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Works list 2013 – present

  /  Works list 2013 – present
Works list 2013 – present

Performances: NORWICH  The Chenango Arts Council, Saturday, Feb. 15, 2014, at 7 pm (27 West Main Street, Norwich) Kristina Reiko Cooper (Cello) Or  Matias (piano) (“Love Songs from Around the World”). Recordings: “Diary” (ICL) Kristina Reiko Cooper (Cello) Uri Brener (piano);  “Around the World with Love” (Roven Records) Kristina Reiko Cooper (Cello) Or  Matias (piano) Listen to Vocalise (version for cello) HERE Listen to Vocalise (version for flute) HERE Vocalise for cello and piano – was originally composed as a second movement of a triptych for harp, flute and chamber orchestra called “City of Mystics”, and the transcription for cello and piano was made especially for the performance and recording by an internationally acclaimed cellist

Listen to SHUNAMIT (Act 1) HERE    Shunammit - Operatorium for voices, chorus and orchestra Libretto: Esther Ettinger The Story Synopsis The play is based on  the story of Elisha the Prophet and the Shunammite woman (Kings 2 4:8), as well the writings and annotations of Chazal, the Jewish sages of the Talmudic era. Elisha the Prophet is the disciple and successor of Elijah the Prophet. He is a wonder-worker and helps those in need. One affair however tarnishes his beneficial image - his ruthless revenge on a group of boys who disrespect him. The plot of the play revolves around the Shunammite woman who hosted the

Performances: April 09, 2015, Minkin-Shemer duo at the Wolfinsohn Recital Room, Longy School of Music at Bard College, Cambridge, Boston; 23 March 2017 – The Jerusalem Bach Festival – “Conversations” Minkin-Shemer duo at the Mishkenot Shaananim Music Center; 25 May 2017 – Frankfurt Music Academy small hall, Minkin-Shemer duo Recordings: “Conversations – contemporary music for two harpsichords” (Omnibus Classics CC5012) [NAXOS Direct]  Listen HERE   A piece recently released by the Ombnibus Classics label [NAXOS Direct] was commissioned and recorded by the Minkin-Shemer harpsichord duo (Marina Minkin - David Shemer). The piece emerges and exists on the narrow boundary between the classical Renaissance form known as "chaconne" with its characteristically repeating patterns and the

Listen HERE A piece recently released by the Ombnibus Classics label [NAXOS Direct] was commissioned and recorded by the Minkin-Shemer harpsichord duo (Marina Minkin – David Shemer). The piece emerges and exists on the narrow boundary between the classical Renaissance form known as “chaconne” with its characteristically repeating patterns and the sharp, rough sound of 20th century rock-music. The work is a tribute to a one of the great musicians of the late 20th century, Frank Zappa; a modest homage to a great “musical law breaker”, whose contribution to the development of music is yet to be appreciated and understood. Music sheet samples:

The piece is a concert-like work for solo piano and symphonic orchestra and is based upon the ancient prayer chants of the Jewish communities of the Northern Africa, Spain, Morocco and Andalusia. Tradition going back many hundred years back in time is presented with a new and unexpectedly fresh setup and arrangement. However it is hardly to be overseen that the composer`s own roots are based on European\Russian cultural ground, thus making the fusion between these cultures even more fascinating and intriguing.     https://www.youtube.com/watch?v=ldxhtDJn75U

Publications: IMC Performances: 02 Jube 2016 –  ITG conference, Anaheim, CA, USA Robert Frear  – trumpet Listen HERE The piece “Deceptions” for trumpet and piano was inspired and influenced by the artwork of the famous graphic master M.C. Esher who`s artistic output is in many ways about creating a sense of illusion and visual ambiguity. Whereas creating an illusory effect in the visual realm is well known and quite palpable, in the sonic\musical realm it should be represented with less obvious means due to a more abstract nature of the medium and its perception. The ambiguity is expressed here on different levels – rhythmic, melodic but also

