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About this Recording. Con moto dolce e con tenerezza Allegro ritmico con brio Prelude for Harp A Near - Minuet for Clarinet and Piano Poco allegro, semplice Allegro moderato, assai ritmico Vivace, assai ritmico Total Playing Time: Composition Title.
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For U. For Worldwide:. The central Notturno is an isolated part and functions as the formal, expressive hub of the piece.
It is a language full of purely tonal turns, abounding in unexpected harmonic ideas and extreme melodic chromaticisms, the semitonal motifs, rhythmically changeable and permeated with polyphony. It is invaded by the rhythm of tango, introduced by the piano, which creates the atmosphere of a busy cafe.
Though I did not use any existing Jewish melodies for Nigunim , the main modes and melodic gestures of the piece are drawn from these common elements. Moreover, different sections of the piece draw upon local non-Jewish musical traditions of each of these regions: for example, the second movement uses principles found in Georgian folk rhythms and harmonies, and the fourth is inspired by Macedonian dances.
SCHUMANN Complete Violin Sonatas
View past performances. The composer infuses his own made-up Jewish tunes, or nigunim, into a wide variety of cultural alternatives: traditional Arabic music, Georgian folk, Macedonian dances, and tunes from a Libyan synagogue. When asked by the violinist Gil Shaham and his sister, the pianist Orli Shaham, to write a work for their concert of Jewish music at the 92nd Street Y, the composer Avner Dorman decided not to create a piece with traditional Jewish melodies.
Instead, Mr. Dorman — an Israeli composer whose influences run the gamut from Bach and Bartok to the jazz guitarist John McLaughlin — explored Jewish traditions from around the world, including Central Asian wedding songs and North African cantillations.
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He meshed those idioms with other traditions like Macedonian dances and Georgian folk rhythms to create the electric Niggunim for piano and violin.