Press articles relative to music composer
Eliane Aberdam's works or performances

The International Alliance of Women in Music, November 2017.

I composed The Heart of Shahrazad as a modern re-telling of the story from One Thousand and One Nights (also called Arabian Nights), a collection of folk tales from Persian, Arabic, and Indian cultures, compiled in Arabic during the Islamic Golden Age. The story, however, relates to all times and cultures, even our present. It addresses the issues of violence against women, including rape and murder, as well as the healing process through story-telling, endurance, forgiveness, and remembrance...

 

Journal ACROE #3, October 2017.

Durant sa résidence à l’ACROE, Éliane Aberdam s’est formée au logiciel GENESIS de synthèse de sons et de création musicale par modèle physique auprès de Claude Cadoz dont elle a suivi les cours et ateliers. Elle a également commencé à composer une pièce pour Disklavier, pour le pianiste Éric Ferrand-N’Kaoua, bénéficiant du fait que l’ACROE possède une des toutes premières versions de cet instrument. Le Disklavier est un piano acoustique intégrant un système d’enregistrement numérique des actions effectuées sur le clavier. Un système de relecture de ces actions permet de reproduire le mouvement des touches du clavier et donc de rejouer acoustiquement ces actions.

 

URI_Research_Magazine_Momentum, Fall 2017.

When Eliane Aberdam took the stage to present her musical composition, conspicuously absent were the singers, musicians and instruments. A computer sat center stage to play her piece no musical instruments produce. The University of Rhode Island (URI) music professor invents sounds found nowhere on Earth. With the assistance of computer software, Aberdam builds sounds and assembles them into full-length pieces. But this is no ordinarily synthesizer. A typical synthesizer produces sounds from oscillators and uses samples of real instruments. Aberdam creates one-of-a-kind sounds like the pluck of a 6-foot-long violin bow or a gong’s ring that resonates an improbable 20 minutes. The sounds themselves are unique because you get hybrid sounds between, say, a sound of a bell that endsup sounding like a string when it resonates, Aberdam says. You can have infinite combinations.

 

Le Dauphiné Libéré, October 28, 2008.

En tant que compositrice, dit Eliane, je me perçois comme une artiste en constant développement plutôt que comme une artiste ayant achevé son parcours artistique et créatif. Les oeuvres d'Eliane sont jouées dans de nombreux pays, et à Grenoble également. Le trio "Grisailles vaporeuses" a été joué en l'église Saint Ferjus de la Tronche en 2006.

 

Women of Note-1, The Sun Westerly, January 22, 2008.

URI concert to feature chamber works by women Friday evening.
The next concert in the University Artist series at the University of Rhode Island in Kingston, slated for Friday, Jan. 25, at 8 p.m. will feature chamber works written for piano and strings. While the program reaches back to sonatas composed by Amy Beach in 1896 and Ruth Crawford, in 1926, it also will include works just completed in 2007 by Women of Note-2 : Amelia Kaplan and Ketty Nez, and will premiere two recent pieces by URI faculty member Women of Note-3 : Eliane Aberdam, of Westerly: "Tête à Tête", duo for piano and violin, and "Grisailles vaporeuses", trio for piano, violin and cello.

 

ArtSun-Opera, February 25, 2007.

It was about 20 years ago that Westerly composer Eliane Aberdam stumbled across an inviting book of verse in a secondhand book shop in Israel. The author was a Pulitzer Prize-nominated poet from California named Maurya Simon. Aberdam set three of the poems to music, and eventually struck up a friendship with Simon when Aberdam had to get permission to perform the pieces. Now composer and poet are pairing up again, this time for a chamber opera about the daughter of Biblical King David. Tamar premieres in a concert version at the University of Rhode Island next Sunday.

 

Le dauphiné Libéré, 29 novembre 1995.

Menue, le visage doux et à la fois volontaire, Eliane Aberdam n'est guère prolixe à son sujet.
Il est vrai que nous la surprenons entre deux trains, au lendemain d'un beau concert à la salle Messiaen, qui a vu la création de l'une de ses oeuvres, dans le cadre du festival de musique et de théâtre juifs organisé par le Cercle Bernard Lazare - Grenoble.
Au programme, la soprano Patricia Samuel, dont la voix magnifique a été grandement appréciée, a interprété "Le Baal Shemtov", un poème Yiddish de Sicha Landau, sur lequel Eliane Aberdam a composé une musique pour voix, clarinette et piano.