MUSIC

Concerto for Cello and Orchestra - ''Behold, as the Clay in the Potter's Hand'' I. Adagio molto espressivo - Andante espressivo
Noam Sheriff 1992, 10'29"
The Cello Concerto was inspired by the prayers of the Day of Atonement: "Behold as the Clay in the Potter's Hand". 
The relationship that develops between the potter and the clay is "a frame of reference" for the musical form chosen by the composer, whereby the potter is represented by the soloist and the clay by the orchestra. The musical substance of the concerto is derived, on one hand, from a restricred number of "Te'amin" (the traditional biblical cantilations) and on the other hand from an aggregation of sounds built on an adcending row of intervals from the "minor second" to the "major sixth".
There is a long prologue that merges organically with the first movement which has a serene and passionate nature. The second movement starting with a sarabande-like lyrical theme soon gets very dramatic. The end of the movement brings again the memory of the first theme and flows almost unimterruptedly into the last movement. This is a very fast, polyrythmical movement of a somewhat eastern character. The rhythmical cells and motives soon "evaporate" into a very tranquil postlude fading out delicately.
 
The work was commissioned by the Israel Symhpony Orchestra Rishon-Lezion, which gave it its world premiere in 1992 under the baton of Noam Sheriff. it is dedicated to the orchestra's solo cellist Doron Toister and was awarded a grant by Tel-Aviv Foundation for Literature and Art.
Duration:
10'29""
Composing Year:
1992
Preformance Year:
1992
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Concerto for Cello and Orchestra - ''Behold, as the Clay in the Potter's Hand'' II.Adagio cantabile
Noam Sheriff 1992, 6'14"
The Cello Concerto was inspired by the prayers of the Day of Atonement: "Behold as the Clay in the Potter's Hand". 
The relationship that develops between the potter and the clay is "a frame of reference" for the musical form chosen by the composer, whereby the potter is represented by the soloist and the clay by the orchestra. The musical substance of the concerto is derived, on one hand, from a restricred number of "Te'amin" (the traditional biblical cantilations) and on the other hand from an aggregation of sounds built on an adcending row of intervals from the "minor second" to the "major sixth".
There is a long prologue that merges organically with the first movement which has a serene and passionate nature. The second movement starting with a sarabande-like lyrical theme soon gets very dramatic. The end of the movement brings again the memory of the first theme and flows almost unimterruptedly into the last movement. This is a very fast, polyrythmical movement of a somewhat eastern character. The rhythmical cells and motives soon "evaporate" into a very tranquil postlude fading out delicately.
 
The work was commissioned by the Israel Symhpony Orchestra Rishon-Lezion, which gave it its world premiere in 1992 under the baton of Noam Sheriff. it is dedicated to the orchestra's solo cellist Doron Toister and was awarded a grant by Tel-Aviv Foundation for Literature and Art.
Duration:
6'14""
Composing Year:
1992
Preformance Year:
1992
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Concerto for Cello and Orchestra - ''Behold, as the Clay in the Potter's Hand'' III. Non troppo presto
Noam Sheriff 1992, 5'5"
Concerto for Cello and Orchestra - ''Behold, as the Clay in the Potter's Hand'' I. Adagio molto espressivo - Andante espressivo
Duration:
5'5""
Composing Year:
1992
Preformance Year:
1992
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Fantasy (a Prayer) - for Strings Orchestra
Avner Biron 1994, 13'44"
Commissioned by the Schleswig-Holstein Festival for the Israel Camerata, Jerusalem.
Duration:
13'44""
Composing Year:
1994
Preformance Year:
1994
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''Violin Concerto'' I. Moderato un poco misterioso - allegro moderato
Yaron Gottfried 2004, 10'45"
The Violin Concerto was commissioned by the Israel Symphony-Rishon Lezion Orchestra  for the Israeli Violinist Hagai Shaham, and dedicated to my late father Daniel who was a very gifted Violinist himself. My father who was self taught, played also other instruments, and felt at home in many different styles. For me he was  the personification of the Klezmer – this  real and natural musician who has only his two ears to rely on whose intuition, sensitivity and inborn talent which enable him to play wonderfully not only Jewish Folk music but every other style he chose, be it Classical Jazz or Popular Music.
Duration:
10'45""
Composing Year:
2004
Preformance Year:
2004
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