MUSIC

''Monodialogue'' a Fantasy for Cello solo
, 13'15
 
The piece was originally written for and dedicated to the Violist Tabea Zimmermann and  was adapted for Violoncello by the Cellist Hillel Zori
 
The motive core of the piece is built on the realization of Tabea's first name syllables: Ta-Be-A, which are translated musically into the German pitch names of Si-Si bemol-La (B-B flat-A). The form and shape of the work involves the examination of the interrelationships of these three pitches. As part of the motivic idea, the player is required to tune the viola's lowest string down a half step from the pitch Do (C) to the pitch Si (B). Monodialogue is a rather free piece as far as its tempi and change of moods are concerned. Its expressiveness owes a great deal of its inspiration to the unique and special character of Tabea Zimmermann.
Duration:
13'15"
Composing Year:
1999
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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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"Voices: Woman Man" (Video)
2007
Monodialogue a Fantasy for solo Viola is dedicated to the violist Tabea Zimmermann; the motive core of the piece is built on the realization of the letters of her first name: Ta-Be-A, which are translated musically into the German pitch names of Si-Si bemol-La (B-B flat-A). The form and shape of the work involves the examination of the interrelationships of these three pitches. As part of the motivic idea, the player is required to tune the viola's lowest string down a half step from the pitch Do (C) to the pitch Si (B). Monodialogue is a rather free piece as far as its tempi and change of moods are concerned. Its expressiveness owes a great deal of its inspiration to the unique and special character of Tabea Zimmermann.
Composing Year:
1999
Preformance Year:
2007
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Publisher:
"Voices: Man Woman" (Video)
2007
The piece was originally written for and dedicated to the Violist Tabea Zimmermann and  was adapted for Violoncello by the Cellist Hillel Zori
 
The motive core of the piece is built on the realization of Tabea's first name syllables: Ta-Be-A, which are translated musically into the German pitch names of Si-Si bemol-La (B-B flat-A). The form and shape of the work involves the examination of the interrelationships of these three pitches. As part of the motivic idea, the player is required to tune the viola's lowest string down a half step from the pitch Do (C) to the pitch Si (B). Monodialogue is a rather free piece as far as its tempi and change of moods are concerned. Its expressiveness owes a great deal of its inspiration to the unique and special character of Tabea Zimmermann.
Composing Year:
1999
Preformance Year:
2007
Instruments:
Category:
Preformance City:
Preformance Country:
Publisher:
Metamorphosis II - for piano solo (Video)
2008, 10'27"
Commissioned by the Arthur Rubinstein International Piano Competition as a mandatory piece in the 2008 Competition.
Metamorphosis I examines in a way the most resonant intervals-the perfect octave and the perfect fifth. These first two intervals of the overtone series were almost banned by the most strict followers of the atonal and serial music. This extreme stand was partly due to their reaction against the excessive use of octaves in the Romantic piano literature and partly because the fifth as a delimited interval defined the major and minor chords representing the tonal/modal system they wanted to abolish. Also by being so consonant and stable, using these intervals was against the sentiments of an epoch sanctifying dissonance and instability.
 
These very attributes mentioned above are those which attract my creative imagination and my musical sensibility. I like the very fact that these intervals are so sonorous and their use seems to me to be very idiomatic and natural for the piano.
 
The very different, even contrasting moods of the consequent movements conceal the fact that they all share the basic musical material which undergoes far reaching changes-in short –a metamorphosis.
Duration:
10'27""
Composing Year:
2008
Preformance Year:
2008
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