The piece is a Musical Fairy Tale in 3 Acts for small symphony orchestra and a reader,  based on the text by Ester Ettinger. It may be also performed as an actual musical play with actors. However, the pure musical performance is certainly also possible, among other things as a ballet suite. Performances: 16 May – Akko City Hall; 29 May –  Rebecca Crown Hall, Sherover Theater, Jerusalem, Israel Festival; Sinfonietta Beer-Sheva, conductor Karin Ben Yosef Score samples: https://www.youtube.com/watch?v=aB7XHxp3YA0

Performances: 17 and 18 February 2016 ISO under Ariel Zuckerman, Sergey Ostrovsky – violin,  Tel-Aviv Art Museum Listen HERE Publications: IMI My violin concerto is a work that presents and is built upon the spectrum of styles I have been dealing with during my musical life, from Russian folk melodies, through synagogue prayers, from post-romantic gestures to the harmonious coloristic shading of blues and jazz. All these elements are part of my musical world, and therefore should not be viewed as a trivial eclectic collection of multiple genres, but rather as an attempt to synthesize them, reflecting on the path I have followed

A piece composed on the poem by the same name by Marina Tsvetaeva Ошибка Когда снежинку, что легко летает, Как звездочка упавшая скользя, Берешь рукой – она слезинкой тает, И возвратить воздушность ей нельзя. Когда пленясь прозрачностью медузы, Ее коснемся мы капризом рук, Она, как пленник, заключенный в узы, Вдруг побледнеет и погибнет вдруг. Когда хотим мы в мотыльках-скитальцах Видать не грезу, а земную быль – Где их наряд? От них на наших пальцах Одна зарей раскрашенная пыль! Оставь полет снежинкам с мотыльками И не губи медузу на песках! Нельзя мечту свою хватать руками, Нельзя мечту свою держать в руках! Нельзя тому, что было грустью зыбкой, Сказать: “Будь страсть! Горя безумствуй, рдей!” Твоя любовь была такой ошибкой, – Но

A piece composed on the poem by the same name by Marina Tsvetaeva Ошибка Когда снежинку, что легко летает, Как звездочка упавшая скользя, Берешь рукой - она слезинкой тает, И возвратить воздушность ей нельзя. Когда пленясь прозрачностью медузы, Ее коснемся мы капризом рук, Она, как пленник, заключенный в узы, Вдруг побледнеет и погибнет вдруг. Когда хотим мы в мотыльках-скитальцах Видать не грезу, а земную быль - Где их наряд? От них на наших пальцах Одна зарей раскрашенная пыль! Оставь полет снежинкам с мотыльками И не губи медузу на песках! Нельзя мечту свою хватать руками, Нельзя мечту свою держать в руках! Нельзя тому, что было грустью зыбкой, Сказать: "Будь страсть! Горя безумствуй, рдей!" Твоя любовь была такой ошибкой, - Но без

( I. "At the Chotzer" II. "Almost a Lullaby" III. "The Fiddler"  IV. "A Legend" V. "Raava Deraava" VI. "BroigezTanz") A suite is composed as a series of pictures from the Jewish Stetl life in Eastern Europe, it features no traditional tunes, however the atmosphere is close to that of traditional and folk Jewish music from that area. Performances: 22 January 2018, w Mosheles Ensemble members Thomas Tulacek and Dalibor Ducky, at the Galeria Bazouskeho, Trenchin, Slovakia; 30 January 2018, w members of the Israel Philharmonic Eugeny and Polina Yehudin at the Bet Shemesh Eshkol Pais Hall  Chamber Series   Listen HERE to the world premiere in Slovakia of the violin\clarinet version Listen HERE to the Israeli premiere of

( I. “At the Chotzer” II. “Almost a Lullaby” III. “The Fiddler”  IV. “A Legend” V. “BroigezTanz”) A suite is composed as a series of pictures from the Jewish Stetl life in Eastern Europe, it features no traditional tunes, however the atmosphere is close to that of traditional and folk Jewish music from that area. Performances: 21 February 2018, The Embassy of the Czech Republic Tel-Aviv, w Thomas Tulacek, violin 6 September 2019 Beit HaYotzer Hall, Tel Aviv, w Thomas Tulacek, violin https://www.youtube.com/watch?v=R5ieBVqUCJI  

