MUSIC

"Song of Comfort" - Cantata
Stanley Sperber 2015
My Cantata-Song of Comfort (1998)- was commissioned by the Zimriya vocal Festival to celebrate Israel's 50 years of Independence. The gala concert was held on the festival's opening night in Jerusalem. The piece is based on some comfort prophecies taken from the Bible and delivered mainly by Isaiah but also by Micha and Zechariah. I've arranged the text in a certain sequence serving best my musical aims and form demands. The piece has two movements: The first one is a bit more lyrical and introverted, emphasizing the comfort and compassion feelings, promising the upcoming salvation and redemption after the horrible sufferings. The second movement is more cheerful and full of joy as the nation is coming back to its old fathers land, the "end of days" prophecy is being fulfilled and piece prevails not only in the region but worldwide! In order to express the festive event I've chosen Double mixed choirs expressing the public ego, two soloists- a female and a male-expressing the individual ego. In order to strengthen and amplify the sonority, I've added a full Brass section (3, 4, 3, 1) which lands ceremonial splendor and glory to the overall sound. This instrumentation led me to some Renaissance influences both in the musical language itself (using Modality more than in any other pieces of mine) and in the texture, by using antiphonal and responsorial techniques.
"Reflections"
Yehuda Gilad , 14'39
In my piece REFLECTION, which was commissioned by Maestro Yoel Levi for the Israel Philharmonic Orchestra, one can easily recognize several dominant influences on my creative output in the last years.
On the one hand my collaborative work with my wife, the choreographer Mimi Ratz-Wiesenberg is manifested in some dance like rhythms. On the other hand my renewed encounter with the Jazz world both as former Head of Jazz and Interdisciplinary Department at the Jerusalem Academy of Music and Dance and the presence of my younger son Noam who is a Double Bass Jazz player. Last and not least my profound love for folk songs especially Ladino Yiddish and Hebrew songs is quite prominent.
 
At the center of the piece stands a most beautiful Ladino song, taken from the Jewish community of Sarajevo, which serves as the basic melodic and rhythmic material for many parts of the piece. In the course of writing I was haunted by some old Israeli songs belonging to my generation's collective sub consciousness and echoes of these recollections more or less obvious can be detected during the course of the piece.
Duration:
14'39"
Composing Year:
2002
Conductor:
Category:
Role:
Concerto for Oud
Stanley Sperber 1999, 23'42
The composition, commissioned by the Haifa Symphony Orchestra for the oud player Taisir Elias, is a sequel to three previous pieces I have already written for this special instrument, which is closley identified with Arab music. The instrument’s characteristics and its typical sonorities, fuel my imagination as a Jewish Israeli contemporary composer, looking for a language that will combine naturally and organically my Western, Classical origins, with the Oriental sounds that surround me.
Dealing with the concerto form while referring to the Oud as a solo instrument, seemed to me highly fascinating and attractive, and my familiarity with Taisir Elias’s virtuoso abilities, convinced me to write for this unique combination of Symphonic Orchestra and the Oud, dealing with the complexities this adventure arises.
The piece is another humble effort of mine to try and bridge the gap between cultures and nations, through music.
Duration:
23'42"
Composing Year:
1999
Preformance Year:
1999
Instruments:
Conductor:
Category:
Preformance City:
Preformance Country:
Publisher:
Concerto Da Camera - La Folia for Four Wind Instruments (fl, ob, bn, hn) & String Orchestra
Andrew Lawrence-King , 18'43
Commissioned by "The Israel Camerata-Jerusalem"
Written while being a fellow at the VCCA Virginia USA.   
  
 The Israel Camerata-Jerusalem Orchestra conducted by Andrew Lawrence-King
The work, which was commissioned by the Israel Camerata Jeruslaem and written while a fellow in VCCA, Virginia, USA, derives its inspiration from the traditional melodic – harmonic – rhythmic pattern called “La Folia” which served as a framework for dozen of works written since the Renaissance to the present day. The name’s origin relates to the fact that, at first it served as pattern for music and dance in which the dancers became ecstatic, and seemingly struck by madness.
In my treatment of this traditional form, I tried to derive my ideas from its typical melodic structure, its basic rhythmic character and its dance-like origin as well as form the obsessive, everlasting repetition of the basic pattern while making changes and variations, in my own language. 
The Work consists of four movements: Fast-slow-fast-slow, with the first three almost connected and the fourth independent.
This last movement is in the form of a funeral march in which I tried to express my feelings and pain in regard to the collapse of the process and the loss we are experiencing in the present era. 
Duration:
18'43"
Category:
Genre:
Preformance City:
Preformance Country:
Publisher:
Concertino for Cello and String Orchestra
Yehuda Gilad 2005, 13'
The concertino for cello & string orchestra – “As the Clay in the Potter’s Hand” is a shorter version of my concerto for cello and symphonic orchestra.
The sub-title is drwan from the wonderful poetic verse which is part of the prayer for the Day of Atonement (Yom Kippur).
The piece is played in one continuous flow with no interruptions, but it is subdivided internally into five sections, examining musically the special reciprocal relations between the creator (the cello) and its material (the orchestra). In the course of the piece the listener is exposed to the ever changing relations between the two, from the struggle to give the formless idea a clear and distinct shape through the complete identification of the creator with his material, until the moment the material becomes fully independent and free on its own right. Now it is the time of departing and seperating, what remains is an echo – a reflection of the material in its creator’s mind, then the material gradually disappeaas. It evaporates leaving the creator drained… until his next composition.
In spite of all this description the piece should not be seen as programme music, but rather as pure absolute music. I just wanted to share with the listners the poetic trigger that was at the bottom of the spiritual process that led me to write my music.
The piece grows out of a kernel idea: a kind of a sound which derives from an ascending row of tones at intervals which grow from minor second to minor sixth, The work is written in expressive chromatic language but a tonal center can be discerne (the tone C) which recurs throughout the entire work abd serves as its anchor.
Duration:
13'"
Composing Year:
1998
Preformance Year:
2005
Instruments:
Conductor:
Category:
Genre:
Preformance City:
Preformance Country:
Role:
Publisher: