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Angels' Revolt

Yitzhak Yedid

Angels' Revolt

Price: € 19.95
Format: CD
Label: Between The Lines
UPC: 0608917124620
Catnr: BTLCHR 71246
Release date: 08 February 2019
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Label
Between The Lines
UPC
0608917124620
Catalogue number
BTLCHR 71246
Release date
08 February 2019

"Simply fascinating."

Luister, 12-4-2019
Album
Artist(s)
Composer(s)
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About the album

To understand Yitzhak Yedid better, you have to know his biography. Born in Jerusalem in 1971 as a child of Syrian-Jewish immigrants, the multi-talented and inquisitive pianist and composer went to the United States where he studied under Ran Blake and Paul Bley before returning to Jerusalem. “I can simply draw on my most important inspirations in this way,” the 47-year-old explained his frequent changes of abode. He has lived in Brisbane, Australia, for more than a decade, but is in the multi-cultural, multi-religious city several times a year as previously.

A balancing act that promotes creativity. Not the least because the album “Angelʼs Revolt”, exclusively recorded live, denotes the most radical, uncompromising wraparound between Orient and Occident in Yedid’s discography. The composer uses traditional Arabic harmony, Jewish ritual song forms, a touch of free jazz, European classical music and improvisation, makes them collide directly, but interlocks them from one second to the other in such an organic way that a new style is germinated. It is basically a matter of pictures, moods, abbreviations, stories, messages, and statements: highly complex, politically explosive, up-to-date, completely designed for a powerful effect of music. And it is above all about the first moment, the moment when sounds see the light of the public: a magical, irretrievable moment.

The Temple Mount of Jerusalem, which is holy for both Muslims and Jews and therefore a highly explosive place, served as inspiration for the orchestral piece “Kiddushim Ve'Killulim” (which more or less means "blessing and curse"). Together with conductor Christian Lindberg and the Israel Netanya Kibbutz Orchestra, it premiered in the Tel Aviv Museum of Art in November 2017. Yitzhak Yedid succeeded in bridging the traditions of the controversial poles with a daring, but sometimes quite unsettling bridge, in which the sound colors of Béla Bartók served as an amalgam that was incredibly resilient.

Yedid composed “Chat Gadya” for clarinet, violin, cello and piano. The recording of July 2017 at Dunwich Hall in Australia on the occasion of the 10th anniversary of the Stradbroke Island Chamber Music Festival focused not only on violinist Rachel Smith, who asked him to give the original children's song an up-to-date version. The extremes collide relatively unchecked there too: the songlike Jewish philosophy as well as the modal Arab system Maqamat, enriched in short motifs in 11/8 or 12/8 cycles, everything left to the improvisational moment. The “Concerto For Piano And Strings” is composed of three parts, dedicated by Yitzhak Yedid to Australian composer Michael Kieran Harvey, and highlights more radically than ever the affinity of the multicultural composer for contemporary classics, for composers such as Sofia Asgatowna Gubaidulina or Alfred Schnittke as well as avant-garde and baroque harmonies. It was recorded in the Queensland Conservatory of Griffith University as was the title song of Angel's Revolt.

Finally, the “Aufstand der Engel” (trans: “Rebellion of Angels”) puts Rachael Shipard in scene on solo piano. The composition, which Yedid composed for the prestigious Lev Vlassenko Piano Competition, covers almost his entire musical range. A chaconne (dance) with rhythmic, Messian-like patterns, tremolos and patterns, which reveal the appeal to the Arabic chopping board Santur, lyrically, passionately and in large parts freely improvised. “It's always an exciting and indescribable moment for me to present a piece of music to an audience for the first time,” Yitzhak Yedid explained his premiere fever. “This creates tremendous electrical energy that transforms itself into new creativity.” With "Angel's Revolt”, the composer created a number of these incomparable moments. It is a portrait by an ingenious artist, who prefers to tell his stories in notes.
Um Yitzhak Yedid besser zu verstehen, muss man seine Biografie kennen. 1971 in Jerusalem als Kind syrisch-jüdischer Einwanderer geboren, ging der vielseitig begabte und interessierte Pianist und Komponist in die USA, wo er bei Ran Blake sowie Paul Bley studierte, bevor er wieder nach Jerusalem zurückkehrte. „Hier beziehe ich einfach meine wichtigsten Inspirationen“, begründet der 47-Jährige seine Sprunghaftigkeit. Seit über einem Jahrzehnt lebt er nun im australischen Brisbane, hält sich aber nach wie vor mehrmals jährlich in der multikulturellen, multireligiösen Stadt auf.
Ein Spagat, der Kreativität befördert. Nicht zuletzt deshalb bedeutet das ausschließlich live eingespielte Album „Angelʼs Revolt“ den bislang radikalsten, kompromisslosesten Umgriff zwischen Orient und Okzident in der Diskografie Yedids. Dabei verwendet der Komponist traditionelle arabische Harmonik, die jüdischen rituellen Liedformen, einen Hauch von Freejazz, europäische Klassik und Improvisation, lässt sie unvermittelt aufeinanderprallen, verschränkt sie aber von einer Sekunde zur anderen derart organisch, dass ein neuer Stil daraus keimt. Im Grunde sind es Bilder, Stimmungen, Kürzel, Geschichten, Botschaften, Statements. Hoch komplex, politisch brisant, aktuell, ganz auf die kraftvolle Wirkung der Musik ausgelegt. Und dabei geht es vor allem um den ersten Moment, den Augenblick, in die Töne das Licht der Öffentlichkeit erblicken. Ein magischer, unwiederbringlicher Moment.

