SEARCH RESAULTS FOR IMI (38)

''Nocturne'' from suite op. 20b
2005, 4'24"
By Paul Ben-Haim.
The Nocturno Op.20B was written by the German born,Israeli Composer, Paul Ben Haim(1897-1984)as part of his Second Suite for Piano(1935-6)after immigrating to Israel-then Palestine.The Nocturno was published seperately and  it manifests clearly the change of style the composer underwent when he was looking for a new musical lsnguage to express himself in his new Middle Eastern home..Ben Haim is one of the Forefathers of Israeli Art Music and one of the founder of the Middle Eastern Movement  in Israeli Music.The piece,typical of his style,is based on a mixture of French “Impressionism”(harmonic colours) and melodic attributes such as ornamentations and improvisatory character coming from Arabic Music.It starts with the two hands playing unison  in a kind of Recitativo gesture, accompanied by chords reminding us of plucking instruments.The piece gathers momentum until its claimax and then recedes and quites down towards the end.It’s a very sensuous direct and appealing  piece,a true blending of 
East and West.
Duration:
4'24""
Composing Year:
1949
Preformance Year:
2005
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Double Concerto for Viola and Cello
Steven Sloane 2008, 15'12"
In Memoriam David Shallon.
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:
15'12""
Composing Year:
2008
Preformance Year:
2008
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Overture for Strings - Homage to Mendelssohn
2008, 9'9"
Commissioned by The Israel Sinfonietta Beer-Sheva
"An Overture for Strings: Homage to Mendelssohn" is an arrangement of my octet (commissioned by "Keshet Eilon"), which is directly influenced by the brilliant and best known work for this special ensemble: Mendelssohn's Octet for Strings. My Piece is largely based on the central, uplifting theme that opens Mendelsshon’s octet, which of course has undergone considerable melodic, harmonic and rhythmic transformations in passing through my personal prism. The texture of my piece is many times either antiphonal (a group against group) or responsorial (soli against group). The work has a sweeping, rhythmic character, and on a large scale constitutes a tribute to youth and to the “Joie de Vivre” that youth embodies.
Duration:
9'9""
Composing Year:
2001
Preformance Year:
2008
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Metamorphosis II - for piano solo
2008, 10'27"
Commissioned by the Arthur Rubinstein International Piano Competition as a mandatory piece in the 2008 Competition.
Metamorphosis I examines in a way the most resonant intervals-the perfect octave and the perfect fifth. These first two intervals of the overtone series were almost banned by the most strict followers of the atonal and serial music. This extreme stand was partly due to their reaction against the excessive use of octaves in the Romantic piano literature and partly because the fifth as a delimited interval defined the major and minor chords representing the tonal/modal system they wanted to abolish. Also by being so consonant and stable, using these intervals was against the sentiments of an epoch sanctifying dissonance and instability.
 
These very attributes mentioned above are those which attract my creative imagination and my musical sensibility. I like the very fact that these intervals are so sonorous and their use seems to me to be very idiomatic and natural for the piano.
 
The very different, even contrasting moods of the consequent movements conceal the fact that they all share the basic musical material which undergoes far reaching changes-in short –a metamorphosis.
Duration:
10'27""
Composing Year:
2008
Preformance Year:
2008
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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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