Neoclassical Suite is a column that will present 7 recent, distinctive tracks of the neoclassical-modern classical-contemporary -and beyond!- music field.
Jan Ove Fjeld
(neoclassical, solo piano)
Jan Ove Fjeld. b. 30 November 1979. Is a Norwegian composer/pianist/producer Genre, modern classic, minimalist. soundtrack, relaxing beautiful piano.
(neoclassical, contemporary music)
YuMe is a Dutch composer writing meditative songs in the pentatonic vein. Sometimes his piano playing is being backed by subtle far-off self made soundscapes and field recordings, almost unhearable but giving the listener even more imaginary views of a world beyond (after all, yume means dream in Japanese). Naturally, YuMe is being influenced by other minimal composers as well as his visits to Japan, but a genuine hermit follows his own path, playing and recording.
Michael Logozar is a Canadian born composer and producer based in the Nashville, TN area. He is a classically trained pianist and multi-instrumentalist whose work spans a broad range of cinematic and focus music including modern and post classical, ambient, minimal and post rock. His solo piano work has garnered him 6 album of the year nominations at Whisperings Radio and his multi-instrumental work has been featured in film and television networks such as TLC, Discovery, National Geographic and the History Channel, and in shows such as America’s Got Talent, Oprah and X-Factor.
(modern classical, solo piano)
Johan Eckman started to work with, what would later become, Sleepy Songs around 2011 since he wanted to make relaxing music for kids. He made an album, burnt it out (one copy only) and gave to a pre-school. Then he though; I might as well upload it to Spotify as well. And so he did. The project then evolved and became bigger than it was ever supposed to be. And it goes on and on and on. Sleepy Songs is all about the piano. Simple as that. Good night!
Boy in the Rain
Despite several years of very unlucky piano teachers who fell ill, died, or had to tend to some other misfortune, I somehow learned to play and read music. I gained a fascination with music at a young age, and began playing piano when I was 5 years old on a tiny keyboard that my parents bought me. I begged my parents for piano lessons, and they obliged. I was kind of a weird kid. In my teens, I began experimenting on my own, studying music theory, and writing my own tunes. My eclectic listening habits played a large part in forming my own unique voice. When I turned 18, I got my first audio recording equipment; I would record sounds and manipulate them to fit in with the piano songs that I wrote.
In college, I continued to experiment and write music. My songs were deeply personal, and I saw my songs as a sort of singing diary. I was never good at expressing my feelings with words, but it seemed to come out rather naturally as music. I started a blog where I would post songs as I finished them, not really expecting anyone else to listen to them. The online community welcomed my music, and I found myself sharing my music and ideas with other bloggers and followers. My music projects have grown to incorporate themes of nature and the natural elements, but they are still emotive and deeply personal.
As I continue to write music, I’m still fascinated and extremely grateful for the community of people that are a part of my music. Someday soon, I’d like to write music for film or video games. I’ve always had a fascination with how music can really shape the way a movie or video game is consumed. I think, as a result, some of my music is created with a story in mind. Raito, for example, is very much a concept album that follows a theme or story. I like the way this evokes a range of emotions, even if the story itself isn’t an explicit narrative. The music itself tells a story where the events and characters can be filled in by whoever is listening. I’ve always liked the ability of music to be universal in that way.
Giovanni Turchini is a Milanese-born, Melbourne-based composer. His music is an attempt to present to others the sounds and atmospheres that resonate in his mind and soul when sitting at the piano or cross-legged in silence.
Distracted by life and a career in a different sector, in the last few years Giovanni has been sitting at his 1908 Ehrbar upright, squeaky, clunking and thumping, piano every time he could, with the ambitious objective of improvising only, and never play the same music twice. He failed. Some of these improvisations were constantly returning to his mind and on the keys, and slowly and organically are now converting into compositions.
Giovanni started his music journey when he was a child, with classical training. In his teens, he moved to exploring other genres, from jazz to metal, and played in a few bands, with the most significant collaboration, as song writer and keyboards player, being with “I Figli della Vedova”. During university years, Giovanni worked at the recording studio “Idea Suono” in Milan, where he also explored the first DAWs and learnt the basic principles of midi programming and audio engineering.
In parallel, Giovanni’s worldly interests and needs, love for nature, and in particular aquatic life, and scientific curiosity took him towards pursuing an academic career. In 2004, pushed by his fascination with fish and fatty acids, and a deep love for the land down-under, Giovanni moved to Australia and now is a Professor at a faculty of science of an important Australian University.
Now, Giovanni is bringing more effort, attention and time to his music. Not having any financial string attached to his music, and having fulfilled his career aspirations in a different sector, Giovanni can freely explore and try to be as sincere as possible in his music, though his composition style has been influenced a little bit by every piece of music he has listened to.
(modern classical, solo piano)
Jiří Huska has been a composer of various musical styles including rock, jazz and classical music for many years. In 2014 he published his Preludes for Piano and Cello project.
Jiří has devoted himself to playing the Spanish guitar since his fourteen and has had the opportunity to gain experience from playing with several major Czech guitarists, most notably Miroslav Linka (jazz guitar) and Tomáš Valášek (rock guitar). Following the period of performing in various blues and rock bands, he began to compose for piano and cello. As a result, several classical preludes emerged between 2011 and 2013. For recording, Jiří recruited leading Czech soloists such as Daniel Wiesner (the Czech Philharmonic Orchestra) and Bledar Zajmi (a concertmaster-cello soloist at the Prague National Theatre). The songs were recorded in the 3 Bees studio in Prague.