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Abstract

"Between the lips and the voice, something goes dying," wrote Pablo Neruda. It is true, isn't it? Perhaps many ‘somethings,’ in fact, go dying within that tiny, enormous space. And yet many 'somethings' are also being born at any moment?        Kolot ("voices" in Hebrew) is designed as something of a journey within that space; no more than a dip of a toe into the seemingly boundless wilderness between lips, voices, voicelessnesses, silences, ears. Seventeen short text fragments (all excerpted from much longer texts), in ten languages, lead the way (using words, of all things). And still, at its core, this space seems helplessly, magnificently uncharted. So how come it also feels so familiar it hurts? "Something with the wings of a bird,” continued Neruda, “the way nets cannot hold water.”     The piece is scored for three female voices, a string quartet, flute, clarinet and two percussion players. Each of Kolot’s fifteen sections aims to explore a somewhat different vocal technique or performance style, as well as a variety of relationships and textures within the instrumental ensemble. However, the distinct sections also offer various potential glimpses of the piece’s musical backbone, as key motivic, harmonic and rhythmic grains are re-arranged, recontextualized and varied throughout its length. Fragments of texts are by (in order of appearance): Jorge Luis Borges, Rainer Maria Rilke, Orhan Veli Kanik, Mahmoud Darwish, Avraham Halfi, Shuntaro Tanikawa, Pablo Neruda, James Jeremiah Murphy (LCD Soundsystem), Fernando Pessoa, Almog Behar, Zelda, Roland Barthes, Paul Celan, Wislawa Szymborska, Forough Farrokhazad, Yuval Ido Tal, Leonard Cohen.

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