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Works list 1991-2001

  /  Works list 1991-2001
Works list 1991-2001

Three parts of the Triptych constitute a kind of emotional cycle starting with “Silence“, which in fact proves to be not merely a “lack of sounds” or “emptiness”. Rather, it contains a whole range of emotionally charged elements in accordance with the idea that there is no “real” silence, and whatever seems to be absolutely silent, might be a concealed scream. In the second movement, “Discussion“, of a somewhat sarcastic character, composer tries to establish a dialogue with his great forerunners, and in the spirit of  neoclassic  Shostakovich-Hindemit-like Scherzando one feels a search after one’s own place in this “discussion”. The rhythmical pattern of

Three parts of the Triptych constitute a kind of emotional cycle starting with “Silence“,which in fact proves to be not merely a “lack of sounds” or “emptiness”.Rather, it contains a whole range of emotionally charged elements in accordance with the ideathat there is no “real” silence, and whatever seems to be absolutely silent, might be a concealed scream. In the second movement, “Discussion“, of a somewhat sarcastic character, composer tries to establisha dialogue with his great forerunners, and in the spirit of  neoclassic  Shostakovich-Hindemit-like Scherzandoone feels a search after one’s own place in this “discussion”. The rhythmical pattern of the main theme

Performances: September 2014, Russisches Kulturfest Hamburg 5, Germany;Trio Blumina (Elsaveta Blumina – piano, Kalev Kuljus – oboe, Mathias Baier – bassoon);broadcast by the Deutschlandradio Culture National Radio channel. Listen to “Triptych” Version for oboe,bassoon and piano Mov.1 (“Silence”)Listen to “Triptych” Version for oboe,bassoon and piano Mov.2 (“Discussion”) Three parts of the Triptych constitute a kind of emotional cycle starting with “Silence“, which in fact proves to be not merely a “lack of sounds” or “emptiness”.Rather, it contains a whole range of emotionally charged elements in accordance with the idea that there is no “real” silence, and whatever seems to be absolutely silent, might be a concealed scream. In

Performances:13.12.2005 Music Department of the Bar-Ilan University, Israel with the quartet “Aviv” members Evgenia Epstein and Rachel Mercer;08.07.2007 New York Museum of Modern Art (MOMA) with the members of the New Julliard Ensemble under Joel Sachs;28.12.16 in Brno, Czech Republic, with Tomas Tulacek, Jan Zlamal and Anastasia Fediuk;25.04.17 Giluim Festival, Schönebeck City Hall, Germany, with Uri Brener, Eyal Shiloach and Mathias Baier.Recordings: “Creative Composition“  The Music Book, Chapter 8, Treasure Productions 2005 Publications: IMCListen HERE Three parts of the piece constitute a kind of emotional cycle starting with "Silence", which in fact proves to be not merely a "lack of sounds" or "emptiness".Rather, it contains

Uri Brener composed the piece "Small Wind Quintet" at a time he was a student at the Gnessin College in Moscow in 1991 and only 16 years old. The second movement, central to the work, has an introverted and contemplative character, influenced by Shostakovich's spirit, especially by the second movement of the Ninth Symphony. The last movement has Russian folk-music influences with humorous elements and also in this way expresses the conceptual connection with Shostakovich, in whose memory the work was later dedicated. Performances:Concerts in different venues in Moscow, among them Big Hall of Gnessin College of Music 1990;26.02.18 Ron Baron

Performances:Palais Wittgenstein, Duesseldorf, Germany 15.05.96;Musical Center  “Mishkenot Shaananim”, Jerusalem, 13.11.98,live broadcast “Youth at the Center” by the Kol Hamusika national radio-channel(w Zvi Orleansky – cello). Publications: IMCRecordings:“Music from Ein Karem” (“The composers series”, MFEK 0202, 2003);“Creative Composition“  The Music Book, Chapter 7, Treasure Productions 2005 This work could well be defined as a sonata. An energetic and resolute introduction with an ascending cello motive,which is basically a main theme, collapses as it comes to its climax, falling into the lowest register.After some attempts to renew the onslaught, it softens gradually and proceeds to the second theme,sharply contrasting with the first.Exquisite and

"In den Schneefeldern" (1993) for voice and piano on the text by Alexander Block  Performances: Never Publications: IMC (Manuscript) Text: I. И я затянут Лентой млечной! Тобой обманут, О, Вечность! Подо мной растянут В дали бесконечной Твой узор, Бесконечность, Темница мира! Узкая лира, Звезда богини, Снежно стонет Мне. И корабль закатный Тонет В нежно-синей Глубине. II. Не утоленная кровавыми струями, Безмолвствует земля. Иду вперед поспешными шагами, Ищу от жертв свободные поля. Но, как в темнице узник заключенный, Ищу напрасно: кровь и мрак! Лишь там, в черте зари окровавленной — Таинственный, еще невнятный знак. III. Разверзлось утреннее око, Сиянье льется без конца. Мой дух летит туда, к Востоку, Навстречу помыслам Творца. Когда я день молитвой встречу На светлой утренней черте,- Новорожденному навстречу Пойду в духовной чистоте. И после странствия земного В лучах вечернего огня Душе легко вернуться снова К

