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.
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Concertino for Cello and String Orchestra
Yehuda Gilad 2005, 13'
The concertino for cello & string orchestra – “As the Clay in the Potter’s Hand” is a shorter version of my concerto for cello and symphonic orchestra.
The sub-title is drwan from the wonderful poetic verse which is part of the prayer for the Day of Atonement (Yom Kippur).
The piece is played in one continuous flow with no interruptions, but it is subdivided internally into five sections, examining musically the special reciprocal relations between the creator (the cello) and its material (the orchestra). In the course of the piece the listener is exposed to the ever changing relations between the two, from the struggle to give the formless idea a clear and distinct shape through the complete identification of the creator with his material, until the moment the material becomes fully independent and free on its own right. Now it is the time of departing and seperating, what remains is an echo – a reflection of the material in its creator’s mind, then the material gradually disappeaas. It evaporates leaving the creator drained… until his next composition.
In spite of all this description the piece should not be seen as programme music, but rather as pure absolute music. I just wanted to share with the listners the poetic trigger that was at the bottom of the spiritual process that led me to write my music.
The piece grows out of a kernel idea: a kind of a sound which derives from an ascending row of tones at intervals which grow from minor second to minor sixth, The work is written in expressive chromatic language but a tonal center can be discerne (the tone C) which recurs throughout the entire work abd serves as its anchor.
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