One of the interest areas which fascinates me since I started composing, and indeed lays in the basis of several works of mine, is the exploration of the connection between musical and spoken language. In “small lies,” I study the natural musicality of texts in Hebrew and English, investigate the tone-word compared to syntax-sound. I managed to do so by highlighting, in various ways, the musical elements of the texts, and by doing so, I diverted the focus from their meaning from one hand, and from the other, by emphasizing the lingual tone quality allowed me to hear the abstract sound as meaningful, almost text like. These two facets were also the key to choosing these specific texts for this piece since they all carry some degree of double meaning or offer plural perspectives of reality.
Here they are in their order of appearance:
“Small lies” is not just another piece I play, but a new standard of mine both to who deep and true can collaboration with a composer go and to how difficult, intricate, and exhausting, can be carving your way into the musical substance, only to get to a result which is merely an “opportunity” for something big to happen. The piece is basically an “improvisation” on a text, playing alongside a recording of the same text and activation by playing computerized envelope follower of the same text. This is a fully organized lattice to the scale of sound and syllable, yet, utterly free in many other aspects. A monumental challenge and delight.