| March 29, 2009 |
| Jan Hus Church |
351 East 74th Street
New York, New York 10021
The Composer’s Voice Concert Series is an opportunity for contemporary composers to express their musical aesthetic and personal “voice” created in their compositions.
Composer's Voice presents premieres of french based artists Drake Mabry and Catherine Schneider as well as the work of Composer/Singer/Cellist Jody Redhage.
Lastavice– Departure (2008)
Milica Paranosic (voice, laptop)
Jason Jordan, So Young An (dance)
|Let Everything That Has Breath Praise the Lord (2006)
|What It's Like (2009)
Matthew Saunders (trombone)
|The First Snow-Fall (2001)
Monica Harte (voice)
Jonathan Levin (piano)
|Kales Bre Andjo (2007)
Milica Paranosic (voice, gusle, melodika, laptop)
|Box Shy (2008)
David Morneau (laptop)
Esther m Palmer (dance)
Shana McKay Burns (scroll design & construction)
So Young An received her B.F.A. from Dong-Ah University in
Korea. She is a former member of The Korea National Ballet
Company. She was awarded a gold medal at the 1996 National Ballet
Competition. She has performed role of the Sugarplum Fairy in the
Nutcracker, the Dying Swan and Swan Lake with OBT in Seattle.
She is currently dancing with Buglisi Dance Theater.
Jason Jordan began his dance career at the tender age of seven
when he won five dollars for being the best dancer at a Brooklyn
house party. Since then Mr. Jordan has danced with Feld Ballets/NY,
Ballet Tech (as a principal dancer), Les Grands Ballets Canadiens de
Montreal, Buglisi Dance Theater, Rubberbandance, Cedar Lake
Dance, Peridance Ensemble and Battery Dance. Mr. Jordan would
like to thank all of the beautiful souls that have helped him along the
Seen Performance -
We make performance. We do it through collaboration. And we do it
in whatever discipline we need to. We experiment with our working
process, creating work that may or may not fit within a traditional
realm. Through the cooperation of ideas and techniques from our
various art forms, we create with new and innovative performance.
Working together as Seen Performance, we experiment with new
techniques and methods that challenge each of us creatively. Our
process of experimenting begins with research, discussion, and a
willingness to explore unfamiliar territory. Our work together has
become a call and response – and re-call and re-response. It is a
process in which we are continually evaluating and revising each
other’s work, our contributions, and the results, a whole that we
strive to make greater than its parts.
Seen Performance is David Morneau, Esther m Palmer, and
Shana McKay Burns
Esther m Palmer is exploring how performance heightens
philosophical connections between people. She founded Seen
Performance with David Morneau and Shana McKay Burns to help
define this process through cross-disciplinary collaboration.
Esther received her MFA in Dance and Technology from The Ohio
State University where she developed an approach to creating
performance through methodologies borrowed from disciplines
outside dance. She fell in love with the idea of dance as a broader art
from through improvisation, which was introduced to her as a
method of performed composition by Penny Campbell (at
Middlebury College). Esther carries this spirit of improvisation
through all of her performances, relying on each specific situation to
feed choices. Esther has performed and presented work in Chicago,
Columbus, and New York.
Shana McKay Burns's goal is to tell stories, be they linear and plotdriven,
stylized mood pieces, or abstractions. As a set designer for
stage and film, Shana aims to support the telling of these stories
through the design of their environments. Shana views Seen
Performance as a place to collaborate with her peers, and as a place
to explore new types of environments.
Shana first worked with Esther and David at Ohio State University
where she studied Digital Animation. Her thesis work there included
a comparison of the set design process in theatre, film and animation.
Shana also holds an M.F.A in Set Design from New York
University's, Tisch School of the Arts.
