MUSIC

Quintet for percussion and string quartet
2000, 14'40
The Quintet for Percussion & String Quartet is a chamber version of the Concertino for percussion & orchestra commissioned by the Israel Chamber Orchestra for the percussion artist Chen Zimbalista. Despite its origins, it has the distinct nature of a chamber work: the stirngs are equal partners throughout, the only exception being a semi-composed semi-improvised solo cadence for the percussionist.
Of the percussive instruments, the marimba is most prevalent, but various other instruments – with or without definite pitch – such as the vibraphone, cymbals and tam-tams, are also used. The Quintet, to be played as a continuous sequence, is of three sections, whose time ratios are arranged telescopically. The first is the longest and most complicated of the three, and ends with a cadence leading to the shorter expressive and lyrical second section, in which the strings come to the fore. Robust rhythmic qualities and a lively, bouncy tempo in the perpetuum mobile vain, characterize the third, even shorter, section which concludes the piece.
Duration:
14'40"
Composing Year:
2000
Preformance Year:
2000
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''Encounters I'' for Oud and Piano
2005, 11'34"
Encounters I is my first piece written for the Oud and particulary for the virtuosoOud player mr. Taiseer Elias. In this piece I’ve combined in a kind of confronting dialogue two instruments which represent typically their respective musical tradition: the noble Oud standing for the Middle – Eastern heritage and the Piano standing for the Western heritage. I’ve tried to emphasize in each instrument its typical attributes; The plucking and short notes of the Oud against the long sustain notes of the Piano using the pedal, and the linear quality of the Oud line against the chordal more densed texture of the Piano. The piece develops in a kind of free raphsodic way leaving ample of space for improvisation.
Duration:
11'34""
Composing Year:
1992
Preformance Year:
2005
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''Encounters I'' for Oud and Piano (Video)
2007, 11'20"
Encounters I is my first piece written for the Oud and particulary for the virtuosoOud player mr. Taiseer Elias. In this piece I’ve combined in a kind of confronting dialogue two instruments which represent typically their respective musical tradition: the noble Oud standing for the Middle – Eastern heritage and the Piano standing for the Western heritage. I’ve tried to emphasize in each instrument its typical attributes; The plucking and short notes of the Oud against the long sustain notes of the Piano using the pedal, and the linear quality of the Oud line against the chordal more densed texture of the Piano. The piece develops in a kind of free raphsodic way leaving ample of space for improvisation.
Duration:
11'20""
Composing Year:
1992
Preformance Year:
2007
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''Kaleidoscope''
1996, 9'9"
comissioned by the Musica Nova Consort.
I have chosen this combination of instruments which produces a very specific sound in which the flute is quite conspicuous. My compositional point of departure was the sonority of the ensemble and therefore I have tried to use instruments of different families which permit a variety of sound production; wind, string,  plucked instrument and tuned percussion instruments of wood and metal.
There is only one movement and the work is interally divided into two sections which differ from one another but are connected through common thematic material. The material was drawn from the name Rami which by association reminds one of the notes RE and MI (D and E). Both notes run throughout the composition in various ways. The other materials are taken from the scales typical of my chosen instruments, in particular from the pentatonic scale of the marimba and the natural diatonic scale of the harp.
The character is strongly influenced by the impression of a colourful kleidoscope, whose images change fast. It finds expression in the first section in fast changing materials which are almost never repeated, but are placed side by side. Fast motoric parts alternate in the piece with lyrical expressive passages. In the second section the colouring and kleidoscopic character stem from a different treatment – from the harmonic, rhythmic and orchestral aspect – of a melodic idea which repeats itself time and again as if in a persistent ritual.
Duration:
9'9""
Composing Year:
1996
Preformance Year:
1996
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''Like Clay in the Potter's Hand'' for Viola and Piano
1997, 7'10"
Commissioned by the “Council for Culture and Art".
This is another version of my piece written for Vlc & Piano, which bears the same title and which was developed later to become my Cello Concerto. 
The title is drawn from the wonderful poetic verse, which is part of the prayer for the Day of Atonement (Yom Kippur):
 
 
”Like the clay in the hand of the potter:
 
Who thickens or thins it at his will, 
 
So are we in Thy hand, gracious God, 
 
Forgive our sin, Thy covenant fulfil."
 
 
The special reciprocal relations which develop between the potter and the clay (the creator and the material) give a kind of conceptual frame to my work, in which the soloist assumes the role of the "potter" and the piano is the "clay". 
 
In the course of the short piece (8`) the listener witnesses the progression of relations between the creator and his spiritual creation, from the first moment of it's coming into being; through the struggle to give the formless matter the desired clear and distinct shape. From the state of contention the relations change into one of complete identification of the creator with his material, and this symbiosis frees the constraints of the material. It finds independence within the space and becomes its own master. What remains is an echo - the material gradually disappears, it evaporates leaving the creator drained… until his next composition. 
 
In spite of all these, the piece shouldn't be seen as programme music having a plot or describing anything, but rather represents pure and abstract music, which can stand on its own merits and listen to without all my private poetic connotations.
 
The work is written in expressive and chromatic language but a tonal center can be discerned (the tone C). It is based on the sound which derives from an ascending row of tones at intervals which grow from a small second to a small six.
Duration:
7'10""
Composing Year:
1994
Preformance Year:
1997
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