AiDuo | On the Way...

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Baljinder Sekhon Cristian Lauba Ida Gotkovsky

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Classical: Contemporary Classical: Piano solo Moods: Instrumental
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On the Way...

by AiDuo

After five years of rehearsals, concerts, moments...The AiDuo presents their first album - "On the way...". This CD pretends to commemorate the route since the first public appearance and to trace the motivating work in interaction with composers.
Genre: Classical: Contemporary
Release Date: 

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  Song Share Time Download
1. Ping 001
8:28 $0.99
2. Chang'e Ascends to the Moon
11:33 $0.99
3. Morna
6:02 $0.99
4. Incandescence: I. Lyrique
6:17 $0.99
5. Incandescence: II. Andante
5:51 $0.99
6. Incandescence: III. Final
8:02 $0.99
7. Sonatina: I. Allegro
3:37 $0.99
8. Sonatina: II. Adagio
3:45 $0.99
9. Sonatina: III. Allegro
2:46 $0.99
10. Intimidade.
9:16 $0.99
11. Sonata of Puzzles: I. Never-Ending Jigsaw
5:14 $0.99
12. Sonata of Puzzles: II. Dead-End Labyrinth
6:03 $0.99
13. Sonata of Puzzles: III. Crossword on Fire
5:16 $0.99
Downloads are available as MP3-320 files.


Album Notes
The repertoire of this CD consists of works that was dedicated to the AiDuo members. Also by pieces created by International Consortiums the AiDuo participated in.

"Ping 001" (2015) by Tomás Borralho (1992)
“Ping 001 for Tenor Saxophone and Piano is a piece focused on synchrony and simple gestures. Through the use of the octave, dynamic contrasts and suspensions, I sought to make the best use os this same simplicity. I believe that it is through this type of model, either with this or other instrumentation, that one can obtain great dramatic effect, in this case, in the form of vigor and assertiveness. The name itself Ping 001 refers to the minimum lag between internet servers, hence synchrony. On the contrary, Ping 999 (for Solo Tenor Saxophone) describes the maximum lag possible. Dedicated to AiDuo in 2015, the piece is published by AvA Musical Editions”. Tomás Borralho.

"Chang'E ascends to the Moon" by Daniel Yiau (1986)
“Composed in 2014, Chang'E ascends to the Moon was the first commission by the group AiDuo and was dedicated to Artur Mendes. Inspired by Chinese mythology, a festival commemorating this legend is celebrated during mid-Autumn. Divided into nine descriptive sections without interruption, the piece strives to describe the legend of Chang'E and how she ascends to the Moon after taking the elixir of immortality, a reward to her husband Hou Yi for shooting down the nine Suns in the sky. The legend is musically described pragmatically, without leitmotifs of any kind, exploring and demanding different performance techniques. For more informations about the piece, contact .” Daniel Yiau.

"Morna" (2014) by Christian Lauba (1952)
“Dedicated to Artur Mendes in 2014, Morna is an homage to Cesária Évora, who was able to make the music of Cape Verde an universal art. The propose was to express the great sadness, emotion and nostalgia of Cape Verde music called “Morna” in a piece which I could use modern parameters without betraying the spirit of it. Morna uses the main parameters of modern music as the multiphonics, the circular breathing and the slaps, and its base is based on the main intervals of minor 3rd and minor 2nd on a regular syncopated rhythm that enhances the nostalgyc charater of the piece. It was premiered on December 22nd of 2014 in the Pequeno Auditório da Escola Superior de Música de Lisboa. The piece is published by Resolute Music Publications.” Christian Lauba.

"Incandescence" (2011) by Ida Gotkovsky (1933)
Incandescence, for Tenor Saxophone and Piano was commissioned in 2011 as part of the “Contemporary Tenor Repertoire Initiative” project (CTRI), designed by Jeffrey Vickers – Saxophonist and Saxophone Professor in USA. This consortium commission had the participation of 25 Saxophonists all over the World, including Artur Mendes. The piece is published by Resolute Music Publications.

Sonatina (2016) by Tiago Derriça (1986)
“The term Sonatina defines a smaller and technically more elementary sonata. In the case of this work the title only takes the first meaning since there was no concern to moderate the level of demand for the interpreter. However, taking into account the historical legacy of the word, this name is also taken as illustrative of the stylistic nature of this music since it suggests the influence of the idiomatic paradigm in the XVIII century, in particular of the piano sonatas wrote by Mozart or Haydn. This influence can be seen not only in the formal organization of the work, but also with the appropriation of many mannerisms used in that period, which are handled here in a refreshing way. Ultimately, the innocence of the classical period is observed in the light of contemporary exuberance. The final product of this crossing is a glorification that besides laudatory carries some irony. For more informations about the piece, consult .” Tiago Derriça.

"Intimidade" (2011) by Tiago Cabrita (1985)
“The piece "Intimidade" was written between the end of 2010 and the beginning of 2011 and it was dedicated to AiDuo, by Artur Mendes e Iryna Brazhnik. In the premiere Programme Notes (May 2012, in Jardins de Inverno of St. Luiz Theatre, Lisbon) I wrote: "Intimidade is a set of several different, deep spaces, in which monologues, dialogues, and true (mis)match(es) between two people take place. Intimidade is a wide range... from tenderness to impetus, from mystery to total transparency... Intimidade is exactly that, what is inside. It is something that is only yours." From a more technical point of view, I took the opportunity to work on some type(s) of dialogues which can occur in the context of Chamber Music among the musical instruments involved and still on some other ideas that are related to resonance and its application in the scope of musical composition. For more information about the piece, please contact ." Tiago Cabrita.

"Sonata of Puzzles" (2015) by Baljinder Sekhon, II (1980)
“Through a variety of hocket patterns and complementary pitch collections, the performers rely on each other to complete the fabric and texture of the entire first movement “Never-Ending Jigsaw”. In theory, the end of this movement connects back to the beginning of the movement and it could be played forever. The second movement, “Dead-End Labyrinth,” is based on a complex pitch structure that is generated from the basic pitch structure of the first movement. This creates many more musical paths to follow with a variety of "turns" and dead ends. The music ebbs and flows as new discoveries are made, longer stretches of the "maze" are reached, and backtracking is required. The rhythmic character is quite the opposite from that found in the first movement: this movement tends to float through time with little to no pulse or clear orientation between the piano and saxophone. The third movement "Crossword On Fire" takes all of the pitch material from the first two movements and fits them together in a way that highlights both the similarities and differences between them. Segments of pitches are pieced together in a sort of musical crossword puzzle to solve this movement and the contents of the puzzle guide the entire structure. The title of this movement comes from the "burning" nature of the music, as if someone is tasked with solving a crossword puzzle that is on fire. This piece is published by Glass Tree Press (ASCAP).” Baljinder Sekhon, II.



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