Improvisation Chamber Ensemble; 4

No Wayne State University improvisation chamber ensemble was organized in 1966 by Dr. Ruth Wylie. The group was originally conceived as a teaching aid but soon it was receiving enthusiastic reactions from concert audiences during the past year Dr. Wiley's Chamber Ensemble has performed in several states and an entirely new idiom of musical performance has been developed by the performances still maintain their experimental character. Now here with tonight's programme of improvisation is Professor Ruth Wylie of Wayne State University. We are about to do the first of three stereo programmes programmes which I recorded in stereo. And because of the fact that it all offered opportunities for some special effects in our music we decided that we would write some special music for these three programs which will come at the end of each month of this entire series. Consequently we have tried various combinations which we have deliberately written for

so that they will be spatially separated on the stage so that we can get a contrast between loud and soft between large groups and small groups and we hope it works out in the way that we intended. The first number that we're going to do this evening is the one of mine which is called Stereo study number one and was written particularly for this program as I just said because it is going to be recorded in stereo. I have used two groups which are spatially separated on the stage where we're recording one being a louder and more powerful group. Consisting of a piano and trumpet. The other group which is softer and more delicate in what it does is spatially separated from the larger group and consists of a flute and another piano. In this piece the double bass is participating but it is free and will add lead

with free improvisation wherever the Spirit moves the double bass performer. Except that I have indicated that in most instances he should align himself with the louder group of the piano and trumpet. I wish you could see these plans perhaps some of you do have them in your possession. But for those of you who do not I'll describe it just very briefly. It begins with a loud rather vigorous passage for the louder group of piano and trumpet with a double bass playing freely along with it. And after a certain segment of this we shift suddenly to the lighter group of flute and the other piano which will play characteristically according to their instruments and their dynamic level. After this there is a shorter passage again for the first piano one trumpet then a passage for the flute and the other piano again shorter passages this time and we have

several antiphonal sections of this sort. Then there will be a duet for fluid a flute and trumpet. Later on the double bass comes in here also. And then there is a section where we contrast the two pianos. The first piano starting a low then the other piano entering alone for a short while then both pianos together and finally we have all players of all groups performing in a tutti which gets louder and more vigorous up to the end of the piece where it should end with three short chords. If we're lucky. So we will now perform this stereo study number one. By me the tempo is Allegro. Yes.

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Hand. We're going to do next. A quartet for stereo recording which was written by one of our performers JOHN RHEA. And I think you'll find this quite different. We try to experiment to a certain extent here so that we won't always come out sounding the same and so that we can keep up with the latest trends in contemporary music. After all part of the idea of

this is to help broaden the understanding of contemporary styles of those of us who are composing for the medium and are composers in our own right otherwise. So this one is one of our more experimental efforts where we work. Much more with timbres and affects of single tones and single color combinations for their own sake. So you will find passages in here which are what we call point a list pick where individual tone colors of different kinds will be widely spaced and separated along with more continuous passages also. So if you'll think of it from that standpoint perhaps you will understand it better or get a little more enjoyment from it. This is scored for trumpet double bass which will represent more or less the smaller group or the solo group in relation to the other group which consists of piano and percussion

instruments. Two players participating. I'm about to make my maiden voyage in playing percussion instruments in this piece. They've got me playing some of the little bells they don't trust me with much of anything else. This is rather difficult to perform because to get these little notes the separate notes at the right place is sometimes a little bit difficult. It begins with. A great crashing fast moving. That exciting kind of passage with all of the instruments playing at the same time I sound as though there were about 100 instruments don't they. That would include the trumpet the double bass rolls on the percussion instruments and the piano playing very vigorously and athletically. Then there is a complete silence and a little bell sounds will be heard over a a roll in the drums and a chord on the piano. Then there's a point a list Dick section between the trumpet in the double bass of of held notes overlapping with some short notes interspersed.

And it goes along this way pretty much. Similarly with the percussive sounds on the piano an occasional chord a long double bass line with sustain trumpet notes and little pointless Dick timbre sounds in the percussion instruments. It's fairly slow moving at the beginning then there is a fast section which gets quite exciting again with the percussion and the piano involved almost exclusively then trumpet in double bass again then percussion instruments all alone with these separated little sounds and the piano here is included in a percussion way in combination with the percussion instruments. Then there is it fast to the passage and the final passage is more slow and expressive again. With some point a list dict effects and some continuous lines also you will find us different but I hope you will enjoy it. Quartet for stereo by John Ray on.

The number which we have just rendered in case you tuned in late.

Was a quartet. For stereo recording by John Raya one of the participants in our group and I neglected to mention the people who are performing on both of these numbers that we've done this evening. In the first number which was by me and an Allegro for called Stereo study number one the I played flute Frank Buckles was Trump and John Ray a first piano. Jim Hart way second piano and done Lewandowski a double bass. It was at the piano. But instruments since we have a little program we would like to play a short for you. And this is completely.

Up with one of the. Say so we don't know what's going to happen but this will be a free for other group. We have just done for you a completely free improvisation to fill out the program

for this evening which consisted of piano one trumpet one group piano and double bass. Another group. Before that on the program tonight in case you tuned in late we did first of all a stereo study number one by me and secondly a quartet for stereo by JOHN RHEA. For those of you who have not yet secured the design structural plans for our works and if you would like to have them may I suggest that you write to music w d e t f m 5 0 3 5 Woodward Detroit 4 8 2 0 2 Will you please enclose a self-addressed envelope and the plans will be mailed out to you. Also I would like to assure you that we all would be very interested in your comments if you would care to write in. This would be most gratifying to us even if some of the comments may be critical. This ends our program for tonight then and we don't know what we'll do on our

next program. That's a great deal of the fun and the value in this improv improvising. We'll have some new music however for you on the next program. And so good night. That was Professor Ruth Wiley with the Wayne State University improvisation Chamber Ensemble. If you want information on this group and samples of the design plans for several of the improvisations send 15 cents in stamps to music. W d e t f m 5 0 3 5 Woodward Avenue Detroit 4 8 2 0 2. This program was produced for national educational radio by w d t FM Wayne State University Detroit. The engineers Charles Nairn and David Pierce producer Lauren hood. This is the national educational radio network.