The piano cycle "Form, Farbe und Licht", written in 1995 during the period of studies with Prof. M.Trojan in Düsseldorf, at the Robert Schumann Music Academy (Musik Hochschule). The pieces it consist of present an original synthesis of harmonically saturated, Scriabin-like pianism with rational-ascetic elements of the Western (German) school. Performances: 04.07.96, Patrika Hall,  Robert Schumann Hochschule Duesseldorf, Germany; 15.05.96, Palais Wittgenstein, Duesseldorf, Germany; 16.09.99 Henry Crown Hall, Jerusalem Theatre (“Israeli music day”); 13.11.98 Musical Center Mishkenot Shaananim, Jerusalem (Live broadcast “Youth at the Center” by the Kol Hamusika national radio-channel (fragments) Recordings: “Music from Ein Karem” (“The composers series”, MFEK 0202, 2003) Publications: IMC Sheet music samples:

music to a short film by Ralf Rueckhauer on the parabola by F.Kafka for symphonic orchestra (recorded by student orchestra of Bochum university with Hans R.Jakulsky The film was shown: numerously  by the “Premiere” TV channel (Germany); at Open-Air- Filmfest Weiterstadt (Germany) and other Film festivals around Germany and beyond, including Jerusalem Internationsal Film Festival 1996.

he piece "Three Memories" for marimba solo was written as an expression of three different types of memory. The first section expresses a "hallucination" type of memory, a "vision", something that remains as a fragment of the image, not real, and escapes. The second section is all a memory of a mood without a concrete event or image, like someone remembering the experience of standing next to a quiet stream of water and the wind playing in the tree branches or wind chimes in the surrounding silence. The third section describes an obsessive memory type that leaves no room for

“Au début et à la fin” (“At the beginning and at the end“) was composed in Dusseldorf in 1996. The work is built as a series of short movements, related both through the musical material and through the atmosphere that can be defined as pessimism, disappointment in the ideals of the materialistic world and the search for a transcendent revelation. An appearance of a semi-quote from the “Quator pour la fin du temps” (“A Quartet for the End of Time”) by A. Messiaen is surely not a coincidence in this context. It appears at the beginning and at the end of the cycle and it is

Performances:03.11.99 Clermont Hall, Tel-Aviv Music Academy, 03.11.99;Conservatory of Kfar Saba, Israel (Piano duo – Raimonda Sheinfeld – Faina Eisenberg);29.05.04 Festival Israel 2004 – “Inka” auditorium, Jerusalem (Piano duo  Sivan Silvan – Gil Garburg) Recordings: “Music for piano duo” (“New stream”, 2000) Publications: IMC (Manuscript) "Au début et à la fin" ("At the beginning and at the end") was composed in Dusseldorf in 1996. The work is built as a series of short movements, related both through the musical material and through the atmosphere that can be defined as pessimism, disappointment in the ideals of the materialistic world and the search for a transcendent revelation. An

(Ossia: bass-clarinet and piano)   Performances:December 2002, International Festival of Modern Music, Prague, Czech Republic(K.Dolezal – clarinet, Hans Barton – piano);15.03.04, M.Rosenberg Concert Hall, University of Bar-Ilan ( w Anton Dressler – clarinet);21.03.2007 “Musica Insieme contemporanea”, Aula Absidale di Santa Lucia, Bologna, Italy(Anton Dressler – clarinet, bass-clarinet  Giuseppe Andaloro – piano);27.03.2007 “Divinamente Roma” Festival, Capitoliny Museum, Rom, Italy  w Anton DresslerPublications: IMC (Manuscript)Recordings:“Creative Composition“  The Music Book, Chapter 7,Treasure Productions 2005Listen to Riddles (Movement 1)Listen to Riddles (Movements 2-4) The  piece  “Riddles”  for  clarinet  and  piano  was  written  in  1998  and  represents  a  four-part  cycle,last  three  parts  of  which  are performed attacca.First  part  is  opened  with  invariably  repeating, measured  sequence 

Performances: 14.06.2000 Felicia Blumenthal Musical Center, Tel-Aviv, Israel (Prize “Klon” receipt ceremony); Gabi Buckovsky (oboe),  Michal Mosek (horn), Oleg Stolpner (cello),  Uri Brener (piano) Publications: IMC (Manuscript) Listen HERE The piece was written as a reflection to the Midrashic commentary on the verses of Genesis 28:11, where it is stated that Jacob had took stones of the place to become a pillow for seeing perhaps one of the most illustrious dreams ever dreamed by a man – the vision of the Heavenly Ladder. According to Midrash, those stones then became one, and are associated with the so called Foundation Stone, which holds back the waters

Performances: Arts & Letters Club of Toronto 2007 – Rachel Mercer, cello; November 21, 2014 with Kristina Reiko Cooper at  HaTeiva Studio in Jaffa, Israel Publications: IMC Recordings :  EnT-T Records (“Room 2” 2008 and Dynamic Range – EnT-T Sampler 2013)  Rachel Mercer, cello  Listen HERE “Equinox” is a piece written by Uri Brener that has different ways of it`s performing setup. The acoustic solo version is actually just a hint of what is concealed within a seemingly simple melodic line. The piece was written as a kind of mega-canon, taking into consideration the harmonic ramifications of that particular melodic line, as uncovered by its exact repetition with a fixed one-bar step. Thus the additional acoustic version of the piece features four and

A piece composed at the beginning of the present millennium (2000),representing a global awareness of the Aquarius Age commencement.Later it became incorporated into the piano mega-cycle "Twelve Constellations" (2018) as an Aquarius Sign movement. Performances:  April 1, 2019  Raanana Music Center, Israel;  November, 09, 2021 Čiurlionis House, Vilnius Lithuania Publications: IMC Recordings: HYM (The Israeli Contemporary Music Project) by Hagai Yodan Listen to Awareness Music sheets samples: https://www.youtube.com/watch?v=rqjcS4_HN_g