(no subject)
Click to viewЯдидия Адмон(1894-1982):
"I was born in Russia in 1894, and immigrated to Israel in 1906. I studied in Jerusalem at the Lemel School. In 1913, I completed my law school in the teacher's seminary under the leadership of Mr. David Yellin. I also sang in Idelson's choir, sometimes as soloist (Avraham Zvi Idelson, head and researcher). singer's testimony in Israel during which a number of Edmond). later Taught teacher General at the boys' school in Jaffa for about a year and a half. at the outbreak of world war I moved with my family to Egypt, where he joined the British army and Sirti to the end of the war.
in 1919 I returned to Israel, A few months later, I was accepted into the mandate government's Public Works Office as a senior accountant. I joined as an amateur singer for the Jerusalem Music Fans Association, where I occasionally performed as a singer at her public concerts.
In 1923 I went to the United States. One day I read in the press that a particular radio station was conducting tests for singers. I also went there and sat among all the singers waiting for their turn, and when I heard from other singers who were examined a wonderful performance of songs that I had prepared, I despaired and went out into the street.
Suddenly it occurred to me to use the same melodies I would improvise at friends' parties. I sent a telegram on it saying "I come from the West and sing Bedouin songs. Are you interested? ' The answer was: "Come right away." I returned the next day and entered without queuing, singing them one song without words, asking me to wait, and instead we phoned the Maxwell Coffee House offices with a suggestion to hear a singer from an Arab cafe. The result was a six-hour contract - once a week.
After a while, another radio station approached me and asked me to give them the notes for some of my songs, so that I could sing them with an orchestra in their broadcasts, but since I was improvising the songs freely, the problem of writing the characters arose. I was barely able, by using a recorder of those days, to record the improvisations, and by hearing a few tunes on the paper again (Dictaphone is the first prototype of recording devices of that era).
Suddenly I got wings and in 1926 I returned to Israel. Upon my arrival, I composed several songs such as: 'Eliezer and Rebecca', 'We Shrugged,' and 'Shavuot Will Make You', 'Camel Camel'. That's how my musical era began. Then I processed at the request of Mr. Golinkin (Mordechai Golinkin - the first opera conductor in the country who immigrated to Israel after hearing the Balfour Declaration in 1917) for his four-voiced chorus of "Camel Camel" and "Hoi Halutz," and at the invitation of Moshe Halevi of the«Оэль» (шатер) '(Then a theater that Moshe Halevi was one of its founders, today, in the wall of a Tel Aviv cinema - a television photography center) I wrote to a voice and an instrumental trio about a few verses from "Bee Singing." For me, it was a test of peace, passed by peace. Leah Deganit sang 'Bee Singing'. The «Оэль» (шатер) Theater invited me music for the play "Jeremiah", and later music for the play "Esther Queen" by Kaddish Yehuda Silman The song that ends the play '
At the end of 1929 I went to Paris. I was able to meet great teacher Nadia Boulanza. She reviewed the material I brought to her and accepted me as her private student for no consideration, and at the same time accepted me into her well-known school 'Ecol Normale de Paris' in 1930. At her recommendation, I recorded two songs at Columbia Company: 'Camel Camel' and 'My Silence'. (See last track on CD, in the voice of her friends Edmon) accompanied by the Paris National Opera Orchestra. This record was the first in the history of recording Israeli songs (abroad). For which I received commendations in the French press.
In 1939, I returned to Israel, wrote new songs, various choral chapters, music for the plays: "Habima" Michal Bat Shaul and Bat Yiftach, and "The Tent" Jerusalem Alley and Bar Kochba. I wrote the symphonic poem 'Bee Poetry' in 1954 and 'The Water Alliance', according to a transcript of Jacob Orland, in 1955, at the invitation of the Israeli government. In 1958, I wrote the music for the children's theater in New York, and in 1962 the music for the play "Moses and the Pharaoh," which was also presented in New York. "
