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Kate Soper's OITOITOI Premiered by Ogni Suono Duo

Kate Soper's music has always lived in the porous boundaries between the human voice and instruments—reminding us that the voice is indeed an instrument, at once internal and external from our selves. Her new work, OITOITOI, commissioned by the Ogni Suono Saxophone Duo, explores vocal multiphonics paired with instrumental multiphonics, utilizing the player's two voices along with two tenor saxophones. Part of the SaxoVoce project, supported by New Music USA, this new work will be premiered at the Outpost Concert Series at the University of California, Riverside on February 10th. Check out the Ogni Suono duo below.  

Marilyn Nonken Debuts Richard Carrick's "la touche sonore sous l'eau"

Debussy's solo piano works and Korean pansori singing might not be the most related styles of music. But in the hands of Richard Carrick, the melodic nuances of these two styles come into a stark symmetry, with the addition of Carrick's own signature compositional voice.

Carrick's newly commissioned work for pianist Marilyn Nonkenla touche sonore sous l'eau, is the first movement of a projected suite, and was premiered at the University of Pennsylvania on January 27th. Nonken will tour the work around the country, with performances at le poisson rouge, Tufts University, the University of Pennsylvania, and more. Carrick conceptualizes "la touche sonore" [sonorous touch] on the piano, leading to new possibilities in the dynamic of melody and harmony. The work is based on "a harmonic/melodic reduction and re-understanding of Claude Debussy's compositional lightness," specifically Debussy's Jeux

On May 19th (at Tufts University) and 23rd (at Brooklyn's Roulette), Nonken will debut a new solo work by Carrick, in memoriam of Gerard Grisey. The performances will take place alongside Gerard Grisey's Vortex Temporum, performed by Sound Icon.

Carrick's recent work for solo violin, Seongeum, translates another aspect of physicality into music. This work is inspired by pansori singing, a Korean folk style that is intertwined with storytelling and drumming. Carrick writes,

I hear the violin as a similarly expressive instrument, where the sonic nuances of bow articulations and finger techniques (glissandi, trill, etc) are the primary sources of its expressivity, with notes a distant second. Therefore, I was interested in translating Pansori vocalizations to the violin.

Carrick's work joins Ken Ueno'si screamed at the sea... as the second work on PNSY inspired by pansori. Violinist Lauren Cauley debuts Seongeum on February 18 at GK Arts Center in Brookyln, NY as part of a collaboration with choreographer Miro Magliore. 

 

Kate Soper Profiled on NewMusicBox

PSNY Composer Kate Soper has recently been profiled by Molly Sheridan in NewMusicBox, the online publication of New Music USA. Soper talks about her recent projects, including Ipsa Dixit ("she, herself, said it"). Sheridan writes,

The six-movement piece, of which Metaphysics will eventually be a part, plays explicitly with ideas about language. While the use of words in a piece of music adds a layer of meaning, that may not necessarily translate into clarity of communication and Soper is fascinated by that ambiguity—”the complexities of language and meaning and vocalizing and speech and how we can connect those, the interesting ways we can play with those intersections.”

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