audio / video

Hatzatz

    On the verge between acoustic and electronic, improvised and composed, Hatzatz (‘gravel’ in Hebrew) is an experimental trio, playing since summer of 2010. The working process is usually a collaborative one, trying to allow the players a significant

Hatzatz

    On the verge between acoustic and electronic, improvised and composed, Hatzatz (‘gravel’ in Hebrew) is an experimental trio, playing since summer of 2010. The working process is usually a collaborative one, trying to allow the players a significant

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[ untitled, 2012 ] for double bass and electronics

The piece was selected for the European Competition for Live Electronic Music Projects 2012. Duration: ca. 15′ Premiere: John Eckhardt, 3 November 2012, De Singel, Antwerp at the ISCM World New Music Days (alongside pieces by M. Donnarumma, J. Velickovic and A. Schubert).   audio excerpt:

[ untitled, 2012 ] for double bass and electronics

The piece was selected for the European Competition for Live Electronic Music Projects 2012. Duration: ca. 15′ Premiere: John Eckhardt, 3 November 2012, De Singel, Antwerp at the ISCM World New Music Days (alongside pieces by M. Donnarumma, J. Velickovic and A. Schubert).   audio excerpt:

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[ for ensemble, 2011-12 ]

  Commissioned by ensemble Meitar. For fl. cl. vl. vla. vcl. pno. and electronics (soundtrack / supercollider) Duration: 9′ Premiere: 5 July 2012 Levontin 7, Tel Aviv, Israel (ensemble Meitar, cond. Guy Feder)

[ for ensemble, 2011-12 ]

  Commissioned by ensemble Meitar. For fl. cl. vl. vla. vcl. pno. and electronics (soundtrack / supercollider) Duration: 9′ Premiere: 5 July 2012 Levontin 7, Tel Aviv, Israel (ensemble Meitar, cond. Guy Feder)

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Modo Recordar, Modo Olvidar (2010-11)

for contrabass, viola, live electronics (supercollider / MIDI keyboard) Duration: 15′ Premiere: 20 January 2011, Studio LOOS, the Hague ( Maya Felixbrod, viola; Tomer Harari, electronics; Ilya Ziblat Shay, double bass ) About this piece (suggested program notes): As suggested by the title

Modo Recordar, Modo Olvidar (2010-11)

for contrabass, viola, live electronics (supercollider / MIDI keyboard) Duration: 15′ Premiere: 20 January 2011, Studio LOOS, the Hague ( Maya Felixbrod, viola; Tomer Harari, electronics; Ilya Ziblat Shay, double bass ) About this piece (suggested program notes): As suggested by the title

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Signature Piece (2008)

for ensemble (trb, a.sax, t.sax, e.guit, pno, perc) Duration: 40 seconds Premiere: 25 May 2008, TAG, the Hague. Ensemble Klang. Further performances: 5 Mar 2011, with video work by Shiri Limor. Korzo theater, The Hague.

Signature Piece (2008)

for ensemble (trb, a.sax, t.sax, e.guit, pno, perc) Duration: 40 seconds Premiere: 25 May 2008, TAG, the Hague. Ensemble Klang. Further performances: 5 Mar 2011, with video work by Shiri Limor. Korzo theater, The Hague.

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INCUEME (2005)

for voice and double bass Duration: 5′ 30″ Premiere: 25 April 2006, Koninklijk Conservatorium, the Hague Marian Angeles Marques Fernandez, voice Ilya ZIblat, double bass Further performances by M. A. Marques Fernandez and Rodrigo Reijers, and by Elisenda Pujals and Ilya Ziblat Shay.

INCUEME (2005)

for voice and double bass Duration: 5′ 30″ Premiere: 25 April 2006, Koninklijk Conservatorium, the Hague Marian Angeles Marques Fernandez, voice Ilya ZIblat, double bass Further performances by M. A. Marques Fernandez and Rodrigo Reijers, and by Elisenda Pujals and Ilya Ziblat Shay.

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Seven Different Ways of Getting Lost (2009)

for ensemble (cl, b.cl, hrn, 2perc, vl, vla, vcl, db) Duration: 9′ Premiere: 31 March 2010, Amsterdam conservatory, ASKO Ensemble, Bas Wiegers (cond.) Seven Different Ways of Getting Lost, a chamber music piece composed for the ASKO ensemble, was an early attempt to

Seven Different Ways of Getting Lost (2009)

for ensemble (cl, b.cl, hrn, 2perc, vl, vla, vcl, db) Duration: 9′ Premiere: 31 March 2010, Amsterdam conservatory, ASKO Ensemble, Bas Wiegers (cond.) Seven Different Ways of Getting Lost, a chamber music piece composed for the ASKO ensemble, was an early attempt to

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Slowly They Padded Along (Was It Actually Sad?) (2009)

for flute, clarinet, bassoon Duration: 10′ Premiere: 8 November 2009, Het NutsHuis, the Hague Slowly They Padded Along (Was It Actually Sad? is a composition for woodwind trio (flute-clarinet-bassoon), first performed at the NutsHuis, the Hague. The players are walking around

Slowly They Padded Along (Was It Actually Sad?) (2009)

for flute, clarinet, bassoon Duration: 10′ Premiere: 8 November 2009, Het NutsHuis, the Hague Slowly They Padded Along (Was It Actually Sad? is a composition for woodwind trio (flute-clarinet-bassoon), first performed at the NutsHuis, the Hague. The players are walking around

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Trembling Time (2010)

for piano duo Duration: 13′ Premiere: 22 April 2010, Koninklijk Conservatorium, the Hague, Ruud Zielhorst & Emiel Janssen Trembling Time, for two pianos, explores aspects of elasticity in rhythm. Through constant stretching and shrinking of the pulse, I am trying to create

Trembling Time (2010)

for piano duo Duration: 13′ Premiere: 22 April 2010, Koninklijk Conservatorium, the Hague, Ruud Zielhorst & Emiel Janssen Trembling Time, for two pianos, explores aspects of elasticity in rhythm. Through constant stretching and shrinking of the pulse, I am trying to create

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[ untitled, 2011-12 ] for string orchestra

A ‘didactic’ composition, for a youth string orchestra (ages 12-15). I was aiming at introducing both ‘extended’ instrumental techniques and improvisation to the young players. Duration: 6′ Premiere: 3 June 2012, Torredembarra town hall, Catalonia, Spain Corelli Orchestra (Vila-seca conservatory, Catalonya)

[ untitled, 2011-12 ] for string orchestra

A ‘didactic’ composition, for a youth string orchestra (ages 12-15). I was aiming at introducing both ‘extended’ instrumental techniques and improvisation to the young players. Duration: 6′ Premiere: 3 June 2012, Torredembarra town hall, Catalonia, Spain Corelli Orchestra (Vila-seca conservatory, Catalonya)

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