The next piece in my Lent Series celebrating women composers is by the Israeli Chaya Czernowin. Czernowin left Israel in her 20s, studying first in Germany & then the United States (her teachers included Brian Ferneyhough & Roger Reynolds), where she remains today, in Boston. One of the features of her work that i find most engaging is the way it absolutely demands repeated listenings. That’s not to suggest one can’t take away anything of value in a single hearing, only that one’s always aware there is very much more to be grasped, & Czernowin’s work is sufficiently interesting that there’s plenty of motivation to return to it on later occasions. Her 1996 work Afatsim is just such a piece.
Composed for an ensemble of nine players, spaced apart as much as possible, Czernowin subdivides the players into four groups, or to use her term, “composite instruments” (see programme note, below). However, due both to the way these ‘instruments’ are presented & also the way their materials are intermingled, shared, focussed upon & so on, means that it is hard, sometimes impossible to perceive the groupings in an obvious way. This obfuscation seems to help rather than hinder the piece, however, the textures of which are often difficult to get hold of, particularly at the beginning. The soundworld of Afatsim is one where instruments are not, for the most part, played according to convention, establishing a kind of aural ‘no man’s land’ where sources feel unknowable, save for the persistent early squeal of a recognisable bass clarinet. Read more