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Esther Lamneck
Alfonso Belfiore
NYU New Music Ensemble

May 1, 2016 @ 7:00 pm


Esther Lamneck, Artistic Director, NYU New Music Ensemble, introduces visitors from Italy.

NYU Composer in Residence Alfonso Belfiore, presents student works from the Department of Nuove Tecnologie e Linguaggi Musicali at Cherubini Conservatory, Florence, Italy.
When & where
Sunday May 1 2016 @ 7pm
Frederick Loewe Theatre, 35 West 4th Street
New York

Free admission
Francesco Perissi   EG_O
Matteo Tundo   Vanishing Rooms
Elia Taddei   Eclectric Environments
Massimo D’Amato   Unite
Luca Tavanti   Il giardino dei satiri
Riccardo Culeddu & Davide Sardo   A Place by the Sand
Gregorio Panerai & Sergio Carobelli   Machine Somnium
Vanessa Trippi   HeintuS
Lorenzo Ballerini
   The Origin of Species
DeShaun Gordon-King flute
Lareine Han flute
Charles Page flute
Ammon Swinbank flute
Kakuko Takahashi flute
Zachary Rosalinsky oboe
Brandon Mosley clarinet
Blair Perry clarinet
Simone Calle
 electric guitar

Alissa Jackman violin
Nadia Maudhoo violin
Amirali Mortezai piano
Mohamed Kubbara percussion


The NYU New Music Ensemble is delighted to welcome Prof Alfonso Belfiore and his students from the Electronic Media Studios at the Cherubini Conservatory of Music in Florence, Italy for a grand collaborative spring concert .
Alfonso Belfiore is currently director of Electronic Music Composition and Coordinator of the Department of Music and New Technologies at the Conservatory “Luigi Cherubini” in Florence, Italy. From 1980 to 1992, he was Professor of Electronic Music at the Conservatory "C. Pollini" in Padova.  Since 1977, he has been involved in research and experimentation in the field of new electronic and information technologies as applied to musical works. He has been devoted to using these technologies in forms of artistic expression in the areas of poetry, theater, dance and video images. He has developed multimedia projects using complex interactions through gestures, sound, nature, images and words. He is devoted to strengthening the relationship between musical composition, combinatorics and algorithms. His works have been presented in numerous international music festivals and conferences. Professor Belfiore has collaborated with NYU during the Music and Dance Programs in Italy for more than fifteen years. Prof. Belfiore has continued this collaboration with Esther Lamneck and the NYUNME over many seasons.

Program Notes

Francesco Perissi EG_O. This composition is the sublimation of an experiential path about the compositional approach and its reflected invariability in the path of personal life. It also comes from a socio-cultural analysis of the artist-audience relationship, especially the functionality of art "music" in today's society. The title "EG_O" may be interpreted both in a Freudian meaning where the conscious self governs the personality in a vast sea of emotions and relationships with the outside world, and also as a primordial structure placed at the base of the processes of musical synthesis. The music nomenclatures of the electronic and software environments, the two-unit generator EG and O represent the envelope generator and the oscillator. They are used as a starting point in any structure of synthesis also complex, therefore I found it appropriate to affix the underscore between the statements of the two units.

 The formal concept that creates the texture of the composition EG_O represents the vision of the existence of the deepest part of ourselves, the unconscious. This is why the work is divided into three macro-structures, in the first there is the narcissistic expressiveness of ego, ready to nourish the external expectations. Then in the second part, the destruction of this through a painful process of soul searching and anxiety-provoking. In the last part, after having beaten the defense mechanisms typical of our ego, one explores the most remote depths of our personality: the unconscious.
Matteo Tundo Vanishing Rooms. The composition begins with the idea of enclosing various sound entities in containers (rooms), that slowly open upas the score evolves. Once a room opens, the enclosed sound entities are dispersed in an acoustic environment and the work continues with the description of another locked room. Slowly all the rooms are open and the various sounds are mixed. The rooms have substantial differences: frequency, length of notes, rhythm, but once all the rooms are open these differences disappear. The goal of the piece is to focus exclusively on the sound by breaking down the walls of the various rooms.
Elia Taddei Eclectric Environments. To understand the composition “Eclectric Environments” we can just analyze the title. Eclectric is not written in the wrong way: is a neologism composed by the words “eclectic” and “electric”. “Electric” because most of the audible sounds were created from the sound of electricity, “eclectic” because, like in eclecticism, to compose the work I used structures and sounds from different kinds of music. The word “Environments” is because this composition generates different ambients in which the listener will be absorbed.
Massimo D'Amato Unite. Unite represents the union among sound, graphics and performance. The spaces expressed by the electro acoustics connect with the images, generating an audiovisual narrative. The representation of the musical art, expressed by the images which are organized in geometrical compositions, emancipates from constraints in order to organize in new free conformations. The music generates the images which organize the sounds in new arrangements creating a surprising binomial. Unite expresses the organizational diversity of the different sections inside the composition. Unite manifests the executive thinking in the generation of the sound represented by the digital graphics. 

