SEARCH RESAULTS FOR Israel (41)

''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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Suita Concertante (Encounters IV) for Classical Violin, Klezmer Violin and Chamber Orchestra
Doron Solomon 2007, 22'20"
This is another one in a chain of pieces I've already written in the past which tries to bridge between different musical cultures. In this case it's the ethnic. folk-like klezmer tradition alongside that of the concert hall with the virtuoso classical violin.
 
The piece is written in one long movement, which flows from one emotional mood to another trying to reflect different phases of our inner self.
I've used quite a few magnificent klezmer tunes and dances  and added  some original ones which I've invented.
 
 Each soloist is representing in a way his/her tradition of playing the violin, but as this is a real encounter and not a confrontation, they also influence each other respectively. I've let both my soloists emphasize their expressive and technical abilities in different phases of the piece.
 
Writing such a piece for me was a way to connect to the deepest and even primordial layers of my memories as an infant and a child. It deeply reflects my innermost beliefs as a Jew and as a human being.
 
The composition was commissioned by the J.M.I. in London and supported by the Arts Council of England
Duration:
22'20""
Composing Year:
2006
Preformance Year:
2007
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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 I - for piano solo
2007, 6'53"
Metamorphosis 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:
6'53""
Composing Year:
2006
Preformance Year:
2007
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