Juilliard's Center for Innovation in the Arts Presents "Beyond the Machine 13.0: eVirtuosos, A Festival of Electro-Acoustic and Multimedia Arts" on Thursday, November 1 - Saturday, November 3 at 8 PM in Juilliard's Willson Theater


Concert Includes Four World Premieres

Start Date

Wednesday, October 17, 2012

Press Release Images

Beyond the Machine
Beyond the Machine


Juilliard’s Center for Innovation in the Arts, under the direction of Edward Bilous, presents Beyond the Machine 13.0 eVirtuosos, a Festival of Electro-Acoustic and Multimedia Art on Thursday, November 1, Friday, November 2, and Saturday, November 3 in Juilliard’s Willson Theater. The program features four world premiere works, all composed in 2012: Gardening at Gropius House (commissioned by the Center for Innovation in the Arts) and Where? by Neil Rolnick, Parthenogenesis by Max Grafe, and 5-7-9 by Jeremy Smith, plus Poison Mushroom by Dai Fujikura and Dialogue by Arthur Kreiger. Gardening at Gropius House is a 30-minute work and will be featured on the second half of the program. (A complete list of Juilliard performers appears at the end of this press release.)

Beyond the Machine performances are FREE, but tickets are required. A limited number of tickets will be available on October 18 via e-mail at beyondthemachine@juilliard.edu. For further information, please call the Janet and Leonard Kramer Box Office at Juilliard at (212) 769-7406 or go to http://musictech.juilliard.edu.

Juilliard’s Center for Innovation in the Arts (formerly the Music Technology Center) is a state-of-the-art recording and music production suite and digital playroom. The Center offers a wide range of experiences in composition and production, film scoring, and performing with computers.

The Beyond the Machine series, founded in 2001, provides students with an opportunity to use technology in performance of new work and cultivate collaborations between artists in different disciplines. eVirtuosos is a series of concerts that spotlight a new generation of young artists performing demanding electro-acoustic music. This is the second installment in that series.

Composer Neil Rolnick’s Where? is a spatial fanfare for brass quintet and five loudspeakers scattered around the auditorium. The composer lost hearing in his left ear in 2008, and since then his world has been mostly monophonic. His experience mixing recordings for his CDs have made him aware of how much music he still can still hear in his head, even if he can’t hear it with his ears. He says: “I’ve divided the quintet into two groups, stage right and stage left, and have treated the speakers so that they are each distinct virtual players rather than making up a traditional sound field; each speaker is a separate character, sometimes supporting the acoustical players, processing their sounds, sometimes in dialog with them, sometimes modifying their timbres like some kind of super-mute from across the room.”  

Rolnick finds that mid-20th century architect Walter Gropius represents a kind of modernism which he embraced as a young man. Gardening at Gropius’ House, commissioned by the Center for Innovation in the Arts, is a concerto for violin, computer, and ensemble and is a “kind of exploration of these two sides of my musical being: elements of modernism poling through a fabric of more ‘traditional’ musical values,” says the composer.

Dai Fujikura’s Poison Mushroom is about the composer’s visit to Hiroshima-city on a school trip. He writes that it was hard for him to imagine what happened to this beautiful city. In junior high school, he had to go to school in the middle of the summer holidays on August 6th, the day the atomic bomb was dropped on Hiroshima (during his grandparent’s time). There they marked the anniversary by attending school, watching the films about the war/atomic bomb, also looking at photos of the people who suffered, and were still suffering the after-effects of the atomic bomb. He says: “When I was writing this piece, all the visions which I have seen about Hiroshima/Nagasaki/atomic bomb-related materials were in my head. It is our duty to remember.”

Max Grafe’s Parthenogenesis, for piano and fixed media, is an attempt to create a sonic environment whose origins are contained within the piece itself. The composer writes: “The work is cast in a three-part form: in the first section, the taped part consists of unaltered or barely-altered piano samples; the second section sees the piano samples become gradually more processed and foreign to the natural piano sound, until in the third and final section, their sonic identity has departed almost completely from that of the piano. In an effort to provide a foundation for the changing nature of the taped part, the piano’s musical material remains relatively consistent throughout the three sections.”

Arthur Kreiger’s Dialogue was composed in 1974 for two steel drums and analog equipment augmented by a Buchla synthesizer. “The work evokes the city in which it was created,” writes the composer, “replete with its street musicians and sirens that shriek into the night.”

Jeremy Smith’s 5-7-9 originated from a warming-up exercise he played in his high school drum line. He says: “The formula was simple: they all played 4 bars of 5/8, 7/8, and 9/8 first in unison, then again but with the order of time signatures mixed within the ensemble... 5-7-9 is written for three percussionists (each playing cajón and glockenspiel) and amplified metronome, which expresses the juxtaposition of complexity and simplicity.”  The work  was developed with the support of the Office of Educational Outreach and will be studied by children in partner schools.


Dai Fujikura, born in Osaka, has spent more than 20 years in the United Kingdom where he studied composition with Edwin Roxburgh, Daryl Runswick, and George Benjamin. He has been the recipient of numerous prizes, including the Huddersfield Festival Young Composers Award and a Royal Philharmonic Society Award in the U.K., Internationaler Wiener Composition Prize, the Paul Hindemith Prize in Austria and Germany, respectively, and both the OTAKA and Akutagawa awards in 2009. He has received two BBC Proms commissions, and his double bass concerto was recently premiered by the London Sinfonietta. In 2013, the BBC Symphony Orchestra will give the U.K. premiere of Atom as part of the Total Immersion: Sounds from Japan. 