Der Jerusalemer Tempelberg, jener sowohl für Muslime wie Juden heilige und gerade deshalb hoch explosive Ort, diente ihm beispielsweise als Inspiration für das Orchesterstück „Kiddushim Ve’ Killulim“ (was so viel bedeutet wie „Segen und Fluch“). Zusammen mit dem Dirigenten Christian Lindberg und dem Israel Netanya Kibbutz Orchestra kam es im November 2017 im Tel Aviv Museum of Art zur Erstaufführung. Dabei gelang Yitzhak Yedid ein tollkühner, manchmal aber auch ziemlich verstörender Brückenschlag zwischen den Traditionen der kontroversen Pole, bei dem die Klangfarben von Béla Bartók als erstaunlich belastbares Amalgam dienten.
Für Klarinette, Violine, Cello und Piano schrieb Yedid „Chat Gadya“ (Eine kleine Ziege). Bei der Aufnahme vom Juli 2017 in der australischen Dunwich Hall anlässlich des zehnjährigen Bestehens des Stradbroke Island Kammermusik Festivals steht nicht nur Violinistin Rachel Smith im Mittelpunkt, die ihn bat, dem ursprünglichen Kinderlied eine aktuelle Fassung zu verleihen. Auch hier prallen die Extreme relativ ungebremst aufeinander: die jüdische Philosophie des Liedhaften sowie das modale arabische System Maqamat, angereichert in kurzen Motiven im 11/8- oder 12/8-Takt, und alles dem improvisatorischen Moment des Augenblicks überlassen. Drei Teile umfasst das „Concerto For Piano And Strings“, das Yitzhak Yedid dem australischen Komponisten Michael Kieran Harvey widmete und das so radikal wie noch nie zuvor die Affinität des multikulturellen Tonsetzers für die zeitgenössische Klassik, für Komponisten wie Sofia Asgatowna Gubaidulina oder Alfred Schnittke sowie die Avantgarde und barocke Harmonien herausstellt. Ebenso wie das Titelstück „Angelʼs Revolt“ wurde es im Queensland Conservatorium der Griffith University aufgezeichnet.
Der „Aufstand der Engel“ schließlich setzt Rachael Shipard am Solo-Piano in Szene. Die Komposition, die Yedid für den renommierten Lev-Vlassenko-Piano-Wettbewerb schrieb, umreißt nahezu seine gesamte musikalische Bandbreite. Eine Chaconne (Tanz) mit rhythmischen, Messian ähnlichen Patterns, Tremolos und Mustern, die Anklänge an das arabische Hackbrett Santur verraten, lyrisch, leidenschaftlich und in weiten Teilen frei improvisiert. „Für mich ist es immer wieder ein aufregender und unbeschreiblicher Augenblick, ein Stück Musik zum ersten Mal dem Publikum vorzustellen“, erklärt Yitzhak Yedid sein Premieren-Fieber. „Dabei entsteht ungeheure elektrische Energie, die sich bei mir wiederrum in neue Kreativität umwandelt.“ Mit „Angelʼs Revolt“ hat der Komponist eine Reihe dieser unvergleichlichen Momente festgehalten. Es ist das Portrait eines genialen Kopfes, der seine Geschichten bevorzugt in Noten erzählt.

