Composer's Note: Reflecting back on this, my first composition from forty years ago, I am compelled to put Four Constructions in a historical context. In the broadest view, encompassing what Wolfgang Amedeus Mozart was creating at age fifteen (having composed an opera by that age), I had to ask myself if it was a viable decision to bring this work out of moth balls and subject today’s skilled and intellectually astute college percussionists and audiences to such a modest offering. My rationale for responding in the positive spins into an ever more complex conundrum of a not so Ivesian “unanswered question”. After all, irrespective of my age, Ballet Mechanique (composed 29 years earlier) and Ionization (24 years earlier), individually cast a long shadow over these Constructions. However, as I think back on rehearsals with my friends at Interlochen’s that summer, with coachings by Jack McKenzie (the proponent of the “matched grip” who, at that time was conducting and performing in the Harry Partch Ensemble), I recall with great fondness the enthusiasm, excitement and dedication of each junior high student in our quartet as we worked towards the premiere. The always kind, Mr. McKenzie never mentioned that John Cage had already composed a series of Constructions years earlier. Indeed, it was not until my junior year of college that my professor at that juncture, Thomas Siwe, programmed Cage’s First Construction in Metal. When I was handed my part at the first meeting of the ensemble, I recall thinking – “What, John Cage had titled his new work the same as mine? How dare he do that.” (having no idea at that moment that his masterpiece had been created in the 1940s). Given my developed affinities for post-Bach contrapuntal complexity, passion for exploring new timbre chords, and melodic and harmonic development, all melded with aspects of world music, I have to say that I was a bit uneasy about presenting this offering to my good friend and colleague, Anthony DiSanza. However, he took a chance on these Constructions and from the feedback I have received from his students in speaking with Professor Di Sanza, they have, shall I say, “not found it uninteresting”. As the old adage says, “the proof is in the pudding”. So, I do hope that this, my first batch of “vanilla” will leave you, the audience and the performers, wanting to partake of my “butterscotch” and “Chocolate” puddings as well. - MU, November 19, 2004
