Eldad Tsabary is a Montréal based composer and sound artist whose music is inspired by
the concepts of sound-mass, metamorphosis, and constant motion. His works have been
played at Carnegie Hall, CCRMA, and ISCM among others and performed by The Bulgarian
Philharmonic, Silvie Jensen, the Cygnus Ensemble, Haim Avitsur, and others. He is the winner
of several prizes, including the Harbourfront Centre New Canadian Sound Work 2006, a third
prize at ZKM’s competition Shortcuts:Beauty 2006, and a selection in Madrid Abierto’s Public
Art Project Competition 2007. Eldad is a professor of electronic art-music at Concordia
University in Montréal and an Artist Mentor for the MFA in New Media Program of the Transart
Institute (Krems, Austria). His music has been released on ERMMedia, Capstone Records,
New Adventures in Sound Art and JAZZIS among others and published by Editions BIM
(Switzerland). He studied composition under David Loeb, David Del Tredici, David Olan, and
Tim Brady and theory under Carl Schachter, Philip Rupprecht and Philip Lambert.
|INTO-NATION - Vibrö 4
In INTO-NATION I represent the musical beauty of language by putting together excerpts
of radio news and talk programs from countries all around the world including Australia,
Bosnia, Brazil, Croatia, the Czech Republic, Finland, Germany, China, Hungary, Iceland, India,
Iran, Israel, Spain, Taiwan, and the US. Although the material is all textual, the excerpts are
organized aesthetically without regards to verbal or political meanings.
In the first section
of the piece, the excerpts are edited and organized rhythmically, unprocessed.
|| The same
recorded material is developed in the second section by use of convolution, reverse-reverb
and other techniques, obscuring the national definition of the excerpts. The resultant is a
unique listening experience in which listeners of different linguistic origins share the same aural
experience, despite perceptually prioritizing different sound components.
August 1, 2006 at 6:37 pm • Filed under SIP
Interview: 10 answers
When did you start making music, what is/was your motivation to do it?
I started learning music at the age of six with the encouragement of my
parents and composed my first songs at 12; through the years I had
motivational ups and downs but at the age of 13 I chose to take up on the
flute seriously after hearing a friend of my brother play an amazing flute.
At the age of 22 while relaxing by myself and my flute in a remote corner in
the forests of the Yukon I realized how much joy music making gave me and
finally understood I wanted music as a career. Another big motivation was
King Crimson - a great teenage love of mine.
Tell me something about your living environment and the musical
Until my early twenties I grew up in Petach Tiqva, Israel, studied at my
hometown’s conservatory and participated in various local events and
festivals. After my Yukon trip I came back to study at the Rimon School of Jazz and Contemp. Music in Israel which opened me up to Jazz and to the
great possibilities outside of Israel. At 26 I moved to New York where I
switched to a classical training in composition at the Mannes College of
Music and later at CUNY. After 7 years in New York I finally moved to my
new home in Montreal where I studied music technology and later found a
great opportunity to fulfill my other greatest love - teaching - as a
professor at Concordia University’s music program’s electroacoustics studies
Is making music your profession? What is the context in which you practice
Yes. I feel very privileged to have my compositions performed, broadcasted, released and published (instrumental, acousmatic and sound art), to perform as a flutist and teach music to great talents.
How do you compose or create music or sound? Have you certain principles,
use certain styles etc?
Hmmm. I thought about that quite a bit. My conclusion was that my main
principles are to treat every creation individually as a new being and not
fall into patterns. My guidelines in general terms have been “experiment!”,”don’t fear failure,” “be playful,” “be honest,” “be efficient.”
Tell me something about the instruments, technical equipment or tools you use?
I use the computer quite a bit. For my instrumental works I notate on
Finale and for my sound art and acousmatic works I use a variety of software
(constantly upgrading). Currently I mix my sounds using KRK studio
monitors, Audio Technica headphones and an M-Audio sound card. Through the years I have been experimenting with phase shifts, signal processing and automation, and convolution.
What are the chances of New Media for the music production in general and you personally?
What a question! New media is absolutely essential in music production’s
future. I feel it has been moving in this direction for quite some time and
I am moving with it constantly. The use of computers in art is
unquestionable; so are interactive applications, software and internet art
and a variety of new musical interfaces. I’m all for it.
How about producing and financing your musical productions?
I have been spending money on musical production - this is no different from a violinist buying a $20,000 violin as a career investment. No question I would gladly receive sponsorship when available but I will, and did, put the money when I need to.
Do you work individually as a musician/soundartist or in a group or
If you have experience in both, what is the difference, what do you prefer?
I worked individually, in live collaborations, in bands, in
remote-collaborations and in any other format that I could.
Working with other people is essential in music - a composer writes music
and others perform it (except for composers who write only for their solo
instruments), performers work together as a team and inspire each other. I think the same would be very beneficial for sound art and acousmatic music - despite the tendency of many to keep it an individualistic type of art (like sculpting and painting usually are).
I enjoyed both very much, but I wouldn’t enjoy my individual work as much if I didn’t also collaborate on other works. Collaborative work have always pushed my creativity further up a few notches.
Is there any group, composer, style or movement which has a lasting
influence on making music?
Although my music is very different, King Crimson still has a large place in my heart. Something about their passion, experimentalism, group vibe, and honesty that strongly pulls me.
What are your future plans or dreams as a soundartist or musician?
Learn, create, collaborate, teach and influence others, and .well. spread
some positive vibe for international, intercultural, inter-religious mixing - musical and otherwise. Why not?
|Eldad Tsabary participates in
Edition III curated by Melody Parker-Carter
- Edition IV - Memoryscapes
edition04.b. m’scape 01
A Virtual Memorial
Tsunami Memorial curated by Agricola de Cologne
- Memorial for the Victims of Terror curated by Agricola de Cologne
The compositional style of Montreal-based Eldad Tsabary is strongly inspired by the concepts of constant motion and fluidity. These concepts are, in his mind, defining qualities of life itself, and he is ever in search for new techniques to produce smooth transformations, aural metamorphoses, and a sense of motion in his work. Eldad portrays these qualities by ontinuously transforming his sound-material, textures, and harmonic content, by varying the types of transformations, and by avoiding mechanical repetitions or long, unchanging sound/musical objects.
His works have been recorded and performed by the Bulgarian Philharmonic, Haim Avitsur, The Cygnus Ensemble, Silvie Jensen and Yuval Cohen among others.Performances include Carnegie Hall, CCRMA, “Primavera en la Habana 2004″ (Cuba), Spark Festival, Bellingham Electronic Arts Festival 2005 (Bellingham, Washington), and Burning Man Festival 2004 and 2005 among many others.
Mr. Tsabary’s music is released on ERMMedia, Capstone Records, New Adventures in Sound Art, JAZZIS, The Infinite Sector, comfortstand.com and SoundLab Channel, and published by Editions-BIM (Switzerland).
Tsabary is a professor at the Concordia University Music Department Electroacoustics Studies (Montreal, Quebec), Head of Music at CBB Montreal and an Artist Mentor for the MFA in New Media Program of the Transart Institute (Krems, Austria).
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