Compositions

ORCHERSTAL & VOCAL WORKS

“BLINDNESS” Musical episodes inspired by Saramago’s novel

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“Blindness” is a fictional story of an unexplained mass epidemic of white blindness afflicting nearly everyone in one society. The blind people were quarantined in a filthy, overcrowded asylum, forcing them to survive in a place where living conditions, and morale degraded horrifically in a very short period of time. Violence, disease, and despair threaten to overwhelm human coping.Only one woman has escaped the blindness, the wife of the doctor. She leads a group of blind people to the outside world, where the breakdown of society is near total. Now they need to establish a new order to their lives.
“Blindness” raises profound philosophic questions about the nature of human kind, about humanity and socitety. The tale becomes a record of the characters spiritual lives and the dignity to which they cling.

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About the composition:
The piece is composed for a symphony orchestra. it consists of four episodes that display different emotional states presented in the novel – I had no intention for the music to describe the plot of the novel, but rather to pick substantial moments and images which inspired me to express them in sounds. The musical language of the work begins with a 12 tone system (first episode) representing the chaos, and gradually changes into full Harmony approach (last episode). The thought about the sensitivity of blind person’s to sound – has led me to use colorful and delicate orchestration, with the use of sounds effects, clusters, and polyphony.
a special part was assigned to the Flute which symbolizes the eye doctor’s wife, the only person that can still see.

First Episode – “Lost in White light” – The composition opens with a mysterious atmosphere. The orchestra represents the society that was struck by the “white blindness”. Soloists play for brief moments, symbolizing the people who are suddenly becoming blind. These people are searching their way: sometimes they move carefully, but sometimes they crash dramatically. The main motive is chromatic and no sense of harmony base is present.

Second Episode –”At the Mental Hospital”– This episode is divided in two parts: the first part is a March Macabre, which describes the absurd situation of the soldiers guarding the asylum. They guard the blind people, with cruelty without knowing that they are also destined to become blind. The second part describes the life inside the “mental hospital”; the music is full of syncopated energy and motion, the brass section is leading with short agitated calls.

Third Episode – “The Group of Blind People” – After braking free from the madhouse, a group of blind people attempt to survive outside in a world full of “white blindness”. Cared for largely by the eye-doctor’s wife, who still sees, they try to create a new reality. The music opens with a motive from the first episode. A flute plays a cadenza that leads to an apocalyptic theme played in unison by the strings which symbolizes the unity of the group members in a devastated world. The theme consists of an expressive phrase made up of perfect acsending fourths that create a sense of striving ,  After a chaotic peak – a musical interlude leads to the final episode.

Fourth Episode – “Lament”– A wide and harmonic string melody expresses the grief for the lost of dignity, and the life as they knew it. A simple ostinato of three notes is played by a vibraphone, piccolo, and pizzicato, is constantly present at the background, creating a monotonic effect – a kind of “life rhythm” which is stronger than any tragedy. The ostinato sometimes clashes with the lamentation harmony, but mostly completes it.
The composition ends with a long chord with no resolution. Leaving us with a question mark, but also with a sensation of hope.

The work sponsored by MIFAL HAPAIS.

Instrumentation:
*2fl-1ob-1E.h-2cl-2fg-2Cor-2tp-3Trb-1Tuba -2 prc players-Strings + Narrator (Optional)

Duration: 17 min. (14 min. without text)

Première: May 2008 Israel Kibbutz Orchestra. 9 concerts

Yaron Gottfried, conductor

TIME DIMENSIONS

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Yaron Gottfried: Time Dimensions

The work deals with the dimension of time. Time is defined by change and is dependent on it. In writing my work I was exposed to many articles on the subject, to philosophical theories, various scientific concepts and to recurrences and continuity that determine the course of life.

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I especially liked that the more I delved into this complex and mysterious concept, the more freedom I had to express the diverse ideas through unique, multi-layered tonal expression, as well as varied use of compositional techniques and computer technology. The text of the work is from Genesis 1:1: “In the beginning, God created…”, as well as from Ecclesiastes 3: “There is a time for everything, and a season for every activity under the heavens: A time to be born and a time to die…” The work also includes a narrator reading in the background the poem “Supernova” by American poet Derek Glass that deals with the creation of galaxies and the universe.

