Art

 

FUGUE

By Tzvi Avni, 2009

 
 

The geometric patterns describe the music in this order: First subject, Bridge, 2nd subject, Closing section, Exposition, Development of these materials with contrast and changes, Reprise, and Coda.

 
 
 
 

Datechi

By Sheba Sharrow, 1998

 

The expressionist painting of the body was painted by my close friend, artist Sheba Sharrow, showing the aggressive movements of the body over the text. It is based on my music with text of the poems of Primo Levi.

 
 
 
 

Untitled collage

2010

 

An abstract paper collage by students in a class for the IPO teachers at Mafteach, taught by Judith Spitzberg, interpreting their feeling of the music of my composition, The Game Machine. You can see the mechanisms, gears, commotion and final Boom!

 
 

Apropos Klee

 

four pieces for mixed choir, piano, clarinet, bass clarinet (1 player), and percussion (1 player) on paintinfs by Paul Klee (2000). 17'

 
 

Paul Klee has always seemed to me the most musical painter of the twentieth century. His ambition, as well as that of Kandinsky, was to come in his paintings as close as possible to the abstract world of sensations characteristic of music. This finds its expression in endless variations: at times, it is expressed in a rather direct way in paintings like The Drummer, Heroic Fiddling, Fugue in Red, etc. At times the approach is more subtle as in Ancient Sound, Pastorale, Harmony of Northern Bloom, Polyphonically Shaped White, etc. However, beyond the titles of the paintings, Klee's world is basically a lyric-colorful-structural one, nearing the essence of music more than that of any other painter.

Klee himself was a highly professional violinist and early in his life he considered embarking on a musical career, but he came to the conclusion that painting was more appropriate for his spiritual world and poured the music of his soul onto the many canvases he painted. Most of his paintings are of small dimensions and many of them remind me of the term "Moment Musical", both as far as size and concentration on few basic elements are concerned.

In this work, my relation to the paintings is sometimes free-associative and sometimes more direct.

The work was commissioned by the Saarland Radio Choir directed by Georg Gruen and was premiered on October 1st 2000 at the Hannover Expo 2000.

In the first movement, Benedictus inspired by Alter Klang (Ancient Sound) my point of departure was the voice leading and harmonies characteristic of early church music. The choir sings a-capella a verse from psalm 118 (Benedictus qui venit in nomine Domini).The use of Latin (rather than the original Hebrew) was meant to add to the archaic, church-like atmosphere. However, later in the movement we move on to a world of more abstract sonorities belonging to our time.

In the first movement, Benedictus inspired by Alter Klang (Ancient Sound) my point of departure was the voice leading and harmonies characteristic of early church music. The choir sings a-capella a verse from psalm 118 (Benedictus qui venit in nomine Domini).The use of Latin (rather than the original Hebrew) was meant to add to the archaic, church-like atmosphere. However, later in the movement we move on to a world of more abstract sonorities belonging to our time.

In Fuge in Rot (Fugue in Red) the first part of the piece consists of instrumental fugato sections. Later on the choir joins in with a recited fugal exposition, which towards the end transforms into singing. The German text occurred to me while composing the music.

In Fuge in Rot (Fugue in Red) the first part of the piece consists of instrumental fugato sections. Later on the choir joins in with a recited fugal exposition, which towards the end transforms into singing. The German text occurred to me while composing the music.

Insula Dulcamara is one of Klee's most famous paintings. It turns out that Klee had first intended to call it The Island of Calypso based on Homer's saga about Odysseus. However, he then thought this title was too obvious. As a suitable text for this movement I found a beautiful, picturesque poem by the Israeli renowned poetess Lea Goldberg, describing the agony of the forsaken Calypso.

Insula Dulcamara is one of Klee's most famous paintings. It turns out that Klee had first intended to call it The Island of Calypso based on Homer's saga about Odysseus. However, he then thought this title was too obvious. As a suitable text for this movement I found a beautiful, picturesque poem by the Israeli renowned poetess Lea Goldberg, describing the agony of the forsaken Calypso.

Die Zwitscher-Maschine (The Twittering Machine) has already stimulated a number of composers to write music on this theme. I chose to use in my music vocal sounds and syllables which have only a sonoric meaning. Sometimes these "quasi-words" were composed before the sounds and sometimes vice versa. At times it happened simultaneously.

Die Zwitscher-Maschine (The Twittering Machine) has already stimulated a number of composers to write music on this theme. I chose to use in my music vocal sounds and syllables which have only a sonoric meaning. Sometimes these "quasi-words" were composed before the sounds and sometimes vice versa. At times it happened simultaneously.

 

The Three Legged Monster

 

a musical legend for narrator, orchestra & piano (1965). Text by Hanna Yaddor-Avni, b"h. Optional illustrations to be projected at the performance by Lucy Elkivity. 24'

 
 

In this musical legend for narrator, orchestra, and piano, the twin violins Violi and Violo hear a story about a monster with a wing in the shape of a triangle that flies over the forest at night, casting an enormous shadow and producing strange noises. One morning they sneak out of the house and start a search for the monster. Whom do they meet on their way? Will they find the monster?

The answer lies in this wonderful story written by Hanna Yaddor-Avni and the attractive music composed by one of Israel's leading composers Tzvi Avni, with illustrations done by Lucy Elkivity.

The Three Legged Monster was premiered with great success on March 10, 1996 by the Annapolis Symphony Orchestra conducted by Gisele Ben-Dor.

The Hebrew version was premiered in Israel six months later by the Israel Chamber Orchestra. Since then it was successfully presented in San Diego by the Tifereth Israel Community Orchestra, at the Kravis Center in West Palm Beach, Florida by the Israel Chamber Orchestra, with the author as narrator, by the Buffalo Philharmonic Orchestra and the Los Angeles Youth Orchestra. The German premiere of the piece (Das Dreibeinige Monster) was given by the Saarland Radio Orchestra in December 2001.