Artist(s)

Yitzhak Yedid (piano)

Yitzhak Yedid is an award-winning Israeli-Australian composer and improvising pianist. Yedid's style of composition described as: “eclectic, multicultural and very personal style that combines jazz and Jewish cantor music, classic European and avant-garde, randomness and a blend of techniques.”. Barry Davis wrote in the Jerusalem Post (2017) that: “Over the past couple of decades or so, Yedid has put out an almost bewilderingly eclectic range of works and recordings. His disciplinary backdrop takes in Western classical music, jazz, free improvisation, Arabic music and liturgical material. His compositions are generally viscerally and cerebrally engaging, and often visually striking, with the piano- playing role requiring a certain amount of calisthenic activity and a significant dosage of emotional and technical investment.” Yedid has composed a wide...
more

Yitzhak Yedid is an award-winning Israeli-Australian composer and improvising pianist.

Yedid's style of composition described as: “eclectic, multicultural and very personal style that combines jazz and Jewish cantor music, classic European and avant-garde, randomness and a blend of techniques.”. Barry Davis wrote in the Jerusalem Post (2017) that: “Over the past couple of decades or so, Yedid has put out an almost bewilderingly eclectic range of works and recordings. His disciplinary backdrop takes in Western classical music, jazz, free improvisation, Arabic music and liturgical material. His compositions are generally viscerally and cerebrally engaging, and often visually striking, with the piano- playing role requiring a certain amount of calisthenic activity and a significant dosage of emotional and technical investment.”

Yedid has composed a wide range of works including chamber, orchestral and vocal music, music for solo instruments, choral and music for improvising ensembles.Dr Yitzhak Yedid is an Israeli-Australian composer and improvising pianist. Yedid’s interest lies in composing and performing concert music. His composition folio contains orchestral, chamber and vocal music.

Yedid studied in Jerusalem (Rubin Academy), Boston MA (New England Conservatory), and Melbourne (Monash University) where he gained a PhD degree in 2012. His expertise as a composer is in the integration of non-European musical elements, including improvisation, with Western practice. His compositions explore new forms of integrating classical Arabic music, Arabic-influenced Jewish music and contemporary Western classical music. Yedid is an expert in Arabic music and Maqamat (the modal system of classical Arabic music).

Yedid is a Sidney Myer Fellow (2018- 2019). His awards include the top two prizes in Israel for composers and performers: the Prime Minister’s Prize for Composers (2007) and the Landau Prize for Performing Arts (2009). In 2008 he was awarded the first composition prize for solo work for harp at the 17th International Harp contest which led to numerous performances of the piece worldwide and to two commercial recordings. Yedid has also been awarded a composer-in-residence position at the Judith Wright Centre (Brisbane, 2010) and at the Western Australian Academy of Performing arts (08). His latest album Arabic violin Bass Piano Trio was nominated for the 2012 Australian Jazz Bell Awards.

Yedid has performed his compositions with many ensembles in festivals and venues across Europe, Canada, the USA (including the Carnegie Hall (New York), Jordan Hall (Boston) and Benaroya Hall (Seattle), Asia, and Africa. His work has been presented at many festivals: Munich Festival; Icebreaker Festival (Seattle, US); Sibu Festival (Romania); Adis Ababa Arts Festival (Ethiopia); Tura New Music Festival; Melbourne International Jazz Festival; Guelph Jazz Festival (Canada); Vancouver Arts Festival; The Oud International Festival; Porgy & Bess Festival (Austria); Wiener Musik Galerie Festival; Frankfurt Arts Festival; and Copenhagen Jazz Festival.

Yitzhak Yedid’s music, a unique narrative of pictures, textures and colours that is characterized by a spectacular mix of styles, is a direct outcome of his inspiration through philosophical matters and mysticism, religious rituals and religious conflicts. For over a decade Yedid has researched composition and performance that integrates Western classic music traditions and Arabic music traditions, and composed, without subscribing or adhering to any particular system, a body of over 40 works that deal with this integration. “Musically, Yedid writes with detail and foreknowledge of the sounds anticipated, a highly developed feature. His music innovative and traditional, a combination that is not easy to achieve” (Kim Cunio, 2013).