The work is written for choir, orchestra, solo soprano and a computer program that was prepared in advance and “played” in real-time. The musical language is diverse and features sound samples from other works of mine, samples of the choir and the soloist, samples of narration, etc., which have all been computer-generated and received a new meaning and identity.
Together with the computer program, throughout the work there is a journey to various musical periods – Baroque quotations and rhetoric, based on an aria from Handel’s “Samson” in a contemporary and innovative version, construction of orchestral layers that create tonal galaxies, use of dodecaphonic language, harmonic language and melodic approach. Another musical and symbolic element is the beat that drives the work, which is the tempo of the second hand (sixty beats per minute). This tempo is kept, even when it seems like the music stops and time is prolonged. In the second half of the work the tempo changes and symbolizes that time is a subjective and relative concept – especially in music – which is a sophisticated game in time…

“Dimensions of Time” is played continuously, but comprises four main parts. The first begins in an alienated, brassy and somewhat stressful atmosphere. In the strings one can hear frequencies rather than a defined melody or rhythm, and these demonstrate the void a moment before the creation of the world. The choir sings the first verse melodiously, and from here the music accompanies the text like a sound-track of the creation of the world. When the soloist enters the music becomes soft and harmonious and leads us to the second part. This is dominated by the piano in a long series of chords, which create a sense of heavenly and meditative tranquility. In the background, the narrator reads the poem “Supernova”, while the violins play long and high lines.
The third part (Allegro spirito) opens with a vigorous Baroque motif from Handel’s oratorio Samson. This motif serves as a basis for the development of the movement, and leads to an atonal Jazz fugue, written in serial technique. The text from Ecclesisates, “There is a time for everything, and a season for every activity under the heavens” is sung over the background of a Swing rhythm. After a fugue, there is a return to the celestial meditative tones and the continuation of the rendition of “Supernova”.
The fourth and concluding part is an expressive March (Lamentoso), minimalistic and personal, which expresses the fatalism of existence and the loneliness of man in the face of the universe; the belief that all that occurs in a person’s life is determined by fate (fatum) and man has no power to change it. Against this march the soloist sings an aria taken from Ecclesiastes, “A time to be born and a time to die, a time to plant and a time to uproot…” The choir joins her in a dialogue, at the end of which we return to the ending of the fugue we already heard. In the concluding section, in which the words “A time for peace” and the final narration of “Supernova” are juxtaposed, the instruments gradually stop playing, creating an atmosphere of floating and lack of gravitation.
The work ends with an explosion effect, symbolizing the fragility of our existence and the universe’s indifference to it.

The work was commissioned by the Ma’ayan Choir.

Texts:
Genesis 1
In the beginning God created the heavens and the earth. Now the earth was formless and empty, darkness was over the surface of the deep, and the Spirit of God was hovering over the waters. And God said, “Let there be light,” and there was light. God saw that the light was good, and he separated the light from the darkness. God called the light “day,” and the darkness he called “night.” And there was evening, and there was morning – the first day.

Ecclesiastes 3: 1-8
There is a time for everything, 
   and a season for every activity under the heavens:
a time to be born and a time to die, 
   a time to plant and a time to uproot, 
a time to kill and a time to heal, 
   a time to tear down and a time to build, 
a time to weep and a time to laugh, 
   a time to mourn and a time to dance, 
a time to scatter stones and a time to gather them, 
   a time to embrace and a time to refrain from embracing, 
a time to search and a time to give up, 
   a time to keep and a time to throw away, 
a time to tear and a time to mend, 
   a time to be silent and a time to speak, 
a time to love and a time to hate, 
   a time for war and a time for peace.

TRANSITIONS

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When I began composing this piece, I could not escape the symbolic nature of the occasion of its first performance date, which was set for the very beginning of the new Millennium.

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I did not intend to compose any revolutionary music for this occasion, but rather to create a dialogue with the audience and ask some questions related to the change of the millennia. What kind of events and developments may we expect? Are we going to be computerized and programmed to the point of losing emotions?

Are we heading for wars and destruction or perhaps to reconciliation and peace on earth?

These universal questions are the foundation of this work.

The composition has four movements that are played without interruption.

