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“Deep in the blue” for soprano & chamber Orchestra. Solo - Antonia Lavane, 1967.
My first graphic score, written for Bennington college composer's conference.
"Masa'ot" (Journeys). First commission from Israeli Festival (composers workshop). Israeli broadcasting service (IBS) orch. Conducted by Maestro Noam Sheriff,1969. The piece starts with a gun shot and the text is a surrealistic collage, some times spoken by orchestra members.
"Job" - A short opera based on the nook of Job, Libretto by Oded Beery, commissioned by the Israeli Festival, conducted by Izsak Steiner with the Tel Aviv chamber ensemble. The modernized plot occurs in a police station with the Devil, sung by soprano Adi Ezion, is the station chief and Job’s friends are policemen.
“Playback” was constructed with the help of IBS and composer Joan Franks Williams who headed the contemporary music dpt. and produced a live broadcasted series called “Music in a New Dimension” (MND). the piece for chamber Ensemble, narrator and chorus was simultaneously broadcasted from 3 cities, having the chorus in Haifa, narrator in Jerusalem and ensemble on stage in Tel-aviv, with signs of a 12 tone series conducted by me with a stop watch and metronome. The text included quotations of Arnold Schoenberg , parts of his publishing contracts and old memories
"Luna Rosa", a work for large ensemble, soprano and tape In an MND theatrical concert, quotes in recorded and live performance about 10 moonlight subject songs in 4 languages, as well as a recording of the Apollo 11 lift-off. Soloist: Adi Ezion
"Ad Asher" (until) - IBA and conductor Lucas Foss commission for a "psalm" concert. I set to music ecclesiastes chapter 12 which describes the quickening ageing process till death. The piece was dedicated to the memory of my father, who died in 1976. Soloist - Adi Ezion. The recording of the concert was released on an album called "Israeli vocal and instrumental music" (Folkays FTS37466).
"Quintet for harp and strings" represented Israel in the "Italy Prize" radio contest and had several different aspects than my former work. The 2nd Movement was a reggae groove, the solo bass was partly sang by composer Gideon Lewinson and the third part called "Elegy" was sang (adlibitum) by me while conducting.
"INTONARUMORI" (Italian word for "noise instruments") was performed in an MND concert dedicated to early 20th century Vanguard currents, by 11 musicians seated as a piano keyboard. The narrator - future director Avi Mograbi, reads parts of the Italian futurist painter and composer/ inventor Luigi Russolo's manifests. With the help of a motorcycle, compressor, vacuum cleaner and other domestic machines, we try to demonstrate the futurist idea of modern music
"STAGE HANDS" - for chamber orchestra and 3-4 stage hands - Dedicated to all stage hands around the world and especially for the veteran Ilan Amidror (started his job in 1968) whom I saw numerous times .
A stage hand is also the liberarian, who knows the score and its instruments, knows the orchestra’s members and their private habits. Like a designer he sets the right way of moving the heavy instruments in the shortest course. In the electronic age he is responsible for microphone and amplifier setting - sometime strange and irrational demands.
A stage hand is not too popular among the audience. He (or she) enters the stage in the short intermission between piece, signifying that the fun is over. Coming too soon may shorten the applause and insult the soloists; coming too late will upset everybody. Once the concert is over he has the ungrateful and tedious job of clearing the stage.
There will be no concert without them - but they are transperent for us.
In this piece they will take clear, active part, quite in focus.
Other than that, this is a one-movement, atonal symphonic poem, with some amusing solo parts. I did not write a symphonic piece since 1993 and though I clearly hear this work in a computer version - it is not the same. There are no stage hands in a computer.
The name of this work and its motto are both taken from Dylan Thomas' poem Do Not Go Gentle Onto That Good Night, in which Dylan writes 'Rage, rage against the dying of the light'. I have composed this poem for violin and electronics two years ago, and since then I could not stop thinking about the son, pleading with his father to continue fighting a futile war.
The work contains quotes and adaptations taken from previous works of mine: Goose, for choir (1989) and the Jerusalem Piyyut Ha'EI Haira Ure'e within the first movement; and KoI Hanehalim, from the Mami Rock Opera (1986, with Ehud Banai) as well as music which I write for a production of Shakespeare's Hamlet (Habima, 1986).
Rage is not a Symphonic Poem but rather three different "moods'', symbolizing also strong musical links to other genre choices in my past (mainly during the 1980's, a decade in which I had my breakthrough). These choices, I hope, would give me strength towards the struggle implied within the work's motto.