{"id":1462,"date":"2017-01-02T08:15:34","date_gmt":"2017-01-02T08:15:34","guid":{"rendered":"http:\/\/www.jso.co.il\/en\/?page_id=1462"},"modified":"2017-01-02T08:16:10","modified_gmt":"2017-01-02T08:16:10","slug":"composer-in-residence","status":"publish","type":"page","link":"https:\/\/www.jso.co.il\/en\/composer-in-residence\/","title":{"rendered":"Composer-in-Residence"},"content":{"rendered":"

Aviya Kopelman<\/strong><\/p>\n

 <\/p>\n

\"\"<\/p>\n

 <\/p>\n

Aviya Kopelman is a Moscow-born Israeli composer, raised in Jerusalem and living in Tel-Aviv.<\/p>\n

Since 2014 she serves as the Composer-in-Residence of the Jerusalem Symphony Orchestra.<\/p>\n

Right upon finishing her Bachelor Degree at the Jerusalem Music & Dance Academy, she<\/p>\n

presented a very distinct, radical and ultra-emotional style of her own at a solo recital of her<\/p>\n

works, grabbing attention of all the major newspapers of Israel, a style which is clearly<\/p>\n

recognizable until this time.<\/p>\n

One of the youngest ever recipients of the Israel Prime Minister Prize for Composition (2007),<\/p>\n

Kopelman is a winner of “Kronos: Under30 Project”, where she was the only one chosen for<\/p>\n

writing a commissioned work (co-commissioned with Carnegie Hall, NY) out of more than 300<\/p>\n

competitors across the world. The work has been performed in major venues around the<\/p>\n

world and recorded for a CD.<\/p>\n

Kopelman returned then twice to Carnegie Hall. First time to perform piano in her another<\/p>\n

commissioned work for singers and ensemble, and the other as part of the Professional<\/p>\n

Training Workshop with the Kronos Quartet.<\/p>\n

Kopelman was commissioned to write for the Arthur Rubinstein International Piano<\/p>\n

Competition, Conjunto Iberico Cello Octet (Holland\/Spain), Israel Festival, The Jerusalem<\/p>\n

Symphony Orchestra, The Israeli Camerata Orchestra, The Israel Chamber Orchestra, The<\/p>\n

Kibbutz Chamber Orchestra, The Jerusalem Trio, Orchestre Pour la Paix (Paris), “Les Solistes<\/p>\n

de Waterloo” (Belgium), Keshet Eilon International Masterclasses, Israeli Chamber Project,<\/p>\n

Musica Nova Ensemble of Contemporary Music, and many more.<\/p>\n

From the very beginning of her musical journey, Kopelman \u2013 who was raised in a traditional<\/p>\n

Jewish family \u2013 was dealing in her work not only with esthetic subjects but with wider identity<\/p>\n

issues. Among her pieces can be found works for a memory of the Holocaust, such as<\/p>\n

“Landscape in Fume”, dedicated to the Warsaw Ghetto Uprising and to the memory of her<\/p>\n

grandfather and his family; “Everything is Foreseen and Free Will is Given” for piano is dealing<\/p>\n

with the Jewish theo-philosophical saying about free will and God’s presence in our lives,<\/p>\n

transformed into performers’ choice of form upon given musical text; “Did Not Speak Up” for<\/p>\n

soprano and chamber orchestra is based upon the famous text by M. Niemoller (“First they<\/p>\n

came for the Communists\u2026”), dealing with the silence of the world during the WWII Jewish<\/p>\n

Holocaust and the human nationalism mixed with general lack of empathy . One of her works<\/p>\n

is dedicated to the victims of terror of the 2nd Intifada, when another one is building a<\/p>\n

Feminist-Jewish parallel to the common Magnificat, using Latin, German and Hebrew texts<\/p>\n

and chants. Kopelman wrote a concerto for oud and violin, pointing at the special musical<\/p>\n

culture that has been created in Israel and in the Middle East nowadays, having a lot of<\/p>\n

common with the Baroque Concerto Grosso. She’d set music for many Jewish texts, from the<\/p>\n

Biblical verses on various subjects relevant to our time to modern Jewish and Israeli poetry.<\/p>\n

In her commissioned work for the Kronos Quartet, “Widows and Lovers”, Kopelman<\/p>\n

explored combination of live and pre-recorded electronics with acoustic instruments. This,<\/p>\n

after experimenting with it in cello solo work commissioned by the award-winning cellist<\/p>\n

Gavriel Lipkind. The piece was later performed by Kronos Quartet violist Hank Dutt, and will<\/p>\n

be recorded by Lipkind in the beginning of 2017.<\/p>\n

After a long journey, where Kopelman was searching for the most truthful, accurate and upto-<\/p>\n

date musical path for her, she finally found a balanced way to combine her diverse<\/p>\n

musical passion. She is working with a Jazz-Fusion ensemble, writing pieces based of Classical monuments, she is currently working on an album of her songs, combining string writing with more popular rhythm-section setting, and continuing her career as a classical concert composer.<\/p>\n

Holding an MA Summa Cum Laude <\/em>in composition, Kopelman is a Presidential Scholarship PhD student at Bar-Ilan University, Israel.<\/p>\n

Apart from composing, Kopelman sees a great importance in educating a new generation of composers in Israel. She was senior lecturer in Rimon School of Music for eight years, and in Hed College of Music prior to that; she is lecturing in all the main music institutions in Israel, as well as teaching at her home.<\/p>\n","protected":false},"excerpt":{"rendered":"

Aviya Kopelman     Aviya Kopelman is a Moscow-born Israeli composer, raised in Jerusalem and living in Tel-Aviv. Since 2014 she serves as the Composer-in-Residence of the Jerusalem Symphony Orchestra. Right upon finishing her Bachelor Degree at the Jerusalem Music & Dance Academy, she presented a very distinct, radical and ultra-emotional style of her own […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":73,"comment_status":"closed","ping_status":"closed","template":"about.php","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-1462","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.jso.co.il\/en\/wp-json\/wp\/v2\/pages\/1462","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.jso.co.il\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.jso.co.il\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.jso.co.il\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.jso.co.il\/en\/wp-json\/wp\/v2\/comments?post=1462"}],"version-history":[{"count":1,"href":"https:\/\/www.jso.co.il\/en\/wp-json\/wp\/v2\/pages\/1462\/revisions"}],"predecessor-version":[{"id":1463,"href":"https:\/\/www.jso.co.il\/en\/wp-json\/wp\/v2\/pages\/1462\/revisions\/1463"}],"wp:attachment":[{"href":"https:\/\/www.jso.co.il\/en\/wp-json\/wp\/v2\/media?parent=1462"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}