The first is a sort of prologue with a lyric character. It opens with the sound of church bells and a horn solo which represents the call of the individual.

The second movement is constructed from a number of quite motives played against a background Ostinato that accompanies the entire movement and leads at the end to a solo violin cadenza.

The stormy, emotional third movement symbolizes the agitation and insanity of life in our times. The movement reaches a chaotic climax after which it gradually descends until it dissolves into the fourth tranquil movement. An optimistic theme, full of hope and romanticism is presented with a rich orchestration. The work closes as it began with the solo horn and the church bells, this time with a completely different meaning.

 

The work was commissioned and premiered by the Rishon LeZion Symphony Orchestra.

NEW FANFARE

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This work was commissioned by the America-Israel foundation especially for Israel’s 56th Independence Day celebration concert.

The work, written as an overture, celebrate the festive nature of the occasion – the spirit of independence and the symbol of freedom on one hand, as well as the difficulties, and the struggle that the State of Israel is facing daily in order to maintain its independence.

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The two contrasting moods are presented by two themes: After a short fanfare-like overture the first motive appears – fast, agitated and restless. This is in fact the motive that searches for ways to develop, and every time discovers itself anew. The strings present the second theme, which brings a melodic and optimistic character influenced by Jewish music. The conflict between the two motives leads the piece to its climax, and it ends with glory and optimism.

 

Instrumentation:
Picc-2fl-2ob-1E.h-2cl-2fg-4Cor-3tp-3Trb-1Tb-tmp+3-Hp-Strings

in one movement

Duration: 6 min.

Première: 2004 Jerusalem Symphony Orchestra.

Nir Kabaretti, conductor

This work was commissioned by the America-Israel foundation especially for Israel’s 56th Independence Day celebration concert.

Yaron Gottfried / Tehila Shalom “Amaryllis in the snow”

 

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The work was written for three songs from a cycle of poems by Tehila Shalom, my aunt who passed away at 2016 at a relatively young age, she suffered from mental problems that broke out due to unrequited love at the age of 16.

She was an artist in her soul, writing poems and painting, and through art she found a way to express her tormented and romantic soul and yearning for love. The poems are mostly written for a lover who has abandoned and created a unique inner world, using rich images of nature, expressions of yearning for moments of intimacy, physical sensations and a world of escapism.

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The composition is written for soprano and Trio ( piano, violin and cello ). The process was quickly completed within a few days. I had a clear sense about the nature of the music and the notes came out of the text. The singing part rises from the musical introduction of the ensemble. It presents an intertwined, intersecting, sometimes hesitant and reinforced statement from the trio- questions and answers. The piano has a leading role in painting the harmonies, in general it seems as if  the trio knows the text and interpret it, supporting the soprano by deepening the images and completing the fragments, the last word will almost always be theirs.

Each song is built around a central musical motif that leads it develops during the song. The poems emanate from the silence and apart from one peak of Forte the rest is conducted in an inner world of thoughts that needs a quiet space to exist. The three songs are:

I kiss the earth for my beloved Alice

Unresolved chords create tension at the intro and invite us into the inner world of the song. The singing is in an almost recitative manner. The opening musical motif returns in the instruments and serves as a bridge between the sentences sung, the song reaches its harmonious resolution at the end.

Starlight

The song is composed of three parts and a coda. Each part progresses energetically, the tempo and rhythm change and increase creating a sense of progress. The trio often completes the melodic line as if singing it. The final part climbs with a repetition of the words starlight, and finally comes a long romantic coda that brings the song to a surprising conclusion on a new and sudden scale.

Summer Burn

The musical motif creates a hypnotic circular feel of a spring of a summer breeze that moves the wind chimes. the atmosphere is meditative and loose and it seems as if it is free in time and bars. The inspiration comes from minimalist music. The piano begins very soft with a fixed asymmetrical figure that repeats itself but changes slightly, the strings play long notes and the song hovers over long lines above in a meditative movement. Every change leads to the next event and in fact there is no sense of structure but only slow progress from point to point, for times the music almost stand still and then returns to movement. The end of the song comes with a sudden sharp forte chord.

