Minor Differences

by André Vida

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1.
01:24
2.
02:01
3.
02:00
4.
02:16
5.
03:12
6.
03:51
7.
02:43
8.
04:11
9.
04:29
10.
03:56
11.
00:53
12.
05:37
13.
02:52
14.
02:59
15.
01:42

about

André Vida - composer, saxophones

202a for 25
11 sopraninos
5 tenors groan;
5 stack
2 baritones over 4

202b for 24 or 40
19 (or 8+8) sopranos,
sopraninos
(or 8) baritones

Padmehum for 14
6 altos
4 tenors
4 baritones

202ccc for 32
9 sopranos flutter
17 sopranos
6 baritones

Daaahhh for 10 or 8
2 sopraninos
1 vocal
1 alto singing
2 tenors multi-ghosts
4 over 2 baritone lines

Rotbauchunke for 15
2 trum-ninos
4 sopraninos phonetics
5 tenor clops
1 trum-baritone lead
3 bass baritones:
kik down line

Soppy Froggy for 10
5 sopranos
3 tenors
2 baritones

Kiggy for 10
4 sopraninos
1 soprano
1 tenor
4 baritones

L.A.X. for 14
4 sopraninos
2 sopranos
6 tenors
2 baritones

Iggy for 14
4 slap sopranos
6 trill sopranos
1 tenor low
3 baritones bass-lines
(1 phonx)

Theme Song for 22
7 sopraninos then 14
4 tenors
4 baritones

Wicking for 23
4 sopraninos
4 alto clacks
11 tenors
4 mults; 2 clomps;
1 slap; 4 multis
4 baritones

Balinese for 11
4 sopranos
4 tenors phonx
3 baritones

Barinino for 25
4 sopraninos
6 altos
7 tenors
8 baritones

Slowdown for 4
4 tenors

______

Review
______

A high register flourish of saxophone noises are the first
sounds to greet you; these give way to flutterings, clop-
pings, clackings, parpings and one or two held notes
generated in a lower tone. A barely articulated melody
skates over the surface before disappearing altogether
and then — almost as soon as 202a for 25 Saxophones
has begun — it’s over before it can develop.
This is a typical modus operandi for all 15 of the saxo-
phone based works — most of the tracks average out
at about three minutes in length. But there is clearly a
structural process at play in Vida’s approach and it has
much to do with the elision of various elements. Minor
Differences is united not only in terms of sound and all
of its organisational elements, such as rhythm, melodics
and tone, but also the ways in which the sound is
produced, how the musician moves within the frame-
work of pace itself.
Minor differences comes with a revised version of Vida’s
essay, The Loom — and this certainly helps to situate
what you hear on this CD in a larger picture. While Vida’s
awareness of time and space is not itself an unusual
approach — it's common to virtually all gallery based
sound art — what is remarkable here is how well the
15 pieces sit together. There’s an astonishing multiplicity
of meshed textures and solo saxophones, the latter all
overlayered and used in various ways: for example,
Padmehum for 14 Saxophones is a mantra for miked-
up sax keys without the involvement of breath; and
Soppfroggy for 10 Saxophones is a slow and laboured
lub-dub of a beat. What you hear on a CD and what you
see in a gallery are not necessarily the same but Vida’s
conception of an expanded music is to be applauded.

Louise Gray in The Wire

credits

released January 23, 2016

www.andrevida.com
www.vidatone.com

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André Vida Berlin, Germany

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