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Heidi Breyer

Frenchtown, NJ      

Five award winning piano Instrumental albums, contributions to others artist creations (including Pete Seeger’s Grammy Nominated Musical Auto-biography just prior to his passing) and performances world-wide, were enough to compel Heidi Breyer to explore a wider scope of compositional form and output. Over the last several years she was asked many times, why on earth would she, now, write a Requiem? Her answer was simple…

“My music is a dichotomy of emotion. Hope, joy, pain and victory, all of them. It acknowledges light and dark contrast in the depths of the human condition, and paints sonic portraits that sometimes we don’t want to look at, or feel, because they remind us of our past, of our present and of our truths. But if we pause and dare to look right into that present moment, into the truth which stares us in the face, if we can steel ourselves to do it, we can still move forward, renew and revive. Understanding this, is the only way.

From observations over the last 6 years I have held a foreboding presentiment that our precious world is in gradual decline, in many ways having fallen off its moral axis, leaving many perplexed and confused about their own lives and values. Until recent years those values were predominantly founded on simple day to day living, in the knowledge that work and love of life and the will to live would provide a future and at the very least a peaceful existence. That pattern of life has corroded, leaving a vast global population with poverty, famine, disease and even in the first world, people go hungry and are unable to plan from one month to the next. All of this threatens our core faith, faith in our belief systems and in mankind generally. With this elucidation, it is clear that until the very end of the Requiem my work represents the antithesis of Aaron Copeland’s Fanfare of the same name, which was written in response to the social and political exuberance of his time.

In the last movement, the In Paradisium, we finally break through to the experience of rebirth and renewal of mankind and humanity evidenced through sheer bliss of the musical canvas…the prevailing of mankind over his own destruction and ultimately the sincerity of our lightness of being. Now I just need to record it. ” 

Moonlight In Empty Rooms

Title Track from Heidi’s Award Winning 5th album Moonlight In Empty Rooms, a collection of pieces for piano and violin depicting 12 of the 500 paintings of oil painter, Alexander Volkov.
Moonlight In Empty Rooms is the musical response to a painting of an empty room, illuminated only by the moon which pays homage to all the memories contained therein and all that will still come to pass.

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All The Good Things

Heidi Breyer on Piano, from her award winning album Letters From Far Away, 2015, with Eugene Friesen on Cello, Jill Haley on English Horn.

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Unfinished Conversation

Opening track from Heidi’s 2018 award winning album, Moonlight In Empty Rooms. Heidi on Piano and Charlie Bisharat on violin. Written in response to the first image on the video of two glasses and a extinguished candle. This is an oil painting by Alexander Volkov called Unfinished Conversation for which the piece was written.

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