CONCERTOS

CONCERTO FOR ELECTRIC GUITAR

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The concerto evolved following a deep acquaintance with guitar player, Avi Singolda and his musical abilities and techniques. The work was premiered by the Camerata Orchestra in 1998 and since has been performed by the Israel philharmonic orchestra, Israel kibbutz orchestra and the Israel chamber orchestra. The work has also a unique Video art that was specially created by the video artist Yael Toren to visualize the first movement.

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At the process of composing I was especially interested in exploring the wide possibilities of sounds and blends between the electric guitar (with effects) and the string orchestra plus percussion. During the work the guitarist uses presets with various styles of sounds which completely change the atmosphere and the character of the music. I was also searching for expressive ways to present the E.Guitar as a unique solo instrument within the classical acoustic world.

The work has three movements:

Full Moon
depict a mystic ceremony, it starts with duet between the guitar (using delay and chorus effects) and percussion. The strings join in with warm harmonies and lines with long expressive characteristics. In the second half of the movement the mood changes – the strings expose a dramatic new theme which the guitar will work out to a dramatic climax. Towards the end of the movement the mood shifts back to being calm and mystic.

Second movement – Miniature
This movement is structured in an A-B-A form, the A part is some what delusional and detached, while the B part is very earthy and brings a cheerful countryside dance.

Third Movement – Stormy
This movement is characterized by constant waves and “perpetum mobile” textures in the strings. It is full of passion and lyric melodies “Sang” by the Guitar which is using an overdrive sound effect. The work comes to an end with a climax with a guitar improvisation of this part is identical to the storm and the opening.

Instrumentation:
E.Guitar+ Multi effect, Strings (min 6-6-4-4-2), 1 Prc player –B.D, Low tom, Snare, Cymbal, Tambourine, Wood block, Triangle, Large Gong, Glock, Marimba & Bells.

Duration: 15 min.

Première: 1998 Israel Camerata Orchestra. Guitar Solo, Avi Singolda.

Yaron Gottfried, conductor

Other Performances:
Israel Kibbutz Orchestra (9 concerts during March 2005), Cond. Yaron Gottfried,
Israel Philharmonic orchestra (March 2002), Cond. Menachem Nevenhuis
Israel Chamber Orchestra (3 concerts during June 1998)
Guitar Solo: Avi Singolda.

DOUBLE CONCERTO FOR TWO VIOLINS

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This work was commissioned by the Israeli Broadcasting Authority for the opening of the “Etnachta” 2001 Concert Season, and was premiered with the Israel Chamber Orchestra in a live broadcast of the “Voice of Music” Radio Station.

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The Concerto is based on the form of Bach’s double Concerto. Both works have similar instrumentation and the parts: Allegro, andante, Allegro, but this is where the resemblance ends.
The Concerto’s music material is inspired by two completely different music genres; the Eastern European folk music on one hand and the folklore of India on the other. In both, the dancing rhythms and the typical scales are dominant.

The work puts the two soloists in a kind of dance duet. A wide range of situations and emotions that the “couple” experience is displayed here: collaboration, dialogue, competition, anger, a search for an individual voice and the gentle balance needed to keep intact a relationship.
The work opens with a Raga Dance, based on a scale of five notes (raga) with a typical Indian color. The movement begins with a multi-layered and dense texture which sets the mood for the soloists to present the theme in unison. After the opening an intimate dialogue leads to a hectic and energetic allegro in which the soloists compete and imitate one another.

The Serenade presents a slow and romantic theme in the form of A-B-A with a nostalgic and sentimental feeling. The Scherzo, also in a form of A-B-A, is a fast rhythmic movement full of agility and joy, based on a five note Raga. The coda presents an asymmetric pattern, acting as a background sequence for the soloists to play in a free and somewhat wild atmosphere till the ecstatic end.

The work is dedicated to my wife Tali.

 

nstrumentation:
Strings minimum of 4-4-3-3-2 – piano(optional) 2 solo violins

Duration: 15 min.

Première: 2001 Israel Chamber Orchestra. Soloists: Vladimir Raider, David Braude.

Yaron Gottfried, conductor

Other Performances:
The Berlin Soloists orchestra , Armonia Festival in Italy August 2007 Cond. Zvi Carmeli
Soloists : Kineret Shiradsky, Yulia Freidin
Israel Kibbutz orchestra (9 concerts during November 2002), Cond. Yaron Gottfried
soloists: Gilad Hildesheim, Ella Vaulin.