Yedid writes “Looking for new compositional approaches and challenging musical conventions through the synthesis of a wide spectrum of contemporary and ancient styles is what motivated my work. Intellectual conflicts such as the confrontation with philosophical matters and religious and political aspects have always been of interest, and also underlie and motivated my work. I have been influenced in particular by Béla Bartók and Arnold Schoenberg to develop a personal vision as a composer.” This words by Yedid are inline with what the critics write about his music: John Shand from the Sydney Morning Harald wrote in 2014 about Yedid’s ‘Myth of the Cave’ “a vividly expansive composition”; Noam Ben-Zeav (Haaretz) wrote in 2013 that “Yedid music is an authentic expression of new music which incorporates a wide spectrum of contemporary and ancient styles”; and Ake Holmquist (NorraSkåne, Sweden) wrote in 2004 that “Yedid integrates specific stylistic influences into a personal created unity. The manner in which he describes folkloristic influences and melancholic specific themes can remind of Béla Bartók; improvisatory float of hovering à la Keith Jarret”.

Yedid’s compositions ‘Oud Bass Piano Trio’ (2006) and ‘Arabic Violin Bass Piano Trio’ (2008) are works that combines a classical Arabic instrument with Western instruments. Randal McIlroy, Coda Magazine (Canada) wrote ”Pianist/composer Yitzhak Yedid’s Oud Bass Piano Trio conveys terrific tension, aggravation and release. It’s a stunner. Minimizing the distinction between composition and improvisation, the music is entrusted to supple hands.”, and jazz journalist Alain Drouot wrote for the prestigious Downbeat Magazine (US) that “Yedid’s trio explores a wide range of emotions and tones, even if a dark and mournful mood prevails. The musicians’ vivid interpretations produce a positive flow of energy that keeps the music alert and compelling, and Yedid is capable of striking lyricism. Jazz musicians often describe their art as storytelling. Yedid embodies this.”

Musically, Yedid create a confluence between the Maqamat (Arabic music modal system), heterophonic textures of ancient genres, and compositional approaches of contemporary Western classical music, to produce an original sound. Yedid introduces microtonality in his works in a range of different ways. He examined ways of using microtonal pitches that in Arabic music function as ornamentation and as part of improvisational gestures. He has extended the use of traditional ornamentation to compose microtonal sounds with microtonal qualities that unfold at different tempi without a definite pitch. This can be seen in many of his works. In his string quartet Visions, Fantasies and Dances, the microtonal intervals function in the context of diatonic and chromatic intervals and the method of a tension-and-release for intervals of a quarter-tone and three-quarter-tones have been employed.

Yedid have shown a new direction/subject in his later works and courage to make a commentary on international currant political/religious problems that continue to find no resolution. The Crying Souls (commissioned by the Australian Voices) and Delusions of War (commissioned by the Jerusalem Symphony Orchestra) are both anti-war works. The Crying Souls was written as a response to the chemical weapons attacks that happened in August 2013 in Damascus when more than 1,300 innocent civilian including children were massacred. Yedid writes “This work expresses my endless sadness to the death of innocent people”. In the notes on Delusions of War he writes “The music aims to make the listeners “feel” the human suffering that the war causes, and, without assuming to have answers, to encourage them to pause for a moment and to envisage better ways than force to resolve crises. The music captures emotions of anger and fear, and feelings of sorrow, tragedy and righteousness.”


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Christian Lindberg (conductor)

Christian Lindberg’s career as a conductor was initiated when the Royal Northern Sinfonia persuaded him to conduct a programme in October 2000. A stunning re- view in The Guardian convinced him to continue, and within a year he had been appointed music director of both the Nordic Chamber Orchestra and the Swedish Wind Ensemble, going on to lead them both for the next nine years. Since 2009 he has been principal conductor of the Arctic Philharmonic, and has recently extended his contract with that orchestra until 2019, as well as agreeing to take up the post of music director of the Israel Netanya Kibbutz Orchestra from 2016. Furthermore Christian Lindberg appears frequently as guest conductor with orchestras such as the Nippon...
more
Christian Lindberg’s career as a conductor was initiated when the Royal Northern Sinfonia persuaded him to conduct a programme in October 2000. A stunning re- view in The Guardian convinced him to continue, and within a year he had been appointed music director of both the Nordic Chamber Orchestra and the Swedish Wind Ensemble, going on to lead them both for the next nine years. Since 2009 he has been principal conductor of the Arctic Philharmonic, and has recently extended his contract with that orchestra until 2019, as well as agreeing to take up the post of music director of the Israel Netanya Kibbutz Orchestra from 2016. Furthermore Christian Lindberg appears frequently as guest conductor with orchestras such as the Nippon Yomiuri Symphony Orchestra, the Royal Liverpool and Royal Stock- holm Philharmonic Orchestras, Swedish Radio Symphony Orchestra, Danish Na- tional Symphony Orchestra, the Helsinki and Rotterdam Philharmonic Orchestras, Royal Flemish Philharmonic, Giuseppe Verdi Symphony Orchestra of Milan, RTVE Symphony Orchestra, Taipei Symphony Orchestra, Simón Bolívar Sym- phony Orchestra and Nürnberger Symphoniker. Lindberg conducts on a number of highly acclaimed discs, among which the award-winning series of symphonies by his compatriot Allan Pettersson with the Norrköping Symphony Orchestra deserves special mention. He also has a uniquely wide-ranging discography as a trombonist.
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Graeme Jennings (conductor)

