Recomposed” series, which re-mix existing recordings, but, he says, “I wanted to open up the score on a note-by-note level, and working with an existing recording was like digging a mineshaft through an incredibly rich seam, discovering diamonds and not being able to pull them out. That became frustrating. I wanted to get inside the score at the level of the notes and in essence re-write it, re-composing it in a literal way.”Richter calculates that, in the process, he has discarded around three-quarters of Vivaldi’s original. He opens with what he describes as “a dubby cloud which I’ve called Spring 0. It functions as a sort of prelude, setting up an electronic, ambient space for the first Spring movement to step into. I’ve used electronics in several movements, subtle, almost inaudible things to do withthe bass, but I wanted certain moments to connect to the whole electronic universe that is so much part of our musical language today.” Other resonances are no less unexpected: Richter describes part of the first movement of his Summer as “heavy music for the orchestra. It’s relentless pulsed music, which is a quality that contemporary dance music has; and perhaps I was also thinking about John Bonham’s drumming. Then, in the second movement of Autumn I asked the harpsichordist Raphael Alpermann to play in what is a rather old-fashioned way, very regularly, rather like a ticking clock. That was partly because I didn’t want the harpsichord part to be attention-seeking, but also because that style connects to various pop records from the 1970s where the harpsichord or Clavinet was featured, including various Beach Boys albums and the Beatles’ Abbey Road.” Clearly, Richter has brought his own frame of reference to the project. As he says, “Vivaldi’s music is made of regular patterns, and that connects with post-minimalism, which is one strand in the music that I write. That felt like a natural link, but even so it was surprisingly difficult to navigate my way through it. At every point I had to work out how much is Vivaldi and how much is me. It was difficult but also rewarding because the raw material is so fascinating.”Just as Richter’s Seasons plays tricks with the way we hear Vivaldi’s original, so it also asks questions of the soloist, Daniel Hope. “Violinists have Vivaldi’s The Four Seasons hardwired in their brain. Daniel is likely to play the original I don’t know how many times in a year, and for him to have my parallel text going on in another part of his brain is a challenge. I think he did a wonderful job. He brought to it a deep engagement with the original, but he was fully prepared to cut this new swathe through the text.”


speed

lea/g