Looking for a right musical piece

[ChangingTunes]

Hello, my dear friends!

I'm looking a background music for a presentation - the short beginning starts slowly, but changes to go faster, with joy, showing positive and happy moments. Crescendo.
Then, suddenly, a bad thing happens - I need resolute / strict pause continuing with a sad melody. Part, when you're confessing. Crying. And finally, a renaissance. Bright future. Better tomorrow.

Could we find something like this? Ideally performed on a piano.

So far, I have this:
1. Beginning + crescendo: (Phillip Glass - Mad Rush) https://www.youtube.com/watch?v=_hMw1C6fPt8&t=31m45s - until 32:15, then cut to:
2. Bad thing, sad moments: (Phillip Glass - Metamorphosis 2)  https://www.youtube.com/watch?v=_hMw1C6fPt8&t=6m37s
3. Joy: nothing so far. Ideally from the same author, but it would be enough to find the same "style", the continuum.

For me, it's missing some happiness, some spring, some "cute & bright" tones. I think Ludovico Einaudi could be the one, but I need more time.

I'd be grateful for any advice. I'll show you the final video when we find the right one. It'll be nice thing, I hope Thanks a lot to everyone!

[Monsieur Croche]

Hard Facts -- any of the music of Philip Glass and Ludovico Einaudi will be under copyright, as well as the actual recorded performances of any of their works, regardless of who the performers are.

Softer facts -- Philip Glass' work has some fans and it has been and can be successful as film underscoring, while within the classical community there are a fair number who think his music some of the barest, least successful, and most boring / irritating from the more successful of the contemporary classical composers.  Einaudi is pretty much reviled as a highly polished new-age style composer, a hack, and a sell-out;  most consider his music, at best, pops classical, or contemporary new-age style pop music.

Even if your presentation is in a school environment or for another sort of non-profit organization, technically, you should have permission from the copyright holders, and a printed acknowledgement listing the music is usually part of that protocol -- not that many do this, but just sayin'.

An interesting optional route is to find a young pianist  / composer who can come up with something appropriate and who is willing to do the work for the experience or for the exposure [i.e. public acknowledgment.] This could be easily pre-recorded or even performed during the presentation, live, using a digital keyboard.

The mentality that anyone can 'just use' music and recordings under copyright without permission or acknowledgement is the big deal to me... at least name and acknowledge the composers, and list the recordings so any who are interested can follow through and purchase the music if they are attracted to it.

'The Music' is not just laying about, made by slaves, to be used however Joe or Jane Blow wishes and to their own ends.

Best regards.

[ChangingTunes]

Monsieur Croche, this was one very proper, useful and educating answer. Thank you very much.

I always wanted to know how are these modern composers seen / considered inside a community that understands classical music.

Before I ran into Glass and Einaudi I was also looking for something "really classical" - Chopin has very nice piano nocturnes (the beginning of my story could be "Op. 9, No. 1 in B flat minor. Larghetto") or Back, Beethoven - these composers and their music, it is just a heaven for me. Music from another planet. And it was created so long ago. Unbelievable. But I am not a musician, I don't know all the background about them.

I have a strong respect for copyright and I understand what you're saying - what would be the case if I'd use a piece from Chopin? Is there some copyright holder now? Anyway, mentioning authors and names is a "must", of course.

[Monsieur Croche]

Thank you very much.

I always wanted to know how are these modern composers seen / considered inside a community that understands classical music.

You're welcome, of course.

My pointed comments on Philip Glass and Einaudi are wholly my own. If you do a search of various classical fora and view a few threads about these composers, that 'split' I mention on who does or does not care for Glass is accurate enough.  I think, too, that from the classical community viewpoint, Einaudi is generally not thought of as classical or of any real interest.

I have a strong respect for copyright and I understand what you're saying - what would be the case if I'd use a piece from Chopin? Is there some copyright holder now? Anyway, mentioning authors and names is a "must", of course.

Even older recordings of repertoire now in common domain are under copyright.  I seriously doubt if you are making a presentation where using any music of any sort would set off any alarms or real concerns about whatever music you chose. Short segments of music, used in a student presentation, are often left alone. [Besides, agencies patrolling YouTube have many larger fish to fry, lol.]

Newer music, older public domain with the recording itself under copyright is plain difficult to avoid; there are sites with freely available 'stock' music which anyone is free to use.

The hard to avoid copyright issue is the very practical reason pro film-makers hire a composer to write original music.  Again, that is one kind of generic contract, composer hired, paid once, with the producers / studio owning the copyright. Tracking royalties of music already under copyright, how many sales, viewings, etc. is a nightmare, and adds a great deal of accounting costs... ergo the 'original' score, even if, as is so often the case, the directive given the composer is ''I want something that sounds like; Chopin / Glass / Einaudi / Rachmaninov, etc.

One of the best examples of this economic dynamic is illustrated by ''The Warsaw Concerto,'' a piece from a film-score specifically composed to sound like Rachmaninov...
https://en.wikipedia.org/wiki/Warsaw_Concerto#Background


Best regards.