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5 Videos  
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  string quartet no.2 - 4th movement by am...
the second string quartet was written in 2004 for my father's 70th birthday. the work is composed of five parts. the first four are different from each other in atmosphere, rhythm and structure, but they are bound to each other through the musical motives which repeat themselves in various variations in each part. the fifth part is a kind of a musical summing up of the first four parts. in this part are heard, sometimes simultaneously, motives from the previous parts. this composition is written according to a composition method that i invented, inspired by the mathematics of fractals. the fractal is a geometrical form which is similar to itself at any level of breakdown at which we observe it. in other words: no matter how we look at its parts, the fractal will always be like its original form. the fractal is a common natural form: the leaf veins, blood vessels in our body, coast line, snow flake - in all these we can go into the finest detail and still feel as if we look at the whole picture. for composing music likewise, i use a series of numbers that dictate different durations within the work, from the level of the single note's duration up to the length of a whole movement. in this work the number series is 4-5-3-5-4. thus, for example, the first movement is composed of 4 parts, the second of 5, the third of 3, the fourth of 5 and the fifth of 4. likewise, the opening phrase of the work is composed of 4 notes, the next of 5, then of 3 and so on. the piece is not easily performed, mainly because it demands extremely high concentration and accuracy of the players. although it is written in the common time signature of 4/4, the internal rhythmic division is very complex. the second string quartet was written in 2004 for my father's 70th birthday. the work is composed of five parts. the first four are different from each other in atmosphere, rhythm and structure, but they are bound to each other through the musical motives which repeat themselves in various variations in each part. the fifth part is a kind of a musical summing up of the first four parts. in this part are heard, sometimes simultaneously, motives from the previous parts. this composition is written according to a composition method that i invented, inspired by the mathematics of fractals. the fractal is a geometrical form which is similar to itself at any level of breakdown at which we observe it. in other words: no matter how we look at its parts, the fractal will always be like its original form. the fractal is a common natural form: the leaf veins, blood vessels in our body, coast line, snow flake - in all these we can go into the finest detail and still feel as if we look at the whole picture. for composing music likewise, i use a series of numbers that dictate different durations within the work, from the level of the single note's duration up to the length of a whole movement. in this work the number series is 4-5-3-5-4. thus, for example, the first movement is composed of 4 parts, the second of 5, the third of 3, the fourth of 5 and the fifth of 4. likewise, the opening phrase of the work is composed of 4 notes, the next of 5, then of 3 and so on. the piece is not easily performed, mainly because it demands extremely high concentration and accuracy of the players. although it is written in the common time signature of 4/4, the internal rhythmic division is very complex. the second string quartet was written in 2004 for my father's 70th birthday. the work is composed of five parts. the first four are different from each other in atmosphere, rhythm and structure, but they are bound to each other through the musical motives which repeat themselves in various variations in each part. the fifth part is a kind of a musical summing up of the first four parts. in this part are heard, sometimes simultaneously, motives from the previous parts. this composition is written according to a composition method that i invented, inspired by the mathematics of fractals. the fractal is a geometrical form which is similar to itself at any level of breakdown at which we observe it. in other words: no matter how we look at its parts, the fractal will always be like its original form. the fractal is a common natural form: the leaf veins, blood vessels in our body, coast line, snow flake - in all these we can go into the finest detail and still feel as if we look at the whole picture. for composing music likewise, i use a series of numbers that dictate different durations within the work, from the level of the single note's duration up to the length of a whole movement. in this work the number series is 4-5-3-5-4. thus, for example, the first movement is composed of 4 parts, the second of 5, the third of 3, the fourth of 5 and the fifth of 4. likewise, the opening phrase of the work is composed of 4 notes, the next of 5, then of 3 and so on. the piece is not easily performed, mainly because it demands extremely high concentration and accuracy of the players. although it is written in the common time signature of 4/4, the internal rhythmic division is very complex.
