Pairing Around

Pairing Around (A Prelude for Two Trumpets and Two Bassoons)
by
Dan Locklair

Pairing Around (A Prelude for Two Trumpets and Two Bassoons) was composed in 1987 in Winston-Salem, North Carolina for the Ensemble Josquin Des Pres in France. The opening of the piece is a four-part round and it is desirable that this section be performed in procession. Before beginning the composition the four performers should be located in the rear of the concert hall. At each instrument’s entrance, the player begins processing to the stage (one step per bar). After all four instruments have entered into the round, the number of repetitions of it will vary according to the size of the processional space and such adjustments are left up to the ensemble’s discretion. Shortly after the ensemble arrives on stage, the round should begin to end with instruments exiting in the reverse order in which they first appeared (with or without full repetition of the round). Once on stage, it is suggested that the players be widely spaced apart so as to fill the entire performance space.

The performance format is as follows:

1.Bassoon 1 – begins the round, continually plays the complete round
2.Trumpet 1 – begins the round when Bassoon 1 reaches bar #5; continually plays the complete round
3.Bassoon 2 – begins the round when Trumpet 1 reaches bar #5; continually plays the complete round
4.Trumpet 2 – begins round when Bassoon 2 reaches bar #5; continually plays the complete round.

The round continues until all are on stage. Once on stage:

1.Bassoon 1 – first to stop playing upon reaching bar #16
2.Trumpet 1 – second to stop playing upon reaching bar #16
3.Bassoon 2 – third to stop playing upon reaching bar #16
4.Trumpet 2 – takes the Last Ending, attacca, to the next section

If a procession through the concert hall is not possible or practical, the players may enter in procession (as described above) from the wings of the stage. In rare circumstances the procession may even be eliminated, with the round played in concert seating, but this is not encouraged. Due to the processional, it is highly recommended that this piece be used to either open the first or second half of a concert.

Duration:
Each repetition of the round = ca. 20”
Remainder of movement = ca. 3’
Approximate total duration of the composition = 6’

Dan Locklair
Winston-Salem, North Carolina