Often likened to the human voice, the saxophone possesses an inherently singing quality that serves as a visceral bond between performer and listener. As something each of us uses every day, the human voice offers a uniquely universal point of entry for audiences into the world of contemporary music. However, few works have specifically exploited the expressive potential of employing the saxophonist’s own vocal cords.
Ogni Suono pairs with composers Kate Soper, David Coll and Felipe Lara to launch SaxoVoce, a long-term project dedicated to exploring the wide-ranging ways of synthesizing saxophone and voice. SaxoVoce will allow Ogni Suono to expand upon the ensemble’s musical and dramatic expressivity, and ultimately communicate with listeners in new and meaningful ways.
The project will be premiered on a tour through California in February 2016, the duo’s first venture to the West Coast. Events will include the Switchboard Concert Series (San Francisco), the Outpost Concert Series at UC-Riverside, as well as local outreach events in school music programs.
FROM THE COMPOSERS
(transliterated Greek) is an onomatopoetic cry of wild distress and the first utterance from the mouth of Kassandra in Aeschylus’ Agamemnon
. Kassandra is a priestess of Apollo, and in this scene her gift of foresight brings unimaginable terror as she is buffeted with the vision of her imminent murder. As the agonized girl pours out mangled descriptions of atrocities, one wonders about the construction of her inner reality: how does she receive these visions, and what is the sound of the voice that brings them? OTOTOI
uses the two players, their instruments and their voices, to dramatize this dialogue between the terror of the future and the dread of the present.”
“Ask for saxophone duo is a three-way conversation between Noa, Phil, and the audience. Despite the fact that the audience isn’t uttering a single word, Noa and Phil hear a hell of a lot. Their performance is based on responding, reacting, and playing/talking about these often provocative yet non-existent audience comments, employing music and speech to challenge both the ear and one’s sensibilities. In a word, this piece is absurd.”
“Vocalise II will explore new timbral, rhythmic, harmonic, and expressive possibilities by means of singing through and playing the saxophones simultaneously. The pallet of each of the instruments will be greatly enhanced and individualized with vocal nuances of each interpreter. Physical properties of the vocal/instrumental interaction will deliberately propose recognizable musical motives as sonorities. Furthermore, both instruments and their respective voices will be treated as one larger, compound, and imaginary ensemble.”