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The result is always expressive… at 40 minutes plus, the longest
work, the cantata Like Two Branches is a long work and a compelling
one…
Raymond, AMERICAN RECORD GUIDE 1994
PLAYING PEACE
The fascinating cantata is based on poems by the
6th century Bedouin poetess – Al-Khansa. The two branches
represent the poetess and her brother who was killed in a duel.
The demanding work displays the high level of the Cameran Singers,
of the soloists and accompanying musicians, as well as of the percussion
instruments performed by the outstanding Chen Zimbalista.
... The
disc, which has been highly praised throughout the world, starts
out with the composer’s voice stating: “I have a wish
– to demonstrate my great love of the Arabic language”.
And indeed, one senses this love in the music as well.
Tsippi, you
may still bring peace to us here…
Shmuel Perets, GITIT (Published by The Israel Jeunesses Musicales),
No. 112, March 1994
About Like Two Branches: How fitting, then, it is that Fleischer,
a Western-trained Israeli composer, should devote an entire CD to
music which she composed on Arabic texts! The language is richly
evocative, depicting the idealized love of brother and sister, pastoral
images, battle scenes and the sister's grief-crazed laments; these
images allow the composer to explore a wide range of musical styles...
The performance is excellent; the Cameran Singers, for whom the
work was composed, are for the most part heroic in realizing this
demanding music with its wide vocal ranges, difficult melodic twists
and turns, tricky chromatic inflections; complex rhythmic figures,
complicated polyphony and, of course, linguistic challenges.
On a smaller scale, Fleischer's Ballad of Expected Death in Cairo
(1987) is a poignant and lyrical piece in five sections… the
instrumental writing provides an effective backdrop to the vocal,
solo...
Tsippi Fleischer has a distinctive musical voice. Deeply
imbued with the histories, languages and music of several peoples,
she brings a unique perspective to the East/West cultural dialogue.
Myrna Nachman, IAWM (International Alliance of Women in Music)
Journal, October 1995
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