Paul Dooley: Masks and Machines (2015)

Paul Dooley (b. 1983)
Paul Dooley is one of the most prolific and performed composers in America today. His path has embraced not only his Western Classical heritage, but also a cross-cultural range of contemporary music, dance, art, technology and the interactions between the human and natural worlds. His music has been described as "impressive and beautiful" by American composer Steve Reich.

Dooley’s orchestral music has been commissioned and performed by, among many others, the Nashville Symphony, Detroit Symphony, Singapore Symphony, Macau Orchestra, Pacific Symphony, Charlotte Symphony, Cabrillo Festival Orchestra, Buffalo Philharmonic, United Nations Chamber Music Society, Omaha Symphony, Charleston Symphony Orchestra, Grand Rapids Symphony, Santa Rosa Symphony, Beethoven Academy Orchestra, Radom Chamber Orchestra, Amarillo Symphony, New York Youth Symphony, Aspen Philharmonic Orchestra, Nu Deco Ensemble and Alarm Will Sound, in addition to wind ensembles such as “The President’s Own” United States Marine Band, The United States Army Band “Pershing’s Own” and the United States Navy Band.

Born in Santa Rosa, California in 1983, Dooley began his musical life listening to Beethoven, Bruce Hornsby, Nirvana and Rush. At the age of 13, Dooley began a long mentorship with singer, songwriter, improvisor and gifted counselor Gary “Doc” Collins. In high school Dooley also studied composition with Charles Sepos, before earning bachelor degrees in mathematics and music composition at the University of Southern California (2002-2007) with Frank Ticheli and Stephen Hartke, and a master and doctorate degree at the University of Michigan (2007-2013) with Michael Daugherty, Bright Sheng and Evan Chambers. A key moment occured for Dooley in 2010, with his participation in the inagural Mizzou International Composers Festival. The festival commissioned Dooley's breakout work Point Blank, which was premiered by the new music ensemble Alarm Will Sound.

In 2013 Dooley joined the music faculty at the University of Michigan. He created and directs the Performing Arts Technology department’s annual Computer Music Showcase. He also co-directed the Midwest Composers Symposium and was coordinator of the “ONCE. MORE.” festival, a celebration of the 50 year anniversary of the ONCE Festival of Contemporary Music, and was co-awarded a grant from the Gilbert Whitaker Fund for the Improvement of Teaching. Dooley’s music is also the subject of several doctoral dissertations, such as “Paul Dooley’s Masks and Machines: A Formal Analysis and Instructional Guide” by Kevin M. Callihan, University of Kentucky.

Dr. Dooley has received a wide range of awards for his work, including both the 2016 Sousa/ABA/Ostwald Award and the 2015 William D. Revelli Prize for Masks and Machines (2015), the 2013 Jacob Druckman Award for orchestral composition from the Aspen Music Festival for Point Blank (2011) and young composer awards from Broadcast Music Inc. (BMI) for Dani’s Dance (2007) and the American Society of Composers, Authors and Publishers (ASCAP) for Gradus (2009).

Dooley’s recordings can be heard on, among others, Naxos, Equilibrium, Soundset, Mark Records, GIA Wind Works and Block M Records.

Dooley’s music is published by Paul Dooley Music. For more information on his music, visit www.pauldooley.net and www.conductorsspellbook.com

Masks and Machines (2015)
I. 00:22
II. 3:26
III. 6:49

Masks and Machines was commissioned by a consortium of wind bands organized by Timothy Shade in honor of Gary Green's retirement from the Frost School of Music at the University of Miami. Masks and Machines is inspired by the early twentieth century works of Bauhaus artist Oskar Schlemmer, and the Neoclassical music of Igor Stravinsky. I admire the simplicity of shapes and color in Schlemmer's works such as the "Bauhaus Stairway" and "Triadic Ballet" as well as the renaissance and baroque musical influences in Stravinsky's "Pulcinella." Masks and Machines contains three contrasting character pieces featuring renaissance brass music, Baroque fortspinnung in virtuosic mallet percussion, lush oboe, clarinet and bassoon solos, and machine-like flute rips.

-Program Note by Composer

Instrumentation
For Wind Ensemble

Performer
University of Michigan Symphony Band
Conducted by Michael Haithcock

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