Composer's Voice Concert [ Vox Novus - the new voice for contemporary music ]
May 24, 2003
A.R.T South Oxford Space
138 South Oxford Street
Brooklyn, New York 11217
Concert featuring Noah Creshevsky and his Hyperrealism.
Hyperrealism is an electroacoustic musical language constructed from sounds that are found in our shared environment ("realism"), handled in ways that are somehow exaggerated or excessive ("hyper").
Title Performers Composers
Great Performances Christine Perea, flute and Duo-Ling Peng, cello Noah Creshevsky
Canto di Malavita electronic Playback Noah Creshevsky
Some Assembly Required electronic playback Michael Kinney
Chaconne Hiromi Abe, piano Noah Creshevsky
green revisited electric guitar Marco Oppedisano
Jacob’s Ladder electronic playback Noah Creshevsky
lust electronic playback and Robert Voisey, Voice Robert Voisey
Novella electronic playback Noah Creshevsky
Jubilate electronic playback and Beth Griffiths, soprano Noah Creshevsky
Hiromi Abe is an active free-lance pianist/keyboardist and an accomplished composer whose works have been performed throughout New York and Philadelphia. Her formal musical training started at age four in Japan where she attended the Yamaha School of Music, and later served as a piano instructor. Hiromi then went on to earn several degrees in music. She holds two bachelors degrees, one in Piano Performance from the Kunitachi College of Music in Tokyo, and one in Jazz Composition from the Philadelphia College of Performing Arts, where her teachers included John Hodian, Trudy Pitts, and George Arkerly. At the Philadelphia College of Performing Arts, she received the Jacobs Music Company Steinway Award for her piano performance. She earned her Masters in Music Composition from Queens College, where she was the recipient of the Aaron Copland School of Music Graduation Masters Award, and studied with Thea Musgrave, Sir Roland Hanna, and Henry Weinberg.
Since her European debut in Mauricio Kagel’s solo theater piece Phonophonie in 1978, the demand for Beth Griffth as soloist has taken her to such important music festivals as the Warsaw Autumn, Cologne Triennale, Wien Modern, Numus Festival, RIAC, Donaueschingen Musiktage, Darmstadt Summer Courses,Wittener Tage fur Neue Kammermusik, ISCM and New Music America. In addition, her acclaimed performance of Morton Feldman’s Three Voices has been heard on numerous stages from Prague, Berlin, London, New York and in between. Recent invitations led her to Grahamstown, South Africa, Gent, s-Hertogenbosch, Cologne, Wiesbaden, Raleigh, North Carolina and here in New York with repertoire ranging from chamber works by Sorrell Hays, Dieter Schnebel, Wolfgang von Schweinitz, Manos Tsangaris, solo works by John Cage, Alvin Curran, Morton Feldman, Noah Creshevsky, John McGuire, Mattricio Kagel and Rodney Waschka.
Born in Taiwan, Duo-Lin Peng started cello and music training at the age of five at Kuan Jen School for music talented. At nine he picked up another instrument—French horn—because school orchestra needed a horn player. Since then he has always carried two instruments at the concerts. After graduating from the university and serving military in Taiwan, he went to U.S. for further study. However, instead of accepting offer from Mannes School of Music, he decided to study arts administration for performing arts at NYU. After graduation he was employed by Taiwan government’s Cultural Department, and soon became a diplomatic cultural officer in the U.S. Currently he is a PH.D. student in music education at NYU and privately studies with Mr. Nathaniel Rosen.
Christine Perea flute, has performed as a soloist throughout the NYC area, as well as with the Vox Novus Ensemble, Brooklyn Heights Philharmonic, New York University New Music and Dance Ensemble, and Forecast. She specializes in New Music, particularly electro-acoustic repertoire, and her performances on the piccolo, alto, bass, and concert flutes have taken her to Detroit, Chicago, Dallas, Washington D.C., and Pisa, Italy. Ms. Perea is the former music director for the Vox Novus Ensemble, and is a member of the adjunct faculty at NYU, where she is also a Ph.D. candidate. Christine holds a Masters degree in Flute Performance from New York University and a Bachelor's from DePaul University in Chicago. While in Chicago, Ms. Perea also served as principal flutist and piccolo player for two years with the Chicago Classical Symphony Orchestra under Maestro Joseph Glymph. Christine's teachers have included Robert Dick, Keith Underwood, Linda Chesis, Mary Stolper, Clem Barone, and Shaul Ben-Meir. She is a member of the National Flute Association and has performed as a soloist at both the 2001 and 2002 conventions. Her research goals include writing a dissertation pertaining to the history of electro-acoustic music for the flute with emphasis on the use of timbre in this repertoire and a pedagogical guide to playing the alto and bass flutes, of which she is an avid performer. An active supporter of new music, she has performed New York premieres of works by Rodrigo Sigal, Lawrence Moss, Rene Mogensen, Will Redmond , Jin Hi Kim, and Robert Voisey.
