כי הנה כחומר ביד היוצר

Jandl - calypso

Dark Rainbow

Re:MIX_I LOVE YOU WITH MY STOUT("I LOVE YOU WITH MY STOUT" ビール擬人化本２杯目コンピ収録 )by Yu Kawa Shizuka

Solo bass clarinet.
Recorded live at Café Oto, London, 4.9.16

Stomasault

Le Portrait De(petite).M

​Text by Morris Rosenfeld
Performed by Louis Danto
Recorded by Chana Englard
Hekhal Shelomo, Jerusalem, Hanukkah 1982

Yiddish song: Ir Kleyne Likhtelekh

Duration 37.12 | Released June 2017

Steve Noble - Drum and percussion
Yoni Silver – Bass clarinet
 
Recorded by Yoni Silver on April 7th and July 4th 2016 at Ping Pong Studios. Edited and Mixed by Yoni Silver. 
Mastered by Thanos Chrysakis at Meridian Studio.
Dedicated to Alexander Silver Schendar


TRRN1136
http://auralterrains.com/releases/36

Steve Noble / Yoni Silver — HOME

I Let Them Drink My Water

Allemande and Courante from G major Bach Cello Suite.
Seth Parker Woods, cellist
Recorded by Sang Wook "Sunny" Nam at Jacob's Well Mastering.

Allemande and Courante from G Major Suite

J.S. Bach Sol majeur Suite: Allemande & Courante

The Remedy

Yael Barolsky, one of the foremost musicians in Israel, a maverick violinist with a knack for all things contemporary (but in no way exclusively), Barolsky might sound like yet another one of those technical wiz-kids, which she is, but that doesn’t even come close to describing her. Coming from a well-rooted classical tradition, Barolsky, as befitting that same tradition, became one with her instrument. Hearing her play repertoire pieces hammers in the fact that she is deeply embedded in 20th century contemporary performance practice. Her debut CD, Meanderings, is yet another manifestation of this fact – a collection of challenging and relevant violin music, with one of the best performances of the Berio violin Sequenza this writer has ever heard! But I actually came to know Yael Barolsky as a fantastic improviser, who, had I not been told otherwise, seemed to negate her entire classical training when putting on her improviser’s hat.

Barolsky, like our former guests, Maya Dunietz, and Kiki Keren-Huss, argues she has always had a side requiring, and actively seeking freedom; quite a departure from what we know of classical musicians, who usually treat moments of freedom with absolute terror. However, Barolsky claims that it was exactly the constricting confines of classical violin training that prompted this search for freedom. Her first foray into free improvisation was with the late Israeli composer, Andre Hajdu, who used to hold master classes for young musicians at The Jerusalem Music Centre. At each one of these seminars he would choose one of the young musicians and improvise with him/her in a duo formation. Barolsky recalls this experience with starry eyes and claims to have found there an outlet she had never experienced before. And indeed, for Barolsky, improv is first and foremost an outlet – more than a research tool it is a recreational tool, and a means to partake in a visceral musical activity where things do not need to be analysed, or adhered to as supposed truths. Improv is a thaw, repose, a means to communicate with others on a gut level, knowing that no matter what is said, it cannot be wrong.

Jandl - calypso

itamar francez

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