SEARCH RESAULTS FOR USA (16)

Concertino for Oud and Piano
Avner Biron 2021
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.
Composing Year:
1994
Preformance Year:
2021
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Double Concerto for Viola Violoncello and Orchestra
Ariel Zukerman 2016, 16'47"
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:
16'47""
Composing Year:
2008
Preformance Year:
2016
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"Song of Comfort" - Cantata
Stanley Sperber 2015
My Cantata-Song of Comfort (1998)- was commissioned by the Zimriya vocal Festival to celebrate Israel's 50 years of Independence. The gala concert was held on the festival's opening night in Jerusalem. The piece is based on some comfort prophecies taken from the Bible and delivered mainly by Isaiah but also by Micha and Zechariah. I've arranged the text in a certain sequence serving best my musical aims and form demands. The piece has two movements: The first one is a bit more lyrical and introverted, emphasizing the comfort and compassion feelings, promising the upcoming salvation and redemption after the horrible sufferings. The second movement is more cheerful and full of joy as the nation is coming back to its old fathers land, the "end of days" prophecy is being fulfilled and piece prevails not only in the region but worldwide! In order to express the festive event I've chosen Double mixed choirs expressing the public ego, two soloists- a female and a male-expressing the individual ego. In order to strengthen and amplify the sonority, I've added a full Brass section (3, 4, 3, 1) which lands ceremonial splendor and glory to the overall sound. This instrumentation led me to some Renaissance influences both in the musical language itself (using Modality more than in any other pieces of mine) and in the texture, by using antiphonal and responsorial techniques.
"Between the Sacred and the Profane" for string quartet
2014, 9'28"
Between the Sacred and the Profane for String Quartet has two movements based on rhythmic and melodic materials which draw upon sources of Jewish liturgical music and songs of the various communities of the people of Israel. The first movement is based on a limited number of biblical cantillations combining two versions: the Moroccan-Casablanca version and the Spanish-Jerusalem one. It is a recitative, prayer-like in character and embodies both the prayers of the individual and of the congregation. It is freely constructed and its language is chromatic and expressive. The second movement is based, in the main, on three wedding songs of the Jewish community of Tetuan in Spanish Morocco which is renowed for the beauty and wealth of its songs. The songs were picked out from the anthology "the Cycle of Life", edited by Dr. Shoshana Weich-Shahak. These are Ladino songs influenced by Spanish melos and rhythm yet they retain the taste of biblical cantillations. The work was commissioned by the Israeli Music Heritage Project.
Duration:
9'28""
Composing Year:
1991
Preformance Year:
2014
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"And Uzziyahu Built Towers"
2014, 2'52"
Text: Chronicles II, 26 Music: Yohanan Zaray
Duration:
2'52""
Preformance Year:
2014
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