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A tutor who tooted the flute, Tried to tutor two tutors to toot. Said the two to the tutor, 'Is it harder to toot, or to tutor two tutors to toot?'
In Auden's lengthy poem, The Age of Anxiety, he follows the actions and thoughts of four characters that happen to meet in a bar during the Second World War. Their interactions with one another lead them on an imaginary quest in their minds in which they attempt, without success, to discover themselves. The themes and ideas that The Age of Anxiety conveys reflect his belief that man's quest for self-actualization is in vain. The Age of Anxiety is, in general, a quest poem. Unlike the ideal quest, however, this quest accomplishes nothing. The characters search for the meaning of self and, in essence, the meaning of life, but because their search is triggered by intoxication, the quest is doomed from the start. Throughout the quest, the characters believe themselves to be in a kind of purgatory, gradually descending toward hell. They fail to realize this due to "the modern human condition which denies possibility but refuses to call it impossible" (Nelson 117).
The PaintingsAlexander Polzin's series of 99 paintings based on Auden's poem grew out of the artist's fascination with "...the unusual mixture of poetic quality, clear meaningful sentences and rich images." The series was made in 1999, which is one of the reasons the artist decided to paint 99 paintings. The other reason being his strong desire to accomplish the nearly impossible task of composing 99 paintings simultaneously. Polzin divided the text into 99 segments after reading the poem over and over again developing his own "melody" of the text. He also wanted to highlight some of the sentences in the poem by disconnecting them from their surroundings. The anxiety in the poem, for Polzin, is hidden under several layers of meaning and so in his paintings he decided to use a technique of layering. At the bottom layer of each painting he pasted a segment of the text and painted the number of that segment corresponding to his own subdivision of the text. He then created layers of paint and images on top of that sculpting out the parts he wanted to emphasize. Through this process most of the text and numbers became invisible.
The MusicThe sound source for this installation is largely based on a recording of five actors (four characters and one narrator) reciting the poem in a bar. During this process the actors were encouraged to drink as much as they wanted so as to recreate the mood of the original poem. The bartender was generous enough to turn off the background music during the recording and so the only background sounds are bar noises made by people drinking, conversing, laughing, playing pool, etc. Different layers of sound are created by transforming the bar recording electronically. These layers become alternately 'visible' and 'invisible' by fading them in and out. One of the electronic sound layers is created by analyzing 12 peaks from the recorded voice and connecting these peaks to 12 oscillators. The result is a sort of a modified reproduction of the actual voice recording. Another layer that is present is the sound of a quartet of wind instruments - tuba, trombone, trumpet and clarinet. Each instrument corresponds to a different character in the poem. These instruments are actually very high-quality samples of real instruments. Each note was recorded several times in different dynamic levels and different modes of attack. Extended playing techniques were also recorded and used. The actual notes that these instruments play are generated by a quasi-random process that uses a phrase, instead of a single note, as it's basic point of departure. The first thing that is determined on this level is the phrase duration. Since we are dealing with wind instruments, it has been taken into consideration that in normal situations the player of a wind instrument should have time to breathe after about 20 seconds of continuous playing. For each phrase the program decides: 1) What permutation and transposition of the row to play from a twelve tone matrix. 2) The durations of the notes in the phrase. 3) The dynamic range of the notes (for example, mp is not a constant level but a range). 4) The style of playing - staccato, legato, flutter-tongue, trills, etc. 5) The instrumental register - high, medium or low. What creates a relationship between the voices of the different instruments is that the phrases they all play are derived from the same source - the 12-tone matrix. Another layer is made out of percussion sounds that are triggered by the recording of the actors. The program picks out the 'attacks' of the recorded voice and these attacks trigger the percussion samples. Other transformations of the bar recording include pitch-shifting, delaying and spatializing. All of the sounds that are used in this piece are spatialized around the room by using four speakers that are placed in the four corners of the room.
First installed from Apr. 6 - 29, 2006 at the Goethe Institute in New York City.