Jonathan Levin, pianist, is a native of North Carolina where he has
performed numerous concerts with the Raleigh Symphony, the
Durham Symphony and the North Carolina Symphony. His success
won him sponsorship from the N.C. Federation of Music Clubs. He
has won many state and national piano competitions, including the
National Stillman-Kelly Prize and the Eastern Music Festival
Scholarship. Recent performances include the Brooklyn College
Presidents Concert, hosted by Sopranos star Steve Schirripa and
televised on CUNY TV; Solo Concert Tour of North Carolina,
Tennessee and Florida; the Kosciuszko Foundation; and the
Consulate General of the Republic of Poland in NYC. In addition to
solo concert work, Mr. Levin performs a great deal of chamber
music and accompanies both vocal and instrumental recitals. He is
currently the musical coach and pianist for the Remarkable Theater
Brigade’s (RTB) production of No Shirts, No Skirts, No Service &
Other Short Operas, a selection of short scenes & operas by the
winners of RTB’s vocal composition competition.
Christian Carey is active as a composer, performer, and theorist. He received a Ph.D. in theory and composition from Rutgers University (where he studied with Charles Wuorinen), an M.M. in composition from Boston University (where he studied with Lukas Foss), and a B.M. in voice from the Juilliard School. He studied at the Aspen Music Festival with Bernard Rands and Jacob Druckman. His compositions have been performed by the New York New Music Ensemble, the Cassatt String Quartet, the Aspen Contemporary Ensemble, Ionisation, and the Helix! New Music Ensemble, at Lincoln Center, the June in Buffalo Festival, the Music Academy of the West, the Aspen Music Festival, Two River Theater Company, the Montclair Art Museum, the Progressions Series in Baltimore, Maryland, and Music '99 at the University of Cincinnati. He won the 2004 Music Festival of the Hamptons Composition Competition; the Festival subsequently commissioned Mourning Madrid, a work for orchestra and live locomotive; it was premiered July 2004 in Bridgehampton, New York by the Atlantic Chamber Orchestra and the Long Island Railroad. His research focuses on Post-War American composers; he has written about Babbitt, Carter, Feldman, Rakowski, and Wuorinen. His articles and reviews have been published in Musicworks, Signal to Noise, Sequenza 21, Muso, and All about Jazz. File Under ?, his column on experimental music, ran for three years at Splendidmagazine.com, an online daily where he also served as Managing Editor. This past spring he gave a lecture on Morton Feldman and Samuel Beckett at Monmouth University as part of Two River Theater Company's festival commemorating the Beckett Centennial. He has recently been asked to contribute an article on Ralph Shapey's late music to Contemporary Music Review.
David Morneau does not compose his music with a ‘poetic power’
that emphatically discharges from his work enchanting you in a
hallucinogenic state of borderline exaltation. He does not intensely
attempt to infuse symbolism into his work and shows no melodic
motivation whatsoever. This is not David. So you ask, ‘Well, then
what does this so-called proclaimed musical talent propose to do?’
David is a composer of an entirely undecided genre. Among his
diverse projects are 60x365 – a year-long podcast project for which
he composed a new one-minute piece every day, Boop Boop Beep –
a solo performance for Nintendo Gameboy, Three Questions – an
experimental graphic score for any performer(s), and The Rhythm
Variations – 12 variations on Gershwin for solo piano. David’s
music has been featured on a number of festivals worldwide,
including the SPARK Festival of Electronic Music and Arts,
Electronic Music Midwest, Sonoscope: Zeppelin, Expo Brighton,
and SoundImageSound. He has participated in Robert Voisey’s
60x60 project since 2006. He has been featured on NPR’s All Things
Considered and Kalvos and Damian’s New Music Bazaar.
A native of Belgrade (Serbia), hailed as one of the of music critic's
Kyle Gann's "Favorite Women Composers of All Time", awardwinning
Milica Paranosic lives in New York and is active as a
composer, sound designer, conceptual artist, multimedia artist, music
educator and producer. Her compositions include concept pieces,
mixed media as well as music for dance, stage, and film. She uses
human voices (vocal and spoken, live and recorded) found objects,
technological tools, and musical instruments as her musical carriers
giving them "equal rights". She writes music, concepts, sounds,
theatrical scripts, and short stories.
