Before I begin, I would like to thank 
Decentralising music and art
The era of true decentralisation offers musicians and artists and other creative creators an unique opportunity. Up until now, we have had to go through middle men and gatekeepers to reach our audiences and likewise, the audience would have to endure the same trials to reach us. Whilst this may have had it's advantages, in this digital connected era, it is now a model that is old fashioned.
The idea (via platforms like Steemit and Musicoin) that musicians and artists can connect directly with their audiences without gatekeeping makes it easier for us to find our audience niche. For an audience, the reduced cost of entry means that they are potentially exposed to a larger variety of genres and groups.
Outreach
However, most of the world is not invested at all in this coming wave a decentralisation. Mostly, it is technically minded people or those who are hoping to make a quick buck without realising the true potential.
To me, Block Mountain represents the gathering of representatives from the music and artistic side of Steemit, via an album in this case, to act as ambassadors for this aspect of the Steemit ecosystem.
The idea that we rise together is important. We need to appeal to as wide a range of potential newcomers as possible. Having a wide range of music genres means that people will be able to find the niche that appeals to them and to realise that this might be a great way to directly support artists that they enjoy. As individuals, we won't make much of a splash in the wider world, together we can inform the masses that there is a better way.
My entries
Biber's Rosary (Mystery) Sonatas are 15 (plus one extra) sonatas that are based upon the 15 stages of the Christian Rosary. They are divided into three sets of the 5 Joyful, 5 Sorrowful and 5 Glorious Mysteries. This particular sonata is the Crucifixion, the 10th sonata and thus belonging to the set of the Sorrowful Mysteries.
It can be a bit of a test of endurance to play, but it has earned a place in my repertoire as a relatively impressive piece that can be brought out at short notice for a recital. This live and unedited recording was done in Australia, when I still lived there.
Performed on historical instruments at 415Hz.
This is a short little piece by Haydn. Originally coming from The Seasons for soloists, orchestra and choir, I arranged it for a string quartet so that we could use it as an encore piece. It is an amusing simple piece that is describing a young girl trying to fend off the unwanted advances of an older man. Translation in the original post.
Performed in the Hague by my group, Farinelli's Ground on period instruments at 430Hz.
Referral links
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