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meet composer eldad lidor
by：Marslite
2019-10-01
Israeli-
The born Elda Lido is a prolific composer.
Track designers in high demand
He has created more than 1000 works for theater, film and television in Israel and overseas, and has injected eclectic elements from national music, jazz and other styles into his work.
He has also worked in Europe and has won numerous awards.
I am very happy to interview Elda in May 17, 2009.
When did you start learning music?
When I was a child, I played the recorder and accordion.
When I was a teenager, I picked up my guitar and got into rock. and-
In the 1950s S, a popular genre in Israel, French chansons, was translated into Hebrew.
Apart from occasionally going to a concert with my mother, at that stage of my life I didn\'t have much experience with classical music.
When did you start composing music?
: At the age of 16 or 17, I started to create music poems, mainly by Yehuda Amichai and Natan Zach.
I have always liked the poems of Yehuda Amichai, but later I liked them more.
My family stayed in Paris for a while, where I went to study electronics in order to be an electronics technician and come to see me through my army service.
When I served in IDF, I began to realize that what I really wanted to learn was music and began to learn music theory and piano.
My army service was extended due to the Yom Kippur War, but on 1974 I was accepted by the Jerusalem Conservatory of Music to study composition and electronic music under the leadership of Professor Tzvi Avni.
As a music student, I work as a technician on Israeli radio station Kol Israel to support myself.
: What did you decide to do after completing your music degree?
: In fact, I went back to Paris to study \"Musique concrete\" in the form of an electronic material\"
Using the recorded \"non-
Music \", as the sound of composition materials, is an aesthetic developed by Pierre Scheffer from the 19 th century and 40 th century.
It didn\'t make much sense to me, I returned to Israel a year later and got a job on Israeli radio in Tel Aviv, but this time in the sound room.
This is where I really started working with music in a dramatic setting and got a lot of insight into studio music.
I work with some of the best stage directors in Israel and we have unlimited time to make works with a high level of art
Professional level.
At that time, at the end of 1970s, radio was an important artistic medium here, which played all kinds of radio dramas by Israel\'s best actors and actresses.
I would say that it was an important \"lab\" experience for me and it was there that I met many people who still work with me today.
An important radio program is the visit of Queen Shiba, compiled by the poems of Yehuda Amichai.
Do you want to talk about your own independent work? : Yes.
One of my early projects was the \"suit of Shira\", a piece of classical music
The style arrangement of poetry and drama works.
Mickey, who claims that I am the best translator of his work, will take part in some performances, most of which are in kibbutzem.
An important production in 1989 is \"Shakuf \"(Transparent)
Albert Amar and I together wrote a work on the personal struggle of Amar against drug addiction and made arrangements.
This is the only time I have participated in the stage performance in my own work.
We have held about 200 performances of \"Shakuf\", one of the activities of the Israeli festival, and the various songs from it have become popular.
I opened Q at 1986-
Voice, my own studio;
When I left korisrael in 1990, I was making music for theater, feature films, advertising and animated films.
Edit and mix Jill Zimmerman.
We designed all the sounds and music in animated films, which is our expertise.
Today, I use a MacIntosh computer, using a \"logic\" program that completely changes our work: all sounds and information are stored in it and generated by it!
However, I still work with players and most of them have been with me for many years.
I give them the idea of a music that they use in what is called \"Improvisation.
Then you can arrange a jam session between the computer and me!
Can you mention many of your successful drama projects? : Yes.
I have created a number of works for all the major theater companies in Israel-the bettresin, habimar and the Cameroon theater.
Led by stage director Gadi Roll, I have worked in theater projects in London and Poland.
My biggest success was Shmuel Asfari\'s wife, husband, home and Tennessee Williams\'s glass zoo, including Cameri productions and Ionesco\'s chair Arthur Miller\'s view from the bridge and Habima\'s work.
You are the winner of several awards. : Yes.
I won the Margalit award for the music and sound design created by Manuel Puig\'s kiss of Spider-Man, presented by the Itzik Weingarten and Acco music festival \"Tonight we dance\" music awards, this is a drama about the life of a cafe.
I make and play music for the unconventional work \"Charakruk\" at Zik theater;
We all won the Acco Festival Award for that job.
What about your other activities?
I have actually expanded into two new areas.
Education is the first.
I started teaching at Tel Aviv University and now teach stage-produced student drama music at Kibutz Seminary.
We practice with text and music in class, allowing students to react emotionally to written words.
Music is feeling.
I also see them through their personal assignments on this topic and teach them how to work with musicians.
Another different new area is the design of sound for the museum-video, movies, and the \"space\" of the museum.
One of my recent projects was for the Rabin Museum.
I have also designed for the Holon Children\'s Museum and the \"Harishonim\" Museum at Zichron Ya\'acov.
I\'m busy with a voice right now.
And the lighting project in the hilodia district of the Old City of Jerusalem.
Tell us about your disc.
I put three records.
The first two points are my work in the theater.
In my recent closer, all of the above works are made of musical instruments and are specially created for CDs.
It was an inner journey and a journey of scenery-I love nature.
What are your plans for the future?
: Put my work on a stage to make and be the stage producer for it. To travel….
Catch some early morning fish by the sea!
: How do you see and connect to the media you created?
Music is like a picture.
I often think from the color of the sound rather than the lines of the melody. It is a story.
My time in France has added the flavor of Paris to some of my works.
I don\'t want to surprise myself.
I worked directly through my emotions and didn\'t think whether the result was good or not.
I\'m looking for the right feeling.
I need to go out in nature and live in the city.
