2020, for orchestra, played by SWR Symphonieorchester and conducted by Titus Engel

Das hier ist ein Kapitel eines Buchs dessen Name die Imitation der Katze sein könnte

Definitely Different Than Liking Grape, If I like you!

The Age of Bloody Mary for Ensemble and 2 Singers

Oboe: Joonha Jun
Clarinet: Camilo Hirschhorn
Trumpet: Katarina Vowinkel
Trombone: Markus Paulssons
Xylophone: Heechan Lee
Classical Guitar: Kevin Mullin
Soprano (Voice): Marie Steiniger
Tenor (Voice): Antoni Staniec
Accordion: Noel Klimas
Double Bass: Paul Wheatly
Conductor: Konstantinos Angelidis / Tianyang Zhang

Zoom+Focus Project
18:00, In HfM Studiosaal
Berlin - Germany

The Age of Bloody Mary

Please, use headphones or good loudspeakers.

vacant lot (strange bird) (2023), for large amplified ensemble
commissioned by Ensemble Intercontemporain

Live Recording, Klangforum Wien

vacant lot (strange bird) (2023), for large amplified ensemble

Stuff #2 (2025)

Dabeen Jeon - musicis momentum for piano trio (2024-2025)

Premiered by Dissolution Ensemble

Violin : Corinna Canzian
Cello : Charlotte Lorenz
Piano : Pierre Delignies

Recorded live at the Academy for zeitgenossische Music on February 14th, 2025, Blackbox Kosmos
Music House in Luzern

Dabeen Jeon - musicis momentum for piano trio (2024-2025)

As if...... I (2025)

composed in 2023

performed June 2025
read here: https://www.forrestmoody.net/sestina-thoughts

sestina

Teddy Prescott was born in 1945, though his exact birthplace remains unknown. He grew up in a devoutly religious white Protestant family in Brooklyn, New York. As a black child raised in a strict white middle-class environment, Teddy was compelled to learn the church organ from a very young age. The organ, an instrument requiring simultaneous use of both hands and feet, represented complexity and grandeur; yet, to Teddy, it symbolized unconditional obedience to God and a form of suffocating oppression.

After long nights practicing the organ at Juilliard School, Teddy would often wander through the dimly lit streets of Brooklyn. One particular night, he stumbled upon a powerful, gritty hard bop session echoing through the neighborhood. This music was unlike anything he had ever heard—raw, disorderly, and profoundly liberating. His heart raced with excitement, and for the first time, he felt true freedom. … That night marked his entry into the transformative world of jazz.

From that moment, Teddy secretly borrowed instruments from Juilliard, teaching himself trombone, trumpet, saxophone, and upright bass. He gradually immersed himself in Brooklyn’s local jazz scene, connecting with other musicians and quickly gaining recognition for his versatility. Soon, Teddy became known as a one-man orchestra, participating in numerous recording sessions and performances, each showcasing his extraordinary ability to seamlessly blend multiple instruments.

One day, sitting before the organ, Teddy found himself deep in reflection. This instrument had once represented suppression yet simultaneously had been his most constant musical companion, providing profound resonance and depth. He began contemplating whether the organ alone could replicate the diverse sounds of a trombone, drums, saxophone, and other instruments. From this thought emerged an obsessive exploration into unique tonalities and subtle articulations.

The result of Teddy’s musical experimentation was the creation of “88 Teddy,” a distinctive keyboard instrument that captured the grand resonance of an organ while simultaneously delivering the lyrical textures of a saxophone, muted trumpet, and rhythmic qualities reminiscent of an upright bass and drums. For Teddy, this instrument embodied his body, memory, and unending pursuit of freedom, becoming a world unto itself.

Among his greatest musical influences were Thelonious Monk, Miles Davis, and John Coltrane. Yet, Teddy never mimicked anyone. He remained authentically himself, transforming his name into a unique sound and philosophy.

On 13th July, 2025, at the age of 80, Teddy Prescott tragically died in an accident outside Hochschule für Musik Hanns Eisler Berlin, where he was preparing for a scheduled performance with pianist Elif Kara at the Studiosaal. Despite the sudden tragedy, Elif proceeded with the concert, dedicating it to Teddy. Elif addressed the audience, saying, “Though Teddy is no longer with us physically, his music and his sound will remain forever alive in our hearts.”

Teddy once profoundly remarked, “The sun always shines from the same place, but its light doesn’t touch everyone equally. I’ve always stood slightly outside its rays. In those shadows, though, I found my own rhythm. No goals, no reasons—just swing.”

Goodbye, Teddy Prescott. May he rest in peace.

13th July, 2025, Berlin.
Editor Sohui Jeong

Teddy Prescott for 88 Teddy Keys

"Sfumato" for large orchestra and augmented theremin (2023-2024)
3 fl, 3 ob, 3 cl, 3 bsn | 3 tpt, 4 hn, 3 tbn, tb | 5 perc | 2 hp, pno/cel | theremin solo | 32 vln, 12 vl, 10 vc, 8 cb

Performed by:
Polish National Radio Symphony Orchestra, Vincent Kozlovsky – conductor, Paweł Romańczuk – theremin, computer

Recording, Mix & Mastering: Polish Radio
Post-mastering: Paweł Hendrich 

The title of the piece refers to sfumato – a Renaissance painting technique characterized by the subtle blending of tones andcolors, softening the transition between them. These gentle chiaroscuro transitions create a sense of depth and blur, resemblingsmoke or mist. The sfumato method was employed by artists such as Leonardo da Vinci and Raphael. When translated into themusical domain, sfumato similarly manifests as a blurring of orchestral texture and a continuous, delicate modulation of timbres.

To reinforce connections with the Renaissance era, I took inspiration from the microtonal madrigal "Madonna il poco dolce" byNicola Vicentino as the starting point for my composition. I processed a fragment of this piece to such an extent that only itsunusual harmonic connections and the ‘sonic aura’ of the original remain.

In my composition, the rich orchestral framework is complemented by an electronically and mechanically modified theremin. Asan extraordinary instrument played without physical contact, the theremin offers vast experimental possibilities. This unique partis performed by Paweł Romańczuk, who is also the co-author of the instrument’s reconstruction concept, tailored specifically forthis work.

All these elements come together to form a cohesive whole, where sounds are like colors on a Renaissance canvas – fluid,subtle, and imbued with depth.

 

Commisioned bythe 11th Festival of Premieres and the Polish National Radio Symphony Orchestra based in Katowice.

Definitely Different Than Liking Grape, If I like you!

Sohui Jeong 정소희