Time and place Noah Creshevsky's hyperrealism - reviewed by MALCOLM TATTERSALL '... deserves and rewards the attention it demands.'

Noah Creshevsky uses recorded vocal and instrumental sounds as source material for his electro-acoustic works, dissecting and recombining them in somewhat the same way that Cubists like Braque and Picasso used the elements of representational painting. The result is exciting but challenging -- or should that be the other way round?

Creshevsky says of his work that 'moments suggest musical environments of indeterminate ethnicity -- simultaneously Western and non-Western, ancient and modern, familiar and unfamiliar,' but in fact his music could hardly belong more specifically to its time and place. It's obvious that it could only be realised in a technologically sophisticated society such as our own, but one feels also that it could only be conceived in an urban-industrial society. Somehow it's no great surprise to find that the composer is a New Yorker.

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