SEARCH RESAULTS FOR MS (32)

"Reflections"
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.
Duration:
14'39"
Composing Year:
2002
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"Woman’s Burden" ("Masa Isha") - music for dance I
1998, 6'19
Music for dance. 
Duration:
6'19"
Composing Year:
1998
Preformance Year:
1998
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"Woman’s Burden" ("Masa Isha") - music for dance II
1998, 5'21
Music for dance. 
Duration:
5'21"
Composing Year:
1998
Preformance Year:
1998
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Quintet for percussion and string quartet
2000, 14'40
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.
Duration:
14'40"
Composing Year:
2000
Preformance Year:
2000
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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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