Lucia Dlugoszewski, "Angels of the Inmost Heaven"
Notes From Folkways FTS 33902:
ANGELS OF THE INMOST HEAVEN, by Lucia Dlugoszewski (7:27)
Mark Gould, Louis Ranger, trumpets; Per Brevig, David Taylor, trombones; Martin Smith, French Horn; Gerard Schwarz, conductor
ANGELS OF THE INMOST HEAVEN, dedicated to Ralph and Mary Dorazio, exists both as a work for concert performance and for the stage as choreographed by Erick Hawkins. Compositionally, ANGELS explores three major structural levels: timbre, density, and phrase permutations. Timbre permutations are manifested in extraordinary variations of glissandos, lip and finger trills, and constant shifting of a marvelous variety of mutes. Transformations of density from the most extreme called NOVA (bursts of energy generated by intense playing speed) through CORONA (densities of great transparency created by the sudden decay of individual instruments) to CLEAR CORE (tiny distinctions in static solid walls of very high density through subtle changes in pitch/range and timbre).
The work is divided into eight equal continuous parts of fifty five seconds duration with a slight "stretching" and "curving" at the end of each section. Throughout the score extensive use is made of the most extreme contrasts in dynamics and speed. Sudden explosions of incredibly fast notes adjacent to extremely soft expansive glissandos. Passages exploring the greatest possible density ("positive clear core") juxtaposed with the purest transparent scoring ("negative clear core"). Wide leaps which expand the outer boundaries of the instruments to new heights played simultaneously with quarter tone trills on one note constituting the most minute intervallic relationships. The direct experience of listening to the music of Lucia Dlugoszewski is first and foremost an encounter with the sheer poetry of sound best described in her September-October 1973 article for MAIN CURRENTS IN MODERN THOUGHT. "What strange risk of hearing can bring sound to music-a hearing whose obligation awakens a sensibility so new that it is forever a unique, new-born, anti-death surprise created now and now and now...a hearing whose moment in time is always daybreak."
Lucia Dlugoszewski was born in Detroit, where she attended the Conservatory of Music; in New York she studied piano with Grete Sultan and composition with Felix Salzer and Edgard Varese. She has taught at New York University, the New School, and the Foundation for Modern Dance. Miss Dlugoszewski has composed numerous works on commission from the Living Theater, the Ingram-Merrill Foundation, the Center for Creative and Performing Arts at the State University of New York, Buffalo, and the American Brass Quintet, among others. She is composer-in residence with the Erick Hawkins Dance Company. In 1966, Miss Dlugoszewski received a National Institute of Arts and Letters Award.
Notes by Joel Thome
ANGELS OF THE INMOST HEAVEN, by Lucia Dlugoszewski (7:27)
Mark Gould, Louis Ranger, trumpets; Per Brevig, David Taylor, trombones; Martin Smith, French Horn; Gerard Schwarz, conductor
ANGELS OF THE INMOST HEAVEN, dedicated to Ralph and Mary Dorazio, exists both as a work for concert performance and for the stage as choreographed by Erick Hawkins. Compositionally, ANGELS explores three major structural levels: timbre, density, and phrase permutations. Timbre permutations are manifested in extraordinary variations of glissandos, lip and finger trills, and constant shifting of a marvelous variety of mutes. Transformations of density from the most extreme called NOVA (bursts of energy generated by intense playing speed) through CORONA (densities of great transparency created by the sudden decay of individual instruments) to CLEAR CORE (tiny distinctions in static solid walls of very high density through subtle changes in pitch/range and timbre).
The work is divided into eight equal continuous parts of fifty five seconds duration with a slight "stretching" and "curving" at the end of each section. Throughout the score extensive use is made of the most extreme contrasts in dynamics and speed. Sudden explosions of incredibly fast notes adjacent to extremely soft expansive glissandos. Passages exploring the greatest possible density ("positive clear core") juxtaposed with the purest transparent scoring ("negative clear core"). Wide leaps which expand the outer boundaries of the instruments to new heights played simultaneously with quarter tone trills on one note constituting the most minute intervallic relationships. The direct experience of listening to the music of Lucia Dlugoszewski is first and foremost an encounter with the sheer poetry of sound best described in her September-October 1973 article for MAIN CURRENTS IN MODERN THOUGHT. "What strange risk of hearing can bring sound to music-a hearing whose obligation awakens a sensibility so new that it is forever a unique, new-born, anti-death surprise created now and now and now...a hearing whose moment in time is always daybreak."
Lucia Dlugoszewski was born in Detroit, where she attended the Conservatory of Music; in New York she studied piano with Grete Sultan and composition with Felix Salzer and Edgard Varese. She has taught at New York University, the New School, and the Foundation for Modern Dance. Miss Dlugoszewski has composed numerous works on commission from the Living Theater, the Ingram-Merrill Foundation, the Center for Creative and Performing Arts at the State University of New York, Buffalo, and the American Brass Quintet, among others. She is composer-in residence with the Erick Hawkins Dance Company. In 1966, Miss Dlugoszewski received a National Institute of Arts and Letters Award.
Notes by Joel Thome
Labels: Avant Garde Project, jodru, Lucia Dlugoszewski
posted by jodru at 19:54
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