Dániel Váczi Glissonic Trio
Dániel Váczi - glissotar (glissonic tárogató), sopranino saxophone
Máté Pozsár - Steinway D piano, Rhodes, analogue synthesizer
Zsolt Sárvári Kovács - drums

About the glissonic
Etymology:
In music, a glissando (abbreviated gliss.) is a glide from one pitch to another. Sonic is used to describe things related to sound.
Glissonic is a completely new wind instrument family, invented by Dániel Váczi, developing with Tóbiás Terebessy since 2016. The main novelty is that instead of tone holes it uses a longitudinal gap or slot on the tube of the instrument. The two sides of the slot are covered with magnetic foil which attract a magnetized ribbon on top. The ribbon is fixed on the upper end, stretched and lifted up from the lower end as a string on a violin. You can push down the ribbon anywhere, it will seal up perfectly above it, so you can produce any note in the pitch continuum. It can be played with eight
fingers of the two hands or by sliding one finger up and down. The glissonic system can be used on all kinds of wind instruments: flute, whistle, clarinet, saxophone, oboe etc. The first model is the glissotar, based on the Hungarian tarogato, which is a single-reed instrument with a conical wooden body.
www.glissonic.com

"As a child, we formed an archeological research group at the school. What could be down there? The large number of Roman ruins emerging from under Budapest made us fever: we imagined something underground everywhere. The raster of deep walls showed a completely different logic than the surface, we wanted to understand the past. Our first joint action took place in the weed-beaten yard of a large apartment building, at the foot of the firewall; and after an hour of research, the first find was found - a denture. Finding the bizarre object was not discouraging, but just oil on the fire: an organic form, with teeth as if a skull had come out. We have become serious people through it. And we realized we had to dig deeper. Was our research team a game for us? This is already an old question to be excavated, research on structures that have since sunk.
The soggetto cavato, or “buried object,” is a hundreds of years old layer of composing technique. Words, letter and number sequences encoded into sounds sink into the basic layer of music. Under the compositions written in the name of Paul Sacher, the motto of Berg's Chamber Concert emerges, from below the pieces b-a-c-h, under them Hercules Dux Ferrarie, and further down the automatic composition of Guido of Arezzo
reversing the principle of solmization. In Leonardo's sketchbooks, wedged between anatomical drawings, a sketch of a spliced musical instrument emerges; and a text encoded with musical sounds - or vice versa, soggetto cavato?
Much of the pieces in this album are dedicated for kids - they’re also full of kindness like Klee’s drawings, but are they toys? And do he become serious people for recipients when they dig deep into them perhaps decades from now? The shape of the pieces is catchy, the melodies are beautiful, the sound is diverse and captivating, the instruments appear in direct sensuality through the old technique - but what’s down there? Raster of walls, with old architectures: mesh made of dodecaphony, inverted and mirrored melodies, repeated simple rhythm formulas, old famous electric instruments. But by showing all of this, are we holding more in our hands than a denture? You have to dig deeper. What could be down there?"
János Bali
Liszt Ferenc Prize recorder, conductor, composer, mathematician, teacher