MUSIC

''Monodialogue'' a Fantasy for Viola solo
1999, 13'23"
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.
Duration:
13'23""
Composing Year:
1999
Preformance Year:
1999
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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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''Between the Sacred and the Profane'' for string quartet
1998, 9'39"
Between the Sacred and the Profane for String Quartet has two movements based on rhythmic and melodic materials which draw upon sources of Jewish liturgical music and songs of the various communities of the people of Israel.  The first movement is based on a limited number of biblical cantillations combining two versions: the Moroccan-Casablanca version and the Spanish-Jerusalem one. It is a recitative, prayer-like in character and embodies both the prayers of the individual and of the congregation. It is freely constructed and its language is chromatic and expressive. The second movement is based, in the main, on three wedding songs of the Jewish community of Tetuan in Spanish Morocco which is renowed for the beauty and wealth of its songs. The songs were picked out from the anthology "the Cycle of Life", edited by Dr. Shoshana Weich-Shahak. These are Ladino songs influenced by Spanish melos and rhythm yet they retain the taste of biblical cantillations. The work was commissioned by the Israeli Music Heritage Project.
Duration:
9'39""
Composing Year:
1991
Preformance Year:
1998
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An Octet Movement - Homage to Mendelssohn
1999, 8'12"
Comissioned by Kesht Eilon Violin Mastercourse. 
The piece is directly influenced by the brilliant and best known work for this special ensemble: Mendelssohn's Octet for Strings. My Piece is largely based on the central, uplifting theme that opens Mendelsshon’s octet, which of course has undergone considerable melodic, harmonic and rhythmic transformations in passing through my personal prism. The texture of my piece is many times either antiphonal (a group against group) or responsorial (soli against group). The work has a sweeping, rhythmic character, and on a large scale constitutes a tribute to youth and to the “Joie de Vivre” that youth embodies.
Duration:
8'12""
Composing Year:
1999
Preformance Year:
1999
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''Jerusalem'' - Symphonic Overture
David Shalon 1996, 9'25"
Commissioned by the "Jerusalem Symphony Orchestra" for the celebration of 3000 years to Jerusalem.
 
The point of departure of my work is based on the various names by which the city has been throughout history: Yeru-salem (its name in antiquity), through Yerushalaim; Aelia Capitolina, Jerusalem and El-Kuds. 
Each appellation has its own internal rhythm and the means of development in my work rest upon the rhythmic motifs which those rhythms dictate. I have tried to give expression in my work to my own complex feelings for the city and convey my impressions of the earthly city of to-day – its vitality, its multi-layered texture (be it historic, cultural or religious); beset by conflicts, blistering, exploding yet over hopeful. Though it is at the heart of relentless and uncompromising feuds, it remains the object of loving yearning of many the world over.
Duration:
9'25""
Composing Year:
1996
Preformance Year:
1996
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