“Tasalsul” III (2022) for oboe composed by Saad Haddad. Recorded by Joseph Jordan at Oktaven Audio in New York. Engineered by Edwin Huet. 🎼 SCORE: www.saadnhaddad.com/tasalsul3.html Tasalsul III, or “sequence” in Arabic, takes its name from Luciano Berio’s Sequenze, and is divided into three parts. The first part presents a pendulum-like manifestation between the key areas of E-half sharp sikah and A bayati, two modes that are common in traditional Arab music. The second part introduces multiphonics in stepwise motion, mimicking the scalar tendencies of both Arab and Western modes. The last part is a lyrical “Westernization” of the introductory material, now firmly rooted in C minor, about halfway in between the modes that were introduced. This is part of my larger "Tasalsul" series; you can view the rest of the series on my website here: www.saadnhaddad.com/solo.html
Amazing performance and such a fascinating piece!!! In sound, to me, its like someone is a little unsure of which path to take, they choose a path, and almost immediately encounter resistance or danger (the multiphonic section) but then ultimately realize they've made the right choice in the end...of course, thats just an abstract and I think the way Saad works with his material is SO unique and thought provoking!!! All of these solo pieces seem to push the performer to the maximum levels of technique and interpretation...and all without a great deal of precedent...very exciting!!!
“Tasalsul” III (2022) for oboe composed by Saad Haddad.
Recorded by Joseph Jordan at Oktaven Audio in New York.
Engineered by Edwin Huet.
🎼 SCORE: www.saadnhaddad.com/tasalsul3.html
Tasalsul III, or “sequence” in Arabic, takes its name from Luciano Berio’s Sequenze, and is divided into three parts. The first part presents a pendulum-like manifestation between the key areas of E-half sharp sikah and A bayati, two modes that are common in traditional Arab music. The second part introduces multiphonics in stepwise motion, mimicking the scalar tendencies of both Arab and Western modes. The last part is a lyrical “Westernization” of the introductory material, now firmly rooted in C minor, about halfway in between the modes that were introduced.
This is part of my larger "Tasalsul" series; you can view the rest of the series on my website here: www.saadnhaddad.com/solo.html
Amazing performance and such a fascinating piece!!! In sound, to me, its like someone is a little unsure of which path to take, they choose a path, and almost immediately encounter resistance or danger (the multiphonic section) but then ultimately realize they've made the right choice in the end...of course, thats just an abstract and I think the way Saad works with his material is SO unique and thought provoking!!! All of these solo pieces seem to push the performer to the maximum levels of technique and interpretation...and all without a great deal of precedent...very exciting!!!
Wow, this is perfect! Reminds me the Sorna instrument repertoire from middle east especially iran!👏👏👏
🙏🏽
Lovely piece, this kid absolutely slayed it.❤🔥❤🔥❤🔥
He’s literally a beast. Anything I threw at him he would play 😯
amazing!!!!
He sure is !
3:29 Nice
Jordan is a monster thanks !