  string quartet "journey" by m. seltenreich
a string quartet by the israeli composer michael seltenreich. violin i - maria rosenblat violin ii - idan denesh viola - julia garfunkel cello - ben shibolet a string quartet by the israeli composer michael seltenreich. violin i - maria rosenblat violin ii - idan denesh viola - julia garfunkel cello - ben shibolet a string quartet by the israeli composer michael seltenreich. violin i - maria rosenblat violin ii - idan denesh viola - julia garfunkel cello - ben shibolet
  yona ettlinger
johannes brahms trio for piano, clarinet and cello in a minor op. 114 live, jerusalem, april 20, 1975 2. adagio performed by: yona ettlinger - clarinet yona ettlinger (1924-1981) settled in israel at a young age. though piano was his first love, he took up the clarinet at 17. his principal teacher was louis cahuzac, with whom he developed his remarkably pure tone, wholly devoid of vibrato. he also studied composition with paul ben-haim and nadia boulanger. principal clarinetist with the israel philharmonic orchestra from 1947 to 1964, he took conducting engagements with such ensembles as the israel chamber orchestra and the jerusalem symphony orchestra, and also performed widely and for many years with the tel aviv quartet and in duo with pnina salzman. appointed professor at the guildhall school of music in 1973, he achieved a great reputation as teacher of the clarinet. noted for his perfectionism--he recorded and analyzed nearly every performance--yona ettlinger is recognized by his peers as one of the preeminent clarinetists of the twentieth century. pnina salzman - piano pnina salzman has long been considered the first lady of the piano in israel. born in tel aviv in 1924, she began playing the piano soon after she learned to walk and began performing in public at eight. alfred cortot, while on tour in israel in 1932, heard her and invited her to study in paris under his personal supervision. in paris, pnina salzman studied with magda tagliaffero at the conservatoire national de musique, where she won the prix de piano at age 14. about the same time, bronislav huberman (the famous violonist, founder of the israel philharmonic orchestra), who attended one of her concerts in paris, announced that it was a once in a lifetime experience to meet such talent, and recommended that she be engaged as a soloist with the ipo. pnina salzman was invited to play three piano concertos (in one evening) with the orchestra. this marked the beginning of a long association with the ipo. besides her many performances with them in israel, she was chosen to be a featured soloist in two of their world tours, conducted by carlo maria giulini and by josef krips. pnina salzman has subsequently toured all five continents several times , playing with major orchestras under such conductors as georg solti, carlo maria giulini, erich leinsdorf, antal dorati, paul paray, malcolm sargent, igor markevitch, charles munch, jascha horenstein, zubin mehta, josef krips, colin davis, walter susskind, andrew davis, neville marriner, hans vonk; anatole fistoulari, sergiu comissiona, lawrence foster, michael taube, george singer , gary bertini, david shallon, moshe atzmon, mendi rodan, paul ben-haim and noam sheriff . in 1963 she was the first israeli invited to play in the ussr and in 1994, the first israeli pianist invited to play in china. pnina salzman is an enthusiastic chamber music performer, member of the israel piano quartet, and a regular guest with such distinguished chamber groups as the amadeus string quartet. she is a professor and the head of the piano department at tel aviv university and has served on the jury of such prestigious international piano competitions as the arthur rubinstein competition, vladimir horowitz competition, as well as the dublin, iturbi/ valencia, munich, athens, sydney, and seoul competitions. pnina salzman died on december 16. 2006 in tel aviv uzi wiesel - cello uzi wiesel, a native israeli, graduated with honours from juilliard in 1954 and subsequently studied with pablo casals in prades. winner of several international competitions, including the piatagorsky competition (1953), the moscow international concours (1957), and the casals international concours (1961), he has performed as soloist with many prominent orchestras, and given many recitals highlighting his vast repertoire and sensuous singing tone. a full professor at the tel aviv academy of music for over thirty years, his students have achieved renown all over the world. currently, mr. wiezel gives master classes in europe and the us and serves on juries of international