Stephen Alexander Foord | Classical Improvisations

Go To Artist Page

Recommended if You Like
Aaron Copeland Olivier Messiaen Samuel Barber

Album Links
Stephen Foord website

More Artists From
United Kingdom

Other Genres You Will Love
Classical: Keyboard Music Avant Garde: Free Improvisation Moods: Type: Improvisational
Sell your music everywhere
There are no items in your wishlist.

Classical Improvisations

by Stephen Alexander Foord

These improvisations sound classical in nature and may convey mood and spiritual influences better than written music. That has enabled a theory of spiritual relativity in music in my book 'The General Theory of Reality' from the cpibook delivery shop.
Genre: Classical: Keyboard Music
Release Date: 

We'll ship when it's back in stock

Order now and we'll ship when it's back in stock, or enter your email below to be notified when it's back in stock.
Continue Shopping
available for download only
Share to Google +1

To listen to tracks you will need to update your browser to a recent version.

  Song Share Time Download
1. Piano and Flute Fantasia in F-Sharp Major, Op. 2041m
3:07 $0.99
2. Piano Fantasia in C Major, Op. 1976m
2:49 $0.99
3. Piano Fantasia in F-Sharp Major, Op. 1977m
1:15 $0.99
4. Piano Fantasia in D Major, Op. 1978m
2:36 $0.99
5. Piano Fantasia in D Major, Op. 1879m
6:24 $0.99
6. Piano Fantasia in D Major, Op. 1876m
5:02 $0.99
7. Piano and Clarinets Fantasia in E Major, Op. 1829m
5:01 $0.99
8. Piano Fantasia in D Major, Op. 2030m
2:44 $0.99
9. Piano Fantasia in C Major, Op. 2027m
4:11 $0.99
10. Piano Fantasia in C Major, Op. 2031m
6:36 $0.99
11. Piano Fantasia in C Major, Op. 2036m
5:01 $0.99
12. Piano Fantasia in F Major, Op. 2037m
3:08 $0.99
13. Piano Fantasia in D Major, Op. 2038m
6:21 $0.99
14. Piano Fantasia in A Major, Op. 2039m
4:04 $0.99
Downloads are available as MP3-320 files.


Album Notes
I began to teach myself to play the piano as a Phd. student in biophysics at Bristol university. I learnt passages from Mozart's 21st concerto off by heart showing a good memory for physical movement but little aptitude for sight reading. Whilst thinking of research problems I would run off memorised passages for expression rather than to achieve formal discipline. That may be the ideal training for learning to improvise.
In a period of stress a gift for improvisation asserted itself. It was cathartic. On recording a few pieces an original composer's voice became apparent. Improvisations may be spiritually directed or conducted according to my theory of music in the book 'The General Theory of Reality' described at Personal spiritual company may influence every composer's music In a similar way to how room acoustics can influence musical expression. In 1991 I was referred to the R.N.C.M. where I learnt that my improvisations have a resemblance to French composers for organ associated with Messiaen (track 7 may illustrate) or, where spacious and sonorous, to American composers such as Barber and Copeland (track 12 perhaps). I was unable to pursue the gift due to demands of an earlier calling to straighten the foundations of physics also described in the book.
I hope one day to achieve favourable conditions to explore the gift more fully and to find friends who would like to help score and publish some pieces for the classical repertory.
This album sequence may have stress relief properties.The first few pieces were selected to help free me from the stress of insomnia. These pieces were recorded on midi virtual instruments for reasons of financial economy. The opus number ends in 'm' to indicate the number ranks its place in a series of midi recordings. The piano sound is the American Grand of the Synthogy Ivory software except for the first track which uses a Vienna software piano. The wind instruments are Vienna software. The Vienna Mir reverberation engine sets a stage for the instruments except for the piano clarinet ensemble which uses the Quantum Leap Spaces reverb.



to write a review