DROPS OF CONSCIOUSNESS : PART III
“This is a musical exploration of the unknown world of my recovery of a severe brain injury. Part I was breathing and darkness that became sound and light. Part two was the process of transformation of sounds into words, and words into language.
Part three is a journey into the mysterious world of rhythm. The motion of time, the space of sound and the expanse of silence are the essence of this piece.
The changes that occurred in my biological rhythm and the perception of time, made it possible for me to create a sound world from inner sources that were inaccessible for me before.”
Born in Israel in 1949, Noa Guy studied in the theory department of the Jerusalem Academy of Music and continued to evolve privately and compose original pieces along with composer Abel Ehrlich. In the early 70’s Noa studied composition and electronic music with Boris Blacher in the Hochscule fur Musik in West Berlin. She moved to Norway where she made two fantastic kids and continued her explorations. After returning to Israel in 1975 Noa worked with Karlheinz Stockhousen for three years, and took master classes with Luciano Berio and Milton Babbitt. After collaborating with Heinz Holiger, Noa received a scholarship from the Scola Cantorum in Basel to compose the electronic score that was later played with live performance by renowned English tenor John Potter in the Nettlefols Festival of Contemporary Music. She later became sound artist for Ward Swingle on his visit to Israel. From 1985 until 1993 Noa was the musical director at the Jerusalem Music Centre (JMC), where she headed the master class program, and acted as sound engineer and assistant director to all the television productions of JMC. Throughout all these years Noa continued to compose and perform with international accolades. In the early nineties Noa was invited to NY to work under the tutelage of Isaac Stern. In October of 1993, while driving her and a colleague to New York, Mr. Stern crashed their vehicle inflicting on Noa a severe head injury that changed her life. The resulting brain injury prevented Noa from traveling back to Israel and seeing her family. Worse yet for her, she was unable to play, listen to, or compose any new music. In the 13 years since the accident, Noa was consumed in her own rehabilitation process finding innovative ways to overcome her many physical and mental obstacles. The November 30th, 2006 show at Roulette has marked the first time this unusual musician broke her long imposed silence.