| Deep Longings |
(1994-1996) |
5:53 |
Rishon String Quartet |
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"Nel mezzo del cammin di nostra vita
mi ritrovai per una una selva oscura,
che la diritta via era smarrita."
- Dante
There is a point in everyone's life where we find ourselves in the dark woods of confusion. It is only our true passions, which will guide us to find the true path that leads us out. It seemed to happen all at once. I was doing the sensible thing training to be a computer engineer. Then one day I realized I had been slowly and obliviously walking to my doom and appeared in my own version of the "Dark Wood." Fortunately I had a guide to lead me out. Deep Longings is about that yearning for something greater than yourself, your destiny, which you have not discovered yet.
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| Stark |
(1995) |
6:56 |
Hiromi Abe - Piano |
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| In the beginning when I was introduced to the piano, I had only seen the patterns the keys made in black and white. My first study and true composition was made with the four notes C, C#, D#, and E. Stark contains only these four notes as it spins its themes and motives of that first composition. |
| Tears of Dew |
(1994) |
5:07 |
Michael Ranan - 'cello &
Patricia Zaitez - Piano |
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Dew lies on blades of grass in the morning. These are the tears of the earth, which weeps for the disappearance of the twilight's stars into the morning sun. Slowly dawn arrives evaporating all remembrance.
In the end, this is composition is about a girl. The title in Hebrew is a play on words, which contains her name. |
| taint |
(1995) |
4:31 |
Michelle Smith - Flute solo |
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In a fresh pond of water a bottle of ink can taint its color. How much ink will make it unfit to drink?
Again and again, I have faced the need to prove myself and my compositions in the light of my training and experience. taint as well as several compositions which contain a vesrion of that word are efforts for me to contrast "traditional" or "academic" techniques with others which are more found than learned.
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| Remember When |
(1995) |
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Rishon String Quartet |
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| The ways of the past visit us as gentle memories. They make great knickknacks to sit upon the shelf of reality. Before being a composer I took several classes for "fun" in music composition. This is a reworking of a counterpoint exercise. |
| Nature of Man (fish rocks) |
(1998) |
6:53 |
Richard Vidal - Vocals &
Robert Voisey - Vocals and Engineer |
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| Returning from Israel, I started to form a niche for myself in the United States. Before long I ended up at CUNY Brooklyn where I returned to my computer background and started to create electronic and tape work. This composition contains three poems of my own design.
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| "infinity" |
(1999) |
5:08 |
Robert Voisey - Vocals and Engineer |
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Love can be a beautiful experience and inspiration. I have been always been fascinated with the symbols which represented this feeling and its ultimate goal concluding with the finding of a soul mate. Rings have been the symbol of this union. Once I saw a picture combining two rings with a heart. From this idea it stirred in me the symetry and asymetry of love and reminded me of the forulas of cardiods, cirlces, and lemniscates from my many classes in mathematics. When I thought of a horizontal lemniscate representing the concept of infinity, the poem for this composition evolved. Creating a text sound piece I composed the music using the wrods in the same vain in which I perceived the poem using chinese bowls and electronic manipualtion.
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| Lullaby |
(1999) |
5:23 |
Joyce Tanian - Vocals,
Robert Voisey - Vocals and Engineer & Franz Moore - Engineer |
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Why do we sing lullabies to our children? Nursery rhymes like children can be terribly cruel. What is learned behavior and what is part of the process fo growing up. How concerned and careful are we as parents with our children's education. Do we leave them to the elements of the world to teach them or do we nuture and empower them ourselves.
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