Preludes are musical cocktails: intriguing and intoxicating on their own, they also hold the promise of something more to come. You might share cocktails before a big meal, just as a prelude often introduces a more substantial fugue. Cocktails can be sweet (think of a Cosmo!), strong (gin martini), classic (Tom Collins, anyone?) or new and adventurous (what’s that one that is Red Bull and vodka?), and our selections from four centuries of preludes are equally eclectic. Prelude Cocktail includes two world premiere sets of preludes by American composers Katherine Hoover and Roshanne Etezady, as well as our own brand new arrangements of favorites of the genre by Debussy, Gershwin, Bach, Chopin, Shostakovich and Scriabin. Guest clarinetist, Christopher Grymes, joins us on two preludes and fugues by Shostakovich.
Photo by Julie Lemberger
What about the promise of a prelude? That there is more to come? If fugues by Bach and Shostakovich aren’t enough… Lawler + Fadoul’s debut CD, Prelude Cocktail is the first stage of our long-term project to expand the repertoire for flute and marimba, both by commissioning new works and by arranging favorites for other instruments. All works on the CD are world premiere recordings that herald the rich sonic and expressive potential of the combination of flute and marimba. Lawler moves from flute to piccolo and alto flute and back again, as Fadoul plays both marimba and vibraphone, in quick succession or at the same time. The addition of clarinet, beautifully played by guest artist Christopher Grymes, is a surprising and welcome ingredient.
The transcriptions have allowed us to explore the range and richness of what the unique flute-marimba combination can achieve – we see it as a way of looking forward while looking back.”
Paul and I recently received the official CD of our Yellow Barn concert. We were listening to it yesterday, while driving around in the first snow of the year, and it seemed that Shostakovich’s D Minor Fugue was particularly well matched to the wintry surroundings.
Click here to listen to an excerpt from the fugue, featuring alto flute. And here are a couple of snowy pictures to give you the full effect:
(Note that Paul is holding the CD!)
Well, the day seemed like it was starting under a cloud of mishaps, when, armed with two GPS devices, a map and downloaded directions, we still got lost on the way to American University.
We finally ended up at AU’s Katzen Arts Center (“you can’t miss it—it’s got all these pink and purple and green sculptures out front”), where we were recording our demo as part of Mike Harvey’s Advanced Studio Techniques Class.
First shout out goes to Mike for inviting us to work with his class, and thereby giving us the opportunity to record in the very very nice AU Katzen Recital Hall. (woot woot!)
Second shout out goes to the boyz in the class (there weren’t any grrlz), Drew, Rob, Matt, and the others that were really helpful but we’re divas and forgot their names. They bent over backwards making the experience victorious. We won! They were so thoughtful about every detail from the mic placement to the note-taking. We can’t wait to hear the finished product.
What we recorded, all in two hours actual recording time:
Ravel: Piece en form de Habanera
Piazzolla: Histoire du Tango (Bordel 1900)
Takemitsu: Toward the Sea (The Night)
Now all we need is a name for our duo. Oh, yeah, and some gigs. Please help us and send suggestions! (And/or hire us for some gigs).
Question: how is Takemitsu like an area of bad cell phone coverage?
Answer: no bars.
Inspired by rehearsal of Takemitsu’s Toward the Sea for an audition and demo recording later this month.