DAVID TANTAMA

Listening to this song tugs my heart and I just can't seem to get enough so I made a cover. Fun fact: The co-writer and composer of this song Tan Boon Wah is also the same person who composed my single 《怎么习惯一个人》. I hope y'all like it, if you wanna find out more about me do follow me on my Instagram/Tiktok @adentyz

Symphony No. 104 (Adagio – Allegro) 1st mov. - Joseph Haydn by Amadeus Symphony Orchestra conducted by Prof. Henrik Hochschild Event: Journeys to London Date: 15 March 2020 Place: Yayasan Musik Amadeus Indonesia A month ago, we had a "home concert" with Prof. Henrik Hochschild. It was supposed to be our "Journeys to London" concert which had to be cancelled due to the COVID-19 pandemic. Instead, we recorded the concert pieces after only three days of rehearsal.

The Hebrides (Fingal's Cave) - Felix Mendelssohn by Amadeus Symphony Orchestra conducted by Prof. Henrik Hochschild Event: Journeys to London Date: 15 March 2020 Place: Yayasan Musik Amadeus Indonesia A month ago, we had a "home concert" with Prof. Henrik Hochschild. It was supposed to be our "Journeys to London" concert which had to be cancelled due to the COVID-19 pandemic. Instead, we recorded the concert pieces after only three days of rehearsal.

Concerto for Two Violins in D Minor, BWV 1043 - Johann Sebastian Bach by Capella Amadeus conducted by Prof. Henrik Hochschild Soloists: Darren Tantama & Hannes Hochschild Event: Leipzig Meets Jakarta Date: 8 August 2019 Place: Pusat Perfilman Usmar Ismail, Kuningan

Nouvelle fantaisie sur 'Faust', Op.13 (Pablo de Sarasate) by Amadeus Symphony Orchestra Violin Soloist: Clara Schreiber Event: Overtures and Fantasies Concert, celebrating YMAI's 25th birthday Date: 24 August 2017 Place: Pusat Perfilman Usmar Ismail, Kuningan Sarasate wrote Concert Fantasy On Themes From Gounod's 'Faust' in 1874 for violin and piano and as with many of his other fantasies on popular works by other composers, he made a version for soloist and orchestra. The French composer Charles Gounod is remembered mostly for his operas, with Faust being his most popular. The opera was loosely based on Johann Goethe's play Faust : eine Tragödie, Part One. The legend of Faust, a scholar that trades his soul to the devil so he can gain unlimited knowledge and worldly pleasures, is a German legend that was first published in 1593, but the legend is probably much older than that. Goethe's version was published in 1808, with a second part published after his death. The work begins with dramatic chords, devilish harmonies played by the orchestra. The soloist enters with demonic double stops and the fireworks begin straight away. After some appropriately heavy and 'damned' music followed by more lyrical music, Sarasate segues to music from Act 2, At The City Gates. Faust has already made his pact with Méphistophélès. At the city gate Méphistophélès sings his aria Le veau d'or (The Golden Calf), a spiteful song about greed and the wickedness of man. Sarasate translates some of the harshness of the original with the embellishments he gives to the aria. The set of themes are from the Garden Scene, Act 3 of the opera. Méphistophélès and Faust are in Marguerite's garden where Faust attempts to seduce her. Faust kisses her, but she sends him away. But soon she longs for him and calls for his return. The final theme used is from the final scenes of Act 2, the famous Waltz From Faust.

Fantasy on Themes from Bizet’s Carmen (Francois Borne) by Amadeus Symphony Orchestra Flute Soloist: Emma Hochschild Event: Overtures and Fantasies Concert, celebrating YMAI's 25th birthday Date: 24 August 2017 Place: Pusat Perfilman Usmar Ismail, Kuningan Francois Borne was a classical composer, a principal flute player for the Grand Theatre of Bordeaux, and a professor of flute at Toulouse Conservatory in the closing years of the nineteenth century. He was a renowned authority on flute design, and is recognized as an important contributor to the development of the modern flute’s split-E mechanism. Fantaisie Brillante pour la Flute was written in 1900, and orchestrated in 1990 by arranger Raymond Meylan. It is the only surviving piece written by Borne for flute (even though the composer wrote many pieces featuring the flute). The piece highlights the full range of the instrument, fulfilling Borne's desire to write pieces showcasing the abilities of the flute, and challenging the abilities of the flute soloist. Thus the Carmen Fantasy uses several themes from that opera which are very familiar to the public, and explores several variations on these motifs, highlighting both musical and technical aspects of flute performance. The Fantasy starts with an extended orchestral introduction followed by a flute introduction. The Andante moderato explores the famous “fate” theme from the opera with a flute variation following. The famous “Habanera” theme is stated next in an Allegretto quasi Andante section which in turn is followed by two flute variations. The last section entitled Chanson de Boehme et Final is often excerpted and played alone as a tour de force for the flute player. Traditionally—although it is not written in the score—flute players often add an exciting final flourish to the ending by adding an extra high “E” to the last chord— a note which is not even an “official” note in the flute’s range and is not found in standard fingering charts!

Flute Concerto No. 2 in D Major, K. 314, 1st Mov. - Wolfgang Amadeus Mozart by Neo Capella Amadeus Chamber Orchestra Flute Solo: Emma Louise Hochschild Event: Neo Capella Amadeus 2016 Concert Date: 16 May 2016 Place: Pusat Perfilman Usmar Ismail, Kuningan Wolfgang Amadeus Mozart was born in Salzburg, Austria. He was a prolific and influential composer of the Classical era, who is widely recognized as one of the greatest composers in the history of Western music. With Haydn and Beethoven he brought to its height the achievement of the Viennese Classical school. Unlike any other composer in musical history, he wrote in all the musical genres of his day and excelled in every one, from his beloved Eine Kleine Nachtmusik for Chamber Orchestra to the grand Magic Flute opera. His taste, his command of form, and his range of expression have made him seem the most universal of all composers. For nearly two hundred years, scholars believed Mozart’s Flute Concerto No. 2 in D major, K. 314 (K. 285d) was originally composed for the flute in Mannheim in early 1778. In 1952, musicologist Bernhard Paumgartner demonstrated conclusively that Mozart reworked the Oboe Concerto in C major, K. 271k, into a concerto for flute. Mozart composed the Oboe Concerto for Giuseppe Ferlendis, an oboist in the orchestra of the Archbishop of Salzburg. Mozart’s Flute Concerto in D major, K. 314, is an honest reworking of the oboe piece, not merely a transposition from C major to D major. The composer’s sensitivity to the differences between the flute and the oboe enabled him to produce a flute part so idiomatically composed that subsequent generations praised the work as an original flute concerto. The concerto is scored for an orchestra of two oboes, two horns and strings.