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AVAZ BEMIGDAL DAVID - 1989 - Choir conducted by Zivia Sharet. Harold Rubin- Clarinet and Saxophone. Lighting design- Judy cupferman. The name came from the piece Avaz and the location - the yard of The Tower of David, a very important site in the geography of Jerusalem and a tourist attraction. The Israeli Festival asked several artists to create outdoor works and I luckily chose the Tower of David, because, as I found later, my lighting designer Judy could use their lighting source for the idea she had: design light by Midi Computer Commands. This was completely new and we had to pay for the use of machinery. After three month the lighting company announced that all their computers would have midi input. The lighting design contributed immensely to the 3 evenings of performance.

 

״Avaz" for mixed chorus, chamber Ensemble and optional tape (which doubles the instruments) was conducted by Zivia Sharet. "Music Now" felt that choir works rarely appear in Israeli modern concerts and we dedicated some concerts to vocal, using vocalists from the opera choir. My 1st contribution was "AVAZ". The lyrics were gibberish and the name came from a wrong use of the computer software which gave the current name to whtever was on the screen (in my case , music for Ibsen's "The Wild duck" - in Hebrew "AVAZ HAPERE"). The rhythmically wild piece was well accepted, and was performed quite a lot. A special occasion occurred in the Tower of David in old Jerusalem, when the Israli Festival called for outdoor performances. My contribution was 3 evenings called "Avaz in the tower of David" featured several works of my MSN works, and joined by jazz man Harold Rubin. a technical world premiere was the use of Midi to control the lighting - done by lighting designer Judy Kupferman (Later on most of the lighting systems include midi connection). The same program, with more pieces and more players was performed outside the "Haifa Flm Festival" twice a year later.

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 The CDA's archives are operating with the support of the Ostrovsky Family Fund and Artis
 

Avaz BeMigdal David
Yossi Mar Chaim collection

AVAZ BEMIGDAL DAVID - 1989 - Choir conducted by Zivia Sharet. Harold Rubin- Clarinet and Saxophone. Lighting design- Judy cupferman. The name came from the piece Avaz and the location - the yard of The Tower of David, a very important site in the geography of Jerusalem and a tourist attraction. The Israeli Festival asked several artists to create outdoor works and I luckily chose the Tower of David, because, as I found later, my lighting designer Judy could use their lighting source for the idea she had: design light by Midi Computer Commands. This was completely new and we had to pay for the use of machinery. After three month the lighting company announced that all their computers would have midi input. The lighting design contributed immensely to the 3 evenings of performance.

 

״Avaz" for mixed chorus, chamber Ensemble and optional tape (which doubles the instruments) was conducted by Zivia Sharet. "Music Now" felt that choir works rarely appear in Israeli modern concerts and we dedicated some concerts to vocal, using vocalists from the opera choir. My 1st contribution was "AVAZ". The lyrics were gibberish and the name came from a wrong use of the computer software which gave the current name to whtever was on the screen (in my case , music for Ibsen's "The Wild duck" - in Hebrew "AVAZ HAPERE"). The rhythmically wild piece was well accepted, and was performed quite a lot. A special occasion occurred in the Tower of David in old Jerusalem, when the Israli Festival called for outdoor performances. My contribution was 3 evenings called "Avaz in the tower of David" featured several works of my MSN works, and joined by jazz man Harold Rubin. a technical world premiere was the use of Midi to control the lighting - done by lighting designer Judy Kupferman (Later on most of the lighting systems include midi connection). The same program, with more pieces and more players was performed outside the "Haifa Flm Festival" twice a year later.

 The CDA's archives are operating with the support of the Ostrovsky Family Fund and Artis
 

 The CDA's archives are operating with the support of the Ostrovsky Family Fund and Artis
 

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