Left, Zara Lawler, flute; right, Paul Fadoul, marimba
The flute and marimba duo Lawler + Fadoul had a few mintues to discuss their CD Prelude Cocktail, which you folks should most certainly pick up, it is a really cool collection of preludes transcribed for the 2 instruments by these very gifted artists.
You can purchase/download the album here or on the link on the bottom.
CM: I want to start off by saying I was quite blown away by this album, it sounds incredible! The thing is, I really enjoy hearing the art of transcription–It’s so special, and some people are probably wondering how it’s so special when it’s music that already exists, but it just gives a whole other sound to something. And these pieces you guys did are mostly written for the piano–Of course, I love the piano, but it has this really cool, sort of chimey elegance with the marimba. And the flute takes up the melody. It’s a nice, fresh approach. BTW, I feel like I just said everything you were going to say, so forgive me…
Zara: That’s ok, I don’t think we would have come up with the phrase “chimey elegance”, but…
Paul: We like “chimey elegance”! Continue reading
Photo courtesy of Jeremy Shatan
Jenny Lin, piano
Le Poisson Rouge, NYC
Tuesday, November 27th, 2012
Written by Jeremy Shatan
In the Western Classical tradition, virtuosity is a given, at least if you want to have a hope of revealing the music behind all those little black dots. The is mainly due to the specific techniques used to play the instruments employed, and to the tendency of many composers to seek the limits of those techniques.
That said, virtuosity for its own sake is not something that interests me. I prefer to listen to what should be a communication from another soul than to think about technique when at a performance or listening to a recording. I recognize that I may be in a minority as the popularity of virtuoso musicians playing show-stopping music seems to be holding steady.
Jenny Lin proved herself to be a virtuoso beyond a doubt when she performed arrangements of show tunes at Le Poisson Rouge last Tuesday night. Her technique was flawless, making use of every aspect of the piano’s dynamic and tonal range. At times my mind wandered into thinking about the neuro-muscular system, and the phenomenal control she had over her fingers and forearms. It was truly dazzling playing and it seemed to engage the audience completely.
While Lin’s technique was straight out of the European tradition, her repertoire for the concert, drawn from her new album Get Happy, was strictly American. To put the audience in a lighthearted mood, a video (created by her husband–well done, sir) was played before she came on stage. It was a visual compendium of interpretations of many of the songs in her set, featuring Sinatra, Fitzgerald, Judy Garland, Dean Martin, Gene Kelly, and, more often than you might expect, The Muppets. It was sort of a miniature That’s Entertainment, with snippets of several performances for each song included. The point of the video, as I saw it, was not only to help us “get happy,” but also to make it clear that Lin was taking her place in the long line of artists who had performed these songs, with no one approach being precisely definitive. Continue reading
Pianist Jenny Lin had a few minutes to discuss her new CD Get Happy, an album of theatrical show tunes arranged very superbly for solo piano by some of the greatest soloists of piano today such as Christopher O’Riley, Marc-André Hamelin, Greg Anderson and the late Alexis Weissenberg just to name a few (EDITOR’S NOTE: Jenny played the pieces just as superbly).
Jenny also has a couple of shows coming up in NYC on Tuesday, Nov. 27th at Le Poisson Rouge at 7:30 PM (Doors open 6:30; This one being the CD release party for Get Happy) and Thursday the 29th at Greenwich House Music at 8 PM; a show titled unCAGEd: FOR MERCE (A duet show with Lois Svard)
CM: I really enjoy listening to the new CD Get Happy! I’m a fan of arrangements transcribed for piano (solo, piano-duo, 2-piano, etc), and the people that worked up these arrangements are people I really like as well. Are the pieces mostly arranged for you and this project?
Jenny: The Greg Anderson piece, the Hamelin–those were written for me. The “Eliza in Ascot” by Stefan Malzew–that was also written for the project. Uri Caine also wrote one of “Honeysuckle Rose” that didn’t make it onto the CD, and that’s a bonus download on iTunes. The other arrangements all existed already. Continue reading