About
Batya Frenklakh (b. 1992) is an Israeli composer. She has completed a second master's degree in composition at the Anton Bruckner Private University under the direction of Prof. Carola Bauckholt ('19-'21). Previously she studied with Mr. Dan Yuhas ('14-'17) and Mr. Reuben Seroussi ('17-'19) at The Buchmann-Mehta School of Music at Tel Aviv University.
Her works were performed by the Israel Contemporary Players, Ensemble Adapter, Neue Vocalsolisten Stuttgart, Schallfeld Ensemble, Divertimento Ensemble, Meitar Ensemble, Janus Ensemble, The Israel NK Orchestra (conducted by Maestro Christian Lindberg), The BMSM Orchestra (conducted by Maestro Yoav Talmi), Duo Alto and more. She has attended masterclasses with Francesco Filidei, Franck Bedrossian, Clara Iannotta, Fabien Levy, Mauro Lanza and Manuela Kerer, and took part in several projects, such as composing in collaboration at Labor Beethoven 2020, constructing musical representations at the Biennale Urbana (Venice) and composing for the film department at TAU.
She won the 3rd prize of the Klon Competition Scholarship and received a master's degree scholarship from The Colton Foundation, a scholarship for excellence in a memory of lawyer Dan Ben-Basat, the Rotary Club Wels Stipendium 2019/20, and a scholarship for composing after the Israeli poet Aviva Or-Shalom.
photo: Margarita Brun
Thoughts
Art is a personal craft, and its side effect is the audience. It would be disingenuous to claim that I do not consider the listener when I compose, but I do my best to keep the listeners' preferences separate from the creative process. I mean, I want my music to be performed, but this desire should not influence the art itself. If my music, as it is, evokes any emotion in someone, that is a significant bonus.
Genre is a constraint. Acknowledging the influence of different factors and embracing varied styles allows for greater creative freedom. It is not about who I am or which style defines me, but recognizing that within us lies nothing but the present moment
Music is an aesthetic combination of sounds and noises, primarily expressed through the sense of time and timbre. While being a great innovator is a rare gift, aesthetics allows us to express ourselves uniquely, sometimes even embracing the unconventional. As a young composer, I enjoy discovering new music that inspires me and aids in finding my voice.
I find inspiration in the complex simplicity of Ligeti and Reich, and I admire the patience and the timbre in Grisey's music. To be honest, many contemporary composers could be mentioned in this paragraph, mainly because I try to find musical moments that can pull my heart out of my body, regardless of name or technique. However, I also enjoy baroque music, as much as electronic music, pop and indie rock.
Gender ceases to be an issue when equal opportunities exist. I think that in order to complete previous brave actions that have started a huge change in the realm of contemporary music, it is crucial to embrace this transformation and prioritize equality. Therefore, I choose not to participate, for instance, in competitions exclusively for female composers.
Nevertheless, I strongly believe that it is imperative to expose children. youth and even adults to the work of women composers as an integral part of history. In my opinion, education is the key. While we cannot alter the past, where fewer female composers existed due to inequality, the stories and music of those who insisted against all odds, deserve to be heard.
photos: Margarita Brun, Maxim Reider, Bar Gordon, Tania Rubio, Meitar Ensemble, Batya Frenklakh