Finally, I got the great help of my wife Shoshi, whose voice was heard in my work.
The born Elda Lido is a prolific composer.
Track designers in high demand
He has created more than 1000 works for theater, film and television in Israel and overseas, and has injected eclectic elements from national music, jazz and other styles into his work.
He has also worked in Europe and has won numerous awards.
I am very happy to interview Elda in May 17, 2009.
When did you start learning music?
When I was a child, I played the recorder and accordion.
When I was a teenager, I picked up my guitar and got into rock. and-
In the 1950s S, a popular genre in Israel, French chansons, was translated into Hebrew.
Apart from occasionally going to a concert with my mother, at that stage of my life I didn\'t have much experience with classical music.
When did you start composing music?
: At the age of 16 or 17, I started to create music poems, mainly by Yehuda Amichai and Natan Zach.
I have always liked the poems of Yehuda Amichai, but later I liked them more.
My family stayed in Paris for a while, where I went to study electronics in order to be an electronics technician and come to see me through my army service.
When I served in IDF, I began to realize that what I really wanted to learn was music and began to learn music theory and piano.
My army service was extended due to the Yom Kippur War, but on 1974 I was accepted by the Jerusalem Conservatory of Music to study composition and electronic music under the leadership of Professor Tzvi Avni.
As a music student, I work as a technician on Israeli radio station Kol Israel to support myself.
: What did you decide to do after completing your music degree?
: In fact, I went back to Paris to study \"Musique concrete\" in the form of an electronic material\"
Using the recorded \"non-
Music \", as the sound of composition materials, is an aesthetic developed by Pierre Scheffer from the 19 th century and 40 th century.
It didn\'t make much sense to me, I returned to Israel a year later and got a job on Israeli radio in Tel Aviv, but this time in the sound room.
This is where I really started working with music in a dramatic setting and got a lot of insight into studio music.
I work with some of the best stage directors in Israel and we have unlimited time to make works with a high level of art
Professional level.
At that time, at the end of 1970s, radio was an important artistic medium here, which played all kinds of radio dramas by Israel\'s best actors and actresses.
I would say that it was an important \"lab\" experience for me and it was there that I met many people who still work with me today.
An important radio program is the visit of Queen Shiba, compiled by the poems of Yehuda Amichai.
Do you want to talk about your own independent work? : Yes.
One of my early projects was the \"suit of Shira\", a piece of classical music
The style arrangement of poetry and drama works.
Mickey, who claims that I am the best translator of his work, will take part in some performances, most of which are in kibbutzem.
An important production in 1989 is \"Shakuf \"(Transparent)
Albert Amar and I together wrote a work on the personal struggle of Amar against drug addiction and made arrangements.
This is the only time I have participated in the stage performance in my own work.
We have held about 200 performances of \"Shakuf\", one of the activities of the Israeli festival, and the various songs from it have become popular.
I opened Q at 1986-
Voice, my own studio;
When I left korisrael in 1990, I was making music for theater, feature films, advertising and animated films.
Edit and mix Jill Zimmerman.
We designed all the sounds and music in animated films, which is our expertise.
Today, I use a MacIntosh computer, using a \"logic\" program that completely changes our work: all sounds and information are stored in it and generated by it!
However, I still work with players and most of them have been with me for many years.
I give them the idea of a music that they use in what is called \"Improvisation.
Then you can arrange a jam session between the computer and me!
Can you mention many of your successful drama projects? : Yes.
I have created a number of works for all the major theater companies in Israel-the bettresin, habimar and the Cameroon theater.
Led by stage director Gadi Roll, I have worked in theater projects in London and Poland.
My biggest success was Shmuel Asfari\'s wife, husband, home and Tennessee Williams\'s glass zoo, including Cameri productions and Ionesco\'s chair Arthur Miller\'s view from the bridge and Habima\'s work.
You are the winner of several awards. : Yes.
I won the Margalit award for the music and sound design created by Manuel Puig\'s kiss of Spider-Man, presented by the Itzik Weingarten and Acco music festival \"Tonight we dance\" music awards, this is a drama about the life of a cafe.
I make and play music for the unconventional work \"Charakruk\" at Zik theater;
We all won the Acco Festival Award for that job.
What about your other activities?
I have actually expanded into two new areas.
Education is the first.
I started teaching at Tel Aviv University and now teach stage-produced student drama music at Kibutz Seminary.
We practice with text and music in class, allowing students to react emotionally to written words.
Music is feeling.
I also see them through their personal assignments on this topic and teach them how to work with musicians.
Another different new area is the design of sound for the museum-video, movies, and the \"space\" of the museum.
One of my recent projects was for the Rabin Museum.
I have also designed for the Holon Children\'s Museum and the \"Harishonim\" Museum at Zichron Ya\'acov.
I\'m busy with a voice right now.
And the lighting project in the hilodia district of the Old City of Jerusalem.
Tell us about your disc.
I put three records.
The first two points are my work in the theater.
In my recent closer, all of the above works are made of musical instruments and are specially created for CDs.
It was an inner journey and a journey of scenery-I love nature.
What are your plans for the future?
: Put my work on a stage to make and be the stage producer for it. To travel….
Catch some early morning fish by the sea!
: How do you see and connect to the media you created?
Music is like a picture.
I often think from the color of the sound rather than the lines of the melody. It is a story.
My time in France has added the flavor of Paris to some of my works.
I don\'t want to surprise myself.
I worked directly through my emotions and didn\'t think whether the result was good or not.
I\'m looking for the right feeling.
I need to go out in nature and live in the city.
Finally, I got the great help of my wife Shoshi, whose voice was heard in my work.
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