Luca Tavanti Il giardino dei satiri. "Il giardino dei satiri" is a work conceived and born during the exploration of the concept of chaos. Divided into three distinct sections, the composition develops and focuses around the key concepts of movement and transformation, concepts that are developed through a series of transformations of the sound material. The composition has been developed with the use of a minimum number of concrete samples (a pneumatic drill, a pickaxe and a flamethrower). This particular model of chaos is linked to the concept of entropy. These three elements, whose distinctive characteristics are recognized on numerous occasions undergo numerous and rapid changes during the course of the work. They are also related in part to the model of the atom but also the very nature of the starting material that is man and his "Garden", namely the city. This is where the idea of ​​the dance and the satyrs, which are nothing more than the men themselves comes from.
Riccardo Culeddu & Davide Sardo A Place by the Sand. “A Place by the Sand” is an electroacoustic composition that may be performed by any instrumental ensemble. Its musical direction, as defined by the overall structure and the chosen sounds, can be deeply changed by the improvisations. Gestures and inner articulations are in no way meant to be binding for the performers, they’re just general indications that may be freely used by the musicians. At the center of the composition is a juxtaposition of strongly contrasting timbral, dynamic and frequency elements. The samples used (crickets singing, a blown bottle treated to resemble a prepared piano, some notes from an Armenian wind instrument, the Duduk) were chosen for their variety and for their ability to create the biggest tension when organized both horizontally and vertically. The electroacoustic treatment of such samples aims to stress their diversity and to find at the same time some intermediate timbres to be used as a glue or as a fabric defining their dialogue. 
Each section of this threefold piece is ideally, albeit not literally, devoted to the development and the contextualization of a given sample, and their boundaries are defined through a clear dynamic emptying process.

 “A Place by the Sand” can thus be described as a journey through three different musical spaces which, like Calder’s Mobiles, balance themselves through delicate timbral and formal counterweights.
Gregorio Panerai & Sergio Carobelli Machine Somnium. This piece was created as a result of a study on the properties of one-dimensional cellular automata. Cellular automata are discrete systems that are used as models for the study of evolution in complex systems, the theory of computation and in various fields of mathematics, physics, and biology. The basic idea was developed in the fifties by Stanislaw Ulam and John von Neumann, and the classic example in the two-dimensional game "Game of Life" by John Conway. The type of automata that I have considered in the development of my work is that of the one-dimensional automatons, widely studied by Stephen Wolfram. In this case, automata are nothing more than a cell with two possible states, either dead or alive. The evolution of the system depends on the conditions of the previous cell, from those of the two neighboring cells, and the evolutionary rule that you choose from the 256 possible options. The most significant aspect is the emergence of four types of behavior which can divide rules. These four aspects that the system can take are; homogeneity, stability, chaos, and complexity. Each of these states has guided the creation of the piece, checking thematic development, the process, the dynamics and the nature of the sound material, creating an artificial, and dream like world.
Vanessa Trippi HeintuS. HeintuS is the infection of a “virus”, the developing of an illness into a machine trying to resist and avoiding the inevitable shutoff. In this scenario the protagonist is not only the machine and its fight for life, but the Man himself, with his effort to save the artificial being from this dark and hard journey. A reflection upon life, its meaning, significance, use, and ending both human and non-human.
Lorenzo Ballerini The Origin of Species. This composition was influenced by Charles Darwin's The Origin of Species. The publication in 1859, is the synthesis and result of his massive research on the flora and fauna of different latitudes that procured to Darwin glory and blame at that time. With this rigorous and extraordinary work, Darwin unhinged the biblical tradition of the creation of the world, introducing the concept of a slow evolution of plant and animal species which over time have profoundly diversified from their ancestors. "It is not the strongest species or the most intelligent to survive but the one that adapts better to change”. The composition is structured on three different types of scenarios that follow each other through morphing and changes of environment, which provides a sound carpet for the ensemble which will evolve together with it. The ensemble will establish a relationship adapting to the changing characteristics. The process will take place extemporaneously, following the sound events. The randomness, like in evolution, is a variable always present and the result of chance. The thoughts and observations that Darwin summed up one and half centuries ago in his book are now more topical than ever. Man has dared too much, joking with nature and increasing exponentially the level of global pollution. This has an impact on raising the earth's temperature and mass extinction of animals and plants, in addition to our body. This composition in addition to being a tribute to the greatest naturalist of all time invites the listener to reflect on on the issues which are important for the survival of our entire ecosystem.

