Electroacoustic Performance for Harpsichord, Synthesizer, Mandolin, Percussion, Violine, Electronic
Lilith (Hebrew: לִילִית, night creature) is a figure in Jewish mythology, developed in Late Antiquity. In Jewish folklore from 8th–10th century Lilith becomes Adam's first wife, who was created from the same earth as Adam (which contrasts with Eve, who was created from one of Adam's ribs).
Until the late 20th century the demon Lilith had a fearsome reputation as a murderer of children and seducer of men. To guard against Lilith, superstitious Jews would hang amulets with the inscription "Lilith - abi" (Lilith - begone) which some think is the origin of the English word „lullaby“.
With the advent of the feminist movement in the 1960s Lilith acquired her present high status as the model for independent women.
Lilith’s Lullabies is an electroacoustic piece, which refers to the ancient legend and aims to re-imagine a lullaby as a superstitious song-against-Lilith („Lilith-abi“) into a cradle songs dedicated to Lilith.
Drawing inspiration from both ancient demonology and modern feminist movement on the one hand and the late-renaissance dance music on the other, Lilith’s Lullabies is a set of short pieces (suyttes) scored for mandolin, violin, harpsichord, synthesizer, percussion instruments, voice and electronics. The foundations of the composition are set with violin and mandolin painting fragile outlines coloured by small-sound electronics and bizzare moiré-patterns-like harpsichord lines. Pixilated figurations played by traditional percussion instruments are interwoven into crackle-infused electronic rhythmical puzzle and sombre ambient soundscapes.
Lilith’s Lullabies is an intimate suite of micro-sound dance sketches: ghostly chamber music which references lo-fi classic music, surreal click'n'cuts electronic and renaissance-dub.
-- Damian Marhulets (2015)