William Stafford (clarinet)

Rachel Smith (violin)

Louise King (cello)

Ayesha Gough (piano)

Composer(s)

Yitzhak Yedid (piano)

Yitzhak Yedid is an award-winning Israeli-Australian composer and improvising pianist. Yedid's style of composition described as: “eclectic, multicultural and very personal style that combines jazz and Jewish cantor music, classic European and avant-garde, randomness and a blend of techniques.”. Barry Davis wrote in the Jerusalem Post (2017) that: “Over the past couple of decades or so, Yedid has put out an almost bewilderingly eclectic range of works and recordings. His disciplinary backdrop takes in Western classical music, jazz, free improvisation, Arabic music and liturgical material. His compositions are generally viscerally and cerebrally engaging, and often visually striking, with the piano- playing role requiring a certain amount of calisthenic activity and a significant dosage of emotional and technical investment.” Yedid has composed a wide...
more

Yitzhak Yedid is an award-winning Israeli-Australian composer and improvising pianist.

Yedid's style of composition described as: “eclectic, multicultural and very personal style that combines jazz and Jewish cantor music, classic European and avant-garde, randomness and a blend of techniques.”. Barry Davis wrote in the Jerusalem Post (2017) that: “Over the past couple of decades or so, Yedid has put out an almost bewilderingly eclectic range of works and recordings. His disciplinary backdrop takes in Western classical music, jazz, free improvisation, Arabic music and liturgical material. His compositions are generally viscerally and cerebrally engaging, and often visually striking, with the piano- playing role requiring a certain amount of calisthenic activity and a significant dosage of emotional and technical investment.”

Yedid has composed a wide range of works including chamber, orchestral and vocal music, music for solo instruments, choral and music for improvising ensembles.Dr Yitzhak Yedid is an Israeli-Australian composer and improvising pianist. Yedid’s interest lies in composing and performing concert music. His composition folio contains orchestral, chamber and vocal music.

Yedid studied in Jerusalem (Rubin Academy), Boston MA (New England Conservatory), and Melbourne (Monash University) where he gained a PhD degree in 2012. His expertise as a composer is in the integration of non-European musical elements, including improvisation, with Western practice. His compositions explore new forms of integrating classical Arabic music, Arabic-influenced Jewish music and contemporary Western classical music. Yedid is an expert in Arabic music and Maqamat (the modal system of classical Arabic music).

Yedid is a Sidney Myer Fellow (2018- 2019). His awards include the top two prizes in Israel for composers and performers: the Prime Minister’s Prize for Composers (2007) and the Landau Prize for Performing Arts (2009). In 2008 he was awarded the first composition prize for solo work for harp at the 17th International Harp contest which led to numerous performances of the piece worldwide and to two commercial recordings. Yedid has also been awarded a composer-in-residence position at the Judith Wright Centre (Brisbane, 2010) and at the Western Australian Academy of Performing arts (08). His latest album Arabic violin Bass Piano Trio was nominated for the 2012 Australian Jazz Bell Awards.

Yedid has performed his compositions with many ensembles in festivals and venues across Europe, Canada, the USA (including the Carnegie Hall (New York), Jordan Hall (Boston) and Benaroya Hall (Seattle), Asia, and Africa. His work has been presented at many festivals: Munich Festival; Icebreaker Festival (Seattle, US); Sibu Festival (Romania); Adis Ababa Arts Festival (Ethiopia); Tura New Music Festival; Melbourne International Jazz Festival; Guelph Jazz Festival (Canada); Vancouver Arts Festival; The Oud International Festival; Porgy & Bess Festival (Austria); Wiener Musik Galerie Festival; Frankfurt Arts Festival; and Copenhagen Jazz Festival.

