SPLICE Institute 2022 Participant Concert 2 Program
Saturday July 2, 2022
1:00pm EDT
Dalton Recital Hall, Western Michigan University
Livestream simulcast on SPLICE YouTube (unique link)
download program pdf (does not include notes/bios)
Wenbin Lyu: If the Ocean Had Wings… (2022)
Vicki Ray, piano
Pak Hei (Alvin) Leung: Plus-minus-two To Infinity (±2→∞) (2022)
Wesley Shen, shō and Justin Massey, soprano saxophone
Kunal Gala: CANYON SONATA (2022)
Ting Luo, piano
Shahrzad Talebi: 11.1 (2022)
Liz Pearse, voice and piano
Ka Hei Cheng: Aura (2022)
Nacho Ojeda, piano
Joshua Groffman: Reply: MacDowell, “To a Wild Rose” (1896) [2022] (2022)
Justin Massey, soprano saxophone and Wesley Chen, piano
Patrick McGraw: Sysiphus Takes Flight (2022)
Liz Pearse, voice
Josh Biggs: Sound Ribbons for Vicky Ray (2022)
Vicki Ray, piano
Notes
Pak Hei (Alvin) Leung Plus-minus-two To Infinity (±2→∞)Plus-minus-two To Infinity (±2→∞) (2022) is written for Wesley Shen and Justin Massey for SPLICE institute 2022. The piece expresses intimacy and romantics of dyadic relationships through musically exploring saxophone multiphonics, shō dyads, chords and tremolos, sine waves and sawtooth waves, as well as transpositions and ring modulation.
back to program
Josh Biggs: Sound Ribbons for Vicky Ray
Sound Ribbons for Vicky Ray (2022) is a collaborative improvisation devised for piano and live electronics featuring sampled sound materials gathered from improvisations on five different pianos, spanning four centuries, from the Cornell Center for Historical Keyboards in Ithaca, New York. The signal from the live piano part, improvised alongside the prerecorded materials, cross-modulates with the historical keyboards in various ways.
back to program
Joshua Groffman: Reply: MacDowell, “To a Wild Rose” (1896) [2022]
This piece is a musical reply to Edward MacDowell’s piano miniature “To a Wild Rose” (1896) from the larger set Woodland Sketches, op. 51. The musical text of “Wild Rose” is quoted in its entirety by the piano; as it is performed, it is picked up and, as the piece progresses, steadily altered and deconstructed by the computer. Piano and saxophone further alter and comment on MacDowell’s music and dialogue with soundscape recordings that appear throughout. The performance extends, comments on, and in places undermines the pastoral tradition that MacDowell so skillfully employed and that continues to inform much of the way we hear and understand Nature presently.
back to program