Abyss and Caress (1975)

The piano is “prepared” with odd materials to create various sound effects, and some of the string players use glass and comb bows on their instruments.

One for Miss Dlugoszewsky, “abyss” represents “reckless energy intensity” These characteristics are alternately stressed in the 15 sections of her new work through an original series of sonorities. The latter can be both static or expanding.

The result is quite unlike anything. A good many of the sounds are extreme, in pitch, timbre and dynamics. They are common enough in contemporary music, it is true, but the composer has put them through a cycle of white ‐ hot intensity. One wishes the missing sections had been played — they were described as “subsidiary” and “negative” — for contrast.

One thing the piece has going for it is the virtuosity demanded from the players. The contribution of Gerard Schwarz, the trumpeter, was of major importance and was spectacular.