Max Grafe, a Manhattan-based composer, recently completed works for Quince Contemporary Vocal Ensemble, the 2012 Aspen Music Festival, and Orbit Brass Quintet, and is currently writing a dance piece for Juilliard’s Choreographers and Composers showcase, a double concerto for bassoonist Elizabeth Garrett and violinist
Cordelia Paw, and a work for bassoonist Brett Van Gansbeke for performance at the 2013 International Double Reed Society Conference in Redlands, California. He is currently an Irene Diamond Graduate Faculty Fellow at Juilliard.

Arthur Kreiger is Sylvia Pasternack Marx Professor of Music and Fellow, Ammerman Center for Arts and Technology, Cummings Electronic and Digital Sound Studio, at Connecticut College. He holds a B.A. and M.A. from the University of Connecticut and a D.M.A. from Columbia University. His catalog contains pieces for orchestra, chorus, mixed chamber ensembles, solo instruments, and the electronic medium. His compositions have been recorded on Odyssey, Spectrum, Finnadar, CRI, Neuma, Context, and New World Records.

Neil Rolnick has pioneered the use of computers in musical performance, beginning in the late 1970s. Since moving to New York City in 2002, his music has been receiving increasingly wide recognition and numerous performances both in the U.S., and abroad. He teaches at Rensselaer Polytechnic Institute in Troy, New York, where he was founding director of the iEAR Studios.

Jeremy Smith is in his 4th year at Juilliard where he is an active member of the New Juilliard Ensemble, the Percussion Ensemble, AXIOM, Juilliard Orchestra, and the Juilliard Chamber Orchestra. He also accompanies dance classes at Juilliard and at the Paul Taylor Dance Company. He is a principal player in Gallant Entertainment Inc., and percussionist with the Melody Sky Trio.

About Edward Bilous, Director of Juilliard’s Center for Innovation in the Arts, Artistic Director for Beyond the Machine, and a member of Juilliard’s Faculty

A member of Juilliard’s faculty since 1983, Edward Bilous is artistic director for Beyond the Machine, a multimedia performance event featuring artists from around the world who share an interest in new technology.. He is founding director of the Juilliard Music Technology Center, now the Center for Innovative Arts. Dr. Bilous’ diverse musical career includes works for film, stage, dance, and multimedia. His recent compositions include Lucid Dreams, written for the American Composers Orchestra, Night of the Dark Moon, for Pilobolus Dance Theater, Benedictus for triple chorus and percussion, commissioned by the Choral Arts Society of Philadelphia, Portraits of Grief – A Tribute to the Victims of the September 11th Tragedy, commissioned for New York Times Television, Chaconne for Nine Souls, from the Academy Award-nominated film, Scottsboro, and Frame of Reference for frame drum master Glen Velez and the Ethos Percussion Quartet. In addition to Scottsboro, his film credits include Naked Man by Academy Award-winning screenwriter Ethan Coen, and Forgiveness by acclaimed documentary director Helen Whitney.

Dr. Bilous is a nationally-recognized advocate for arts education and has conducted master classes and seminars at the Lincoln Center Institute, Boston University's Tanglewood Institute, The Philadelphia Orchestra, Teachers College-Columbia University, among many others. He was senior education advisor for The Academy – a program of The Juilliard School, Carnegie Hall, and the Weill Institute. Dr. Bilous received the 2012 William Schuman Scholar’s Chair at Juilliard for his work in the field of arts education. He received a bachelor of music degree from Manhattan School of Music, composition studies with Elias Tannenbaum and Charles Wuorinen, and holds master of music and doctor of musical arts degrees from Juilliard, composition studies with Elliott Carter and Vincent Persichetti. He also studied composition with Krzysztof Penderecki.


Beyond the Machine 13.0 eVirtuosos, A Festival of Electro-Acoustic and Intermedia Art  

Performances on Thursday, November 1, Friday, November 2, and Saturday, November 3 in Juilliard’s Willson Theater (155 West 65th Street, 3rd Floor)

Juilliard’s Center for Innovation in the Arts

Edward Bilous, Artistic Director of Beyond the Machine  


Neil Rolnick: Where?*

Tristan Clarke and Kevin Quill, trumpet

Alexis Smith, trombone

Andre Prouty, bass trombone

Taylor Peterson, French horn  


Dai Fujikura: Poison Mushroom

Daniel James, flute


Max Grafe: Parthenogenesis *

Han Chen, Piano


Arthur Kreiger: Dialogue

Sam Budish, percussion


Jeremy Smith: 5-7-9 *

Sam Budish, Jeremy Smith, Charlie Rosmarin, percussion


Neil Rolnick: Gardening at Gropius House *

George Stelluto, conductor

Andrea Jarrett, violin soloist

Rosie Gallagher, flute

Stephanie Kwak, flute

ToniMarie Marchioni, oboe

Lauren Blackerby, oboe

Jae Youn Chung, clarinet

Jonathan Cohen, clarinet

Tristan Clarke, trumpet

Theodore Van Dyck, trumpet

Alexis Smith, trombone

Corey Schutzer, contrabass

Christian Lundqvist, percussion

Llewellyn Sanchez-Werner, piano 

*World Premieres, Works Composed in 2012

Beyond the Machine performances are FREE, but tickets are required. A limited number of tickets will be available on October 18 via e-mail at beyondthemachine@juilliard.edu. For further information, please call the Janet and Leonard Kramer Box Office at Juilliard at (212) 769-7406 or go to http://musictech.juilliard.edu.