competitions. johannes brahms trio for piano, clarinet and cello in a minor op. 114 live, jerusalem, april 20, 1975 2. adagio performed by: yona ettlinger - clarinet yona ettlinger (1924-1981) settled in israel at a young age. though piano was his first love, he took up the clarinet at 17. his principal teacher was louis cahuzac, with whom he developed his remarkably pure tone, wholly devoid of vibrato. he also studied composition with paul ben-haim and nadia boulanger. principal clarinetist with the israel philharmonic orchestra from 1947 to 1964, he took conducting engagements with such ensembles as the israel chamber orchestra and the jerusalem symphony orchestra, and also performed widely and for many years with the tel aviv quartet and in duo with pnina salzman. appointed professor at the guildhall school of music in 1973, he achieved a great reputation as teacher of the clarinet. noted for his perfectionism--he recorded and analyzed nearly every performance--yona ettlinger is recognized by his peers as one of the preeminent clarinetists of the twentieth century. pnina salzman - piano pnina salzman has long been considered the first lady of the piano in israel. born in tel aviv in 1924, she began playing the piano soon after she learned to walk and began performing in public at eight. alfred cortot, while on tour in israel in 1932, heard her and invited her to study in paris under his personal supervision. in paris, pnina salzman studied with magda tagliaffero at the conservatoire national de musique, where she won the prix de piano at age 14. about the same time, bronislav huberman (the famous violonist, founder of the israel philharmonic orchestra), who attended one of her concerts in paris, announced that it was a once in a lifetime experience to meet such talent, and recommended that she be engaged as a soloist with the ipo. pnina salzman was invited to play three piano concertos (in one evening) with the orchestra. this marked the beginning of a long association with the ipo. besides her many performances with them in israel, she was chosen to be a featured soloist in two of their world tours, conducted by carlo maria giulini and by josef krips. pnina salzman has subsequently toured all five continents several times , playing with major orchestras under such conductors as georg solti, carlo maria giulini, erich leinsdorf, antal dorati, paul paray, malcolm sargent, igor markevitch, charles munch, jascha horenstein, zubin mehta, josef krips, colin davis, walter susskind, andrew davis, neville marriner, hans vonk; anatole fistoulari, sergiu comissiona, lawrence foster, michael taube, george singer , gary bertini, david shallon, moshe atzmon, mendi rodan, paul ben-haim and noam sheriff . in 1963 she was the first israeli invited to play in the ussr and in 1994, the first israeli pianist invited to play in china. pnina salzman is an enthusiastic chamber music performer, member of the israel piano quartet, and a regular guest with such distinguished chamber groups as the amadeus string quartet. she is a professor and the head of the piano department at tel aviv university and has served on the jury of such prestigious international piano competitions as the arthur rubinstein competition, vladimir horowitz competition, as well as the dublin, iturbi/ valencia, munich, athens, sydney, and seoul competitions. pnina salzman died on december 16. 2006 in tel aviv uzi wiesel - cello uzi wiesel, a native israeli, graduated with honours from juilliard in 1954 and subsequently studied with pablo casals in prades. winner of several international competitions, including the piatagorsky competition (1953), the moscow international concours (1957), and the casals international concours (1961), he has performed as soloist with many prominent orchestras, and given many recitals highlighting his vast repertoire and sensuous singing tone. a full professor at the tel aviv academy of music for over thirty years, his students have achieved renown all over the world. currently, mr. wiezel gives master classes in europe and the us and serves on juries of international competitions. johannes brahms trio for piano, clarinet and cello in a minor op. 114 live, jerusalem, april 20, 1975 2. adagio performed by: yona ettlinger - clarinet yona ettlinger (1924-1981) settled in israel at a young age. though piano was his first love, he took up the clarinet at 17. his principal teacher was louis cahuzac, with whom he developed his remarkably pure tone, wholly devoid of vibrato. he also studied composition with paul ben-haim and nadia boulanger. principal clarinetist with the israel philharmonic