CONCERTO FOR PERCADU

The work was commissioned for the brilliant percussionists’ duo “Percadu”, by the Jerusalem Music Center “Mishkanot Sha’ananim“. It was composed in December 2004 during tenure at the wonderful MacDowell Colony in New Hampshire and with the support of the I.C.Excellence Foundation

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The concerto is written for two full range marimbas plus a various percussion instruments and an orchestra. This is an energetic, dynamic and ecstatic work very much influenced by African rhythm patterns. The distinct sound of the marimbas is fully demonstrated throughout the work due to the unbelievable performance and talent of the soloists which challenge and balance each other in a kind of a spiritual virtuosi dance.

The opening “Tornado” movement is based on two contrasting themes; one is short and explosive and the other melodic and delicate. The contrast between the two and the use of unresolved harmonic cycles, keeps the tension and the spirit of the music during the different sections of the movement.

The second (final) movement “African Dance” is robust and savage, full of rhythmic patterns and cycles. It is in a Rondo form, and opens with an abstract Safari picture rich in percussion sounds. A sweeping ritual dance played on marimbas sets the basis for the entire movement. The different sections of this movement have a distinctive tribal and powerful character, with constant movement and some Jazzy improvisatory character. Special attention should be made to the solo percussion coda of the duo, which brings the work to its ecstatic finale.

The concerto was premiered by the “Israel Kibbutz Orchestra” in a series of 9 concerts during March 2004

 

Instrumentation:
*2fl-*2ob-*2cl-2fg-3cor-2tp-1trb-Str-Hp-tmp+ 2 Solo Marimbas, 2 sets of 3 toms-cowbell,3 temple blocks.

Duration: 20 min.

Première: 2004 Israel Kibbutz Orchestra. Soloists: “Percadu” – Adi Morag, Tomer Yariv

Yaron Gottfried, conductor

CLASSICAL MEETS JAZZ

“PICTURES AT AN EXHIBITION-Remake”

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“Pictures at an exhibition- Remake” by Yaron Gottfried after Mussorgsky for Jazz trio and OrchestraThe world premier was held in September 2011 with Yaron Gottfried’s Trio and UNO orchestra
from Beijing, and Wuhan concert hall (in trio version) and “9 gate festival” in Beijing

This remake brings a new revolutionary and contemporary interpretation based on the timeless masterpiece by Mussorgsky. It is presented as complete suite of 12 movements arranged, composed and orchestrated for Jazz trio (Piano, Bass, and Drums) and an orchestra of wind instruments, vibraphone, organ and strings ensemble.

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The melodies and themes of Mussorgsky’s original version are dressed in new colors and inspire the creation of new forms for the jazz trio to improvise on. Each movement is approached differently (with respect) while it is being transformed into a live authentic encounter between classical and jazz, between written material and improvisation, while the overall mood of each picture as well as the naturalism approach of Mussorgsky is very much kept alive.

The Making of the remake..
The idea of bringing the original work by Mussorgsky together with Jazz vibrated in my mind for few years now , it comes after I released another project ” the Baroque Jazz Project ” which has been very successful and performed in many halls and orchestras world wide. In my first china début concert in 2008 I presented part of the project at the forbidden concert hall .in 2010 I came back there and performed five movements of the remake of “pictures at the exhibition” as part of a complete program, the reaction from the audience and the manager of the forbidden city concert hall was incredibly good and I immediately received an invitation to come back with the Full complete work.

Pictures at an exhibition- Remake

Promenade2 -Pictures at an exhibition Remake

The Old Castle

CAPRIOL JAZZ SUITE

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Peter Warlock’s “Capriol Suite” for strings, published in 1588, was based on tunes from Arbeaus Orchesographie. The “Capriol Jazz Suite” though a completely new arrangement of the same original tunes, is also influenced by Warlock’s work. The choice of this particular suite was not incidental. The unique baroque rhythms, beautiful clear melodies, and the short and repeated musical forms are perfectly suited for development and improvisation.

