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Daniele Scochet & Pietro Spanghero | Tramonto Arancio

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Jazz: Jazz-Pop Blues: Acoustic Blues Moods: Featuring Piano
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Tramonto Arancio

by Daniele Scochet & Pietro Spanghero

Here we finally find solid structural elements, unity and cohesion in a rough, essential, ancient atmosphere. Elegance emerges from harsh sounds, unadorned quivers, leading through endless plains and oceans, stretches of valleys, vineyards and granaries.
Genre: Jazz: Jazz-Pop
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  Song Share Time Download
1. le cose che contano
Daniele Scochet & Pietro Spanghero
4:23 $0.99
2. danza macabra
Daniele Scochet & Pietro Spanghero
4:12 $0.99
3. il gioco
Daniele Scochet & Pietro Spanghero
2:33 $0.99
4. avventurosa (bagatella)
Daniele Scochet & Pietro Spanghero
4:24 $0.99
5. compagni di viaggio
Daniele Scochet & Pietro Spanghero
3:32 $0.99
6. favola dell'addio
Daniele Scochet & Pietro Spanghero
2:50 $0.99
7. un pianista
Daniele Scochet & Pietro Spanghero
2:06 $0.99
8. riflessi sull'acqua
Daniele Scochet & Pietro Spanghero
2:06 $0.99
9. ragazza, presto
Daniele Scochet & Pietro Spanghero
1:43 $0.99
10. tramonto arancio
Daniele Scochet & Pietro Spanghero
3:04 $0.99
Downloads are available as MP3-320 files.


Album Notes
"Orange Sunset": A short interpretative approach

In Orange Sunset we find solid structural elements, unity and cohesion, in a rough, essential, ancient atmosphere.
Elegance emerges from harsh sounds, "unadorned quivers", musical and literary research that lead through "endless plains and oceans, stretches of / valleys, vineyards and granaries".

The first measures introduce the serene arrival of the morning light -"rays"- with a delicate piano phrasing, in a maritime landscape; the last song ends symmetrically by dramatically evoking the west, the sunset, a mad and unmotivated departure, with the drive of a double bass theme.
By continuing the analogy suggested by this consideration, we can interpret the record (also) as a representation of a day, a "particular" day, where our attention points towards the sunset (the title of the last tune coincides with the title of the record itself): a declared stage of an uncomprehended departure.

Often in the text one can find different nuances of anticipation of the night ("a smile in a dream /to meet you tonight", "and, just for tonight, please don’t kill the piano player", "on a summer night / my friends, don’t look for me/ I’ll be there", "people are far away, the night will come), as well as references to the dawn and the awakening ("over the roof of the clinic / ideas were dawning", "what kind of dream are you?/ absorbed in yourself", "to wake up, the case of beer in the morning", "convulsive, the dawn drowns in / September nostalgia").
These two moments seem bound by the same reflection, and also by the power of memory or by a premonition, and they both evoke the recurring theme of parting, which is also expressed here as changeability of Nature ("hesitating they caress, rippling our goodbye / on the horizon, on another wake", "what a sun! It scorched and burnt / there’s no time, so just come here", "the cold is here, eventually / can’t you feel it creeping?"), or as the intuition of an imminent leave-taking ("may the shiver rise and fall / in solitude and apnoea", "do you want to dance? / it’s crazy to savour your sweetish goodbyes", "you’ll see / there’s no escape from her", "and down the path of the unannounced homecoming / I will go", "hold me tight and dance with me, we only have one minute left / my love", "of love, burnt by melancholy / I raise the song to the wind, and away the wind will blow it").
But "memory" and "premonition" are potentially distorted interpretations of reality, and we can associate this research of "other" perceptions to the frequent theme of drunkenness (a drunkenness of such kind that it continues even after death, as in "Danse Macabre"), along with the themes of dreaming, of art, madness and religion.
Identifying these themes in our interpretive approach, suggests that, if we are dealing with the "representation of a day", then it is probably a day in which some event forces us to reconsider reality.

Between a hopeful dawn and a disillusioned sunset (although it anticipates a new journey) we find a danse macabre, an infernal vision, exhortations to enjoy the moment of love, images from the past, fairy tale farewells, and even claims (albeit ironic) to artistic freedom –a palette of well-defined colors.
And yet there are echoes, and recurring musical and literary connections between the songs, in a thick texture. The functions of the song titles can be seen as part of this game. Although each title characterizes the respective song coherently, it does not generally refer to specific words of the lyrics (in the case of "reflections in the water" there is a bond between title and lyrics, but it is with the lyrics of another song, "the things that matter", as in a sort of bridge between the tunes), but rather it tends to connote them and expand their semantic range.
Let us examine, for example, "adventurous (bagatelle)". Is the narrative adventurous? Or is it the music? Is a "bagatelle" something trivial, like a short music piece, or a billiard game? One could say that each of these definitions finds a correspondence in the lyrics, and that probably the author has intertwined lyrics and music more than once, suggesting a multilayered interpretive approach.

On a single day we are presented with different emotions and reflections, moments of tiredness and necessary decisions. On that particular day, embedded in the particular bond between the main themes of the songs, there hides the sense of that mysterious event, stretched broad, painted and analyzed in music and poetry. We can have a grasp of it just here and there, even the author is unable to "say it" to verbalize it, to express it. But he sees the solution: "I don’t know how to say it, and I’ll head west / bittersweet, it takes me away / companion of mine / Madness") The west, the sunset, departure, bittersweet madness (Sappho’s Eros) as a traveling companion. An "orange sunset", a new beginning.



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