The concert will include works for voice and computer processing, computer generated tape, and video.
Seungyon-Seny Lee (b. 1969)
Seungyon-Seny Lee was born in Seoul, Korea. She has studied composition with
Richard Cornell at Boston University. In D.M.A Program at Stanford
University, she studied with Jonathan Harvey and Chris Chafe.
Her instrumental pieces and her collaborating multimedia projects which are animation,
documentary film, dance, video and installation art have been performed in U.S.,
Europe, Korea and Cuba at festival such as Agora Festival, Internationale Musikinstitut Darmstadt,
Institut de Recherche et Coordination Acoustique/Misique (IRCAM), Colloquium on Musical
Informatics (XIII CIM), Cantor Center of visual Arts at Stanford, Seoul International Computer
Music Festival (SICMF), Primavera en La Havana, and Florida Electroacoustic Music Festival (FEAM).
As a resident artist, she has been in Paris at Cite Internationale des Arts program,
and in Djerassi Resident Artists Program in Woodside, CA.
Helix (2002) - for baritone, real-time interaction and video
There are four basic layers to 'Helix'; a monologue on tape, tape sounds that utilize non-verbal voice
and instrumental sounds (transformed via computer), voice and video. In January, February, and March of 2001,
I kept a diary of thoughts on unanswerable questions and endless conundrums. The issues of reality and
imagination and their relationship to the Self and Other appeared at times. The monologue part on the tape
is drawn from my diary, and it incorporates these elements. The other tape sounds explore the world of
explication, while the voice part is more implicit in substance. The video image is meant to enhance and
redefine the experience of the sonic realm of 'Helix'. Many thanks to Cyrille Brissot who collaborates for
|Westbau from Der Dom
Diego Minciacchi (b. 1955)
Diego Minciacchi studied composition and piano in different Conservatories in Italy
(L'Aquila, Perugia - musical degrees, and Milano) and had main formative
contacts with Karlheinz Stockhausen, Giuseppe Giuliano, Hans Peter Haller,
Luigi Nono, Emmanuel Nunes, Horatiu Radulescu, Nigel Osborne, and Curtis
He has been repeatedly invited to present his music at (excerpt): Electric
Spring, Huddersfield, UK (2002); Cours d'été "Iannis Xenakis" - Festival
Lucero, Paris (1993-2001); "...antasten... Internationales Pianoforum",
Heilbronn (1995-2001); Internationales Ferienkurse für Neue Musik, Darmstadt
(1990-2000); "Donaueschinger Musiktage", Donaueschingen, Germany (1997);
International Society for Contemporary Music Festival: World Music Days of
Mexico City (1993) and of Warsaw (1992); La Fenice, Venice; "Summer Meeting
- Electroacoustic Music Studio of the Hungarian Radio", Sárvár (1999-1997)
"International Dance Course for Choreographers and Composers", Guildford,
He teaches actually at the University of Florence for the Course of Motor
Publications (about 100) in the most diffused journals of neuroscience, and
in several books; first editor of "Thalamic Networks for Relay and
Modulation", 1993, Pergamon Press, Oxford; editor of "The Giorgio Macchi
Textbook of Neurology", 2001, Piccin, Padova, Italy.
|Spiritus Intus Alit
Ching-Wen Chao (b. 1973)
Ching-Wen Chao, born in Taiwan in 1973, is currently a DMA candidate in composition in the music department at Stanford
University, where she has studied with Chris Chafe, Brian Ferneyhough, and Jonathan Harvey. She also researches at the Center for
Computer Research in Music and Acoustics (CCRMA). She is currently a recipient of the Chiang-Ching Kuo FounationFellowship, and has
recently awarded the first prize of the Young Composers Competition of the Asian Composers League. In recent years her works have
been performed in several major US cities and countries that includes Canada, Indonesia, Taiwan, Korea, and China.
Spiritus Intus Alit (2002) - for Baritone and Live Processing Sounds
The piece speaks to the depth of the spiritual and philosophical struggle between faith in the afterlife and the finality of death.
Spiritus Intus Alit, meaning "the spirit drinks deep," serves as the postlude in my Requiem Moksa. The two textual fragments are
drawn from The Aeneid of Virgil, depicting a dialogue between Aeneas and his deceased father. One is to underscore the faith in
rebirth through the process of metapsychosis (reincarnation), while the the other reinforces the finality of death. This also results
in two sets of musical materials which alternate throughout the piece. One of the most profound portions of Virgil's texts- "With
full hands, give me lilies. Let me scatter these purple flowers, with these gifts, at least, be generous to my descendant's spirit,
complete this service, althought it be useless"- deeply expresses the sorrow loss of the living and the inconsolable fact of death.
Toward the end a distinctive diphonic technique of singing implies the separation of the two worlds.
|mirroR facing Blackness
Christopher Wendell Jones
Christopher Wendell Jones (b. 1969)
Christopher Jones has presented his music in numerous places in North America. His works have been presented by New Works Calgary,
(Calgary, Alberta) and L'Orchestre vent de l'Ecole Cure-Mercure (St. Jovite, Quebec). In 2001, Christopher worked with the Ictus
Ensemble at the Ictus International Composition Seminar in Brussels, and has also participated in festivals such as Darmstadt
Ferienkurse and Centre Acanthes.