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The work is written for a chamber orchestra and a Jazz trio (Piano, Contrabass and Drums) which function as a soli group. Each movement includes an open improvisation section for the jazz trio.
In the process of composing, I was careful to keep intact the baroque quality and character of the original dances while creating a constant dialogue between the trio and the orchestra. The suite consists of four movements based on the original motives and melodies: Basse Dance – energetic and resolute, Pavane – with the pure choral melody, Pied-en-lAir – romantic and expressive with an exceptional improvised piano cadence, and Tordion-sweeping asymmetric rhythm patterns, featuring the drums and closing the work energetically with a forceful coda.

The work was commissioned by the Israel Chamber Orchestra, and since its premiere at the “Eilat International Chamber music Festival” it has been successfully performed worldwide with orchestras such as: Israel Kibbutz Orchestra, Haifa and Jerusalem Symphony Orchestrsa, Brazos valley Symphony Orchestra,  Neues Kammer Orchester Potsdam ,the Vancouver Symphony Orchestra, Manila symphony , Portland chamber orchestra ,  and at the Forbidden city concert hall among others.

THE WELL TEMPERED UNBALANCED PIANO

The inspiration for the work derives from the great masterpieces “The well tempered piano“by Bach.
As a pianist I have an on going relationship with that work which sets very high demands both musically
and technically. When I was commissioned by the “Voice of music at the upper Galil festival” to compose
a new work based on Baroque themes, I have decided to base my work on some of the preludes and
fugues and create my original impression and interpretation to that work.

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The work consists of 6 pairs of movements and a finale presented like a gallery of miniature pictures.
Each with its own style, colors, shapes and curves. Yet as whole the pieces form a homogeneous composition and create a feeling of continuity. Before each movement Bach’s original fugue is presented, orchestrated for a variety of small chamber groups. The orchestration was made for a chamber orchestra
plus a Jazz Trio, functioning as a soli group that takes care of the improvisational parts.

The first movement
Bach: Fugue in D minor (from the second book) orchestrated for flute, clarinet and bassoon.
Gottfried: The movement makes use of various sound effects and intentional deformation of the theme.
The overall feeling is of minimalism and contrasts. The jazz trio improvises on a 16 bar form.

The second movement 
Bach: Fugue in G minor (from the second book) orchestrated for a string trio
Gottfried: The theme is dressed up with new harmonies and a sweeping orchestration.
The B part is tranquil, and the trio’s improvisational part is meshed interactively with the orchestra.

The third movement
Bach: Fugue in f Major, (from the first book) orchestrated for flute, clarinet and bassoon.
Gottfried: the movement is turned into a soft standard like jazz ballad, presented by the Jazz trio.

The fourth movement
Bach: Fugue in C minor, orchestrated for a sting trio.
Gottfried: Prelude in C minor. This movement is based on the original prelude, and presents a struggle between conflicting elements: movement opposed to static, forte against piano, and the jazz trio opposite
the orchestra. The musicmoves towards a bursting coda. An improvised piano cadence creates the reconciliation with a C major chord.

The fifth movement
Bach: Fugue in D minor (from the second book) orchestrated for oboe, viola and bassoon.
Gottfried: This movement consists of two parts, both energetic and flowing. The musical language of the
first part is somewhat abstract, filled with dense textures and diffusing motion, changing intensity and
curves, and a feeling of chaos. Throughout this part, the sound of a church organ created by the wind instruments keeps popping out. A drum solo signals the transition to the secondpart. The jazz trio, with
a new melodic direction and a jazzy, high intensity, Coltrane- like feel, introduces a new modal version
of the theme.

The six’s movement
Bach: Fugue in e minor (from the first book) orchestrated for a piccolo and bassoon.
Gottfried: Prelude in E minor.  This is a melancholic version of the prelude, I have used the original left
hand ostinato by Bach as a basis while the part of the right hand is omitted and instead the piano
improvises freely on top, this is also presented only by the Jazz trio members. 

The Seventh finale movement
Gottfried: (in B from the second book) is of a pastoral and tranquil character. The theme is played in three different keys, each time with a different orchestration, followed by a wide open section for jazz improvisation in the key of B major, creating a meditative and relaxed atmosphere. After a drum solo (played by hands, to produce a gentle percussive quality sound) a reprise followed by short coda brings the work to its lively finale.

