For years and years, I’ve always composed music for somebody else’s stories. Tides represents the beginning of a new chapter for me as I’ve realised I now feel ready to start opening my own stories with you, in the strongest way I know: music.
Enjoy Tides, the title track and first story of the album I'll unveil little by little!
You can download the Hi-Res Lossless 48 Khz 24 bit file on Bandcamp by donating what you feel like! Not only that's the best format you can get (it's the master), but you are also supporting me and my future music!
Moreover, here you can also download for free the FULL SCORE + PARTS for piano, harp & strings orchestra. Ready to be played by your orchestra or ensemble (piano & string quintet minimum).
I've always been intrigued by the idea of energy and resonating frequencies, where everything is vibration. Tides is connected to this idea of waves, ups and downs, this elastic rubber when sometimes you tune in with the world around you, sometimes with the world inside you and sometimes you are somehow disconnected. Acceptance is part of this, like staring at dawn at the seaside, without judging the shape and sound of those waves.
I find a lot of beauty in silence. That particular quiet texture you find when nature is in its still state. That silence is really important to me. My music starts from there.
Among a lot of artists I love, there are a few composers I admire for their ability to making music that gives you space to breathe: Craig Armstrong, Thomas Newman, Joe Hisaishi, Arvo Pärt.
This piece was born sometime in June 2018 during one of my late afternoon jogging runs in a beautiful park right next to where I live. The sun was shining, and suddenly a little melody popped into my head.
I was hearing (and seeing as I have synaesthesia) also some interesting colours around it (harmonies), with some minor/major tensions overlapping (Eb major on top of Eb minor, resolving into C#11). They were not distracting from the very simple theme. They were just there, creating the mood/flavour.
I also remember it was in a weird signature, not in 4/4 but something always slightly moving/changing (probably a 5/4 and 7/4). When I had arrived home, I couldn’t clearly remember those weird bars - probably because of their ever-changing/movement nature - so I’ve just sketched it out as 4/4.
A couple of years passed by (new house, a daughter, no more real meetings and friends - you know about that part, right? XD) and while working under pressure for the music on a huge commercial campaign, a window for recording with the Budapest Film Orchestra opened up. So, I finally had a deadline to finish it! It was such a relief not having the time (and need) to go through an orchestral mockup and not requiring the approval from somebody else before recording it: this got me to writing the score you see here straight on paper (StaffPad on iPad), note by note. It always amazes me how much more creative you are when you have the clarity and freedom of writing for real players with a pencil rather than being limited to write for the sounds you have in your Tetris-DAW-computer. You are left with choosing the right brushes and colours and you are free to imagine how it’s gonna sound in your head - ready to be surprised by the great players at the recording session!
Thanks to: Cecilia and Celeste, my source of joy, Frans and Seppl for somehow igniting this new adventure, Ziggi, Kenma, Dario, Tommy, Rogier, Giacomo, Luca for their enthusiasm, Loris and Davide for putting their passion in the details, the Budapest Film Orchestra (this is their 2nd take, in full!) and to you all for the invaluable support!
Composed and orchestrated by Federico Solazzo
2021 © BUMA / STEMRA
Recorded by the Budapest Film Orchestra in April 2021 at TomTom Studio (Budapest)
Orchestra conductor: Peter Pejtsik
Orchestra contractor: Kinga Lőkös
Mixed by Loris Bernot at Backyard Studios (Paris)
Mastered by Davide Ruffini at Splinter Studios (Utrecht)
Cover art: Jan Mankes, 'Avondlandschap met maan', 1912