LO OD [No More], for cello solo, violin, xylophone, and slapstick, (13')
Premiere: Misha Quint (cello solo), Juan Jaramillo (violin), Eliseo Rael (percussion)
U-3 festival of contemporary music, Pittsburgh, PA, March 15, 2005
Recorded during live performance.
LO OD was composed as a reflection of my thoughts and emotions throughout the different phases of the Israeli-Palestinian conflict “The Second Intifada”).
After only a few years of relative calm (following “The First Intifada”), a second round of violent outburst came about. The withdrawal of the Israeli Army from Southern Lebanon a few years earlier had proven to be just a temporary relief of everlasting tensions in the Middle East.
Oscillating between the states of introspective contemplation and outbursts of anger and despair, the music of LO OD is cut off at the height of its culmination with the swipe of the slapstick. Throughout the final ostinato in
cello a citation of Israeli children’s song “my hat has three corners” appears at
the xylophone part. This naive and rather infantile tune emerges against the
background of ever-growing chaos.
Premiere: Misha Quint (cello solo), Juan Jaramillo (violin), Eliseo Rael (percussion)
U-3 festival of contemporary music, Pittsburgh, PA, March 15, 2005
Recorded during live performance.
LO OD was composed as a reflection of my thoughts and emotions throughout the different phases of the Israeli-Palestinian conflict “The Second Intifada”).
After only a few years of relative calm (following “The First Intifada”), a second round of violent outburst came about. The withdrawal of the Israeli Army from Southern Lebanon a few years earlier had proven to be just a temporary relief of everlasting tensions in the Middle East.
Oscillating between the states of introspective contemplation and outbursts of anger and despair, the music of LO OD is cut off at the height of its culmination with the swipe of the slapstick. Throughout the final ostinato in
cello a citation of Israeli children’s song “my hat has three corners” appears at
the xylophone part. This naive and rather infantile tune emerges against the
background of ever-growing chaos.
