10 Danze Erotiche Eretiche
"D.D.E.E.” proposes ten new compositions by Orio Odori, inspired to the ancient sense etruschian culture. “D.D.E.E.” are written for this group in porpuse. Here you find melodic themes, popular humor, stylistic freedom: this is on the main character of the Harmonia concert.
This work expresses the rithmic energy of our century, and the melodic strengh of orio Odori’s music works, as well as the great ability of the musicians who are part of the group, in between there is the composer Orio Odori.
| Orio Odori: | Danza Prima  |
| Orio Odori: | Danza n. 2 |
| Orio Odori: | Elichona |
| Orio Odori: | Kilyx con Ganimede |
| Orio Odori: | Danza n. 5 |
| Orio Odori: | Stasimos |
| Orio Odori: | Sud |
| Orio Odori: | Janus e Carna |
| Orio Odori: | Hammam |
| Orio Odori: | Volo dal V Canto |
I have almost always composed my music with reference to – in relation to the colour I needed in that moment – the way in which musicians who have impressed me play, whether in terms of tonal quality or phrasing. Also this work, in my mind since my first notes for Harmonia Ensemble, is very much a product of research, experience and the encounters that with the musicians of the group I have lived through; with all we have faced in our fifteen years together. I must say that I also thought of some dances because the experience of Banda Improvvisa has made my music a collective movement: of musicians, of the public and of myself.
For each of these dances I began composing from a rhythmic matrix, to my mind with a tribal atmosphere. On top of this rhythmic colour I sought to position the melodies as a sort of generatrix and support for form, liberating them from any type of formal limitation, to give the song maximum autonomy and narrative power. In the developments, the fragmentations and the recomposing of the same melodies are based on the idea of a generatrix. In the course of the harmonies and counterpoints I express my passion, less evident in the story of the melodies.
When I write I always follow an emotion, I look for the magic of music, I want my music to be simply evocative, I exclude any form of intellectual element.
The project was well defined from the beginning, therefore the original time sequence has not been modified after a final listening to the complete work. My idea was to give compactness. My choice of tonalities, of patterns and of characters was made to render the pieces my offering and my express my needs.
But why "heretical"? Because, formally autonomous, the music does not follow a doctrine that schematizes and formalizes its message and language (that remain comprehensible, accessible and generously enjoyable), The phrasing is free, it winds anarchically with other concepts, respectful and careful, but aware of a respective liberty. It does not impose its word, sustained by a consolidated formal past, that, at times mysteriously, has been imposed. Horizontal, like the most horizontal of animals, the melody snakes. At times it positions itself to attack, at times it is hidden and invisible among the other elements. Heretical because no Piede Candido?? (a pedal) can ever quash it.
And why 'erotic'? Man has always observed and analysed his world. He assigned a status of mere rhythm to the vegetable world. The rhythm of growth. To the animal world he acknowledged the possibility of melody. The song of birds and the sounds of all the other animals are melodic sequences that embrace also the rhythmic world. Man organised these melodies into harmonies. He never rejected the primordiality of rhythm. Rhythm is in his heart, his movements, his pulsations. The meeting of bodies is governed by the rhythm of pauses, visions, heat, sounds, pleasure, pain, desire, satisfaction. The rhythm imposed by dance is obstinate, perfect and impure; it invades and penetrates the virginity of an organic pace that has as protagonists some of those colours that the hierarchy of evolution (inflicted by antiphony) has erected, in the respective classifications of instruments, that too often give themselves to dogmatic speakers.
When composing I seek always to exercise my analytical and emotional capacities. The story is entrusted to the song: it has a logic that I invite to be assimilated 'subjectively'. In writing I have sought to supply the elements for planning the story. Storytelling is like gift giving, writing a story is a gift. When I write music my gifts are the elements that can stimulate other gifts to be told. Each note I write, I have chosen. For this reason I ask for attentive listening, that can evaluate those aspects that are the basis of my need to write music and that express themselves in the force of transmitting generosity. I write each piece as if it were my last, I live each moment as if it were my last, I love each time as if it were the last. In all these last times I want to rediscover myself and attempt to tell my story.
Orio Odori
"In altri Paesi uno come Orio Odori sarebbe considerato una sorta di tesoro nazionale. Dieci danze pensate come omaggio al mondo sensuale ed indipendente degli etruschi: echi zappiani, rutilanti ritmi zoppi balcanici, teneri slanci romantici temperati da un lampeggiare ironico alla Nino Rota, contrappunto elegante, cruda forza ritmica".
Guido Festinese – Il Giornale della Musica 10/08
“Per Harmonia è uno scarto sostanzioso. La stagione del postminimalismo all’italiana pare definitivamente terminata e Odori ha colto l’occasione per smarcarsi dagli Einaudi e dagli Allevi imperversanti”.
Piercarlo Poggio – Blow Up 11/08
“La sensazione è che la riscoperta delle radici etrusche sia un semplice pretesto, una fine maschera intellettuale che con la scusa di guardare all’antico si volge in realtà al futuro”.
P.P. – AUDIOreview 10/08
“[…] Il sound si è fatto più incalzante e libero, come nella tradizione delle migliori danze popolari. […] siamo di fronte a dieci riusciti brani originali, frutto esclusivo dell’ispirazione e della capacità tecnica di Orio Odori. Quello che colpisce è la sensualità e la originalità delle composizioni”.
Tonino Merolli – Raro! 09/08
“[…] Ad accomunare le danze, accuratamente disposte per creare un percorso musicale ed emozionale di ascolto coerente, l’impeto emotivo (caratteristico anche delle esecuzioni dell’ensemble) e l’apertura a spunti formali e creativi vari nei quali si fondono suggestioni jazz, strutture compositive classiche e andamenti melodici e ritmici popolari”.
B.T. – InSound 11/08
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HarmoniaTechFull.pdf (Scheda Tecnica)
HarmoniaStagePlan.pdf (Stage Plan)
HarmoniaPhotHiRes.zip (Photo Hi-Res)
