SEARCH RESAULTS FOR Israel (49)

Concertino for Oud and Piano
Avner Biron 2021
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.
Composing Year:
1994
Preformance Year:
2021
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Homage to Alexander (Sasha) Argov
Lahav Shani 2021, 10'6
Comissioned by the Thelma Yellin High School Symphonic Orchestra.
"Homage to Sasha Argov" is a kind of orchestral suite consisting of my arrangements to five of his most celebrated songs.
Duration:
10'6"
Composing Year:
1999
Preformance Year:
2021
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Metamorphosis I - for piano solo
2007, 6'28"
I was commissioned by the young and wonderful Pianist Benjy Hochman. It was conceived as a short (app. 6') self contained movement that could also be intergrated later as part of a longer piece yet to be written. It develops out of a very small melodic and rhythmic cell that undergoes multiple phases changing its mood, texture, contour, rhythm and tempo. From a nervous beginning, restless and inquiet, it becomes more and more energetic until its motoric impetus stops and the whole atmosphere changes and transforms to become static, colorful and melodic. This mood lasts for a while but not for too long, when once again it changes to become charged with energy, reminiscent of the opening character. The piece has a zipping quality, changing ideas quite fast, expressing in a way the uncertain and unstable situation so typical of our hyper tensioned life in Israel, our native land.
Duration:
6'28""
Composing Year:
2006
Preformance Year:
2007
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"Entrapped Bird"
2007, 10'32"
This song cycle was written in 1998 for Voice, Violin, Oboe or Clarinet, and Piano. It is based on three poems by the late Israeli Poet Ya’ir Hurwitz. I used only three of the 18 short poems, all relating to death. This was his last book and he wrote these songs on his death bed. The entrapped bird is a metaphor of his soul being imprisoned in his sick body, waiting, in a sense, to be freed. I’ve tried to portray this dark and very painful atmosphere in my music using a chromatic and expressive musical language.
Duration:
10'32""
Composing Year:
1998
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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