Transforms

Collected Works of Dary John Mizelle, Vol. 2

Dary John Mizelle

Track Time Preview Cost +Add
1 Transforms 8 [Laurie Hudicek, Piano] 2:01 $0.99
2 Transforms 12 [Laurie Hudicek, Piano] 1:27 $0.99
3 Transforms 17 [Laurie Hudicek, Piano] 0:37 $0.99
4 Transforms 18 [Laurie Hudicek, Piano] 1:05 $0.99
5 Transforms 19 [Laurie Hudicek, Piano] 2:09 $0.99
6 Transforms 21 [Laurie Hudicek, Piano] 3:51 $0.99
7 Transforms 22 [Laurie Hudicek, Piano] 2:26 $0.99
8 Transforms 23 [Laurie Hudicek, Piano] 2:20 $0.99
9 Transforms 24 [Laurie Hudicek, Piano] 2:01 $0.99
10 Transforms 25 [Laurie Hudicek, Piano] 1:27 $0.99
11 Transforms 26 [Laurie Hudicek, Piano] 1:07 $0.99
12 Transforms 27 [Laurie Hudicek, Piano] 3:51 $0.99
13 Transforms 28 [Laurie Hudicek, Piano] 2:08 $0.99
14 Polyphonies I (For Electronic Sounds) 20:53 $2.99
15 Primavera: Heterophony for 24 'Celli (1977/2008) 12:47 $1.99
16 Shadows [Purchase College Clarinet Choir, Ayako Oshima, director] 15:45 $1.99
17 Slide for 12 Trombones (2004) 6:42 $0.99
Format: FLAC (16 Bit/CD Quality)
Full Album Includes ALC Version

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Transforms for Piano includes 14 of the 34 “transforms” performed by Laurie Hudicek.  Each transform is a character piece which explores in depth some aspect of the opening musical exposition.  This composition stands as a high water mark in the literature of 20th century piano music for both its musical values and technical developments.  The compositions PrimaveraHeterophony for 24 Celli and Slide for 12 trombones and Computer Music explore the very special sound worlds which are uniquely obtainable from music composed for multiple instruments of same type—thus reinforcing their particular timbral idiosyncrasies.  Shadows for Clarinet Choir and Percussion Ensemble combines two such sound worlds in a composition which includes some striking orchestrations of remembered dream materials and a charming children’s piano piece, along with complex contrapuntal music.

A detailed description of the form, content and performance history of Transforms appears in the book The Soul of Music, available from Mizelle Music, 2008.  Please visit http://www.mizelle.org

Notes

Polyphonies I is the first section of a three-part electronic composition based on the idea of the emergence of multivoiced musical phenomena out of elementary sound quanta (pulses, tones, protomelodies, etc.).  Subtitled Earth -- Air -- Fire -- Water, Polyphonies I explores a sound world generated by these natural substances, along with electronically synthesized sounds which resemble them; additional sounds were composed through electronic transformations of the above mentioned sounds.

Polyphonies I is composed in three sections which use periodic, exponential and linear subdivisions respectively.  The first section utilizes mainly wind sounds, the sections uses primarily earth and fire sounds, and the third section explores water sounds along with the other sounds.  The shakuhachi, a vertical bamboo flute which is highly identified with nature in the Japanese tradition, is used in this 'performance' version, and plays a semi-improvised part which symbolized the development of music from breath.  The shakuhachi sounds were then processed and recomposed into the fabric of the original electronic composition.

When great Nature sighs, we hear winds
Which noiseless in themselves
Awaken voices from other beings.
Blowing on them.
From every opening loud voices sound
Have you not heard this rush of tones?

The original electronic part of Polyphonies I was realized in the Oberlin Electronic Music Studio during the autumn of 1975. Reprocessing, and recording and development of the shakuhachi parts took place in Furious Artisans, Dreamflower Studio in Bronxville, New York with the assistance of Jeremy Tressler in 2003 and 2008

Primavera – Heterophony for 24 ‘Celli was composed between July and December of 1977 for the Oberlin Cello Choir, at the request of Professor Richard Kapuscuzinski, Director.  With this piece, I have tried to compose a music which is constantly changing its focus, from (for example) being melodically conceived, to timbrally conceived, to texturally conceived, to spatially conceived, to structurally conceived, to rhythmically conceived, etc.  The pitch materials are generally derived from the cell:  c – e flat – b and its permutations.  The sounds are distributed spatially over a large performance area in precisely controlled configurations which are changed and developed over the course of the piece.  The spatial patterns of sound movement are realized in a two dimensional space, with front/rear perceptions being equally important as right/left perceptions.  The massed timbres uniquely obtainable with many instruments of the same type are a prominent feature of the piece and have grown out of my involvement with electronic and computer music.  The individual techniques called for in the parts include: conventionally bowed and plucked sounds, harmonics (natural and artificial), harmonic glissandi (natural, artificial and artificial broken), sul ponticello, col legno (with the wooden stick of the bow – both struck and stroked), snap pizzicato (rebound from the fingerboard) pizzicato tremolo, and crushed tone (overpressure).

The work is conceived in five sections:
I. Begins at 3” Exposition of the timbral space.
II. Begins at 3’ 32” Beginning of spatial movement and expansion of the pitch dimension.
III. Begins at 4’ 55” Reiteration of the opening twelve-note cluster an octave higher in harmonics with individual rates of repetition for each note of the cluster moving to a transition with 24 different harmonic glissandi at variable speeds.
IV. Begins at 6’ 39” Soloistic section in which various characteristics of the sound world were determined by a computer program using controlled random functions.
V. Begins at 9’40’’ Building to climax.   
Primavera – Heterophony for 24 ‘Celli was recorded at the Oberlin Conservatory in 1977 by Tim Bethel and reprocessed by Jeremy Tressler for Furious Artisans Records.

I composed Slide as the first part of Slide – Pulse - Melos for trombone choir and computer music.  It forms part the post-apocalyptic opera Blue Rain which is set in a world where the reins of power are held by those who play the trombone.    Slide is scored for twelve trombones (ten tenor trombones, with one doubling alto trombone, and two bass trombones) standing in a semi-circle and computer music.  The recording was made in April of 2004 of the Purchase Trombone Choir, Jim Pugh, director. The composer was conducting.

The music explores the sound world of precisely-controlled glissandi and sound movement uniquely obtainable by multiple instruments of the same type.

I composed Shadows between 2002 and 2005.  It is part of the thirteen-day complex of compositions named SPANDA, and occupies the 18th time zone of day 13.  Shadows is scored for clarinet choir (Eb clarinet, 2 Bb clarinets, alto clarinet or basset horn, bass clarinet, and contrabass clarinet), percussion ensemble (glockenspiel, xylophone, vibraphone, marimba, crotales, cymbals, tam tam, woodblocks temple blocks, and Chinese exercise balls) and piano.  Shadows is dedicated to Ayako Oshima, director of the Purchase College Clarinet Choir.  The World Premiere was performed in May of 2005 at Purchase, NY.

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