The spinning flute : for flute and piano : score
Netta Aloni 1945-
Musical NotesPerformer |
Eylon, Raanan; Shilo, Yaacov |
---|---|
Record Company |
Germany : EMI Electrola |
Creation Date |
[1985] |
Creators |
Eylon, Raanan 1948- (instrumentalist, performer)
Shilo, Yaacov 1921-1999 (instrumentalist, performer) |
Note on Location and Date |
Recorded in the Jerusalem Music Center. |
Physical Description |
1 audio disc : 33 1/3 rpm, stereo 12 in.. |
Language |
zxx |
Notes |
Aharon Harlap’s "Conversations” for flute and piano were written for Raanan Eylon in 1984, The first movement, a waltz, is followed by a moderato letargo "tongue in cheek" stuff. A lyrical third movement and a playful finale complete this delightful work. Harlap is active as a conductor, both choral andorchestral, in addition to composing. Born in Canada, Harlap has been living in Israel since 1964. Pavel Haas was born in Brno, Moravia in 1899 and per ished in the concentration camp of Auschwitz in 1944. He was a pupil of Leos Janaéek whose influence can be felt in his work. At the same time his music strongly reflects the Jewish elements inherent in his personality. The Suite was written in the summer of 1939 under the impact of the Nazi conquest of Czechoslovakia. We know that it was originally composed for voice and orchestra to a text written by Haas himself. In that summer of 1939, as a very young student of Pavel Haas, I remember him telling me with enthusiasm about a dramatic vocal work he was then writing. The text must have been very outspoken and Haas took great pains to hide it so that it would not fall into the hands of the Gestapo. The text has not been found so far. Later, Haas adapted the work for oboe and piano. The Suite consists of three movements. The first, Furioso, expresses passionate despair, pain and sorrow. The second movement, Con Fuoco, voices defiance. It begins with a dramatic trumpet call, a fighting upsurge, as if to call the people to revolt. The music is based to a great extent on the medieval church chorale of St. Wenceslaus, the Czech patron saint. The traditional words of the chorale were a prayer to protect the country from its enemies. Towards the end of the movement, the motive of the Hussite chorale “We who are God’s warriors” appears. The last movement is based entirely on the St. Wenceslaus chorale and appears to be an expression of hope and faith redemption and victory. There is a hymnic ending, when the tolling church bells and the music intermingle. (Yaacov Shilo) Yehezkel Braun’s “Three movements for flute solo” were composed in 1955 and revised in 1961. They were inspired by the music dancer Deborah Bertonoff, which explains their dance-like character. The style of writing for the flute has been influenced by the sound and technique of the Arab shepherd's pipe. Braun was born in Germany in 1922 and has been living in Tel-Aviv since 1924. “Yefe Nof" by Yardena Alotin for solo flute, extols the beauty of Jerusalem. It was written in 1978, dedicated to James Galway. Yardena Alotin studied composition with Oedoen Partos and has written extensively for various chamber music combinations. Raanan Eylon's "Winter - you have come" was recorded in 1980 with a wooden Boehm flute and a Revox tape machine. In a long and hard struggle between voices and flutes, the voice lines get the upper hand, and the flutes are forced to give in. |
Content Note |
Side 1. Conversations for flute and piano / Aharon Harlap -- Suita (1939) / Pavel Haas -- side 2. Three dance movements for solo flute / Yehezkel Braun -- Yefe nof / Yardena Alotin -- Winter, you have come / Raanan Eylon. |
Note on Participants |
Raanan Eylon, flute ; Yaacov Shilo, piano. |
Shelf Number |
JR 03482 |
System Number |
990034569450205171 |
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