Without knowing I would hear it is a track of yours. Wonderful, intense and dense. Bravo!

I haven't come upon your music until this evening. I have been tremendously impressed by what I've heard. I've so enjoyed listening to these pieces. The exhuberence and elegance of the writing in this piece gives great pleasure. I really like the internal pedal points that almost create cadences towards the end of the piece, and seem to confirm and consolidate the harmony.  

@bluemurderjazz: You are capable of generous expression. It is something fundamental for real growth and maturing. I think you have understood very important aspects of my music. Thank you.

@bluemurderjazz: You comment regarding "forgetting the surroundings" is most appropriate and intended. To allow oneself to be truly "enveloped" requiers humility of being and a real "force" of evelopping. Both must act, so to speak, in the proper dynamics. This is the basis of spiritual growth. 

There is a really intriguing aspect about your whole approach which becomes most visible in this work and the inosculations. Some people have claimed that "realistic" painting, as it was popular in Europe between 1400 and 1910, was essentially materialistic, and the true spiritual evolution of painting should involve more abstraction. But most abstract paintings of the first half of the 20th century – and even more of the second half – are painful, dissonant. Maybe because the awaking of mankind to the post-materialist world was painful, mediated by two horrible wars and other, related atrocities (and still people sleep). Now your music takes the spiritual germ that was present in the great composers of the early 20th century, and somehow you succeed in removing the anguish and pain and just let the spiritual flower in an unhampered way. This creates the impression of tremendous energy in your best works, an impression that one seldom gets listening to Schoenberg, Webern or Berg. And thus you prove that probably the most valuable, lasting contribution of these masters – as well as Ives, Janacek, Bartok etc. – lies perhaps in opening our minds towards the infinite. 

Exploration #2 for Brass Quintet

Exploration #2 For Brass Quintet

Le Jardin Secret II

Inosculation No. 2  for Cello and Piano

Inosculation No. 3  for Cello and Piano

Le Jardin Secret III

Le Jardin Secret IV

Le Jardin Secret (Finale)

Exploration for French Horn and Piano

Recorded in 1983, at the Berklee College of Music.


My soul longs for you

A fun B3 Organ trio piece inspired by Irene Kral and Alan Broadbent.

I hope you'll enjoy the pumping B3 bass line.  We use to do this stuff all the time during my misspent youth!  LOL…   Have Fun.

The Noodlin' Blues

I am an orthodox rabbi who teaches Torah and Kabbalah. I have many formal backgrounds, including musical composition, psychology, science, and technology. All of my work is inspired and done for G-d. Additionally, I teach people - Jews and Noachide Gentiles - how to rectify their characters through Torah and connect to Hashem. I believe and teach actual spiritual experience and not the prevailing philosophical orthodox Judaism. Only properly rectified actions make positive difference in the world. As such, "The righteous lives by his faith" (Habakuk 2:4). It is all about doing the right thing, always.


My compositions are all original, meaning, I stop listening to other composers’ music after my graduate work in composition over 37 years ago. My musical influences are all from the early 20th-century masters, however, I am particularly fond of and greatly influenced by the late Czech master composer Leoš Janáček (1854 – 1928).

If you care to hear very passionate and complex original contemporary classical music, please be welcome. 
Rabbi Avraham
www.beitarizal.org


                        שִׁוִּיתִי יְהוָה לְנֶגְדִּי תָמִיד
                 Shiviti Hashem l'negdi tamid,  
               "I Set G-d Always Before Me"
                             (Psalm 16:8).

Le Jardin Secret III

rav_avraham

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