"Noah Creshevsky is as much a virtuoso of the sampler as anyone working in the field. But instead of using it for mere technical effects, he turns it into a tool of the imagination, creating impossible ensembles from some parallel universe. In place of notes, Creshevsky uses sampled gestures, noises, and radio snippets as his textural atoms, playing dodecaphonist with bits of our lives. His sampler is a means toward not only superhuman virtuosity, but a new universality."--Kyle Gann, music critic, Village Voice. Born in 1945 in Rochester, New York, Creshevsky began musical study at age five at the Eastman School of Music. He graduated from the State University of New York at Buffalo, and studied with Nadia Boulanger in Paris and Fontainebleau. His master's degree is from the Juilliard School, where he was a pupil of Luciano Berio. Creshevsky's work has been supported by grants and awards from the National Endowment for the Arts, the New York State Council on the Arts, and ASCAP. It has been released on records and compact discs, and performed and broadcast internationally. Formerly director of the Center for Computer Music and professor of music at Brooklyn College of the City University of New York, he has served on the faculties of the Juilliard School and Hunter College, and been a visiting professor at Princeton University.
A native of St. Paul, Minnesota, Michael Kinney began studying the piano at an early age. As a recipient of The Vittorio Giannini Award for Composition, he received a Bachelor of Music in Composition from The North Carolina School of Arts (NCSA) in 1994. In 1998 Mr. Kinney received his Masters of Music in Composition from Brooklyn College where he held a fellowship at The Center For Computer Music and also taught music theory and eartraining from 1996 through 2000. Kinney worked for The Martha Graham School of Contemporary Dance as an accompanist from 1995 through 1999. He has been on the faculty of the Alvin Ailey School for five years. Kinney is pursuing a Ph.D. in composition at the C.U.N.Y Graduate Center, although he took a leave of absence in 2001 to study computer music at The Centre de Création Musicale Iannis Xenakis (CCMIX) in Paris. In May 2002 he received a commission from the Société Gioacchino Rossini in Paris to orchestrate “Demetrio e Polibio”, an early opera of Rossini. The opera, with Kinney’s orchestration was performed in August of 2002 in Normandy and was filmed by Radio France. Kinney currently resides in Paris and is on the faculty of Le Conservatoire de Musique et de Danse Du Bourget.
Marco Oppedisano (b. 1971) was born in Brooklyn, New York. He began playing guitar at the age of 12 and entered undergraduate studies as a classical guitar performance major, studying with Michael Cedric Smith. He holds a B.A in Music Composition from the Brooklyn College Conservatory of Music, an M.A in Music Composition from the Queens College Aaron Copland School of Music and has studied composition with Noah Creshevsky, Charles Dodge, Tania Leon, Thea Musgrave and Henry Weinberg. From 1999-2003, as a guest of the Brooklyn College/ CUNY Electro-Acoustic Composers yearly compact disc, Oppedisano has composed a series of multi-track electric guitar pieces inspired by The Divine Comedy by Dante Alighieri. Recently completed projects include the solo electric work Urban Mosaic for Kevin R. Gallagher, a solo classical guitar work Primo Volo for Oren Fader, Steel Sky for multitrack electric guitars, Trio for three live instruments and tape, an a cappella piece for 3 sopranos based on the Creation Canto from The Divine Comedy, and a classical or electric guitar quartet, The Good News commissioned by the Zyryab Guitar Quartet in Portugal. Oppedisano is also a performer in an "electronic duet" with the voice of Thomas Buckner in a new composition by Noah Creshevsky. The piece is entitled Hoodlum Priest and will be included on a compact disc release in 2003 on Mutable Records of Creshevsky's music. Projects for later this year include a large electronic work called Snapshots (for Noah Creshevsky) consisting of hundreds of short electric guitar samples and a work for electric guitar and percussion. Oppedisano is also an instructor of guitar and music theory and has extensive studio and performance experience in music ranging from rock/pop, hip-hop, blues, jazz, musical theater, electro-acoustic music, free improvisation and contemporary concert music. He also is a member of an electric guitar quartet with Oren Fader and Kevin Gallagher that will be performing later this year. Oppedisano has also conducted the premieres of his a cappella vocal works; The Emperor of Ice Cream (1998) and The Creation (2002). In May 2002, his multitrack electric guitar work, Frozen Tears was heard in an electro-acoustic music festival at Bilgi University in Istanbul, Turkey. Oppedisano has had other electronic works heard around the world. In 1996 he received a grant from Meet the Composer, Inc. for a his work Three Short Pieces for flute, clarinet, trombone and electric guitar (1995). His works are registered with ASCAP.
"Robert Voisey composes music as a natural part of his life. Substantial compositions can take months to complete, or they can appear in one or two days, full blown in both concept and in detail. Voisey has developed an original and versatile system of interlocking, modulating modes that blend elements of eastern and western musical processes. The resulting compositions reflect a wonderful merging of spontaneous energy and disciplined technique. Voisey's music offers a multitude of pleasures to performers and audiences alike. This is music worth hearing again and again." - Noah Creshevsky