Eight Flowers are set of eight very short pieces for piano. Each piece was inspired by and named after a certain flower and together they form a bouquet.
The order and number of times in which each of these pieces are played are left to the performer's discretion. In this way it is as if he/she is arranging the bouquet of flowers to suit his/her own taste.
Premiered by Gabor Csalog on June 11, 2006 in Neuhardenberg, Germany, in a festival honoring György Kurtág on his 80th birthday.
\Plex"ure\, n. [See Plexus.] The act or process of weaving together, or interweaving; that which is woven together. --H. Brooke (Dictionary.com)
This duo is composed for the double-reed family of instruments. It features the Oboe, the English Horn and the Contrabassoon. The piece is divided into 4 sections that correspond to the AABA form. The degree of virtuosity required from the players is very high; the pitch ranges for the instruments are extreme but playing together and in time is probably as much of a challenge as reaching the notes at the extreme range of the instrument. This work is dedicated to my grandmother Miriam Keren and was premiered on the occasion of her 99th birthday.
Premiered by B. Schmutzler and D. Karamintzas on May 11, 2005 in Jerusalem, Israel
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Amos Elkana was born in Boston but grew up in Jerusalem. At the age of 15, he picked up the electric guitar and began to study music which soon became his primary occupation in life. In 1987, aged 20, he returned to Boston to study jazz guitar at the Berklee College of Music and composition at the The New England Conservatory of Music. In 1990, he moved to Paris to study composition with Michele Reverdy. He also took composition classes with Erik Norby in Copenhagen, and with Paul-Heinz Dittrich and Edison Denisov in Berlin. In 2007 Elkana received his MFA in music/sound from Bard College, New York. While at Bard, he focused on electronic music and took lessons with Pauline Oliveros, David Behrman, Richard Teitelbaum, George Lewis, Maryanne Amacher and Larry Polansky among others.
Amos Elkana composes concert music for orchestras, ensembles and individual performers as well as music for dance, theatre and films. His works have been performed and recorded by ensembles and musicians from all over the world, such as the Berlin Symphony Orchestra, the Warsaw Philharmonic Orchestra, the clarinetist Richard Stoltzman, Musica Nova Consort, the Slovak Radio Symphony Orchestra, the pianist Gábor Csalog, the Berlin Saxophone Quartet, Stockholm Saxophone Quartet, the flautist Yossi Arnheim, the New Israeli Woodwind Quintet, the Carmel String Quartet, Ensemble Meitar, the ICSQ (Israel Contemporary String Quartet) and many more.
Many of Elkana's compositions are written for traditional orchestral instruments, but without the traditional boundaries. They are his attempt to carry the listener's imagination and senses into new territory. One of Elkana's best known works is "Arabic Lessons", a multilingual song cycle for three sopranos and chamber ensemble that sets to music 13 poems by the German writer and poet Michael Roes. Commissioned jointly by the Berlin Festival and The Tel Aviv municipality, the work won the 2003 Golden Feather of ACUM, Israel's Society of Composers, Authors and Publishers. In its review of Arabic Lessons, the English daily Jerusalem Post called it "a perplexing, beguiling 40-minute opus in which the composer challenges the so-called 'acceptable' form of the lieder, shattering it and building it anew, as if constructing a new world from its ashes. ... Arabic Lessons is one of the most significant works composed in Israel for quite a while."
Elkana is also an active performer. He regularly participates in concerts and performances of improvised music where he plays electric guitar and does computer processing. In 2010 he opened the International Literature Festival in Berlin giving a concert of his music for Recorded voices of poets, Electric guitar and electronics. Elkana is also a part of the duo Concoct Sonance with Yaaki Levy. The duo performs improvised music and tours on a regular basis. [More...]