About the Composers

Francesco Perissi developed a predisposition for music at a young age, first diving into the world of piano, then guitar and finally finding his true soul in drums and percussion. He worked for years in a music store where he learned about the potential of musical instruments and audio editing software. After numerous concerts in Italy and 3 albums with the rock band "Qube", Francesco Perissi, chose to concentrate on the world of digital audio and subscribe to three years of electronic music in Cherubini Conservatory of Florence. At the conservatory, he worked for 3 consecutive years as the contract audio and recording engineer. In 2014 he founded his solo project "XO" which unites the world of electric guitar to electronic influences. Francesco Perissi currently works as audio engineer, composer and teacher of audio editing software.
Matteo Tundo was born in Potenza on 08/21/1992. In 2010 he studied classical guitar at the Gesualdo da Venosa Conservatory in Potenza. In 2011, He studied private jazz guitar and in the same year he was admitted to the Jazz Guitar course at the Conservatory Luigi Cherubini in Florence and to Siena Jazz that same year. In 2013 He attended the course “Creative Coding” at the Tempo Reale in Florence and he participated in masterclasses held by Esther Lamneck, playing with MNT Florence Ensemble and with Multimedia Ensemble. In 2015 he graduated in Jazz Guitar and was admitted to the second level course in Music and New Technologies. He’s currently active in the environment of avant-garde music with “Zero Brane” project in collaboration with Simone Graziano, Emanuele Parrini, Matteo Giglioni, Piero Bittolo Bon, and Alessio Riccio.
Elia Taddei (born October 10 1990, Pisa) developed his interest for music (especially for the “spacial” sounds of electronic music) during his childhood. When he was a teenager he started to look for good sounds using synthesizers and music production software. During his life he always kept an interest in electronic music, writing his own songs, trying to experiment with his favorites tracks and trying to understand how we got to the sounds of today and what sounds he could achieve. In 2013, knowing that he needed a higher musical education, he enrolled at the Florence Music School, which is he currently a proud student of.
Massimo D'Amato approached the world of music in his childhood, studying piano and drums until middle school. At an early age he began his interest in the generation and production of electronic music. He has worked closely with freelance artists and independent labels around the world which specialize in the production of electronic music. His preference for live performance led him to study the use of the sophisticated manufacturing techniques and live interaction which allow the management and control of refined acoustic sound in real time. A student of the Conservatory L. Cherubini, Massimo has a peculiar style which is based on in-depth and meticulous researches which allow development in new and extended sound spaces by combining the acoustic power developed by the software to an aesthetic and refined linguistic choice. His capability to develop works along several dimensions has allowed him to broaden his thematic and stylistic choices.
Luca Tavanti (Pescia, December 15, 1986) an Italian composer; started studying violin at the age of 6 under the guidance of Vittoria Ottaviani. He graduated in Computer Music in 2014. Currently he is working to finish his master degree at the Florence Music Academy, he participated in several other activities related to music and technology including; restoration and recovery of audio supports (with MARTlab), teaching, live and studio recording, musical publications and live concerts.
Riccardo Culeddu studied guitar with Bandini, Mela and Puddu, and graduated from the Conservatory of Florence. He works as a guitar teacher, writes electronic and electroacustic music, and also collaborates as an editor of musicological texts with the publishing house "Astrolabio-Ubaldini" in Rome. At the moment, he attends the Musica e Nuove Tecnologie at the Conservatory of Florence.
Davide Sardo studied double bass with Sandro Fontoni and Adriano Orrù. His activities span from composing original scores for theatre shows and short movies to doing sound design for theatre and movies. Beyond this he also writes electronic and electroacoustic music and works as a record producer.
Gregorio Panerai, was born in Prato in 1989 and was introduced to music by studying modern and jazz guitar. He graduated in Music and New Technologies at the Cherubini Conservatory in Florence. He is a member of the ensemble of contemporary music at Cherubini Conservatory, where he works on the realization of live electronics. He is currently enrolled in the Master's degree in Music and New Technologies. He works in music production, audio restoration, teaching and his fields of interest include; contemporary music arranging from live electronics to multimedia, from algorithmic composition to the development of artificial intelligence systems, and interactive performances and art installations.
Sergio Carobelli has studied piano from the early age of nine. He has worked with Professors including, Massimo Barsotti and Pietro Guglielmo. At age thirteen he received his diploma in music theory and solfeggio. In 2014 he attended the course “Sound Technician for live and studio music” with Antonio Dimilta at the “Blue Note” school of music and from 2014 he has been enrolled at the Cherubini Conservatory in Florence in The Faculty of Electronic Music. His works have been exhibited at the Festival Il Corpo, La Luce, Il Suono in 2014 and 2016.
Early in her childhood, Vanessa Trippi studied the violin, won prizes and performed in various orchestras and chamber music groups with prestigious conductors (Fabbriciani, Acocella, Rossi, Boher). Currently she is a teacher of violin/viola and youth orchestra at primary school. She holds degrees from MLT (Gordon) and laureat-to-be at Orff-Schulwerk. Vanessa is a student at MNTec (Firenze), during which she had the opportunity to perform in festival and exhibitions with both audio and video works. She developed particular interest in field recording and the reviving of analogue electroacustic techniques (tape manipulation, reel to reel composition) which she studied in seminars with Fort (GMV Lyon) and VanDeGorde (MR Brussels).
A student of the Conservatory Luigi Cherubini in Florence, Lorenzo Ballerini previously graduated in Computer Science. He currently studies piano and electronic music and has always had a passion for music and new technologies, as is evident in his compositions. Every composition has a heterogeneous body, rich in different languages alluding to conflicting thoughts within a dualistic world, rich in colors and symbols with influences of spectral music of Tristan Murail and Gerard Grisey. He prefers stochastic structures, open to multiple chances with live improvisations.

