SEARCH RESAULTS FOR Orchestral (19)

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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Concerto for Cello and Orchestra - ''Behold, as the Clay in the Potter's Hand'' I. Adagio molto espressivo - Andante espressivo
Noam Sheriff 1992, 10'29"
The Cello Concerto was inspired by the prayers of the Day of Atonement: "Behold as the Clay in the Potter's Hand". 
The relationship that develops between the potter and the clay is "a frame of reference" for the musical form chosen by the composer, whereby the potter is represented by the soloist and the clay by the orchestra. The musical substance of the concerto is derived, on one hand, from a restricred number of "Te'amin" (the traditional biblical cantilations) and on the other hand from an aggregation of sounds built on an adcending row of intervals from the "minor second" to the "major sixth".
There is a long prologue that merges organically with the first movement which has a serene and passionate nature. The second movement starting with a sarabande-like lyrical theme soon gets very dramatic. The end of the movement brings again the memory of the first theme and flows almost unimterruptedly into the last movement. This is a very fast, polyrythmical movement of a somewhat eastern character. The rhythmical cells and motives soon "evaporate" into a very tranquil postlude fading out delicately.
 
The work was commissioned by the Israel Symhpony Orchestra Rishon-Lezion, which gave it its world premiere in 1992 under the baton of Noam Sheriff. it is dedicated to the orchestra's solo cellist Doron Toister and was awarded a grant by Tel-Aviv Foundation for Literature and Art.
Duration:
10'29""
Composing Year:
1992
Preformance Year:
1992
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Concerto for Cello and Orchestra - ''Behold, as the Clay in the Potter's Hand'' II.Adagio cantabile
Noam Sheriff 1992, 6'14"
The Cello Concerto was inspired by the prayers of the Day of Atonement: "Behold as the Clay in the Potter's Hand". 
The relationship that develops between the potter and the clay is "a frame of reference" for the musical form chosen by the composer, whereby the potter is represented by the soloist and the clay by the orchestra. The musical substance of the concerto is derived, on one hand, from a restricred number of "Te'amin" (the traditional biblical cantilations) and on the other hand from an aggregation of sounds built on an adcending row of intervals from the "minor second" to the "major sixth".
There is a long prologue that merges organically with the first movement which has a serene and passionate nature. The second movement starting with a sarabande-like lyrical theme soon gets very dramatic. The end of the movement brings again the memory of the first theme and flows almost unimterruptedly into the last movement. This is a very fast, polyrythmical movement of a somewhat eastern character. The rhythmical cells and motives soon "evaporate" into a very tranquil postlude fading out delicately.
 
The work was commissioned by the Israel Symhpony Orchestra Rishon-Lezion, which gave it its world premiere in 1992 under the baton of Noam Sheriff. it is dedicated to the orchestra's solo cellist Doron Toister and was awarded a grant by Tel-Aviv Foundation for Literature and Art.
Duration:
6'14""
Composing Year:
1992
Preformance Year:
1992
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Concerto for Cello and Orchestra - ''Behold, as the Clay in the Potter's Hand'' III. Non troppo presto
Noam Sheriff 1992, 5'5"
Concerto for Cello and Orchestra - ''Behold, as the Clay in the Potter's Hand'' I. Adagio molto espressivo - Andante espressivo
Duration:
5'5""
Composing Year:
1992
Preformance Year:
1992
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