An
interactive object, made from megaphone attached to a stand of three
meters high that reacts to the audience as they come closer by moving
the speaker up and down and playing the national army tune performed during Yael Bartana exhibition"Variables
XYZ" in the Art-Lab the center of digital art in Hulon, Israel.
SUBITO CELLO (1994)
Composer:
KEREN ROSENBAUM
Cello:
JUSTA DE YONG
A
neurotic dialogue between live cello and electronic soundtrack.
Debuted at the "Icebreaker", Amsterdam, 1994, and later performed
by the Reflex Ensemble during REFLEX1 together with a video installation
by Yael Bartana
LOOSENDS (1995)
Composer:
KEREN ROSENBAUM
Piano:
TOON VANDERVORST
Trumpet:
MARK VONDENHOF
Written
for Piano, trumpet & soundtrack. The soundtrack is made of a pre-recorded
piano track functioning as a trigger. premiered at the "DeYsbreker
Muziekcentrum" Amsterdam 1995.
MECHANISM (1992)
Composer:
KEREN ROSENBAUM
Written
for conducted ensemble. Inspired by a cardiac electrocardiogram.
Debuted 1993 at the "Ars Musica" Festival, Brussels.
Performed
by members of the Royal Conservatory in The Hague
conductor:
MICHA HAMEL
DISOLO (1995)
Composer:
KEREN ROSENBAUM
CONDUCTOR:
TALIA ILAN
Performed
during "Jeunesses Musicales" in "Janackova Filharmonie Ostrava" (November 2001) in the Czech Republic.
While
it is apparent that DISSOLO is a contemporary piece - just by taking
a look at the score - in fact, it is written in the traditional
form of 'Concerto Grosso'. Rather than dividing the orchestra into
instrumental sections - brass, woodwinds, strings, etc, the orchestra
is divided into functional sections. As in the traditional 'Concerto
Grosso', the lead in the piece is not performed by one specific
instrument, but rather by the whole orchestra. The intention is
to create the feeling that in fact, the whole orchestra plays a
'solo'. Hence, the name "Dis-Solo". The core group surrounds the
piccolo clarinet, creating the illusion of being the soloist, when
in fact the lead is divided between all of the sections. The score
is written as reflections deriving from this group to the rest of
the orchestra. The piece is written in a way that provokes mistakes.
This is intentional, since the mistakes 'performed' are planned
to be an integral part of the piece's sound.
TRUMPET (2002)