“Klezmer Suite” for Cl., Vla, D-B and Piano is the condensed Chamber Music version of my orchestral piece “Encounters IV-Suita Concertante for Classical Violin, Klezmer Violin and Chamber Orchestra”. This shortened version of the orchestral piece lasts app. 12’.
The piece is dedicated to my late father Daniel who was a superb musician and a wonderful Klezmer, playing Violin, Clarinet and Saxophone.
This is another one in a chain of pieces I've already written in the past-including my pieces for the Arabic Oud- which tries to bridge between different musical cultures. In this case it's the ethnic, folk-like klezmer tradition alongside that of the classical concert hall tradition.
The piece is written in one long movement, which flows from one mood to another, trying to reflect different emotional states.
I've used quite a few magnificent klezmer tunes and dances and added some original ones which I've invented.
Writing such a piece for me was a way to connect to the deepest and even primordial layers of my memories as an infant and a child. It deeply reflects my innermost beliefs as a Jewish musician and as a human being.
The video dance presents a non-place, which allows the spectator to situate the event according to his imagination.
A human body moves alone in an infinite white space, seeking a foothold within it and out of it.
A white screen hints at the moment before creation, and at the experience of deletion and sudden disappearance.
Choreography : Mimi Ratz-Wiesenberg
Music : Menachem Wiesenberg -- " Metamorphosis II "
Dancer : Andreas Merk
Piano : Roman Rabinovich
Mimi Ratz Wiesenberg-Choreography
Menachem Wiesenberg-Music (Monodialogue)
Tabea Zimmermann - Viola
Choreography: Mimi Ratz-Wiesenberg
Music: Menachem Wiesenberg – A Quintet for Percussion & String Quartet
Stage Designer: Zvi Lachman
Lighting Designer: Felice Ross
Dancer: Anna Weissman
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.