“The program began with Jenny Olivia Johnson’s “The After Time,” which the composer described as a darkly comedic “Law & Order”-style opera. Johnson, who wrote her own libretto and calls her work “A VHS Opera in Three Fragments,” was about not knowing. A beautiful student dancer falls to her death, which her infatuated friend thinks she witnesses but can’t be sure. Beauty is transient, and through a delicate score, triggered by falling line in the piano and sensitively sung by Justine Aronson and Lauren Davis, what TV would treat as a police procedural begins as a meditation on the answerable. I hope it boldly stays that way.”


“Deux autres voix new-yorkaises, féminines cette fois, se font aussi entendre sur ce disque: Paula Matthusen et Jenny Olivia Johnson. Chacun des compositeurs explore à sa façon le média électroacoustique, allant du traitement de signal pur (Miller) aux multiples pistes préenregistrées (Johnson), en passant par toutes les combinaisons possibles de sons fixés et traités en direct. Le disque se termine sur une méditation contemplative de Johnson, dans laquelle la flûte flotte sur une riche polyphonie préenregistrée. Avec ses interprétations et improvisations convaincantes, Terri Hron nous prouve avec brio à quel point la flûte à bec, méconnue de bien des auditeurs et créateurs actuels, est un instrument qui mérite vraiment que l’on s’y attarde. L’interprète est toujours en symbiose avec les extensions électroniques de son instrument qui dévoilent de multiples territoires sonores à explorer.”

“Two other New York voices, female this time, are also heard on this disc: Paula Matthusen and Jenny Olivia Johnson. Each composer explores the way electroacoustic media, from pure signal processing (Matthusen) to prerecorded sounds with multiple tracks (Johnson), mixes with all possible combinations of fixed and processed live sounds. The disc ends with a contemplative meditation (Johnson), in which the recorder floats over rich pre-recorded polyphony. With its compelling interpretations and improvisations, Terri Hron proves brilliantly how the recorder, unknown to many current listeners and creators, is an instrument that really deserves a closer look.”
-Cléo Palacio-Quintin, CIRCUIT (Musiques Contemporaines)


“One of the more intriguing collaborations on the album is Alex Temple and Jenny Olivia Johnson’s “It’s hard even to say it.” Temple is a Chicago-based composer; Johnson lives in Massachusetts. Each musician recorded their recollection of a shared memory, and layered and processed their own speaking voices. First we hear Temple’s lackadaisical reminiscence atop throbbing beats and crackling electronics, stark and listless. Then we enter into Johnson’s territory, a more spacious and ethereal realm, with haunting voices floating in the distance. The work exposes the fickleness of retention and shared personal archives, recalling Nico Muhly’s “Mothertongue,” another exploration of recollection by a New York contemporary of the Parlour Tapes+ crowd.”
-William L. Robin, THE BANDCAMP BLOG


“As curator of the Davis Museum at Wellesley College, Elaine Mehalakes dreamed of commissioning a piece of music to complement a visual installation. And because her museum is on a college campus, Mehalakes knew just the composer who could make this happen: Jenny Olivia Johnson, an assistant professor of music composition and theory at Wellesley. Johnson brought an unusual asset to the project. Not only is she an acclaimed composer and percussionist, she also has a neurological condition called synesthesia, which she describes as “experiencing sound as a color or a touch or another sensory modality.” So the challenge of creating what she calls a “sound picture” for the museum was irresistible. Knowing of Johnson’s auditory connection to color, ­Mehalakes suggested they begin by studying Sol LeWitt’s 1991 series of etchings, “All Combinations of Red, Yellow, and Blue, with Scribbles.” The series gave Johnson just the visual inspiration she needed to start thinking about the sound composition to go with it. “And then I decided to take it a step further and actually build an instrument,” Johnson said. “As a composer, I wanted to create an interactive sound experience that would change based on how someone interacted with the materials. I thought about a lot of different approaches, and then came up with the idea of using glass jars for a bell-like sound.” The instrument Johnson eventually created consists of seven glass bell jars fitted with contact microphones and colored LED lights that resemble the veins and arteries intersecting in the human heart. In the exhibition, a viewer can touch the instrument to trigger a sound and also to cause the lights of the glass hearts to dance. The sounds vary depending on how many jars are touched, how soft or hard the touches are, and how much composite sound is generated in the space. And because the bell jars evoked for Johnson a favorite poet, the late Sylvia Plath, the composer decided to make the work a tribute to the onetime Wellesley resident. Coinciding with the 50th anniversary of Plath’s death, the installation, “Glass Heart (bells for Sylvia Plath),” opened Wednesday and will remain on exhibit through June 9. A concert of Johnson’s original multimedia presentation, called “Glass Heart and Other Stories,” takes place on Saturday at 5:30 p.m. in Wellesley College’s Houghton Chapel, also on the campus at 106 Central St. in Wellesley.”
– Nancy Shohet West, THE BOSTON GLOBE

