Graiser, Brian- 4 Prisms [After Brown] for harp(s) and percussion

4 Prisms [After Brown] for harp(s) and percussion includes 2 scores. 

Program Notes:

4 Prisms [After Brown] was written in May, 2019 for REFLECT harp+percussion (my wife Alaina and myself) and our dear Canadian friends Angela Schwarzkopf and Etienne Levesque. The piece is a response to Earle Brown’s 4 Systems (1954) for piano, which dealt with the “infinitely divisible continua” of time and sound. In 4 Prisms, I introduce the infinitely divisible continuum of light to this conversation, represented by the harp part, and four common kinds of prisms (dispersive, reflective, polarizing, and deflective) through which they can be redirected and/or transformed, represented by the percussion part.

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Review from Percussive Notes (2023):

“4 Prisms [After Brown]” is a fantastic piece composed in response to Earle Brown’s “4 Systems” for piano, “which dealt with the ‘infinitely divisible continua’ of time and sound.” Brian Graiser takes this concept and introduces the “continuum of light” to the equation. Graiser has taken the idea of percussion in a graphic/improvisational score (which often leaves little performance guardrails for the percussionist) and utilized it perfectly. He states, “In ‘4 Prisms,’ I introduce the infinitely divisible continuum of light to this conversation, represented by the harp part, and four common kinds of prisms (dispersive, reflective, polarizing, and deflective) through which they can be redirected and/or transformed, represented by the percussion part.”

It is refreshing to have a graphic score that is so clearly and carefully notated, while still leaving freedom for performers to interpret as they see fit. The clear indication of duration and pitch is excellent. And I love the fact that it is “suggested that the realizations are coordinated in advance with the harp(s) so as to purposefully complement the chosen techniques and materials in the harp improvisations.”

I highly recommend “4 Prisms [After Brown]” for anyone looking to collaborate with a harpist. Whether you are new to reading graphic scores or are a veteran, this is a special piece that allows a performer to create something very meaningful.

—Joe Millea