Classically trained - she prefers to refer to herself as classically
challenged - her influences are just as much the ones from the street
and pop culture as the ones of her formal education. Milica's music
and performances have provoked audiences of widely different
profiles - from opera goers to soccer fans, rarely leaving them
indifferent - she was called: ...free-wheeling performance-art- type
cat (Kyle Gann) ...a painter a music Jackson Pollack (SEAMUS Eric
Somers). As an artist as well as an educator and producer Milica
strives to create new worlds in which contrasting concepts vividly
coexist in unique textures.
Milica holds a Bachelor's degree in composition from Belgrade
Music University and a Master's degree in composition from The
Juilliard School where she has been on the faculty since 1995
teaching music technology. Milica is the manager of the Music
Technology Center, Associate Director of the Mentoring Program at
The Juilliard School, and cofounder and producer of Beyond The
Machine a Festival of Electronic and Interactive Music.
Raised in Milwaukee, Wisconsin, Jeremy Ribando began singing
professionally at 16. Since then he has appeared as a soloist with the
Northwest Florida Symphony Orchestra, the Masterworks Festival,
Opera Grand Rapids, and the Evangelical Choral Society of Grand
Rapids. In high school, Jeremy took up composing, where he fosters
an appreciation and care for melody he developed as a singer.
Among his many commissions are Boggy Portraits, a multimedia
project for the Northwest Florida Symphony Orchestra, Falling
Down Doodle for Donna Wissinger and Joy Meyers, Prayer for
Sleep, a men's choral piece for Michigan State University, A Mon
Pays for an intercollegiate choir exchange this summer in
Noirmoutier, France. His current projects include GASP (Great
American Scary Piece) for the Northwest Florida Symphony
Orchestra, and I'm A Brat - So What! for the horn studio at Florida
Jeremy holds degrees in composition and theory from Cornerstone
University, Western Michigan University, and Michigan State
Univeristy, He has also studied opera/coaching with Delta David
Gier – associate conductor, NY Philharmonic, and voice with
Stanley Kolk - Stadtische Oper, Frankfurt (retired). Jeremy currently
teaches voice, music theory, and music technology at Northwest
Florida State College.
Matthew C. Saunders is Assistant Professor of Music at Oklahoma
Panhandle State University, where he is also Director of Bands. He
earned the degree of Bachelor of Music from the University of
Cincinnati College-Conservatory of Music, and the degrees of
Master of Music and Doctor of Musical Arts from The Ohio State
University. He has studied composition with Donald Harris, Thomas
Wells, Jan Radzynski, Joel Hoffmann and Wes Flinn. His music has
been performed in Ohio, Missouri, Oklahoma, Texas, Kansas,
Wyoming, Georgia, and the United Kingdom, by groups including
the Ohio State University Wind Symphony and Symphony
Orchestra, the Lake String Quartet, the Lorain County Community
College Concert Band, the Oberlin Choral Spectrum and the Macon
(Georgia) Symphony Orchestra. His next major project is a work for
chorus and winds for the centennial of Oklahoma Panhandle State
University. Dr. Saunders lives in Guymon, Oklahoma with his lovely
Kales Bre Andjo (2007)
Afternoon Meditations Lastavice– Departure (2008)
These pieces are my takes on Serbian folk tunes, and are part of
larger shows: Kales Bre Andjo, from Confessions, my one-woman
show and Lastavice – Departure from my cross-cultural transmedia
show I am a Bird (NY premiere May 16–18, Gallery MC), featuring
fabulous dancers Jason Jordan and So Young An.
