Yitzhak Yedid Video
Musicista Israeliano
- pianoforte
- jazz
- Israele
- compositore, pianista
Ultimo aggiornamento
2024-04-28
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Yitzhak Yedid Levi Mercy 2002 2003 2006
Yitzhak Yedid "Myth of the Cave" Beginning of Part 5:"Delusion Reality" Yitzhak Yedid- Piano Nitai Levi- Clarinet/Bass Clarinet Ora Boasson- Double- Bass First Movement-The Crystal Hope Second Movement-Non Believer's Prayer Third Movement-Imaginary Ritual Fourth Movement-Liturgical Sorrow Fifth Movement-Delusion Reality / total time 61.08 Composition by Yitzhak Yedid Recorded Live at Vilnius Festival 2006 The composition "Myth of the Cave" is a suite in five movements for Clarinet/Bass Clarinet, Double Bass and Piano, commissioned by -between the lines-. It was composed by Yitzhak Yedid in Jerusalem, Israel, 2002, and premiered in Frankfurt, Germany, October 2002. The fundamental idea of the composition was inspired by Plato's philosophic metaphor "The allegory of the cave": Human beings sit in a cave, in chains, their backs to the entrance. The shadows of things moving outside are projected by the light onto an inner wall of the cave. As the prisoners have never been outside the cave since birth, they believe these shadows are reality. One of them succeeds to free himself and walks outside into the light. He realizes that he has lived his whole life in the shadow of an illusion. Delighted by his discovery, he returns to the cave to communicate it to the others. Violence erupts between he who ventured to the outside and those who do not want to understand. The story ends with the death of the only person to have ever gained an insight into reality. I see this allegory as an appropriate metaphor for the difficult reality of our time- a delusional reality, ignorance of the truth and of suffering in the world. The music expresses feelings of criticism, pity, prayer, mercy and a keen desire to recognize the truth. Performing the composition demands three different approaches of the players. The first approach is to play precise composed notes and rhythm with full commitment. Nevertheless, the player is expected to give a personal commentary, even up to changing or adding notes, if convinced of their necessity. The second is to express already presented feelings, thoughts and atmosphere, through deliberately guided improvisational structures. The third is a choice, either to compose a part thought out in advance, or to improvise without any previous thought. The composition contains five movements, each of them consists of parts which sometimes will reappear in the other movements as completing or repeating motives. One has to listen to the entire composition, to be able to understand the musical conceptual meaning. The fifth movement, "Delusion Reality", is a summary and a sober overlooking of the illusionary situation. It is built of a large number of themes, some of them already heard in the previous movements. The delusion appears at first with the piano solo surprisingly changing moods. Following, there is a clarinet playing representing the reality, being disturbed by the piano and double bass, which are not interested in accepting that. The Fugue which appears afterwards, symbolizes the irony. It passes quickly to a dramatic part played in unison, changing dynamics surprisingly and leading to the second delusion, this time played by all three instruments. The finale of the composition is a prayer, the same prayer of the second movement, but now, presented differently, without the non-believer's disturbances, hoping this time to be fulfilled. Yitzhak Yedid, January, 2003 (translated by Amia Boasson) Produced by- Franz Koglmann & Paul Steinhardt Artistic Director- Franz Koglmann If you wish to purchase the album, the best (and the cheapest) way is via Amazone.com: (http•••) (http•••) Hulelignelsen Höhlengleichnis Alegoría de la caverna Allégorie de la caverne Platons hulelignelse 洞窟の比喩 Mito della caverna Jüdische Musik Musique hébraïque Jüdische Musik Música judía Joodse muziek ユダヤ人 犹太人
Yitzhak Yedid Christian Lindberg Lindberg
