One fun part of producing COLOURS was dealing with the CD’s design. I love the way it turned out, and I hope people will want to have the physical CD–not just the digital download, so that they will see how it looks when you open to the center containing the CD and tray.
(Incidentally, when you order the cd from this, my site, shipping is included, but it will be slow because it is me who will put your CD in the mail, and write a thank you card if I have time, or autograph it if you wish. You can also order from CDBaby –cheaper plus professional shipping. You can also opt to buy it as a digital download.)
Here is what you will see when you open your CD:
an abstract color wheel, with streams of raindrop-like droplets, in keeping with the impressionistic sounds of the music. My good friend Bettina Stap, who also designed our artwork for “Bob Dorough: The Houston Branch”, came up with this.
Her color wheel gave me the idea to write some non-traditional program notes for the 6 pieces with their six different composers
six pieces = six colors in a color wheel!
1 The translucent sound of a solo flute introduces an orchestral dreamscape of undersea colors and harmonies–sounds which changed music forever when first heard in Paris in 1894. “…the flute of the faun brought new breath to the art of music” (Pierre Boulez)
2-8 Vibrant miniatures with meltingly beautiful melodies make up this suite of dances by Bartok, the masterful Hungarian composer also known for his pioneering interest in indigenous music.
9 Contemplative hues and streaks of sadness color this short work for flute and piano, which Barber wrote for a flutist friend in 1961. A year later, the same music became the middle movement of his Piano Concerto, with the flute retaining a prominent role.
10 The anxiety-tinted “Ballade” takes us on a journey through unsettled moods and builds to a frenzied but triumphant finish. Swiss composer, Martin, scored the work for solo flute, piano and string orchestra.
11 A dusky and lonely landscape prevails at the beginning and end of “Poem”. In between are other sights, all radiant with Debussy-like colors, directly influenced by “Faun.” A wildly accelerating bacchanal suddenly gives way into a fanciful cadenza (newly created) which dissipates the pent up energy before settling back into the twilight.
12-18 Antique textures with little dabs of neon: one tends to think of Igor Stravinsky as modern and dissonant, but here he borrows from the 18th century Italian composer, Pergolesi (1710-1736)). A second flute adds brilliance and bustle to the seven baroque-themed movements of they suite.