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....
How to compose a work that demands from the players active participation – not only as interpreting musicians, but also as improvisers, as "instant composers"? How to create a dialogue between pre-composed ideas and the musicians' real-time input? How to notate such music, which musical...
SLIL (in Hebrew: reel, e.g. a tape reel) is a live-electronics work. It can be performed as solo work for a computer musician or as an interaction between live-electronics and other improvising musicians. It is programmed in SuperCollider as a live-electronics interface for free improvisation. Solo...
The work features speech segments by D. Trump, with the original images warped (slow / fast motion) and the sound replaced by a virtual 'orchestra' of improvisers (the material was assembled after posting an online call for participants). The result: a partially humorist, partially horrifying...
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)....
Partially humorist, partially politically charged and horrifying, FAKE NEWS | STAY TUNED is a game piece (text score) or as an interactive online video clip, which guides its participants (musicians or non-musicians) towards a freely improvised path. Interactive online version (featured...
Live soundtrack for Buster Keaton’s silent film (1926) In collaboration with Carlos Ema, Oğuz Büyükberber, Luis Mora...
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 is a notated / open score work for ensemble (of at least 8 musicians). The work was commissioned by Ensemble Modelo62....
Live soundtrack for F. W. Murnau's Nosferatu (1922). For percussion, bass, live-electronics....
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....
The Instrument is an interactive live-electronics computer system programmed in SuperCollider. The computer can be triggered by any number of pitch-producing resonating object – musical instruments or any kind of objects. There is no score or any instructions, and no limit on the length of...
[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...
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) ...
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...
A miniature work for ensemble (trb, a.sax, t.sax, e.guit, pno, perc), performed by Ensemble Klang....
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...
Slowly They Padded Along is a composition for woodwind trio (flute-clarinet-bassoon). It was performed at the NutsHuis, the Hague. The players are walking around the audience while performing their parts in a set "choreography", exploring the special acoustic possibilities of the hall (which used to...
For cl, trb, e.guit, vl, db, org, electronics (live, playback) Duration: any (composition / sound installation) Premiere: 27 May 2010, Orgerlpark, Amsterdam Unmixable Elements is a composition / sound installation written for the MAE ensemble, for the program Metamorfoses (together with Leine & Roebana dance group). Aimed to...
A work for string orchestra. The recording took place on 13 November 2009 at the National Bank hall, Belgrade. Played by St. George strings and Bojan Suđić (cond.)...
For two instruments or one instrument and voice Duration: approx. 10' In this graphic score, several melodic segments are structured in a circle. The musicians explore different paths in the score, reading the material clock- or counterclockwise, simultaneously together or taking different directions. The title suggests an imaginary...