Open Form Soundpainting (2019)
The story of this on-going and on-changing performances began with the will to be able to improvise with an orchestra. Castle in Time Orchestra has been introducing improvisation in its concerts from the very beginning, which was at first completely intuitive. With time, came the need to be able to communicate in a deeper and more complex level while improvising, conveying specific ideas between the conductor and the musicians without written score. We began to rehearse improvisation by the conductor giving verbal tasks, and then the musicians entering an improvised session. This was an effective way to create material while rehearsing, but wasn't sufficient enough to be used in a concert. The next need was to be able to communicate these tasks in real time without verbal words.
At this point I came across Soundpainting, which was a huge discovery for me. Soundpainting is a multidisciplinary live composition sign language invented by Walter Thompson. The basic grammar of the language comes down to: Who does What, How and When. This structure opens up endless possibilities. I went with my partner to Sweden for a one on one workshop with Walter in his studio. Until the meeting with him, I introduced Soundpainting in my pieces as fragments within the piece, but Walter suggested the idea of "open form" Soundpainting concerts, which means there is no preplanned structure or palettes (pre-written score). Entering the concert with no previous decisions. Pure improvisation / live composition. Being in the moment with the musicians. Diving into this world is an experienced filled with joy and spontaneity. For this task I also use signs taken from "Conduction" by Butch Morris and "Rhythm and Percussion with Signs" by Santiago Vazquez. As a dancer, these languages allow me to be expressive with my body, connecting to my sources and physical way of expression.
When performed, I think of the musicians as full collaborators in the composing. With Castle in Time Orchestra's incredible soloist improvisers, in these compositions I always seek for sounds I never heard before, especially enjoying the mixture of the acoustic and electronic wave forms.
Soundpainting allows to improvise with sound, movement, visual art, light design and more. Each open form orchestral concert modularly fits itself to a specific space, time, content and amount of performers while providing a unique virtuoso vibrant experience.
With Castle in Time Orchestra performed in Mumbai, Chennai and Pune in "Global Isai Festival" India, "East West Music And Dance Encounter 2020" Bangalore India, Holon Museum of design, "Love Art Do Art" festival in Jaffa, Theater Bahathaer Nataf, Almaćen Gallery and Salon Jazz festival.
With The Scratch Orchestra performed in the Center of Digital Arts in Holon.
Soundpainter: Matan Daskal / Flute: Rachel Mazor, Netta Spiegel / Oboe: Mariona Godía / Clarinet: Daivd Lobera / French horn: Ofer Etzioni, Tsviki Moran / Trombone and effects: Ma'ayan Milo / Saxophones: Oved Pinchover / Electric Guitars: Yeonathan Shachar, Yaniv Mintzer / Computer: Asaf Meidan / Electronic and Acoustic Percussion: Shalev Ne'eman, Pablo Ordas / Drum Set: Roy Ben Yosef / Synthesizers: Yonatan Daskal / Voice: Yotam Mahler / Harp: Ada Ragimov / Violin: Tomer Einat / Double Bass: Orr Sinay