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Work

Arabic violin bass piano trio : suite in four movements

by Yitzhak Yedid (2009)

Audio Sample

Performance by Sami Kheshaiboun, Ora Boasson Horev, Yitzhak Yedid from the CD Arabic violin bass piano trio

Arabic violin bass piano trio

$POA

This item may be available to purchase from the Australian Music Centre.
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CD

Arabic violin bass piano trio : suite in four movements / Yitzhak Yedid.

Library shelf no. CD 2637 [Available for loan]

Arabic violin bass piano trio

$POA

This item may be available to purchase from the Australian Music Centre.
Please contact our Sales Department to confirm pricing and availability.

Score & Part

Arabic violin bass piano trio : suite in four movements / Yitzhak Yedid.

Library shelf no. 785.2813/YED 2 [Available for loan]

Work Overview

Arabic Violin Bass Piano Trio is a suite in four movements. The composition is a continuation of my endeavour in Oud Bass Piano Trio (2005) to integrate classical Arabic music, Arabic-influenced Jewish music and contemporary Western classical music. This trio has therefore been composed for performers who have expertise both in these genres and in improvisation. The music makes manifest the tensions between the ancient and the new, the religious and the secular, the East and the West.

Arabic Violin Bass Piano Trio is an authentic expression of new music which incorporates a wide spectrum of contemporary and ancient styles. It creates a confluence between the Maqamat and the heterophonic textures of Arabic genres (classical Arabic music and Arabic-influenced Jewish music) and the compositional approaches of contemporary Western classical music.

The suite consists of six major sections in the First Movement, eight major sections in the Second Movement, four major sections in the Third Movement and eight major sections in the Fourth Movement. The sections have been created with a range of different approaches, and musical elements have been repeated in diverse ways. The superimposition and synthesis of a variety of musical styles and contrasting compositional approaches and modes have been made possible by an overall connectedness in the work. This connectedness can, to a certain degree, be understood, perhaps subconsciously, by experiencing the performance of the piece or by listening to it without a break.

The titles of the work's major sections have been chosen to evoke various musical images and to transfer ideas and thoughts that inspired my composition. The titles reflect, or perhaps document, events that occurred at the time the pieces were being composed. They can be divided into three main categories. The first category refers to Arabic musical forms and themes - for example, Taqsim, dedicated to the day of tomorrow and Belly dancing in an imaginary cult ritual. The second category refers to Jewish prayers and Jewish themes - for example, The High Priest's whispered prayer on Yom Kippur as he leaves the Holy of Holies and a quote from the Yom Kippur prayer One, one and one, one and two, one and three, one and four, one and five. The third category refers to specific events that occurred while I was composing the piece - for example, Image of a homeless Holocaust survivor on the streets of Tel Aviv and The image of an old weary man. As in Oud Bass Piano Trio, the titles of these images have been chosen as a general guide to the feel of the composition. Individual listeners may assemble them into a story, according to their experiences, understanding or imagination. Moreover, I believe the titles create a musical narrative and convey emotions as well as presenting controversial religious issues and, to some extent, contentious political issues in the relatively safe haven of music making.

Arabic Violin Bass Piano Trio presents a model of understanding and reconciliation that I wish would apply to the day-to-day interactions between people, nations and religions. Our past traditions and history should be remembered and acknowledged and we should recognize that we are unable to change them. However, we must also understand that we are the ones creating the "new tradition", and that in doing so, we have the responsibility - and, hopefully the willingness - to make changes in a sensitive, inclusive and informed manner. It is our obligation to build on the past for a better future, and actively, perhaps through the universally understood language of music, change negativity and hatred to positivity, hope and peace. Surely this should be our mission!

Work Details

Year: 2009

Instrumentation: Arabic violin, double bass, piano.

Duration: 60 min.

Difficulty: Advanced

First performance: Mar 10. Henry Crown Symphony Hall, Jerusalem Theater, Israel

Subjects

Performances of this work

Mar 10: Henry Crown Symphony Hall, Jerusalem Theater, Israel

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