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.
The Quintet for Percussion & String Quartet is a chamber version of the Concertino for percussion & orchestra commissioned by the Israel Chamber Orchestra for the percussion artist Chen Zimbalista. Despite its origins, it has the distinct nature of a chamber work: the stirngs are equal partners throughout, the only exception being a semi-composed semi-improvised solo cadence for the percussionist.
Of the percussive instruments, the marimba is most prevalent, but various other instruments – with or without definite pitch – such as the vibraphone, cymbals and tam-tams, are also used. The Quintet, to be played as a continuous sequence, is of three sections, whose time ratios are arranged telescopically. The first is the longest and most complicated of the three, and ends with a cadence leading to the shorter expressive and lyrical second section, in which the strings come to the fore. Robust rhythmic qualities and a lively, bouncy tempo in the perpetuum mobile vain, characterize the third, even shorter, section which concludes the piece.
Yuval Ben-Ozer , 3'42
For mixed choir.
Text: Eitan Peretz
Music: Dov Aharoni
For mixed choir.
Lyrics: Natan Altermann
Music: Daniel Samboursky
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.