Tsippi Fleischer


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There is something very captivating in Tsippi. She sees something in front of her eyes and then does all she can to make it happen.

Doron Tavori, while preparing "At the End of the Ways" for the world-premiere.

There’s a new sound here…Tsippi Fleischer doesn’t need Berio anymore, she is uninhibited, like a true master in vocal matters. As opposed to Penderecki, Boulez, Stockhausen, who wrote for huge ensembles, she interprets Uri Zvi Grinberg’s great shout by choosing an intimate form of expression: the work is for two only – the human voice and the cello; the scream of man against the divine being.

Tsiyona Peled did an extraordinary piece of work – in contrast to Tsippi she chose to be colorful in the extreme. We see Kosovo and concentration camps in color. She created a virtual dance that gives substance to the music, physicality bursting out and not exactly from human beings…

We have here a new genre of requiem.

Hanoch Ron, at the premiere event with video version, November 8, 1999
Lewinsky College, Tel Aviv

Fleischer is one of Israel's less conventional and more invigorating and groundbreaking composer.
There is something rejuvenating and engaging in this new piece.
At the End of the Ways is a dramatic cry for a better world, a sort of cathartic release from a tradition and belief that strangle the Jews and an attempt to become free of a past that has not been able to calm the Jewish people but has rather smothered this nation in death and destruction. I find At the End of the Ways to be a most mesmerizing new creation; it needs to be experienced in order to grasp its full impact and ingenuity alike, not to mention its far from soothing message. This piece represents a new genre that is obviously going to be developed and expanded in the future, in varied ways.

Michael Aizenstadt, from his review after the world premiere of "At the End of the Ways", Jerusalem Post, 14 November 1999

Tsippi Fleischer's Sense of Time and Place

Fleischer does not for a moment disregard time and place - they are intrinsic to her personal and collective, existential, political and cultural being - the "here and now" in which she lives and creates. The extensive diversity which marks her works, this multi-vocal compilation of place and of nation, the rich mosaic of traditions, languages, musical scales, rhythms, landscapes, and so on - all these combine to stress the dynamic, open-ended, ultra-polyphonic "here and now" that is ever sensitive to the "other", or, one might say, the utopian "here and now" of a lover of culture, and of mankind.
The field of vocal elements is broad and heterogenic. Tsippi Fleischer walks through this field, her field and ours, the Israeli field, gathering and binding together bouquets of sounds. She plucks them by their very roots.

Dr. Gideon Ofrat, speaking on the occasion of the launch of the CDs (the double album) "Lieder" (Art Songs), Tel Aviv, 5.12.2009.

This CD set is imposing, including two discs [...] and three separate booklets of notes and translations – one each in English, German, and Hebrew. [....] The large and varied number of performers, venues, and events at which these were recorded attests to Fleischer's stature as a leading and distinguished composer, both in her homeland of Israel and in international circles. Reflecting her education and continuing fascination with languages and cultures, the works include texts in eight different languages: Hebrew, Arabic, Aramaic, Yiddish, German, English, French, and Russian.
[....] As I continued to listen, I was repeatedly amazed at the variety of sonic landscapes Fleischer is able to create, both with manipulations and combinations of vocal sounds, as well as with limited and unusual instrumental forces, continuously in the service of expressing the emotional impact of the text.
The booklets accompanying the CD set are beautifully prepared and quite thorough. [...] For each work, a descriptive overview is provided, along with a photo and biographical details about the poet or librettist, a translation of the text, and, in the case of Hebrew, Arabic, or Aramaic texts, a phonetic transliteration. In most cases additional detailed notes and personal insights from Fleischer's journal are given. For a few works, the opening measures of the musical scores are included. [...]
the tonal and emotional impact of the music was more than enough for me to intuit the content and meaning. Yet [...] knowing the background and the translation definitely enhances the meaning of the music. And, especially important in the case of those works, which can only be heard as recording in this aural museum [Saga-Portrait, At the End of the Ways, Electro-Acoustic Cycle], Fleischer has thoroughly "curated" this collection of her most recent vocal works so that they may be studied and understood as a vital contribution to twenty-first-century music.

Janet Morrow King, IAWM Journal, vol. 16/2 (2010)


CD Track List - "Lieder" Disc 1

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Fibonacci Dance Play


Symphony No. 5: Israeli-Jewish Collage Play

At the End of the Ways Play

Mein Volk Play

Bonus: Medea – Rehearsals in Cologne Play

CD Track List - "Lieder" Disc 2

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Electro-Acoustic Cycle

Avot Yeshurun – A Cycle of Three Songs

Lead Life – A Cycle of Five Songs

Ancient Love Play

The Mother Play

Victoria and the Men Play

Abhorrence Play

Bonus: “Buy Onions”, from Lead Life (version for voice and instrumental ensemble) Play