Avner Dorman
This Brazilian cultural matrix positions Avner Dorman globally...
Curation
CURATION
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from this page:
by Matrix
The Integrated Global Creative Economy
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Name:
Avner Dorman
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City/Place:
Gettysburg, Pennsylvania
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Country:
United States
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Hometown:
Tel Aviv, Israel
Life & Work
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Bio:
Avner Dormanwrites music of intricate craftsmanship and rigorous technique, expressed with a soulful and singular voice. A native of Israel now living in the United States, Dorman draws on a variety of cultural and historical influences in composing, resulting in music that affects an emotional impact while exploringnew territories. His music utilizes an exciting and complex rhythmic vocabulary, as well as unique timbres and colors in orchestral, chamber, and solo settings; many of his compositions have become contemporary staples in the repertoire.
Dorman's music is championed by conductors including Zubin Mehta, Christoph Eschenbach, Ricardo Chailly, and Andris Nelsons, and by soloists such as Pinchas Zukerman, Gil Shaham, Martin Grubinger, and Hilary Hahn.
During the 19-20 season the Boston Symphony Orchestra, the Chicago Symphony Orchestra, the Israel Philharmonic Orchestra, and the National Arts Centre Orchestra will present country premieres of Dorman’s music, and his new large-scale opera will premiere at Theater Dortmund.
The 19-20 season begins with the US premiere of Dorman’s Double Concerto,with Pinchas Zukerman, Amanda Forsyth, and the Boston Symphony orchestra conducted by Asher Fisch. Later in the season, the piece receives its Canadian premiere with the National Arts Centre Orchestra conducted by Pietri Inkinen.
In April 2020, the Israel Philharmonic Orchestra and conductor Nimrod David Pfeffer will present the Israeli Premiere of the Double Concerto. The Chicago Symphony Orchestra, soloist Cynthia Yeh, and conductor James Gaffigan will present the US premiere of Dorman’s most recent percussion concerto, Eternal Rhythm in October. A few weeks prior, Dorman will conduct the Romanian premiere of the piece at the Enescu Festival in Bucarest with soloist Simone Rubino, for whom the concerto was written.
Dorman’s newest opera, Die Kinder Des Sultans, features a libretto by Ingeborg von Zadow and will receive its world premiere run in April and May 2020 at Theater Dortmund. A story about two children on an adventure to find their father in a faraway land, the opera is intended for audiences of all ages and deals with issues of identity, diversity, family and love.
Dorman's first opera, Wahnfried, which garnered intense media interest and was hailed as a "masterpiece" by Opernwelt, returned to Karlsruhe in the 2017-2018 season for a second run as part of the Badisches Staatsoper staging of Wagner's complete ring cycle. The work was named a finalist in the category of World Premiere at the2018 International Opera Awards.
In 2018 Dorman won the Azrieli Prize for Jewish Music for his second violin concerto, Nigunim. As part of the award, the piece will be released commercially in September 2019, featuring soloist Lara St. John with the Orchestre Clasique de Montréal, conducted by Boris Brott. The concerto will concurrently receive its European premiere performances with the Czech National Symphony Orchestra conducted by Steve Mercurio, and with Sinfonia Varsovia at Polin, the Museum of the History of Polish Jews.
Dorman’s recent recording of Letters from Gettysburg was released in June 2019 to great acclaim. Writing for The Wall Street Journal, Allan Kozinn described the piece as a “wrenching score for choir, soprano and baritone soloists and percussion ensemble” and added that “Mr. Dorman’s colorful but disciplined, intensely focused style is suited to the subject matter, and he has produced a work that appeals to pacifist sensibilities by showing the devastation of war as human, personal and direct.” Amir Mandel of Haaretzwrote that “Dorman stretches the use of musical effects almost to the extreme, but achieves a work that is very beautiful to the ear and emotionally tight.” Susan Miron of Art Fusedescribed the piece as “an extraordinarily haunting five-movement work that elevates the experience of one man into a memorial to all victims of war.”