The work was commissioned by the “Voice of music at the upper Galilee festival”. Since its first performance by the Festival orchestra, it was performed by the: Israel Kibbutz Orchestra, the Neues Kammer Orchester Potsdam (Germany), the Beer Sheva Simffonieta, and the Salta Symphony orchestra (Argentina).

Instrumentation:
2fl-2ob-2cl-2fg-2cor-2tp-Strings-Vibraphone + Jazz trio : (Piano, Contrabass and Drums)

Duration: 40 min.

Première: 2001 Kfar Blum Festival Orchestra Yaron Gottfried, conductor
Piano: Yaron Gottfried, Bass: Yorai Oron, Drums: Eitan Itzkovitch.

Other Performances:
Salta Symphony orchestra (Argentina-August 2007) Neues KammerOrchester Potsdam (January 2006), Symphonietta Beer-Sheva (June 2004), Israel Kibbutz Orchestra (March 2003). All conducted from the piano by Yaron Gottfried

“SWINGS” MOZART

This work was commissioned by the Neues Kammerorchester Potsdam and the Ra’anana Symphonette Orchestras for the 250 celebration of Mozart’s birth.

Written for a Mozart size orchestra and a Jazz trio – Piano, Bass and Drums as a soli group, The work has three movements: The first 2 movements are related to each other and together form one episode, connected by thematic material.

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The short overture functions as an introduction to the first movement (Allegro Molto) and opens with a viola rhythmic figure, inspired by the first two opening bars of Mozart’s 40 symphony. The theme develops as it goes on, and becomes agitated and intense. The Jazz trio expresses the intuitive character of the music by a repeated 16 bar form of free improvisations, followed by a forte orchestral block chords.

The first movement – Allegro Molto, is a Jazz version of the entire first movement of the 40th symphony. The Jazz Trio functions as a rhythm section group, providing the background for the orchestra. The famous G minor theme is twisted and presented in syncopated block chords. The improvisation part makes use of the B flat major key (as in the original) on standard “I’ve Got Rhythm” changes. A free bass solo on G minor brings us back to the recapitulation and the coda in which echoes from the opening overture are heard.

The second movement – Andante presents a different character to the work and is based on the Andante of the “Linz” symphony no.36. I chose this movement due to the sweet and tranquil serenade like melody, and the contrast it presents to the first episode. The movement opens with the original 12 bars as Mozart wrote, followed by the Jazz trio presenting a “Jazzy” soft ballade version of the melody. The 12 bar form is also the basis for the first improvisational part of the trio, accompanied by the orchestra. A short transition leads to the second improvisational part, now in a minor key. A colorful recapitulation brings back fragments of the melody, presented in a sense of free time which leads the work to a calm end.
Instrumentation:
2fl-2ob-2cl-2fg-2cor-2tp-Strings-Vibraphone + Jazz trio : Pno-Cb-Drums

Duration: 20 min.

Première: Raanana Symphonett (April 2006)
Piano: Omri Mor, Bass: Oded Goldshmidt, Drums: Rea Bar–Ness, Conductor: Nir Kabaretti

Other Performances:
Israel Kibbutz Orchestra (March 2006) Potsdam chamber orchestra (January 2006) Beijing Xinkongqi orchestra (China Nov.2008) Conductor and pianist: Yaron Gottfried

ARRANGMENTS

TWO IRISH SETS

The Traditional Irish Music includes a wide variety of songs and instrumental works that have passed through generations of composers and performers. This is a long living tradition of live folklore music that is kept and generated in the memory of the musicians and performers, and most of it is never written in notes. During the 20th and 30th of the 20-century the Celtic music gained popularity with the flourish of many bands and ball dances. The main purpose of the music is to function as dance music and it was always part of social gatherings – parties, weddings, dances, festivals.

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The Irish sets are based on original Traditional Irish tunes.  The idea behind the wok is to bring the traditional Celtic music in to the concert hall while keeping the authentic feeling of the music. The work is orchestrated for an Irish band which functions as a small Soli group and an orchestra which enhance the effect by adding textures, colors and lines. The overall effect is sweeping, energetic and of great timbre, keeping the tradition of the dancing parties.

