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Watch this video Piano Home Sessions by Fernando Manuel- Noche de invierno (4k)

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Bernardo Sassetti: Sonho dos Outros (TIMBUKTU SOLO SESSIONS).

“Sonho dos Outros,” part of the album Timbuktu Solo Sessions, is a masterpiece that demonstrates Bernardo Sassetti’s ability to convey complex emotions through a minimalist and deeply introspective musical language. From its opening notes, the piece unfolds with a meditative calm that invites the listener to explore a dreamlike and reflective state. Through a recurring melodic motif, Sassetti constructs an intimate sonic landscape where each note seems to emerge from a hazy memory, imbuing the composition with profound emotional weight.

One of the most remarkable elements of this piece is the use of space and silence as essential components of its narrative. Sassetti employs extended pauses and resonances that amplify the emotional depth of each phrase, allowing the music to breathe and connect with the listener on an intimate level. This minimalist approach, characteristic of Timbuktu Solo Sessions, not only enhances the meditative atmosphere of the work but also reflects the tradition of contemporary European jazz, where space and atmosphere are as important as melody and harmony.

From a technical perspective, “Sonho dos Outros” relies on a simple but effective harmonic progression that supports the piece’s melodic and dynamic exploration. Sassetti’s performance stands out for his impeccable control of dynamics, ranging from an almost imperceptible whisper to moments of greater emotional intensity. This constant flow between the static and the dynamic reinforces the narrative of the work, evoking the sensation of being immersed in someone else’s dreams. It is a composition that shifts between deep melancholy and radiant hope, offering a contrast that resonates deeply with the listener.

The sudden loss of Bernardo Sassetti in 2012, at the young age of 41, adds a profoundly moving dimension to pieces like this. “Sonho dos Outros” is not only a display of his technical virtuosity and artistic sensitivity but also a testament to his ability to deeply connect with his audience. His skill in combining elements of contemporary jazz, classical music, and improvisational spontaneity created a unique style that continues to leave an indelible mark on those who listen to him. His legacy lives on through works like this, which solidify his place as one of the most poetic pianists and composers of his generation.

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Luke Howard / Hera Hyesang Park : While You Live (Breathe 2024)

The album Breathe, released under the prestigious Deutsche Grammophon label, presents “While You Live,” a collaboration between pianist and composer Luke Howard and South Korean soprano Hera Hyesang Park. This piece achieves a delicate balance between Howard’s modern minimalism and the emotional intensity that defines Park’s vocal interpretation. From the opening chords, the work evokes an introspective soundscape, with a piano flowing like a river under a melodic mist. Park joins with a voice that seems to emerge from the depths of the soul, infusing each phrase with a moving vulnerability.

Howard’s composition stands out for its deceptive simplicity. The piano moves in a hypnotic loop, creating a minimalist structure that allows Park’s voice to shine in the foreground. The text, seemingly loaded with existential contemplation, finds an ideal vehicle for emotional resonance in her vocal performance. Hera Hyesang Park uses her impeccable technique to express not only the beauty of the words but also the despair and hope that seem to pulse within them. The production by Deutsche Grammophon highlights every detail with crystalline clarity, creating an immersive experience.

“While You Live” is, in essence, an intimate dialogue between voice and piano, managing to transcend genres and traditions. Howard and Park have created a piece that is both deeply personal and universally resonant, a testament to the fragility and beauty of life itself.

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Arvo Pärt: Für Lennart In Memoriam (In Principio 2009)

Für Lennart in memoriam is a composition for string orchestra written by Arvo Pärt in 2006, at the request of former Estonian President Lennart Meri, who wished for Pärt’s music to be performed at his funeral.

The piece premiered on March 26, 2006, at St. Charles Church in Tallinn, performed by the Tallinn Chamber Orchestra under the direction of Tõnu Kaljuste, during Meri’s funeral ceremonies.

Musically, the work reflects Pärt’s characteristic style, known as “tintinnabuli,” distinguished by its simplicity and spiritual depth. The composition, approximately seven minutes in length, evokes a solemn and contemplative atmosphere, perfectly suited to the occasion for which it was conceived. The relationship between Pärt and Meri dates back to their youth when both worked at Estonian Radio in the 1960s—Pärt in the music department and Meri in radio theater.

This personal connection adds a layer of emotional depth to the piece, which has been praised for its beauty and its ability to convey feelings of mourning and reflection. For those who wish to experience this composition, it is available on the album In Principio, performed by the Tallinn Chamber Orchestra under Tõnu Kaljuste’s baton.