Voisey values himself as a renaissance man. His disciplines include music, computer science, math, art, and poetry. In the midst of accomplishing his Bachelor of Arts at the State University of New York at Stony Brook, he traveled to Israel to study with the composers Oded Zehavi and Aiten Schteinberg. Voisey returned to New York two years later to resume his studies with Noah Creshevsky and George Brunner at the City University of New York at Brooklyn College. After a long hiatus, he returned to his background of computer science creating music with electronic media rather than limiting himself to conventional instruments. In Israel, Voisey debuted several compositions at Tel Hai, Bar-Ilan, and Jerusalem. He also enjoyed performances broadcasted on Kol Muscia (the voice of music) Israeli National Radio. Currently composing in Harlem, New York he has several compositions debut in venues in New York City as well as abroad. Recently his compositions have debuted in Buenos Aires, Argentina with La Scala de San Telmo.

Program Notes:
Hyperrealism is an electroacoustic musical language constructed from sounds that are found in our shared environment ("realism"), handled in ways that are somehow exaggerated or excessive ("hyper").

Hyperrealistic music exists in two basic genres. The first uses traditional instruments that are pushed beyond the capacities of human performers in order to create superperformers--hypothetical virtuosos who transcend the limitations of individual performance capabilities. These are the "supermen" who appeared in a number of my compositions, beginning with Circuit (1971) for harpsichord on tape. The compact disc Man & Superman (Centaur CRC 2126) was largely connected to my interest in the ambiguous borders between live performers and their impossibly expanded electronic counterparts.

The idea of superperformers has numerous precursors, including the violin music of Paganini, the piano music of Liszt, conventional music for player piano, and the fully realized player-piano music of Conlon Nancarrow.

Fundamental to the second genre of hyperrealism is the expansion of the sound palettes from which music is made. Developments in technology and transformations in social and economic realities have made it possible for composers to incorporate the sounds of the entire world into their music.

Hyperrealism of this second genre aims to integrate vast and diverse sonic elements to produce an expressive and versatile musical language. Its vocabulary is an inclusive, limitless sonic compendium, free of ethnic and national particularity.

Essential to the concept of hyperrealism is that its sounds are generally of natural origin, and that they remain sufficiently unprocessed so that their origin is perceived by the listener as being "natural." Since the sounds that inhabit natural environments vary from year to year, generation to generation, and culture to culture, it is impossible to isolate a definitive compendium of "natural" sounds, but there are a great many sounds that are familiar to nearly all of us. These are the most basic building blocks in the formation of a shared (if temporary) collective sonic reality.

The development and incorporation of expanded palettes consisting of natural sounds also has precursors, most notably the work of Pierre Schaeffer, Pierre Henri, and the overall tradition of musique concrete.

Hyperrealism extols bounty, either by the extravagant treatment of limited sound palettes or by assembling and manipulating substantially extended palettes. Of my compositions, Who, Coup d’etat, et puis, Gone Now, and Novella (among others) share aspects of a particular style. I call that style "hyperdrama." In addition to other qualities, hyperdrama is characterized by a steady level of heightened sensations. Hyperdramas attempt to consolidate and compress intensified states.

Hyperrealism is a language because various composers, using identical sounds (i.e., parts of speech) can produce significantly different kinds of compositions, based on their tastes, intentions, and technical resources.

Hyperdrama is a musical style in which hyperrealistically extended palettes and/or restricted palettes in conjunction with superhuman performance capabilities express a larger-than-life level of emotional intensity.

In relentlessly developing Vox Novus, first and foremost the reason for Vox Novus’ existence is for the promotion of contemporary composers, their works and the musicians and or entities, which perform and produce contemporary music. To accomplish this, Vox Novus sponsors concerts and a core of musicians and encourages them to perform new music. Through its prominent website, Vox Novus provides resources to the contemporary composer, public access to the new music of its members and an effective means for the distribution of their work.
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Funding from Meet The Composer, Inc. is provided with the support of NY State Council on the Arts, NYC Department of Cultural Affairs, ASCAP, Virgil Thomson Foundation, Jerome Foundation, JP Morgan Chase, Mary Flagler Cary Charitable Trust, The Eleanor Naylor Dana Charitable Trust, The Greenwall Foundation, and National Endowment for the Arts.
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