YUVAL AVITAL

«Once again, we met up with musicians from various cultures in the world, which are not always so distant (Sardinia, Siberia), but are foreign - in the sense in which the alien is a language which can not be use, and sometimes do not even know of its existence. In addition to the masters of distant musical traditions, on the stage were two percussionists and a Vocal Crowd - a choir of dozens of singers, not necessarily with musical background, most of them amateurs of all sexes and ages. The crowd part was diffused through the in-ternet and with few attempts you could perform the graphical and textual ele-ments of the score, which included among other things, various imitations of nature sounds, phonemes, prenatal language (from what I understand, it's about sounds made by children at the earliest stage of development, which to describe the perceived world rely on measures that are not yet any language). So - things very ancient, primitive, or even the Old Ones, typically associ-ated with a natural state, sometimes before the exile of the first man from Paradise (at the end of this concept, as demonstrated by the comparative study of religions, is repeated in almost every culture). What came out of that? It's a pretty tough question to keep any objectivity, you probably re-spond to several, often conflicting, levels. (…) I could not find a large structural form in this piece. Perhaps it is the problem of contact with something new, unknown, but it is likely that this work seems like a large Chaotic song, which was conceived as a collective mystery. In my opinion, The work of Avital should be discussed as a political and cultural rather than in musical terms (…) No concert at this year’s festival had enjoyed such a suc-cesses from the part of the public. A dozen meters line of public waiting to enter the sold out concert, wishing to witness the transcultural meeting. In the end of the concert the Audience rewarded the performers with a long standing ovation.»