Currently, Christopher is pursuing a DMA in composition at Stanford University where he has studied with Jonathan Harvey, Brian
Ferneyhough, Chris Chafe and Jonathan Berger. He has completed a Master of Music in composition at the University of Calgary, a Master
of Music in piano at Indiana University, and a Bachelor of Music in piano at the New England Conservatory.
mirroR facing Blackness (2002) for voice and electronics
I think of mirroR facing Blankness a work of composed archaeology. It is obsessed with the process of continually stripping away elements
of the original text in order to excavate an interpretation. Two cyclical readings are used to focus on and eliminate a shifting
set of textual elements. Each reading prioritizes a different set of sounds and meanings, highlighting multiple facets of the poem.
This piece is dedicated to the authors of the poetry, Jon Sakata and Jung-Mi Lee. I am deeply indebted to them for their wonderful writings,
ideas and friendship. Many thanks also to Kris Falk and Nurit Jugend for recording the text for the electronics. -cwj
A cote de son cher corps endormi
Oded Ben-Tal (b. 1969)
Oded Ben-Tal studied music (and physics) in Jerusalem, were his teachers include Mark Kopytman and Yinam Leef. Since
1997 he is a doctoral student at Stanford University, studying with Jonathan Harvey, Brian Ferneyhough, and Jonathan Berger, and working at the
Center for Computer Research in Music and Acoustics (CCRMA). In recent years his music was performed in the UK (Dartington
International Summer Festival) The Netherlands (Apeldoorn young composers' meeting) as well as in France, Germany, Bulgaria, Israel
and the US.
A cote de son cher corps endormi (2002)
|A cote de son cher corps endormi, que d'heures des nuits j'ai veille,
cherchant pourquoi il voulait tant s'evader de la realite. Jamais homme
n'eut pareil vaeu. - Il a peu-etre des secrets pour changer la vie?
|Beside his dear sleeping body, how many hours I have sat up at night,
trying to discover why he wished to escape from reality. No man ever had
a wish like it. - Perhaps he possesses secrets for transforming life?
Translated by Oliver Bernard
Enrico Cocco (b. 1953)
Enrico Cocco is a composer, sound experimenter, teaching, engaged as artistic director of
music festivals, author of I Visionari, a multimedia work that comes from, the
homonymous collection of Oliver Clements' essays, a theologian and a philosopher, that has
been staged for the festival Cantiere d'Arte di Montepulciano (1977); he was asked to
participated at the Ferienkurse fur Neue Musik in Darmstadt, with the Poetico Notturno Silenzio
work; author of the Il Sogno di Chuang Tzu ballet, based on the J.L. Borges' stories. He has
been since 6 years the Artistic Director of the Festival di Musica Verticale, which is the one most
important internationa lhistorical festival of present music. He founded the Musical Experiment-
Music Theatre Ensemble of which he is the Artistic Director. Inside this new group
take part all the actors and interpreters that dedicated themselves in researching and
production of the musical theatre, with the help of electronics and multimedia technologies.
Il nome delle cose č tratto dell'opera di teatro musicale Enkidu. Č una
pičce per baritono ed elettronica che conserva ed espande le caratteristiche
dell'opera tutta, caratterizzata dallapresenza sulla scena di
musicisti-attori e dalla loro forte interazione con l'elettronica.
In particolare Il nome delle cose č il nucleo centrale di Enkidu, dove viene
elaborata l'idea che il linguaggio dei suoni č un modo primario e ancestrale
per conoscere e dare un nome alle cose. Enkidu, fratello e alter-ego di
Gilgamesh, scopre il mondo dalla bocca della donna, genitrice di cose ed
eventi, ed č metafora contemporanea dell'uomo diviso che che ha conosciuto
la morte, che abbatte il tempo, che frammenta il suo pensiero : Enkidu č
agli opposti antico e moderno : apprende tramite le immagini che gli si
appalesano nel sogno.
Il testo di Alfonso Cardamone, rielaborato per la musica da Enrico Cocco, si
ispira direttamente al poema sumerico L'epopea di Gilgamesh che, sotto la
metafora poetica, riassume lo scontro di potere tra i due personaggi
principali Gilgamesh ed Enkidu, l'uno eroe ed immortale, l'altro anti-eroe o
eroe in negativo.
Un rigraziamento a Nicholas Isherwood eccelso interprete di entrambi le
piecčs, cui quest'ultima č dedicata.
Voice Beyond the Edge
Nicola Sani (b. 1961)
Nicola Sani was born in Ferrara in 1961. Following his first musical
experiences with Maura Cova, he studied composition with Domenico Guaccero
and electronic music with Giorgio Nottoli. He attended the composition
workshops by Karlheinz Stockhausen and the CSC computer music workshops
organised by the University of Padova and the IMEB in Bourges.
He is the author of numerous instrumental and electroacoustic compositions,
musical theatre operas, dance operas and multimedia installations performed
within the most important international seasons and festivals.
He has received commissions and grants from numerous international
institutions, among which Heinrich-Strobel-Foundation's Experimental Studio
of SWR-Freiburg, WDR-Studio Akustische Kunst-Köln, Kölner Musik-Triennale,
Konzerthaus Berlin, TU-Technische Universität-Berlin, Akademie der
Künste-Berlin, SFB-Sender Freies Berlin, Deutschlandradio-Berlin, Musik der
Jahrhundert-Stuttgart, Theater Trier, DIEM Aarhus (Denmark), INA GRM-Paris,
IMEB-Bourges. In 1999 he was awarded the "Commande d'Etat" of the French
Governement, for a new composition to be premiered at the Festival Synthése
2000 in Bourges.