SEARCH RESAULTS FOR Dance (8)

"Voices: Man Woman" (Video)
2007
The piece was originally written for and dedicated to the Violist Tabea Zimmermann and  was adapted for Violoncello by the Cellist Hillel Zori
 
The motive core of the piece is built on the realization of Tabea's first name syllables: Ta-Be-A, which are translated musically into the German pitch names of Si-Si bemol-La (B-B flat-A). The form and shape of the work involves the examination of the interrelationships of these three pitches. As part of the motivic idea, the player is required to tune the viola's lowest string down a half step from the pitch Do (C) to the pitch Si (B). Monodialogue is a rather free piece as far as its tempi and change of moods are concerned. Its expressiveness owes a great deal of its inspiration to the unique and special character of Tabea Zimmermann.
Composing Year:
1999
Preformance Year:
2007
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Concerto Da Camera - La Folia for Four Wind Instruments (fl, ob, bn, hn) & String Orchestra
Andrew Lawrence-King , 18'43
Commissioned by "The Israel Camerata-Jerusalem"
Written while being a fellow at the VCCA Virginia USA.   
  
 The Israel Camerata-Jerusalem Orchestra conducted by Andrew Lawrence-King
The work, which was commissioned by the Israel Camerata Jeruslaem and written while a fellow in VCCA, Virginia, USA, derives its inspiration from the traditional melodic – harmonic – rhythmic pattern called “La Folia” which served as a framework for dozen of works written since the Renaissance to the present day. The name’s origin relates to the fact that, at first it served as pattern for music and dance in which the dancers became ecstatic, and seemingly struck by madness.
In my treatment of this traditional form, I tried to derive my ideas from its typical melodic structure, its basic rhythmic character and its dance-like origin as well as form the obsessive, everlasting repetition of the basic pattern while making changes and variations, in my own language. 
The Work consists of four movements: Fast-slow-fast-slow, with the first three almost connected and the fourth independent.
This last movement is in the form of a funeral march in which I tried to express my feelings and pain in regard to the collapse of the process and the loss we are experiencing in the present era. 
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18'43"
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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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