SEARCH RESAULTS FOR Orchestral (19)

Concertino for Oud and Piano
Avner Biron 2001, 16'30"
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.
Duration:
16'30""
Composing Year:
1994
Preformance Year:
2001
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''Jerusalem'' - Symphonic Overture
David Shalon 1996, 9'25"
Commissioned by the "Jerusalem Symphony Orchestra" for the celebration of 3000 years to Jerusalem.
 
The point of departure of my work is based on the various names by which the city has been throughout history: Yeru-salem (its name in antiquity), through Yerushalaim; Aelia Capitolina, Jerusalem and El-Kuds. 
Each appellation has its own internal rhythm and the means of development in my work rest upon the rhythmic motifs which those rhythms dictate. I have tried to give expression in my work to my own complex feelings for the city and convey my impressions of the earthly city of to-day – its vitality, its multi-layered texture (be it historic, cultural or religious); beset by conflicts, blistering, exploding yet over hopeful. Though it is at the heart of relentless and uncompromising feuds, it remains the object of loving yearning of many the world over.
Duration:
9'25""
Composing Year:
1996
Preformance Year:
1996
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Homage to Alexander (Sasha) Argov
Menachem Nebenhaus 1999, 9'9"
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:
9'9""
Composing Year:
1999
Preformance Year:
1999
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Trio (Lamento) for Oud, Cello and Piano
2005, 12'28"
Commissioned by Wisconsin University.
The Trio was commissioned by the Cellist Uri Vardi, and funded by the University of Wisconsin in Madison.   I wrote the piece in a belated response to the murder of the Israeli Prime Minister Itzhak Rabin.   It is a continuation of my earlier works which combine the oud with Western instruments in the context of Western music. The work develops in a free associative manner and contains, side by side, written parts open to improvisation by one of the instruments on the basis of ostinato (a repetitive pattern) by the other two. In spite of the work being constructed as a mosaic which underlines the oriental influences therein, it has also melodic, harmonic, rhythmic and orchestral motivic elements which are repeated, in transformation, throughout the piece and contribute to its unity. The character of the work is mainly gloomy and lamenting. Towards the end, however, a glimmer of hope and optimism can be felt.
Duration:
12'28""
Composing Year:
1996
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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