( I. “At the Chotzer” II. “Almost a Lullaby” III. “The Fiddler”  IV. “A Legend” V. “Raava Deraava” VI. “BroigezTanz”) A suite is composed as a series of pictures from the Jewish Stetl life in Eastern Europe, it features no traditional tunes, however the atmosphere is close to that of traditional and folk Jewish music from that area. https://www.youtube.com/watch?v=jS75B_cSdHg

A piece commissioned by and performed during the International Tel-Aviv Harp Contest 2017. It was also among six finalists at the The Composition Contest for the USA International Harp Competition (USAIHC). It was chosen from 90 works submitted by composers from 33 countries.   Publications: IMC Performances: 26-09-17, Israeli Music Day, "Debuts for harp" series, Gittit Boasson, harp; 8-7-19, Auer Hall, Bloomington, Indiana, Composition Forum at the 11th USA International Harp Competition; 17-11-19, Tel-Aviv Philharmonic Zucker Hall, International Harp Day, Marina Fradin, harp; 24-11-19, Jerusalem Center for Eastern Studies, Marina Fradin, harp. Listen HERE "

A vocal piece composed at the commission of the "Silenzio Musica" composition contest, where Uri was active as a judge. The given text was written by Manrico Murzi (see further). Il tic e il tac di mie dita, orologio dell'anima mia, ti protegge, ti invita al sogno e alla malia. Tocco di dita, tocco di vita. Aria di sonno circola tra i tuoi capelli teneri nei capelli leggeri aria di sonno spira. Tocco di dita, tocco di vita. È il soffio di mia voce che dolce ti carezza, del mio cuore è la brezza che scorre e va veloce. Tocco di dita, tocco di vita. Il tic e il tac di mie dita, orologio dell'anima mia, ti

I. Aries The Ram                             VII. Libra - Imponderability II. Taurus - Aria                               VIII. Scorpio - Perelandra Tale III. Gemini - An Old Fresco             IX. Sagittarius - 11 o`clock IV. Crebs - Rex                               X. Capricorn - Elegy V. Leo - Capriccio                           XI. Aquarius - Awareness VI. Virgo - For Elise             

How would Bach have written music nowadays? This piece is an attempt to answer this question. It was later included into the "Twelve Constellation" and 23 Preludes cycles. https://www.youtube.com/watch?v=YQcfFKTzUnQ

Theme Var.I   `A la Frescobaldi`                         Var.VI   `A la Piazzola` Var.II  `Don`t Be Bop`                           Var.VII   `A la Pärt` Var.III  `Jubilate`                Var.VIII  `A la Pachelbel` Var.IV   `A la Rossini`                              Var.IX  `Again Piazzola?` Var.V    `A la Pink Panter`                       Var.X   `Perpetum Mobile`      

Theme Var.I   `A la Frescobaldi`                         Var.VI   `A la Piazzola` Var.II  `Don`t Be Bop`                           Var.VII   `A la Pärt` Var.III  `Jubilate`                Var.VIII  `A la Pachelbel` Var.IV   `A la Rossini`                              Var.IX  `Again Piazzola?` Var.V    `A la Pink Panter`                       Var.X   `Perpetum Finale`     

Three traditional piutim (poetic prayer hymns) from the Andalouse-Maroccan-Jewish origin, recomposed and rearranged for a paitan (Sefardic equivalent of an Ashkenazy hazan - the prayer`s leader, singer of piutim) and eight players, including: flute, clarinet / bass-clarinet, soprano saxophone, horn, piano, percussion, cello and double bass. https://www.youtube.com/watch?v=QJXboAStb_c https://www.youtube.com/watch?v=ko1RWVdqhsw