Performance of Chamber Version
Luminosity Orchestra
February 24th, 2017
Pythian Temple, Tacoma, WA

Stalasso

The Map and the Territory (2020) | a 60 seconds reflexion
by Ruben Seroussi (b. 1959)

* World Premiere Recording *
| The Israeli Contemporary Music Project

(photo by Eva Gentner)

Ruben Seroussi: The Map and the Territory | Hagai Yodan, piano

No 23 Serenades II-IV (2004), for Electric Guitar Quartet. Dan Lippel, (all) guitars. Studio recording 2021. (image: Repulsion - Ata Mohammadi)

From the album 'Aufs Lautenwerk' (2021)
Newfocusrecordings
https://danlippelguitar.bandcamp.com/album/bach-aufs-lautenwerk-bandcamp-exclusive-edition-w-bonus-ep-of-new-adriaansz-ueno-works?fbclid=IwAR0K1Njy_kVPr8M5R-Di8UBPTn9UOYQrfFuC9S9bCo054l7OZPGD017BIZA

No 23 Serenades II - IV (2004)

| Frédéric Chopin's first piano ballade, op. 23

Frédéric Chopin: Piano Ballade no. 1, op. 23 | Hagai Yodan, piano

Labyrinth no. 3 - Sostenuto, free (from Labyrinths, 2005)
by Nadav Cohen (b. 1983)

| The Israeli Contemporary Music Project

Nadav Cohen: Labyrinth | Hagai Yodan, piano

Miniature à la manière de Pierre Boulez (2020)
by Yonatan Ron (b. 1992)

* World Premiere Recording *
| The Israeli Contemporary Music Project

Yonatan Ron: Miniature à la manière de Pierre Boulez | Hagai Yodan, piano

Album information: 
https://youtu.be/TFtbyrfRoFk?si=d7pUL8tpTmT4FLpM
https://music.apple.com/us/album/%E5%82%AC%E5%8C%96%E6%95%88%E6%87%89-%E8%9E%8D-%E5%85%B1%E6%84%9F-catalysis-fusion-of-senses-live/1685992904

Premiere: 3PeopleMusic Ensemble + Quatuor TANA
February 15, 2020. Le Phénix, France
Performances: 3PeopleMusic Ensemble + Taiwan String Quartet
five performances on June 3-5, 2022. Taipei, Taiwan

Pressed Flowers in Glass for three Chinese instruments and a string quartet

G.N.Z. for voice (tenor or other) and electronics
Tenor: Benjamin Alunni
Espace de Projection, IRCAM, Paris
September 21, 2023

Full performance available here:
https://medias.ircam.fr/x714fdd_gnz-omer-barash

G.N.Z. [excerpt]

Inspired by and dedicated to the artwork of Orna Millo.
Conductor – Julia Tai
Flute – Sarah Pyle
Clarinet – Rachel Yoder
Percussion – Bonnie Whiting
Piano – Cristina Valdes
Violin – Luke Fitzpatrick
Cello – Christine Lee

Seattle Modern Orchestra.

University of Washington, Seattle, March 12 2025.
___________________________
In discussions on coherence in Western concert music, collages were often viewed as incoherent and jumbled forms due to their fusional nature, which led to a perceived lack of consistency. This criticism doesn’t necessarily apply to arts that are presented as static objects, like sculpture, painting, or architectural design—where coherence is judged by the unity of the (static) form. In contrast, this issue is relevant for art “in actus”—art-mediums that evolve over time, such as music, theatre, video, and dance—where coherence is assessed based on the temporal evolution and where forms gradually unfold.
The motivation for this piece began with my curiosity about what it would take to compose a collage that is uninterrupted and continuous, yet clearly communicates as a collage made of distinct materials, which, also when seeming to reappear, have been reformed to merely allude to their initial presentation.
As the piece evolves, fundamentally different ideas transform into one another, with each transition ensuring that one parameter—pitch collection, register, dynamics, duration, or timbre—remains unchanged across successive ideas. 
The image I envisioned while composing was that of a dark ride at an amusement park, where the emphasis lies in the paradox of expecting the unexpected.

Still Moves (2024)

Performance by the Inverted Space Ensemble
Chapel Performance Space, Seattle, WA, 10/25/2013

The title "Tabula Russia" presents a phonetic and semantic allusion to the well-known Latin expression "tabula rasa" (blank slate). This is how the wax tablets used for notating texts were used in antiquity. Before a new text was inscribed, the old text was erased. 

The main sonar idea in my composition was the sound of the Russian low bell. In Russian bells, unlike most of the European ones, there is an oscillation not of the cupola, but of the bell, which makes it possible to mould very large bells that emit very low tones, extremely abundant in overtones. This primeval bell rumble forms a remarkable combination of the harmonious cosmos of overtones and the chaos of the multitude of "arbitrary" side-tones, a peculiar kind of sound "chaosmos." Chaos fraught with cosmos, with orderliness – this metaphor, as it seems to me, contains an important archetype of the Russian consciousness. Russia, being in search for its identity, continuously rewrites its own history, each time starting from a "tabula rasa".

Still Moves (2024)

Yonatan Ron

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