Each Set is formed out of several short tunes. The First Set consists of 4 tunes: Bhuilis – played by the flute almost freely. The Swallotaill Reel – a dancing tune in 4 quarters rhythm, Gravel Path to Granny – a dancing tune in 4 quarters rhythm, (Reel). Springfield Road – an optimistic song from the beginning of the 20th century about a love story between two young factory workers.

The Second Set is formed out of 3 tunes: Donal agus Morag – A wedding song from the Donag
counter in west Ireland, the song tells about the guests the drinks and food in the wedding.
Julia Deleine – An ecstatic dancing tune (Reel). Over the Moore to Maggie – a happy optimistic
dancing tune (Reel).

 

nstrumentation:
*2fl-*2ob-2cl-2fg-2cor-2tp-Strings-tmp+2-Hp+ Irish Band: Irish Fl, Gtr, Vl, Vocal (optional)

Duration: Each set is 7 minutes

Première: Israel Chamber Orchestra, Cond. Yaron Gottfried, with “Irish cream” group, January 2002
at the Red sea Classical Festival

Other Performances:
Santa Barbara Symphony Orchestra (March 2007), Symphonietta Beer Sheva (May 2006)
Israel Kibbutz Orchestra in 8 concerts (January 2003)

TWO RUSSIAN SETS

These arrangements are based on traditional Russian folklore songs which inspired many of the Great Russian composers as Glinka, Moussorgsky, Tchaikovsky among others. The unique color of the music is fully demonstrated in these arrangements, which make a perfect highlight for any Russian music program.

Kalinka: based on a folk song from mid Russia, this is a story of a girl talking to a tree confession on her hurt breaking love.
Two Step: A couple dance based on a traditional song titled “The generous child” from the early 19th century.

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instrumentation:
*2fl-*2ob-2cl-2fg-4cor-2tp-1Tb Strings-tmp+2, Russian Band: Balalaika, Domra, Bayan (accordion) Bass.

Duration: Kalinka – 4 Minutes, Two Step – 6 Minutes

Première: Israel Kibbutz Orchestra, cond. Yaron Gottfried, with “Master quartet” Russian band,
November 2004 at a Concert series

BRAZILIAN MUSIC – BOSSA NOVA SONGS

The arrangements were written especially for a series of 9 concerts dedicated to Brazilian music.
5 more arrangements are available to complete a full half of a concert.

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Instrumentation:
*2fl-*2ob-2*cl-T.sax-2fg-2cor-2tp-1Trb – Pno-Drums-Gtr-Bass-Strings-1prc, Solo Alto vocal

Première: Israel Kibbutz Orchestra, Cond. Yaron Gottfried, with Mauch Adnet, May 2004
at a Concert series

SYMPHONIC ARRANGEMENTS FOR POP SONGS

Wonderful Guy – from Oklahoma – for Soprano
You’ve got a friend (Carol king) – for Alto
The Show must go on (Queen) for Soprano
La Vita e bella – Life is beautiful – Nicola piovani- for Soprano
Youkali – Kurt Weil – for mezzo soprano

CHAMBER WORKS

Out Of Your Mind

The duet “Out of your mind” for violin and cello was specially composed by the request of the violinist Elina Gurevitch.  It consists of one short and virtuosic movement in two parts. This extrovert music emphasizes pentatonic scales and improvisatory conception, and uses rhythmic figurations that draw their inspiration from the world of rock and pop.

Wild sensation and bursting energy dominate the piece which does not have lyric moments, or long and soft melodic themes.

At the second part of the movement the ambience changes: a canonic dialog between the instruments introduces a new motive that repeats arpeggiated chord in different forms, and creates circular and meditative feeling.

The piece ends with a repetition of the temperamental opening motive.

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Soon

FREE MEDITATING

Free Meditating by Yaron Gottfried

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JAZZ COMPOSITIONS

JAZZ COMPOSITIONS

Tunes:
Modern Zone
One for Chick
Cycles Don’t know why
My Tenor madness
Empty space
The spirit of chopin
Kleine trio stucke – after Schonberg

Big Band Arrangements:
Dror Yikra (Yaman Tune)
The Nephew of the Pink Panther (winner of the International Red Sea Jazz Festival competition)