SEARCH RESAULTS FOR Israel Camerata Jerusalem (2)

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.
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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. 
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