“Für Lennart in Memoriam,” composed by Arvo Pärt, is a work that captures the essence of the composer’s tintinnabuli style, characterized by structural simplicity that conceals profound emotional depth. The piece, written for string orchestra, lasts approximately seven minutes. Although seemingly simple, its structure is meticulously crafted to evoke solemnity, introspection, and a sense of transcendence—elements well-suited to its funeral context.

The composition begins with a homogeneous texture and a calm character, where the lower strings establish a solemn and meditative tone. This introduction creates an atmosphere of gravity and reflection, with long notes that resonate in a wide sonic space, allowing each chord to breathe and settle in the listener. The harmonic construction follows a minimalist scheme, with melodic lines that emerge and fade gradually, reflecting the influence of Gregorian chant on Pärt’s musical language.

As the piece progresses, the higher strings engage in a dialogue with the lower voices, creating a contrast between depth and clarity. This interplay develops into an emotional crescendo that never becomes dramatic but hints at a spiritual climax. The tension is built through the layering of simple melodic patterns and the use of carefully controlled dynamics, adding a level of restrained but deeply moving expressiveness.

The work concludes with a descent into silence, returning to the initial stillness and leaving the listener in a state of reflection. This circular resolution reinforces the idea of eternity and farewell—central themes in Pärt’s music and particularly in this composition, dedicated to Lennart Meri.

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Promenade d'un soir.. © Stefan Speidel

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This years tree - Jeremy Miranda , 2024.

American , b. 1980 -

Acrylic on board , 10 x 12 in.

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Stéphane Mahé, Somewhere

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Claudio Scandelli

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Pēteris Vasks :“Lonely angel”,meditation for violin and strings (Daniel Rowland )

“Lonely Angel” de Pēteris Vasks es una meditación para violín y orquesta de cuerdas que combina una profunda introspección espiritual con una técnica compositiva que bebe tanto del minimalismo como del post-romanticismo contemporáneo. Escrita en 1999 y revisada en 2006, esta obra refleja una marcada dualidad emocional: la búsqueda de consuelo y esperanza frente a la tristeza y el sufrimiento del mundo. Vasks, conocido por su música emocionalmente intensa y conectada con la naturaleza y la espiritualidad, logra crear en esta pieza una atmósfera que parece trascender lo terrenal, como si el oyente acompañara al ángel solitario en su vuelo contemplativo.

La estructura de “Lonely Angel” es fluida y expansiva, careciendo de secciones claramente delimitadas. La obra comienza con un tessitura orquestal estática y delicada, donde las cuerdas despliegan un fondo armónico sereno, construido sobre pedales armónicos sostenidos que recuerdan las texturas del minimalismo. Sobre esta base, el violín solista irrumpe con una melodía lírica y expansiva que se eleva hacia los registros más agudos. El violín, como representación del ángel, canta con un legato puro y expresivo, generando un contraste dinámico y emocional frente a la tranquilidad de las cuerdas. La sencillez de la línea melódica es aparente, pero está cargada de una profunda intensidad emocional que expresa soledad, amor y un deseo de reconciliación.

A medida que la obra progresa, la relación entre el violín solista y la orquesta se vuelve más compleja y emocionalmente tensa. Vasks utiliza recursos como crescendo y diminuendo prolongados, así como momentos de clímax que rompen momentáneamente la calma inicial, introduciendo disonancias suaves y tensiones armónicas que subrayan el conflicto espiritual presente en la narrativa musical. En el clímax, el violín alcanza notas altísimas con un sonido casi etéreo y desgarrador, mientras la orquesta intensifica su acompañamiento con texturas más densas. Hacia el final, la música vuelve a la serenidad inicial, con una coda apacible y contemplativa, donde el violín y las cuerdas se funden suavemente, sugiriendo sanación y esperanza. Esta resolución no es triunfal, sino más bien un susurro de consuelo, como si el ángel finalmente encontrara un espacio de paz en su vuelo solitario.

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Inox Lord.

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soul_crawl

'But mostly I just stand in the dark field, in the middle of the world, breathing'

Mary Oliver

📸 unknown

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“You can search throughout the entire universe for someone who is more deserving of your love and affection than you are yourself, and that person is not to be found anywhere. You, yourself, as much as anybody in the entire universe, deserve your love and affection.” — Buddha

Cosmic Lotus Buddha Talon Abraxas