With Hillel Zori, cello
Norbert Glanzberg (1910-2001)
I. Der Ofen von Lublin
III. Im Gefangnis
IV. Versprich mir eins
V. Die letzte Epiphane
VII. Für Ule
IX. An die Volker der Erde
X. Alter Baum
XI. Lied zur guten Nacht
Naomi Faran , 7'27"
I. Open the Gate (Lyrics: Kadia Molodowsky, Music: Nachum Nardi)
II. Summer is Over (Lyrics: Shmuel Bass, Music: Emanuel Amiran-Pougatchov)
III. Michael is Five (Lyrics: Yitzhak Katznelson, Music: folk song)
IV. Danny is a Hero (Lyrics: Miriam Yalan-Stekelis, Music: Max Lampel)
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.
Commissioned by the “Council for Culture and Art".
This is the original version of my piece, for Vlc & Piano, which was developed later to become my Cello Concerto.
The title is drawn from the wonderful poetic verse, which is part of the prayer for the Day of Atonement (Yom Kippur):
”Like the clay in the hand of the potter:
Who thickens or thins it at his will,
So are we in Thy hand, gracious God,
Forgive our sin, Thy covenant fulfil."
The special reciprocal relations which develop between the potter and the clay (the creator and the material) give a kind of conceptual frame to my work, in which the soloist assumes the role of the "potter" and the piano is the "clay".
In the course of the short piece (8`) the listener witnesses the progression of relations between the creator and his spiritual creation, from the first moment of it's coming into being; through the struggle to give the formless matter the desired clear and distinct shape. From the state of contention the relations change into one of complete identification of the creator with his material, and this symbiosis frees the constraints of the material. It finds independence within the space and becomes its own master. What remains is an echo - the material gradually disappears, it evaporates leaving the creator drained… until his next composition.
In spite of all these, the piece shouldn't be seen as programme music having a plot or describing anything, but rather represents pure and abstract music, which can stand on its own merits and listen to without all my private poetic connotations.
The work is written in expressive and chromatic language but a tonal center can be discerned (the tone C). It is based on the sound which derives from an ascending row of tones at intervals which grow from a small second to a small six.