Amos Elkana is the recipient of the 2011 Prime Minister Prize for Music Composition. This prize is the highest award of it's kind for composers in Israel. In their decision the jury noted that Elkana is the author of "very original music, independent of the prevailing fashion, guided by unique and delicate taste," and radiates "a strong sense of honesty."
| After Hamlet Jan 1, 2009 [DVD] | |
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DVD of the dance/theater work "After Hamlet". Choreography by Sommer Ulrickson, music by Amos Elkana and stage design by Alexander Polzin. Recorded in Feb/March 2009 at UC Santa Cruz. | |
| Perspectives II Jan 1, 2008 [CD] | |
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| Label: MMC Recordings Buy from: Amazon Buy from: Barns & Noble | |
| Sikkum Beynaim Jan 1, 2007 [DVD] | |
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DVD of a live concert with video-art by Yael Toren. | |
| Works Jan 1, 2005 [CD] | |
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| Buy from: Bandcamp Buy from: CD Baby Buy from: Amazon | |
| Works 1992-1996 Jan 1, 1996 [CD] | |
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| Buy from: CD Baby Buy from: CD Universe | |
Gefunden
Amos Elkana | Hommage à György Ligeti (2007) | Video-Score
Amos Elkana | Casino Umbro (2010) | Video-Score
Kain
"Eight Flowers - A bouquet for Kurtag"
Borela
Elkana: Hommage à Ligeti - Berlin Symphony Orchestra
Amos Elkana - Lies and Lethargies - Berlin, March 2008
String Quartet No.2 - 4th Movement by Amos Elkana
String Quartet No.2 - 3rd Movement by Amos Elkana
String Quartet No.2 - 2nd Movement by Amos Elkana
String Quartet No. 2 - 1st Movement by Amos Elkana
Shir
Ru'ach Quintet by Amos Elkana
Amos Elkana - Lies and Lethargies - Tel Aviv 2007
Eight Flowers by Amos Elkana
Eine Frau fällt in einen Raum. Niemand weiß, wo sie herkommt. Sie selbst hat es vergessen. In den Ecken Leute, die sich vor einer Bedrohung zusammengefunden haben und das Überleben üben, nicht ohne sich gegenseitig permanent zu misstrauen. Wer manipuliert hier wen und ist da draußen überhaupt noch Leben? Die Frau ist nicht in der Lage, die Bewegungen der anderen nachzuvollziehen. Einer willenlosen Puppe gleich lässt sie sich formen, wird sie gestoßen, versucht sie, in einem mühsamen Akt sich anzupassen. Sie bleibt eine Fremde, aber auch die anderen, die schon vor ihr da waren, bewegen sich auf unsicherem Terrain, ständig auf der Hut, aber mitunter auch ganz selbstvergessen in Erinnerung an ein anderes Leben. In ihrer neuen Arbeit beschäftigt sich die amerikanische Choreografin Sommer Ulrickson, in Berlin als Teil des Choreografenkollektivs "wee dance companie" bekannt geworden, mit dem Begriff "Remains". Unterstützt wird sie dabei durch fünf TänzerInnen und zwei SchauspielerInnen aus den USA, Argentinien, Deutschland und der Schweiz, den Berliner Bühnenbildner Alexander Polzin und den israelischen Komponisten Amos Elkana. Der englische Begriff "Remains" lässt sich nur schwer eingrenzen. Es kann "bleiben" bedeuten oder "sterbliche Überreste", "Ruinen" oder in der Verbindung mit "undone" mit "unterbleiben" übersetzt werden. "Remains" könnte auch der Rest sein, der von einem groß angelegten Projekt übrig geblieben ist. Der Satz "Egal wie die Lage aussieht, sie kann immer noch schlimmer werden", der im Stück fällt, ist den Protagonisten des Projektes bekannt. Niemand wollte es finanzieren. Zuletzt schrieb sich der Krieg noch ganz real in das Geschehen: Der israelische Komponist Amos Elkana konnte nicht rechtzeitig aus Tel Aviv zu den Proben anreisen. Die Musik blieb fragmentarisch. Der Text beschränkt sich, bis auf zwei hineinmontierte Handlungsstränge, auf Tipps eines Survivalratgebers. Die erzwungene Reduktion hat dem Projekt ästhetisch gut getan. Alexander Polzin hat Trümmerhaufen und weiße Plastekisten auf der Bühne der Sophiensäle arrangiert. Mehr bedurfte es auch nicht in einem Raum, der aussieht, als sei der Krieg gerade mal drei Stunden vorbei. Die Bedrohung ist allgegenwärtig, kriecht in die Körper, wird nur ab und an von den Stimmen der Schauspieler aufgenommen. Die Elemente Tanz, Sprache, Musik, aber auch Artistik und Mimik vermischen sich zu einem Gesamtkunstwerk. "Das Schlimmste", heißt es am Ende, "ist die schmerzlose Langeweile." "Remains" ist keinen Augenblick langweilig.
