Noah Creshevsky ~ To Know And Not To Know ~ 2007
Tzadik Records TZ 8036.
 
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1 	Red Carpet 	3:14
2 	Psalmus XXⅢ	7:29
3 	To Know And Not To Know 	7:15
4 	Once	4:31
5 	Chamber Concerto 	11:14
6 	Jubilate	6:22
7 	Sequenza (For Trombone)	6:11
8 	Independence Day 	6:29
9 	Free Speech	7:57

Noah Creshevsky, professor emeritus and former director of the Center for Computer Music at Brooklyn College of the City University of New York, describes his electro-acoustic musical language as "hyperrealist." It's realistic in that it uses samples of acoustic instruments and voices, and while they may be minimally electronically modified, they are never changed to the point that their sound source is unrecognizable -- a trumpet is always clearly a trumpet and a soprano is always clearly a soprano. It is "hyper" in the sense that Creshevsky's combination of the samples creates music that would be beyond the capabilities of human performers, either in speed, rhythmic complexity, or register. The results are solidly in the tradition of the sound collages of musique concrète, but are unique in their exclusive use of traditional instruments as sound sources. ("Traditional" does not imply Western; Creshevsky uses a culturally diverse instrumental palette, and several of these pieces are largely based on non-Western samples.) The use of familiar sounds fragmented and combined into inhumanly complex ensembles and patterns owes something to Nancarrow's exploitation of the mechanical capabilities of the player piano, but Creshevsky's instrument is the computer.... - Stephen Eddins, AMG