Yitzhak Yedid : KIDDUSHIM VE' KILLULIM (Blessings & Curses) Christian Lindberg ISRAEL NK ORCHESTRA Kiddushim Ve’ Killulim (Blessings and Curses) Kiddushim Ve’ Killulim is an orchestral work that reflects on, or translates to music, emotions related to religion and faith. Kiddushim refers to sacred, spiritual and beautiful things, and Killulim refers to being harsh and provocative. The verse ‘Kiddushim Ve' Killulim’ sanctification and curses is in a sarcastic and bitter nuance and presents a paradox of: came to do blessing but ended up cursing, the opposite of "came to curse but found to be blessing" from Balak (the 40th weekly Torah portion). The work aims to challenge musical conventions through the synthesis of a wide spectrum of contemporary and ancient styles. Kiddushim Ve’ Killulim consists of twenty-eight tableaux, or musical scenes, which bridge between variegated compositional approaches originating from remote, opposing musical traditions. These parts combine diverse compositional approaches, stemming from contrasting musical traditions: from the East (Arabic influenced Jewish music, classical Arabic music, Maqamat and non-European ornamentations) and from the West (European avant-garde), thus connecting the ancient and the new. Kiddushim Ve’ Killulim begins with an uproar followed by a quiet, unnerving, and asymmetrical rhythmic section growing towards a slow-building climax, which reflects the key attributes of the work as a whole: energetic, passionate, and unyielding. Its few pauses are full of tension, catapulting continuous forward motion through its coherent transition from the chordal parts to heterophonic, multi-voiced sections. The section titled with the expression mark “Arabic-music like” is naturally woven through a chromatic transition to the first one. The texture travels naturally from chordal one to heterophonic, reflecting the sounds of “loaded and explosive” which inspired the piece. Kiddushim Ve’ Killulim deals with the integration of Sephardi Jewish tradition and contemporary Western art music. The piece offers various approaches to this exploration and introduce musical elements, including ornamentation and heterophonic textures, of Arabic-influenced Jewish music in a range of different ways and contexts. Therefor, my attempt in composing Kiddushim Ve’ Killulim has been to broaden the aesthetic resources of Western classical music through the incorporation of Sephardic-origin Jewish musical materials. In Kiddushim Ve’ Killulim I have looked specifically at the distinct heterophonic texture of Jewish prayers and Piyyutim (liturgical poems) of the Middle Eastern Sephardi-Mizrahi stream of Judaism. One major challenge that I faced was to create a semblance of the microintonations sound of prayers and Piyyutim, in which melodies serve religious purposes and are usually chanted (by singing or reading) in synagogues by its congregants, and to find a practical ways to instruct the performers on how to produce specific sonic outcomes. My interest in textures, derived from microintonations of Jewish tunes, led me to compose a multi-layered voice textures and to embedded a Baqqashot-Piyyut of Sephardic music into the sound of textural harmony in order to create a strange, surreal atmosphere. YITZHAK YEDID
Yitzhak Yedid (born in Jerusalem in 1971) is already one of the most important contemporary crossover artists between classical and improvised music. The label "Third Stream" does not fit him perfectly despite this. With his increasing age, his composition share is increasing in importance on one hand, and the improvised parts are interwoven increasingly closely with the parts written down in notes. On the other hand, his focus is even more clearly than previously on the experience of music which determined his life at a young age. As a child, he often visited Syrian synagogues, and Arabian, Orthodox Jewish, Hasidic harmonies and melodies always remain part of his research and practice in music. He takes them up again in a very special way in his composition "Arabic Violin Bass Piano Trio". It is a work in four movements, which is neither classical nor jazz nor even "world music". Instead, it is the merging of these components and a continuation of "Oud Bass Piano Trio" from 2005 in a certain way. Yedid composed the new work in Australia, where he has lived for the past few years, and it was first performed in Henry Crown Symphony Hall (Jerusalem) in March 2010. As with classical music by composers from Europe and the western hemisphere, it is meant to be heard in one sitting; the fields of tension, which the suite creates, are only developed then: between East and West, between classical and modern music, between the religious and the secular, and between composition and improvisation. And as little as the conflict in the Middle East dissolves into thin air, that is how little the tension of the music is dissolved and resolved. A challenge for listeners, who remain questioning and searching at the end, but neither without hope nor baffled.
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