Zohar Iver

This piece starts with an attempt to create a ‘music of touch’, presenting an intermittent series of pictures (fields and madrigals). Faraway and slowly moving shapes are abstract and hard to define, but at the same time easily felt or touched by listening. These are the ‘fields’ played by the orchestra. They are answered by remnants of human voices: drifting voices as if just carried on the wind from afar (‘Madrigals’, played by the Nikel ensemble: sax, elec. guitar, piano, perc). The responsory gives way to a series of unpredictable encounters between the soloist ensemble and the orchestra, where the corporeality of the orchestral shapes and the energy of the ensemble merge to open a new state: one of half-human / half-phenomenological unpredictable eruptions. Chaya Czernowin