The album takes its title from an unpublished prelude by Olivier Messiaen that I arranged from the piano, for which it was originally composed. This is one of two hyperbolic arrangements that I made for this album, the other being Debussy's La Puerta del Vino from his collection Preludes book II. The Debussy was chosen because I wanted to pair it with Falla's famous homage, making bookends out of these pieces, both being Habaneras. The album as a whole is a meditation on the idea of homage, threnody, and musical allusion. There is an aesthetic arc that travels from dark, duende-tinged impressionistic pieces through "the woods" filled with Takemitsu's distinctive sonic imagery towards the vigorous, chromatic utterances of Elliott Carter's Changes.
Out now on iTunes, Apple Music, Spotify, Amazon, Google Play, and more!
My old friends and bandmates in Devotchka invite me to play with them from time to time. "Undone" is a track that features my playing