The 18-19 season featured several world premieres, including Nigunim for violin and orchestra, Double Concerto, Eternal Rhythm, Still (violin concerto no.3) premiered by Sayaka Shoji and City Music Cleveland conducted by the composer, and Now, a short, video opera commissioned and premiered by Houston Grand Opera.
Premieres from the 17-18 season included: Boundless, the first entry in Dorman’s innovative opera collaboration with Houston Grand Opera; a new suite,for Solo Violin, commissioned by the ARD competition in Munich; Four Marimbas, commissioned by Jianli Percussion; and Dancing with the Torah at Mount Meron, commissioned by ZOFO piano duo.
Dorman's music has garnered numerous awards and prizes. At the age of 25, he became the youngest composer to win Israel's prestigious Prime Minister's Award for hisEllef Symphony. He has earned several international awards from ASCAP, ACUM, and the Asian Composers League. His music is available on Naxos, Deutsche Grammophone, Canary Classics, and other labels.
He holds a doctorate in composition from the Juilliard School and serves as Associate Professor of Music Theory and Composition at the Sunderman Conservatory of Music at Gettysburg College. Avner Dorman's music is published exclusively by G. Schirmer, Inc.
Contact Information
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Email:
[email protected]
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Management/Booking:
MANAGEMENT:
Marianne Schmocker
[email protected]
FILM RELATED INQUIRIES:
Sam Schwartz
The Gorfaine/Schwartz Agency, Inc. Talent Agency
4111 W. Alameda Avenue • Suite 509.
Burbank, California • 91505.
Phone: (818) 260-8500
PUBLISHER:
Andrew Stein-Zeller (G. Schirmer, Inc.)
[email protected]
More
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Quotes, Notes & Etc.
Orchestral Works:
After Brahms (for orchestra) (2015)
Astrolatry (2011)
Azerbaijani Dance (for orchestra) (2005)
Chorale (1999)
Contrapunctus IX from The Art of the Fugue
Double Concerto (2019)
Ellef Symphony (2000)
( Not ) The Shadow ( Not After Hans Christian Andersen ) (2010)
Prayer for the Innocents (string orchestra version) (2009)
Reflections (2011)
Siklòn (2015)
Uriah (2009)
Variations Without a Theme (2001)
Soloist(s) and Orchestra:
Cello Concerto (2012)
Concerto Grosso (2003)
Concerto in A (1995)
Eternal Rhythm (2018)
Frozen in Time (2007)
Lost Souls (2009)
Mandolin Concerto (2006)
Piccolo Concerto (2001)
Saxophone Concerto (2003)
Spices, Perfumes, Toxins! (2006)
Spices, Perfumes, Toxins! (reduced orchestra) (2012)
Udacrep Akubrad – Percussion concerto (2003)
Uzu and Muzu from Kakaruzu (2011)
Violin Concerto (2006)
Violin Concerto no. 2, “Nigunim” (2017)
Violin Concerto no. 3, “Still” (2019)
Large Ensemble (7 or more players):
Concerto for Violin and a Rock Band (1998)
Prayer for the Innocents (string octet version) (2009)
Works for 2-6 Players:
Consumed (2014)
Four Marimbas (2017)
How to Love (2016)
Jerusalem Mix (2007)
Mandolin Concerto (for mandolin and piano) (2006)
Memory Games (2011)
Memory Games (for ensemble) (2015)
Oud, Viola, Piano (2011)
Sonata for Violin and Piano (2004)
Sonata No. 2 for Violin and Piano (2008)
Sonata No. 3 for Violin and Piano, Nigunim (2011)
Sonata No. 4 for Violin and Piano (2015)
String Quartet No. 1 (2003)
String Quartet No. 2 – Mirage (2004)
Tree-yO! (1996)
Trio (2002)
Udacrep Akubrad – chamber version (2001)
Variations on a Simple Theme (2017)
Solo Works (excluding keyboards):
For Solo Violin (2017)
Suite for Solo Saxophone (2015)
Solo Keyboard(s)
After Brahms (2014)
Azerbaijani Dance (2005)
Dancing with the Torah at Mount Meron (2016)
For a Friend I Never Knew (An Anniversary for Lenny) (2017)
Karsilama (2011)
Moments Musicaux (2003)
Nocturne Insomniaque (2007)
Piano Sonata No. 1 (1999)
Piano Sonata No. 2 (2000)
Piano Sonata No. 3, “Dance Suite” (2005)
Piano Sonata no. 4, “Libi Bamizrach” (2011)
