The Faithful Heart
Live soundtrack for Jean Epstein’s silent film The Faithful Heart (1923). Together with Ziv Taubenfeld (b. clarinet), Marie Guilleray (voice, electronics), Onno Govaert (percussion), and myself (bass)....
instrumental / vocal
Fake News | Stay Tuned _game
Partially humorist, partially politically charged and horrifying, FAKE NEWS | STAY TUNED is a game piece / text-based composition. It guides the players (musicians or non-musicians) towards free improvisation based on a silenced YouTube clip. The work was published in Synzine #5: https://issuu.com/synzine/docs/sinezine_june_iii In a Clockwork-Orange manner,...
hasBara
A work for ensemble (open instrumentation), in which the musicians alternate between solo and group playing. hasBara also features voices, however without any prescribed text, resulting in pseudo language and suggesting open interpretation of this work's 'meaning'. Essential part of this work is the constant oscillation...
Stations and Journeys
Stations and Journeys is a notated / open score work for ensemble (of at least 8 musicians). The work was commissioned by Ensemble Modelo62....
hasBara _propaganda (for instruments & live electronics)
Commissioned and premiered by the Israeli ensemble Musica Nova Consort, this version of hasBara is written for instruments and live-electronics. The musicians trigger the computer sounds, generated by real-time processing of voice samples of Israeli public figures. The content of the words is political....
Nosferatu
Live soundtrack for F. W. Murnau's Nosferatu (1922). For percussion, bass, live-electronics....
Trembling Time
Trembling Time (for two pianists) explores elasticity of rhythm. Through constant stretching and shrinking of the pulse I am trying to create a fictitious musical dimension in which the beat becomes almost a liquid-like musical element, rather than dictates by an even and constant pulse....
[Untitled, 2012 ]
[Untitled, 2012] is a composition for contrabass and electronics. The electronic sounds provide the role of accompaniment – a pre-composed “rhythm section” – and the bass player takes the lead role as the “soloist.” A pre-recorded soundtrack functions as a rhythmic grid into which the...
[for ensemble, 2011-12]
Commissioned by ensemble Meitar. For fl. cl. vl. vla. vcl. pno. and live-electronics Premiere: 5 July 2012 Levontin 7, Tel Aviv, Israel (ensemble Meitar, cond. Guy Feder) ...
Modo Recordar, Modo Olvidar
For viola, contrabass, and electronics (computer and MIDI keyboard, played by a third musician). dur. 15′ Duration: 15' Premiere: 20 January 2011, Studio LOOS, the Hague As suggested by the title (which could be translated from Spanish as: “mode of remembering, mode of forgetting”), MRMO deal with the limitations of...
Seven Different Ways of Getting Lost
for ensemble (cl, b.cl, hrn, 2perc, vl, vla, vcl, db) Duration: 9' 31 March 2010, Amsterdam conservatory, ASKO Ensemble, Bas Wiegers (cond.) Seven Different Ways of Getting Lost, a chamber music piece composed for the ASKO ensemble, was an early attempt to explicitly introduce flexibility into a written score. I was...