"Wenigstens in der Kunst ist Völkerverständigung kein Problem. "Arabische Lektionen" heißen 13 Gedichte des Berliner Autors Michael Roes, der die arabische Sprache studiert. Der israelische Komponist Amos Elkana hat die Gedichte im Auftrag der Berliner Festspiele vertont. Vor ein paar Tagen hat die Uraufführung in Tel Aviv stattgefunden. In der Reihe "Zions Sehnsucht - 50 Jahre Israel" gestalteten deutsche, israelische und arabische Musiker jetzt im Konzertsaal Bundesallee die Deutsche Erstaufführung. Die Gedichte strahlen orientalische Fantasie und üppige Farbigkeit aus. In ihnen geht es mehr um "Sonnenmund" und "Mondbuchstaben" als um "Todesherrn" und "Kältepost". Politische Botschaften wollte der Autor nicht verbreiten. Er hat seine Sprachübungen als Grundlage genommen. Elkanas Musik lenkt die Hörergedanken viel stärker in politische Dimensionen. Drei Sopranistinnen - Ulrike Sonntag, Lilach Refaelovich und Morin Nehedar - tragen die Texte auf deutsch, hebräisch und arabisch vor. Das klingt mal drillingsgleich, mal wie das große babylonische Stimmengewirr. Manchmal teilen sie sich den Text freundschaftlich. Es gibt aber auch plötzliche Temperamentsausbrüche. Die griechische Dirigentin Konstantia Gourzi, auf Neue Musik spezialisiert, leitet das kleine Ensemble, in dem neben klassischen Instrumenten auch Saxophon, E-Baß und Schlagzeug spielen. Die Musiker paaren spitzes Staccato und liebevolle Legatobögen. "Fremde" Stile wie Jazz und Rock werden in die Neue Musik integriert. Es gibt beruhigende, nachdenkliche Zwischenspiele. Dann wieder dreht sich ein Motiv im Teufelskreis, immer schneller und schneller. Das Spannungsfeld zwischen Ablehnung und Versöhnung beherrscht den Abend. Am Ende treten die Sopranistinnen an den Bühnenrand, beten die Gedichte von "Kairo" und "Jerusalem" herunter - mit einem herben Schlagzeuggewitter dazwischen."
I have known Mr. Amos Elkana for a very long time, and I have been able to follow his career as musician and composer almost from the beginning and am convinced that he writes worthwhile and original music that is independent of fashion. I admire his talent and devotion, and truly enjoy the fine taste and integrity, which is always present in his work.
György KurtágAmos Elkana has developed into a remarkable composer whose works display great spirit and individuality. I had the opportunity to have him as my student, and over the years I have witnessed his highly professional intellectual standard, his imaginative thought process and highly original ideas. I believe Amos stands out as a composer of great achievement and promise. He possesses the motivation for hard work ethical activity, drive and tenacity to take on anything from advanced academic thinking to skillful musical performance and creativity.
Pauline OliverosI know the Israeli composer Amos Elkana through a number of his compositions for various instrumental ensembles. We have also had several discussions concerning problems in composition of contemporary music. From these I have come to know his high professional intellectual standard which enables him to formulate musically his imagination in the world of tones. I would like to stress Amos Elkana's original ideas and his search for an original route to technical means for the fulfillment of the composition.
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