Yitzhak Yedid’s music, a unique narrative of pictures, textures and colours that is characterized by a spectacular mix of styles, is a direct outcome of his inspiration through philosophical matters and mysticism, religious rituals and religious conflicts. For over a decade Yedid has researched composition and performance that integrates Western classic music traditions and Arabic music traditions, and composed, without subscribing or adhering to any particular system, a body of over 40 works that deal with this integration. “Musically, Yedid writes with detail and foreknowledge of the sounds anticipated, a highly developed feature. His music innovative and traditional, a combination that is not easy to achieve” (Kim Cunio, 2013).

Yedid writes “Looking for new compositional approaches and challenging musical conventions through the synthesis of a wide spectrum of contemporary and ancient styles is what motivated my work. Intellectual conflicts such as the confrontation with philosophical matters and religious and political aspects have always been of interest, and also underlie and motivated my work. I have been influenced in particular by Béla Bartók and Arnold Schoenberg to develop a personal vision as a composer.” This words by Yedid are inline with what the critics write about his music: John Shand from the Sydney Morning Harald wrote in 2014 about Yedid’s ‘Myth of the Cave’ “a vividly expansive composition”; Noam Ben-Zeav (Haaretz) wrote in 2013 that “Yedid music is an authentic expression of new music which incorporates a wide spectrum of contemporary and ancient styles”; and Ake Holmquist (NorraSkåne, Sweden) wrote in 2004 that “Yedid integrates specific stylistic influences into a personal created unity. The manner in which he describes folkloristic influences and melancholic specific themes can remind of Béla Bartók; improvisatory float of hovering à la Keith Jarret”.

Yedid’s compositions ‘Oud Bass Piano Trio’ (2006) and ‘Arabic Violin Bass Piano Trio’ (2008) are works that combines a classical Arabic instrument with Western instruments. Randal McIlroy, Coda Magazine (Canada) wrote ”Pianist/composer Yitzhak Yedid’s Oud Bass Piano Trio conveys terrific tension, aggravation and release. It’s a stunner. Minimizing the distinction between composition and improvisation, the music is entrusted to supple hands.”, and jazz journalist Alain Drouot wrote for the prestigious Downbeat Magazine (US) that “Yedid’s trio explores a wide range of emotions and tones, even if a dark and mournful mood prevails. The musicians’ vivid interpretations produce a positive flow of energy that keeps the music alert and compelling, and Yedid is capable of striking lyricism. Jazz musicians often describe their art as storytelling. Yedid embodies this.”

Musically, Yedid create a confluence between the Maqamat (Arabic music modal system), heterophonic textures of ancient genres, and compositional approaches of contemporary Western classical music, to produce an original sound. Yedid introduces microtonality in his works in a range of different ways. He examined ways of using microtonal pitches that in Arabic music function as ornamentation and as part of improvisational gestures. He has extended the use of traditional ornamentation to compose microtonal sounds with microtonal qualities that unfold at different tempi without a definite pitch. This can be seen in many of his works. In his string quartet Visions, Fantasies and Dances, the microtonal intervals function in the context of diatonic and chromatic intervals and the method of a tension-and-release for intervals of a quarter-tone and three-quarter-tones have been employed.

Yedid have shown a new direction/subject in his later works and courage to make a commentary on international currant political/religious problems that continue to find no resolution. The Crying Souls (commissioned by the Australian Voices) and Delusions of War (commissioned by the Jerusalem Symphony Orchestra) are both anti-war works. The Crying Souls was written as a response to the chemical weapons attacks that happened in August 2013 in Damascus when more than 1,300 innocent civilian including children were massacred. Yedid writes “This work expresses my endless sadness to the death of innocent people”. In the notes on Delusions of War he writes “The music aims to make the listeners “feel” the human suffering that the war causes, and, without assuming to have answers, to encourage them to pause for a moment and to envisage better ways than force to resolve crises. The music captures emotions of anger and fear, and feelings of sorrow, tragedy and righteousness.”


less

Press

Simply fascinating.
Luister, 12-4-2019

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