Monica Harte has performed more than 25 coloratura roles in the
standard operatic repertoire and numerous world premieres. She has
also sung concerts throughout North America and Europe. She is the
soprano soloist on the critically acclaimed 2007 CD release,
McLeer's Requiem, and the CDs Songs from Another Place and Long
Island Songs both on MSR Classics Label. She recently recorded
works by McLeer and David Buddin for The Tempest Project CD to
be released by POGUS Productions and the cycle Going for Tom
Cipullo's Landscape with Figures to be released by Albany in 2009.
Ms. Harte is the General Director and co-founder of Remarkable
Theater Brigade, which produces contemporary operas and concerts
in New York City.
The First Snow-Fall (2001)
The preferred punishment of my sixth grade teacher was assigning
what seemed like endless poetical or political essays to memorize. In
my agony, I assigned my mother the task of listening to endless
hours or recitation. I dedicate The First Snow-Fall to her. She
graciously helped me to memorize each word, and in doing so
memorized them herself. My mother’s attachment to this poem was
evident because it hung on the side of the refrigerator for years.
It is both a sad and beautiful poem. In five short years (between 1848
and 1853) Lowell lost three of his four children, and his beloved wife
Maria. Only his daughter Mabel mentioned in the poem survived.
Perhaps the poem sung tonight is from Mabel’s perspective.
The First Snow-Fall
James Russell Lowell
The snow had begun in the gloaming, Up spoke our own little Mabel,
And busily all the night Saying, “Father, who makes it snow?”
Had been heaping field and highway And I told of the good All-father
With a silence deep and white. Who cares for us here below.
Every pine and fir and hemlock Again I looked at the snow-fall,
Wore ermine too dear for an earl, And thought of the leaden sky
And the poorest twig on the elm-tree That arched o’er our first great sorrow,
Was ridged inch deep with pearl. When that mound was heaped so high.
From sheds new-roofed with Carrara I remembered the gradual patience
Came Chanticleer’s muffled crow, That fell from that cloud like snow,
The stiff rails softened to swan’s-down, Flake by flake, healing and hiding
And still fluttered down the snow. The scar that renewed our woe.
I stood and watched by the window And again to the child I whispered,
The noiseless work of the sky, “The snow that husheth all,
And the sudden flurries of snow-birds, Darling, the merciful Father
Like brown leaves whirling by. Alone can make it fall!”
I thought of a mound in sweet Auburn Then with eyes that saw not, I kissed her;
Where a little headstone stood; And she, kissing back, could not know
How the flakes were folding it gently, That my kiss was given to her sister,
As did robins the babes in the wood. Folded close under deepening snow.
Box Shy (2008)
Box Shy is the first piece in our Party Project, a series of short
pieces designed for performance in social settings. We made this
piece in round-robin style collaboration. Esther made a dance and
video-taped it. Shana added a layer of animation to the video. Then
David completed the process by adding a score. We took the video
into the studio and converted it to a video-free performance. It is
meant to be viewed up close, so please join us onstage.
Let Everything That Has Breath Praise the Lord (2006)
Let Everything That Has Breath Praise the Lord is a meditation
on the wonder and diversity of creation through the medium of
musique concrete. The accompaniment consists of various musical
and natural sources, from Bach to humpback whale song, blended to
form a collage of the expressive sounds created by complex
molecules on Earth. The trombonist provides a somewhat reticent
commentary. The piece was created for the composer to play, and the
sources were mixed and sequenced using Cubase.
What It's Like (2009)
What It's Like is my own response to the first assignment I give to
almost all of my composition students: to write a one-minute
composition for the student's primary instrument that describes to the
listener the experience of playing that instrument. I show them pieces
such as Varese's Density 21.5 for solo flute as models, although I
expect them to make very different stylistic decisions in their own
work. I recently realized that I needed to have a completed version of
the assignment at the ready, and the result was this piece, which, I
think, sums up the experience quite nicely.
| Funding by|
Funding also provided by the Puffin Foundation, "...continuing the dialogue between art and lives of ordinary people."