“[Jenny Olivia] Johnson worked with friends and musicians and artists Eliko Akahori and Jenny Tang (piano/synthesizer) Andrew Delclos (bassoon), Lucy McVeigh (soprano), Laura Moran (video art and lighting), David Russell (cello), Aaron Sheehan (tenor) to present this brilliant experience in both musical and visual art…Shortly before the performance, snow softly began to fall outside the chapel, the solemn grace of which proved to be a perfect setting for a highly emotional experience. The gray light shone through the stained glass windows creating a stunning array of colors, as if it had intended to be part of the show all along….At times the space resembled more the laboratory of a mad scientist than a makeshift concert hall. Colored wires crisscrossed the floor, glass bell jars covered LED lights, projector screens rolled two separate clips at once, and computers controlled it all. In this den of artistic experimentation, Johnson played both the role of humble servant and determined creator to a beautiful, though distressing, foray into human trauma and response to stimuli. And as the musicians put their fingers to their instruments and their voices to the air, they created sounds that seemed to mimic the sentiments of Plath’s poem “I Thought I Could Not Be Hurt.” Johnson’s compositions rely heavily on the intelligent use of dissonance to create feelings of fear, sadness and other tension, while still managing to never forsake the beauty of each individual instrument or voice. Instruments at times took on a vocal quality that seemed to confuse the stubborn preconceptions in just the way Johnson planned. Every sound and sight reflected the emotional intensity of soprano Lucy McVeigh, singing Plath’s words, “How frail the human heart must be, that it can either sing, or weep.” Sure enough, as the final moments of the concert were coming to a close, the sound of half-suppressed weeping filled the chapel. It was as if, as Johnson put it, Plath’s ghost had returned to tell the audience of her tragedy.”
-Taylor Markarian, MetroWest Daily News


“But the surprise triumph of the evening was Jenny Olivia Johnson’s deeply moving and beautiful meditations on the trials of young adult-hood. Her After School Vespers combines four songs, each focusing on topics such as cutting, binge drinking, and molestation….more often than not, Johnson’s treatments are effective, particularly Cutting with its jarring use of a driving industrial sample, and Dollar Beers (Redondo Beach ’96) with its languorous descending chord progression. The latter two pieces, while also lovely and haunting, exposed a stylistic similarity in the cycle that made one yearn for more variety. The structure for each song seemed repetitive, a soprano intones individual notes in a haze of reverb as the ensemble builds diatonic clusters. Intensity builds slowly, eventually reaching a climax that finds the soprano sustaining fortissimo notes at the upper end of her register, a device that is perhaps best used only once in a song cycle. Still, when the concert was finished, I found myself disappointed that there was no recording of the piece for me to buy at the merch table. These are pieces I am looking forward to hearing again.” -Brian M. Rosen,


“In Jenny Olivia Johnson’s “Dollar Beers (Redondo Beach ’96),’’ six players hypnotically circled a slow, catchy pop-ballad progression, while soprano Lucy McVeigh intoned casually enigmatic lyrics. Johnson, who has studied music’s role as a trigger for traumatic memories, conjured such echoes, acoustically and electronically layering the sound into a gorgeous and ominous haze….Johnson’s post-minimal atmospherics…subverted the framework, Johnson eschewing oppositional form for linear single-mindedness.” –Matthew Guerrieri, Boston Globe

“Although the “program” of the piece is quite maudlin — having to do with teenage fears, real and imagined — the work itself is stunning in its simplicity and power. Its shape is one long crescendo, based on long, slow chiming dissonances to create the ominous horror of the extra-musical program, followed by a short decrescendo, ending in a quiet piccolo solo. Ms. Johnson has a real ear for instrumental color and timbre, and this was a good introduction to her music.” –Mary Wallace Davidson, The Boston Musical Intelligencer

“Jenny Olivia Johnson, resident composer at Wellesley, was represented by Dollar Beers (Redondo Beach ’96), composed 2006, for soprano, flute, violin, cello, piano, percussion and electronics, with text by the composer. It featured attractive repeating harmonies on an irregularly descending B-flat, A-flat, G-flat ostinato bass, rising to a loud climax and fading back slowly to a quiet ending. This was the most luminous and least noisy work on the program.” –Mark DeVoto, The Boston Musical Intelligencer


“iridescent…shimmering…evocative…a composer with a genuine flair for musical drama.” -Steve Smith, Time Out New York

“sustained sonorities, drones, instrumental colorings (including the exotic sounds of Tibetan bowls)…lacy, abstract.” – Anthony Tommasini, New York Times


“Leaving Santa Monica, by the American Jenny Olivia Johnson…[was] an attractive mini-opera with minimalist whirls.” -Jochem Valkenburg, NRC, Netherlands