Yitzhak Yedid
[7] His compositional style has been characterised as "eclectic, multicultural, and deeply personal,"[8] blending elements of jazz and Jewish cantor music, classical European traditions, and avant-garde experimentation.[16] His initial formative musical experiences included attending liturgical services at his local synagogue where he imbibed the sounds and rhythms of the Syrian-Jewish Baqashot tradition.In his compositions, Yedid seamlessly integrates various elements, including energies and dynamics, while introducing a distinctive aesthetic that departs from the conventional norms of classical stage traditions.[19] Yedid studied at the Rubin Academy of Music with Vyacheslav Ganelin and the New England Conservatory in Boston with Ran Blake and Paul Bley in 1997 and 1998.[29] These compositions combined fully notated music with free improvisation, including maqamat, and composed for a selection of individual players.[37] In 2006, Yedid composed Since My Soul Loved,[38] a four movement composition for improvising players for violin, viola, cello, double bass and piano.However, in my music, my intention is not to refer directly to experiences such as this but rather to look at Arabic and Jewish matters from a human perspective and in conjunction with philosophical and religious concerns.It is my wish to convey the idea of cultural pluralism.Yedid's style of composition has been described as[59] eclectic, multicultural and very personal- a 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,[60] Over the past couple of decades or so, Yedid has put out an almost bewilderingly eclectic range of works and recordings.I have been influenced in particular by Béla Bartók and Arnold Schoenberg to develop a personal vision as a composer.This correlates with what the critics write about his music: John Shand from the Sydney Morning Herald wrote in 2014 about Yedid's Myth of the Cave "a vividly expansive composition";[62] 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";[63] 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 Jarrett [...].Musically, Yedid creates 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.[3] 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.[69] His winning composition, Kiddushim Ve’ Killulim (Blessings and Curses),[6] was unanimously declared the best new major work of Jewish music by the judges of the Canadian prize.[70] Yedid received a total prize package valued at over CA$200,000, which included a world premiere performance of his work by Le Nouvel Ensemble Moderne, and a recording released on the Analekta label.
JerusalemContemporary classicalJewishAvant-gardeExperimentalThird streamPolystylismHebrewcomposercontemporary classical musicpianistSidney Myer Creative Fellow.cantorInterfaith dialogueCross-culturalMiddle Eastern cultureritualsArabic musicnon-Western musicJudaeo-SephardicSyrianSyrian-JewishBaqashotJewish-ArabicMaqamatwestern classical musicAleppoPiyyutimRubin Academy of MusicVyacheslav GanelinNew England ConservatoryRan BlakePaul BleyMonash UniversityRoland PontinenTachanunChallenge RecordsNetherlandsVancouver International Jazz FestivalTel Aviv Jazz Festivalallegory of the caveAbatte BarihunMichael Kieran HarveyChristian LindbergJerusalem Symphony OrchestraLev VlassenkoInternational Harp ContestAustralian VoicesChallenge Records InternationalAbate BerihunHassidicfree jazzThe Jerusalem PostMyth of the CaveNoam Ben-ZeavBéla BartókKeith JarrettAzrieli FoundationLe Nouvel Ensemble ModerneAnalekta labelSidney Myer Creative FellowshipOut to InfinityJudith Wright Arts CentreWestern Australian Academy of Performing ArtsNational Trust of AustraliaCreative AustraliaAustralia Council for the ArtsFrançois HouleOrit WolfJerusalem International YMCAIsrael National Lottery Council for the ArtsAmerican Harp SocietyAlbert BegerAllerheiligen-HofkircheMarc ChagallViennaSeattle Chamber PlayersBenaroya HallSeattleStage musicTouchstone TheatreKatrina Dunna cappellaThe Australian VoicesChurch of the Redeemer, JerusalemHenry Crown Symphony HallIsrael Broadcasting Authority's (IBA) Kol Ha'Musika stationQueensland Conservatorium Griffith UniversityGraeme JenningsTel AvivDunwichNorth Stradbroke IslandIsrael Netanya Kibbutz OrchestraMelbourneDimitri AshkenazyMarie Luise NeuneckerDarmstadt International Summer Courses for New MusicIsraeli musicJewish MusicYouTubeSpotify