SEARCH RESAULTS FOR Concerto (13)

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
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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"
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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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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
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Concertino for Oud and Piano
Avner Biron 2001, 16'30"
Comissioned by the "Lille Festival" for the Israel Camerata-Jerusalem Orchestra. 
The concertino for oud, piano and string orchestra starts with an introduction in the spirit of a taqsim – the typical improvised opening so often found in Arabic music. From this opening dialogue between the oud and piano emerges the first section, in which the orchestra makes its entrance. All its melodic gestures have an ornamental character full of melismatic lines so dear to Middle Eastern music. The mosaic-like structure of this first section gains momentum and leads the second section, written in a more cantabile style somewhat similar to the Samai, an Arabic musical form with a specific 10/8 meter.
The third section, played uninterruptedly following the second one, consist of an improvised piano and then oud cadenzas, both accompanied by the orchestra, as well as an impromptu dialogue between the two instruments. The piece ends with short brilliant passages, played in unison, in homage to Arabic music.
Duration:
16'30""
Composing Year:
1994
Preformance Year:
2001
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