Piano Sonata no. 5 (2016)
Prelude No. 1 (1992)
Three Etudes (2012)
Chorus a cappella :
The Seventy Names of Jerusalem (2014)
Chorus plus 1 instrument:
Psalm 67 (2003)
Chorus and Orchestra/Ensemble:
Dialogues of Love (2014)
Letters from Gettysburg (2012)
Solo Voice(s) and up to 6 players
Boaz (2002)
The Fear of Men (2006)
Hayam Beini Uveincha (is the sea between us) (2002)
Mantra (2012)
Nofim (Sights) (1999)
Opera and Musical Theatre:
Boundless (2018)
Wahnfried (2016)
Electroacoustic Works:
9 Eighths (1999)
Accord/Discord (1999)
Dancing With a Mirror (2002)
Falafel (2001)
Impact (2006)
Sudden Void (2001)
Clips (more may be added)
There are certain countries, the names of which fire the popular imagination. Brazil is one of them; an amalgam of primitive and sophisticated, jungle and elegance, luscious jazz harmonics — there’s no other place like it in the world. And while Rio de Janeiro, or its fame anyway, tends toward the sophisticated end of the spectrum, Bahia bends toward the atavistic…
It’s like a trick of the mind’s light (I suppose), but standing on beach or escarpment in Salvador and looking out across the Baía de Todos os Santos to the great Recôncavo, and mindful of what happened there (and here; the Bahian Recôncavo was final port-of-call for more enslaved human beings than any other place throughout the entirety of mankind’s existence on this planet, and in the past it extended into what is now urban Salvador), one must be led to the inevitable conclusion that one is in a place unique to history, and to the present:
Brazil absorbed over ten times the number of enslaved Africans taken to the United States of America, and is a repository of African deities (and their music) now largely forgotten in their lands of origin.
Brazil was a refuge (of sorts) for Sephardim fleeing an Inquisition which followed them across the Atlantic (that unofficial symbol of Brazil’s national music — the pandeiro — was almost certainly brought to Brazil by these people).
Across the parched savannas of the interior of Brazil’s culturally fecund nordeste/northeast (where wizard Hermeto Pascoal was born in Lagoa da Canoa — Lagoon of the Canoe — and raised in Olho d’Águia — Eye of the Eagle), much of Brazil’s aboriginal population was absorbed into a caboclo/quilombola culture punctuated by the Star of David.
Three cultures — from three continents — running for their lives, their confluence forming an unprecedented fourth. Pandeirista on the roof.
That's where this Matrix begins:
Wolfram MathWorld
The idea is simple, powerful, and egalitarian: To propagate for them, the Matrix must propagate for all. Most in the world are within six degrees of us. The concept of a "small world" network (see Wolfram above) applies here, placing artists from the Recôncavo and the sertão, from Salvador... from Brooklyn, Berlin and Mombassa... musicians, writers, filmmakers... clicks (recommendations) away from their peers all over the planet.
This Integrated Global Creative Economy (we invented the concept) uncoils from Brazil's sprawling Indigenous, African, Sephardic and then Ashkenazic, Arabic, European, Asian cultural matrix... expanding like the canopy of a rainforest tree rooted in Bahia, branches spreading to embrace the entire world...
Recent Visitors Map
Great culture is great power.
And in a small world great things are possible.
Alicia Svigals
"Thanks, this is a brilliant idea!!"
—Alicia Svigals (NEW YORK CITY): Apotheosis of klezmer violinists
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers (BOSTON): Director of the Berklee Music Perception and Cognition Laboratory ... Former personal recording engineer for Prince; "Purple Rain", "Sign o' the Times", "Around the World in a Day"
"Dear Sparrow, Many thanks for this – I am touched!"
—Julian Lloyd Webber (LONDON): Premier cellist in UK; brother of Andrew (Evita, Jesus Christ Superstar, Cats, Phantom of the Opera...)