orchestra from 1947 to 1964, he took conducting engagements with such ensembles as the israel chamber orchestra and the jerusalem symphony orchestra, and also performed widely and for many years with the tel aviv quartet and in duo with pnina salzman. appointed professor at the guildhall school of music in 1973, he achieved a great reputation as teacher of the clarinet. noted for his perfectionism--he recorded and analyzed nearly every performance--yona ettlinger is recognized by his peers as one of the preeminent clarinetists of the twentieth century. pnina salzman - piano pnina salzman has long been considered the first lady of the piano in israel. born in tel aviv in 1924, she began playing the piano soon after she learned to walk and began performing in public at eight. alfred cortot, while on tour in israel in 1932, heard her and invited her to study in paris under his personal supervision. in paris, pnina salzman studied with magda tagliaffero at the conservatoire national de musique, where she won the prix de piano at age 14. about the same time, bronislav huberman (the famous violonist, founder of the israel philharmonic orchestra), who attended one of her concerts in paris, announced that it was a once in a lifetime experience to meet such talent, and recommended that she be engaged as a soloist with the ipo. pnina salzman was invited to play three piano concertos (in one evening) with the orchestra. this marked the beginning of a long association with the ipo. besides her many performances with them in israel, she was chosen to be a featured soloist in two of their world tours, conducted by carlo maria giulini and by josef krips. pnina salzman has subsequently toured all five continents several times , playing with major orchestras under such conductors as georg solti, carlo maria giulini, erich leinsdorf, antal dorati, paul paray, malcolm sargent, igor markevitch, charles munch, jascha horenstein, zubin mehta, josef krips, colin davis, walter susskind, andrew davis, neville marriner, hans vonk; anatole fistoulari, sergiu comissiona, lawrence foster, michael taube, george singer , gary bertini, david shallon, moshe atzmon, mendi rodan, paul ben-haim and noam sheriff . in 1963 she was the first israeli invited to play in the ussr and in 1994, the first israeli pianist invited to play in china. pnina salzman is an enthusiastic chamber music performer, member of the israel piano quartet, and a regular guest with such distinguished chamber groups as the amadeus string quartet. she is a professor and the head of the piano department at tel aviv university and has served on the jury of such prestigious international piano competitions as the arthur rubinstein competition, vladimir horowitz competition, as well as the dublin, iturbi/ valencia, munich, athens, sydney, and seoul competitions. pnina salzman died on december 16. 2006 in tel aviv uzi wiesel - cello uzi wiesel, a native israeli, graduated with honours from juilliard in 1954 and subsequently studied with pablo casals in prades. winner of several international competitions, including the piatagorsky competition (1953), the moscow international concours (1957), and the casals international concours (1961), he has performed as soloist with many prominent orchestras, and given many recitals highlighting his vast repertoire and sensuous singing tone. a full professor at the tel aviv academy of music for over thirty years, his students have achieved renown all over the world. currently, mr. wiezel gives master classes in europe and the us and serves on juries of international competitions.
  yitzhak yedid 'visions, fantasies and da...
'visions, fantasies and dances' for string quartet composed by yitzhak yedid in 2007. the composition is in seven parts, its duration is 60 minutes. each part contains several images. here you can hear part 4, the images of this part are: celebration of the promiscuous dancers; chorus about the hallucinations; 'visions, fantasies and dances' for string quartet composed by yitzhak yedid in 2007. the composition is in seven parts, its duration is 60 minutes. each part contains several images. here you can hear part 4, the images of this part are: celebration of the promiscuous dancers; chorus about the hallucinations; 'visions, fantasies and dances' for string quartet composed by yitzhak yedid in 2007. the composition is in seven parts, its duration is 60 minutes. each part contains several images. here you can hear part 4, the images of this part are: celebration of the promiscuous dancers; chorus about the hallucinations;
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