About the NYU New Music Ensemble

The NYU New Music Ensemble, directed by Dr. Esther Lamneck, is recognized for the promotion and performance of contemporary music, using electronic music genres; fixed and multi  media works, live processing and interactive computer works. Performers in the ensemble include musicians who play traditional, ethnic and electronic instruments. The ensemble has premiered works throughout the United States and in festivals in Hungary, France, Yugoslavia, and Italy. In addition to their regular concert series at the NYU Loewe Theatre, the New Music Ensemble has made guest appearances at the American Festival of Microtonal Music, the Center for Women in Music at NYU, Merkin Concert Hall, Weill Hall, and major universities throughout the United States. Praised for their close work with composers, the ensemble has received numerous dedications and commissions. Recent composers in residence have included, Paul Wilson from Sarc in Belfast, Theodore Lotis from Ionia University in Greece, and Mara Helmuth from the Electronic Music Department at CCM. Recent performances have included works by Jason Bolte, Ricardo Climent, Kyong Mee Choi, David Durant, Lawrence Fritts, Dinu Ghezzo, Elizabeth Hoffman, Cort Lippe, Eric Lyon, Michael Matthews, Ron Mazurek, Rene Mogensen, Robert Rowe and Jorge Sosa. The NME's performance seasons are filled with exciting works, which often feature dancers, video, and new technology.




May 1, 2016
7:00 pm
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Frederick Loewe Theatre
35 West 4th Street
New York, 10003 United States
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