SEARCH RESAULTS FOR Concerto (14)

"Like Clay in the Potter's Hand" - for Cello and Piano
2007, 7'35"
Commissioned by the “Council for Culture and Art". This is the original version of my piece, for Vlc & Piano, 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:
7'35""
Composing Year:
1994
Preformance Year:
2007
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Double Concerto for Viola Violoncello and Orchestra
Ariel Zukerman 2016, 16'47"
The Double Concerto for Viola and Cello commissioned by the Deutsche Bremen Kammerphilharmonie and The Jerusalem Symphony Orchestra for the German Violist Tabea Zimmermann and the Israeli Cellist Hill Zori was written in Memoriam Maestro David Shallon . The work stresses the expressive and warm sound so typical of these two low string instruments- which have a strong affinity to the human voice. The concise piece is based on three melodies. The first two are based on a Gregorian chant and a Jewish prayer (taken from the beginning of Amida prayer) for the High Holidays- which are melodically quite close to each other in a fascinating way. The third melody is a secular Israeli "folk song" written in the forties in an attempt to create genuine folk music for the Jews coming back to their home land. The two religious melodies which are quite intense and rhetoric set the mood for most of the piece. This emotionally charged atmosphere is changed later into the more relaxing and pastoral mood of the Israeli song which takes the piece to its end. The music develops in an uninterrupted flow moving directly from the first movement to the second one by means of a joint cadenza written for the two soloists.
Duration:
16'47""
Composing Year:
2008
Preformance Year:
2016
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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
Instruments:
Category:
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