"This is super impressive work ! Congratulations ! Thanks for including me :)))"
—Clarice Assad (RIO DE JANEIRO/CHICAGO): Pianist and composer with works performed by Yo Yo Ma and orchestras around the world
"We appreciate you including Kamasi in the matrix, Sparrow."
—Banch Abegaze (LOS ANGELES): manager, Kamasi Washington
"Thanks! It looks great!....I didn't write 'Cantaloupe Island' though...Herbie Hancock did! Great Page though, well done! best, Randy"
"Very nice! Thank you for this. Warmest regards and wishing much success for the project! Matt"
—Son of Jimmy Garrison (bass for John Coltrane, Bill Evans...); plays with Herbie Hancock and other greats...
I opened the shop in Salvador, Bahia in 2005 in order to create an outlet to the wider world for magnificent Brazilian musicians.
David Dye & Kim Junod for NPR found us (above), and Kareem Abdul-Jabbar (he's a huge jazz fan), David Byrne, Oscar Castro-Neves... Spike Lee walked past the place while I was sitting on the stoop across the street drinking beer and listening to samba from the speaker in the window...
But we weren't exactly easy for the world-at-large to get to. So in order to extend the place's ethos I transformed the site associated with it into a network wherein Brazilian musicians I knew would recommend other Brazilian musicians, who would recommend others...
And as I anticipated, the chalky hand of God-as-mathematician intervened: In human society — per the small-world phenomenon — most of the billions of us on earth are within some 6 or fewer degrees of each other. Likewise, within a network of interlinked artists as I've described above, most of these artists will in the same manner be at most a handful of steps away from each other.
So then, all that's necessary to put the Brazilians within possible purview of the wide wide world is to include them among a wide wide range of artists around that world.
If, for example, Quincy Jones is inside the matrix, then anybody on his page — whether they be accessing from a campus in L.A., a pub in Dublin, a shebeen in Cape Town, a tent in Mongolia — will be close, transitable steps away from Raymundo Sodré, even if they know nothing of Brazil and are unaware that Sodré sings/dances upon this planet. Sodré, having been knocked from the perch of fame and ground into anonymity by Brazil's dictatorship, has now the alternative of access to the world-at-large via recourse to the vast potential of network theory.
...to the degree that other artists et al — writers, researchers, filmmakers, painters, choreographers...everywhere — do also. Artificial intelligence not required. Real intelligence, yes.
Years ago in NYC (I've lived here in Brazil for 32 years now) I "rescued" unpaid royalties (performance & mechanical) for artists/composers including Barbra Streisand, Aretha Franklin, Mongo Santamaria, Jim Hall, Clement "Coxsone" Dodd (for his rights in Bob Marley compositions; Clement was Bob's first producer), Led Zeppelin, Ray Barretto, Philip Glass and many others. Aretha called me out of the blue vis-à-vis money owed by Atlantic Records. Allen Klein (managed The Beatles, The Rolling Stones, Ray Charles) called about money due the estate of Sam Cooke. Jerry Ragovoy (Time Is On My Side, Piece of My Heart) called just to see if he had any unpaid money floating around out there (the royalty world was a shark-filled jungle, to mangle metaphors, and I doubt it's changed).
But the pertinent client (and friend) in the present context is Earl "Speedo" Carroll, of The Cadillacs. Earl went from doo-wopping on Harlem streetcorners to chart-topping success to working as a custodian at PS 87 elementary school on the west side of Manhattan. Through all of this he never lost what made him great.
Greatness and fame are too often conflated. The former should be accessible independently of the latter.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay (they paid).
Matrix founding creators are behind "one of 10 of the best (radios) around the world", per The Guardian.
Across the creative universe... For another list, reload page.
This list is random, and incomplete. Reload the page for another list.
For a complete list of everybody inside, tap TOTAL below:
TOTAL
Ex Terra Brasilis
Susan Rogers
Julian Lloyd Webber
Clarice Assad
Kamasi Washington
Randy Brecker
Matt Garrison
RÁDIO MATRIX