Ogni Suono Saxophone Duo | Invisible Seams

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Invisible Seams

by Ogni Suono Saxophone Duo

Whether our sound is hocketed, layered, transparent, or thick, Invisible Seams balances our individuality as musicians with the desire for a unified blend. The album features six works composed for Ogni Suono.
Genre: Classical: Contemporary
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  Song Share Time Download
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1. Duel
8:25 $0.99
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2. Dart: Don't Be His Shadow
6:03 $0.99
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3. Ogni Suono Come Un Essere Vivente
9:03 $0.99
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4. Roya
8:14 $0.99
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5. Decohere
5:54 $0.99
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6. Straphanger: I. Drudge
2:42 $0.99
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7. Straphanger: II. Underclass
3:00 $0.99
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8. Straphanger: III. Robber Barons
2:30 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
The title "Invisible Seams" was inspired on a microscopic level by our sound as a duo. Whether our musical material is hocketed, layered, transparent, or thick, we strive to balance our individuality as musicians with the desire for a unified blend. Broadly, the title characterizes the differences we find in the world around us, our travels as a duo as well as the relationships we have formed along the way. All works recorded on this album were commissioned by Ogni Suono.

“DUEL” is inspired by Gabriele D’Annunzio’s novel “The Child of Pleasure,” particularly the episode where the protagonist is engaged in a duel with swords at dawn in a villa in Rome. Quiet, cool of the morning, light fog, thin atmosphere, then the preparation of arms, and finally the duel. (Claudio Gabriele)

“Dart: don’t be his shadow” This trumpeter with bad teeth and a ponytail stages a sit-in at a basement club in Cincinnati to show a guest trumpeter from Juilliard what the Midwest is made of. Hometown hero starts a pissing match. Resident caricature, Beat and bereted, intervenes. He points his index finger at the intruder and scolds him, scowling, “Don’t be his shadow, man. Don’t be his shadow.” As if beaten with a Beretta, the intruder pulls the stem out of his Harmon mute and retreats to Price Hill. “You can defend the honor of Ohio all you want, man, but let’s not forget about basic etiquette. Let’s face it, buddy, you’re just no Jim Tarbell. Let’s not forget that a carrot is as close as a rabbit gets to a diamond.
(Quinn Collins)

“ogni suono come un essere vivente” Every sound like a living being. Our biology/psychology expresses itself, in part, by a need for both logically ordered structures, and a need to exert independence from such structures. Form and proportions in O.S.C.U.E.V. are derived from the first 28 placeholders of pi. Note the remarkable coincidence of triads of alternating numbers: 3.141 5926 535 8 979 323 84 626 43 383. Yet there is a conflict between the traditional musical need for formal rhetoric, and the biological need for organicism demanded from the materials themselves. In the end, in order to honor my sense of what is musical, I had to corrupt my sense of what is numerically “logical.” My intuition will not allow me to accept perfect congruency, symmetry, or logical consistency. As we say, it sounds dry; lifeless. Imperfection, distortion, and erasure are signatures of our humanity. (James Bunch)

“Roya” Parents often told me that becoming a father would change my life. And I believed them. But the experience has been wholly different from the contemplating, as it is with nearly everything. In composing “Roya,” I returned to composition at the time when the desire was first born in me. This piece became an exploration of the utterly simple and delicate, a return to the beauty of a scale in counterpoint, and a return to consonance. Major sections of “Roya” were composed by coding strict additive processes as algorithms in Common Music and notating the results. I then went in and manually mangled the music as I pleased. This, I felt, reflects a child-like process. The infant is swept up in an inevitable course of growth, a sort of fate, a genetic crunching of numbers…yet every turn seems unexpected. There is a joyful noise—an improvisatory playfulness—within the patterns. And isn’t that what musicians do? Not study or coerce or force or think. We may do all of these things, but ultimately, and firstly, we use a different word. We play. “Roya” is dedicated, with undying love, to my daughter. (Halim Beere)

“Decohere” explores quiet, fragile multiphonics in duet, creating new kinds of harmonic progressions which float in an alternating tension and release. This ebb and flow culminates in an “evaporation”: quick, fleeting, sparking gestures which recapitulate the previous harmonies, now transformed into interweaving lines. (Stephen Andrew Taylor)

“Straphanger” is inspired by Diego Rivera’s 1931 mural-style painting “Frozen Assets.” The painting’s three scenes of Great Depression life in New York City inform structure, timbre, and register in “Straphanger.” The first movement, “Drudge,” is derived from Rivera’s depiction of the commuting middleclass dwarfed by the oppressive skyscrapers. “Underclass” references the middle of the painting, where the homeless, many of whom provided inexpensive labor to build the city, are warehoused in a steel and glass shed. “Robber Barons” is centered on the bottom third of the painting. Here, the wealthy preside over their fortunes in an underground bank vault. Hidden away from mainstream society, they appear indifferent to the inequality they perpetuate. (Ian Dicke)

Noa Even and Phil Pierick formed Ogni Suono Saxophone Duo in 2009 to expand and promote contemporary music for saxophone duo. They collaborate regularly with composers and other performers, presenting diverse programs to a wide range of audiences across the United States and abroad. Emphasizing the importance of education, Ogni Suono’s performances are often accompanied by master classes, workshops, and outreach programs that range from saxophone-specific topics to contemporary music and free improvisation.

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