Silences

“Once upon a while,” when there is an urgent need to react, to say something, silence can carry as strong an impact as words — provided the other side is present and able to hold that silence. This is what I set out to express in Silences, a trio for clarinet, viola and piano (2004), commissioned by the Musica Nova Ensemble.

In some parts of the piece one or two instruments fall silent. They do not disappear, however: their presence remains essential to the “trialogue” even when they are not playing. The idea of silence also works more locally, within each instrument's part. Sometimes the silence comes out of despair and helplessness, as in the first movement. In the second, the silences arise mostly from inner struggle, producing tension, unrest and an irregular pulse. In other cases silence is a sign of reflection — turning inward, recognising the unavoidable loneliness — as in the last movement. In the end I see this piece as an abstract but intense conversation among three participants, each with a distinct character and a clear message, yet all knowing how to listen to one another.

Movements

1. Job's Silence (שתיקתו של איוב) — The silence comes out of despair and helplessness.
2. The silences express mostly inner struggles, causing stress, unrest and irregular pulse.
3. The silence is a sign of thinking, looking inside, recognising the unavoidable loneliness.

Commissioned by Musica Nova Ensemble.

Premiere: 2004-02-14 · Felicja Blumental Music Center, 26 Bialik St, Tel Aviv — Musica Nova 'Young Wave' series, concert no. 2: 'Silences', with composer Aviya Kopelman · Keren Dvir-Steckler (clarinet), Galia Hai (viola), Sara Tal (piano) — Israeli Contemporary Music Quartet.

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