SEARCH RESAULTS FOR Israel (41)

"Voices: Woman Man" (Video)
2007
Monodialogue a Fantasy for solo Viola is dedicated to the violist Tabea Zimmermann; the motive core of the piece is built on the realization of the letters of her first name: Ta-Be-A, which are translated musically into the German pitch names of Si-Si bemol-La (B-B flat-A). The form and shape of the work involves the examination of the interrelationships of these three pitches. As part of the motivic idea, the player is required to tune the viola's lowest string down a half step from the pitch Do (C) to the pitch Si (B). Monodialogue is a rather free piece as far as its tempi and change of moods are concerned. Its expressiveness owes a great deal of its inspiration to the unique and special character of Tabea Zimmermann.
Composing Year:
1999
Preformance Year:
2007
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"Voices: Man Woman" (Video)
2007
The piece was originally written for and dedicated to the Violist Tabea Zimmermann and  was adapted for Violoncello by the Cellist Hillel Zori
 
The motive core of the piece is built on the realization of Tabea's first name syllables: Ta-Be-A, which are translated musically into the German pitch names of Si-Si bemol-La (B-B flat-A). The form and shape of the work involves the examination of the interrelationships of these three pitches. As part of the motivic idea, the player is required to tune the viola's lowest string down a half step from the pitch Do (C) to the pitch Si (B). Monodialogue is a rather free piece as far as its tempi and change of moods are concerned. Its expressiveness owes a great deal of its inspiration to the unique and special character of Tabea Zimmermann.
Composing Year:
1999
Preformance Year:
2007
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Metamorphosis II - for piano solo (Video)
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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''Encounters I'' for Oud and Piano (Video)
2007, 11'20"
Encounters I is my first piece written for the Oud and particulary for the virtuosoOud player mr. Taiseer Elias. In this piece I’ve combined in a kind of confronting dialogue two instruments which represent typically their respective musical tradition: the noble Oud standing for the Middle – Eastern heritage and the Piano standing for the Western heritage. I’ve tried to emphasize in each instrument its typical attributes; The plucking and short notes of the Oud against the long sustain notes of the Piano using the pedal, and the linear quality of the Oud line against the chordal more densed texture of the Piano. The piece develops in a kind of free raphsodic way leaving ample of space for improvisation.
Duration:
11'20""
Composing Year:
1992
Preformance Year:
2007
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''Kaleidoscope''
1996, 9'9"
comissioned by the Musica Nova Consort.
I have chosen this combination of instruments which produces a very specific sound in which the flute is quite conspicuous. My compositional point of departure was the sonority of the ensemble and therefore I have tried to use instruments of different families which permit a variety of sound production; wind, string,  plucked instrument and tuned percussion instruments of wood and metal.
There is only one movement and the work is interally divided into two sections which differ from one another but are connected through common thematic material. The material was drawn from the name Rami which by association reminds one of the notes RE and MI (D and E). Both notes run throughout the composition in various ways. The other materials are taken from the scales typical of my chosen instruments, in particular from the pentatonic scale of the marimba and the natural diatonic scale of the harp.
The character is strongly influenced by the impression of a colourful kleidoscope, whose images change fast. It finds expression in the first section in fast changing materials which are almost never repeated, but are placed side by side. Fast motoric parts alternate in the piece with lyrical expressive passages. In the second section the colouring and kleidoscopic character stem from a different treatment – from the harmonic, rhythmic and orchestral aspect – of a melodic idea which repeats itself time and again as if in a persistent ritual.
Duration:
9'9""
Composing Year:
1996
Preformance Year:
1996
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