Unseen

Physical CD available now, from this website only. Scroll down to order.

Street dates for streaming:
First single (No. 7)= March 15, 2024
Second single (No. 5)=April 12, 2024
Full album=May 10, 2024

1 No. 1 5:34
2 No. 2 4:41
3 No. 3 4:54
4 No. 4 4:26
5 No. 5 5:41
6 No. 6 4:02
7 No. 7 6:14 click to listen
8 No. 8 4:55
9 No. 9 4:27

Total 44:56

To purchase study score ($40), click here

Composer: Michael Torke
Performers: East Coast Chamber Orchestra, Michael Torke Orchestra
Music Director: Michael Torke
Recording Locations: Sound on Sound Studio (NJ), Samurai Hotel Recording Studio (NY)
Recording Dates: Feb 10, Mar 6,20, May 4,5, 2023
Producers: Silas Brown, Michael Torke
Mastering: Silas Brown
Publisher: Adjustable Music; Bill Holab Music, agent; Modern Works Music Publishing, agent

Ecstatic Records: ER092402
UPC: 020286247760

Musicians:

Flutes: Tara O’Connor, Adeline DeBella
Oboes: Toyin Spellman-Diaz, Noah Kay
Clarinets: Alan Kay, Yu-Ting Cheng
Bassoons: Monica Ellis, Gina Cuffari

Horns: John Clark, Jeffrey Scott, Kevin Newton, Eric C. Davis
Trumpets: Chris Martin, Ray Riccomini
Trombones: Joseph Alessi, Marshall Gilkes, Carlos Jiménez Fernández, Colin Williams

Timpani: Eric Poland
Vibes and Marimba: Ian Rosenbaum
Piano: Amir Farid

Violins: Siwoo Kim, Min-Young Kim, Joanna Maurer, Kobi Malkin, Rebecca Fischer, Nick Kendall
Violas: Jessica Thompson, Celia Hatton, Brian Hong
Cellos: Gabriel Cabezas, Mihai Marica, Jia Kim
Bass: Anthony Manzo

Contracting: Melissa Reardon

UNSEEN (2024) is the fourth composition and recording that completes a tetralogy of work; BEING (2020), PSALMS AND CANTICLES (2021), and TIME (2022) have preceded it.

Unifying these four projects is the use of syncopated rhythms caused by the intersection of 3’s against 2’s, which through their interlocking, creates a unified rhythmic effect, or groove.  Melodies and harmonies flow from the rhythms used.

What sets UNSEEN apart from the other three is the size of the group: a full orchestra. I brought together musicians I’ve worked with in New York with the strings of the East Coast Chamber Orchestra. The scope is larger and the color possibilities more varied when writing for orchestra, compared to chamber groups. Colossal timbres can be achieved with a full brass section, woodwinds in pairs can provide scintillating pinpoints of light, and a full string section gives a sheen of richness (through the accumulation of minute pitch variation) as well as the particularity of unified bow strokes.

The title, UNSEEN, comes from the Nicene Creed “…creator of all things, seen and unseen.”  We are a visual people—we take in the world primarily through our eyes. But what we value the most are things that can’t be seen: feelings, ideas, energy, accomplishment, memories, contentment. 

What I seek in these four projects is a way for music to take us outside of ourselves.  If through its rhythms and harmonies we give up a literal grip on the now, such experience opens the potential of renewal and even a kind of cleansing joy.