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Imagine the world's creative economy at your fingertips. Imagine 10 doors side-by-side. Beyond each, 10 more, each opening to a "creative" somewhere around the planet. After passing through 8 such doorways you will have followed 1 pathway out of 100 million possible (2 sets of doorways yield 10 x 10 = 100 pathways). This is a simplified version of the metamathematics that makes it possible to reach everybody in the global creative economy in just a few steps It doesn't mean that everybody will be reached by everybody. It does mean that everybody can  be reached by everybody.


Appear below by recommending Avner Dorman:

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  • Avner Dorman
    A video was posted re Avner Dorman:
    Avner Dorman: Frozen in Time
    Avner Dorman: Frozen in Time I. Indoafrica II. Eurasia III. The Americas Christoph Sietzen, Multi-Percussion Romanian National Symphony Orchestra Cristian Man...
    • September 25, 2019
  • Avner Dorman
    A video was posted re Avner Dorman:
    Avner Dorman Double Concerto World-Premiere Rehearsal
    Pinchas Zukerman and Amanda Forsyth rehearsing with the Adelaide Symphony Orchestra and Benjamin Northey prior to the world-premiere performance of Avner Dor...
    • September 25, 2019
  • Avner Dorman
    A category was added to Avner Dorman:
    Contemporary Classical Music
    • September 25, 2019
  • Avner Dorman
    A category was added to Avner Dorman:
    Gettysburg College Faculty
    • September 25, 2019
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    A category was added to Avner Dorman:
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    • September 25, 2019
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    A category was added to Avner Dorman:
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    • September 25, 2019
  • Avner Dorman
    Avner Dorman is matrixed!
    • September 25, 2019
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Why a "Matrix"?

 

I was explaining the ideas behind this nascent network to (João) Teoria (trumpet player above) over cervejas at Xique Xique (a bar named for a town in Bahia) in the Salvador neighborhood of Barris...

 

Like this (but in Portuguese): "It's kind of like Facebook if it didn't spy on you, but reversed... more about who you don't know than who you do know. And who doesn't know you but would be glad if they did. It's kind of like old Myspace Music but instead of having "friends" it has a list on your page of people you recommend. Not just musicians but writers, painters, filmmakers, dancers, chefs... anybody in the creative economy. It has a list of people who recommend you, or through whom you are recommended. It deals with arts which aren't recommendable by algorithm but need human intelligence behind recommendations. And the people who are recommended can recommend, creating a network of recommendations wherein by the small world phenomenon most people in the creative economy are within several steps of everybody else in the creative economy, no matter where they are in the world..."

 

And João said (in Portuguese): "A matrix where you can move from one artist to another..."

 

A matrix! That was it! The ORIGINAL meaning of matrix is "source", from "mater", Latin for "mother". So the term would help congeal the concept in the minds of people the network was being introduced to, while giving us a motto: "We're a real mother for ya!" (you know, Johnny "Guitar" Watson?)

 

The original idea was that musicians would recommend musicians, the network thus formed being "small world" (commonly called "six degrees of separation"). In the real world, the number of degrees of separation in such a network can vary, but while a given network might have billions of nodes (people, for example), the average number of steps between any two nodes will usually be minuscule.

 

Thus somebody unaware of the magnificent music of Bahia, Brazil will be able to conceivably move from almost any musician in this matrix to Bahia in just a few steps...

 

By the same logic that might move one from Bahia or anywhere else to any musician anywhere.

 

And there's no reason to limit this system to musicians. To the contrary, while there are algorithms written to recommend music (which, although they are limited, can be useful), there are no algorithms capable of recommending journalism, novels & short stories, painting, dance, film, chefery...

 

...a vast chasm that this network — or as Teoria put it, "matrix" — is capable of filling.

 

@ Ground Zero

 

Have you, dear friend, ever noticed how different places scattered across the face of the globe seem almost to exist in different universes? As if they were permeated throughout with something akin to 19th century luminiferous aether, unique, determined by that place's history? 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, one must be led to the inevitable conclusion that one is in a place unique to history, and to the present*.

 

 

"Chegou a hora dessa gente bronzeada mostrar seu valor / The time has come for these bronzed people to show their value..."Música: Assis Valente of Santo Amaro, Bahia. Vídeo: Betão Aguiar.

 

*More enslaved human beings entered the Bay of All Saints and the Recôncavo than any other final port-of-call throughout all of mankind's history.

 

These people and their descendants created some of the most uplifting music ever made, the foundation of Brazil's national art. We wanted their music to be accessible to the world (it's not even accessible here in Brazil) so we created a platform by which everybody's creativity is mutually accessible, including theirs.

 

El Aleph

 

The network was built in an obscure record shop (Kareem Abdul-Jabbar found it) in a shimmering Brazilian port city...

 

...inspired in (the kabbalah-inspired fiction of) Borges' (short story) El Aleph, that in the pillar in Cairo's Mosque of Amr, where the universe in its entirety throughout all time is perceivable as an infinite hum from deep within the stone.

 

It "works" by virtue of the "small-world" phenomenon...the same responsible for the fact that most of us 7 billion or so beings are within 6 or fewer degrees of each other.

 

It was described (to some degree) and can be accessed via this article in British journal The Guardian (which named our radio of matrixed artists as one of ten best in the world):

 

www.theguardian.com/travel/2020/apr/17/10-best-music-radio-station-around-world

 

With David Dye for U.S. National Public Radio: www.npr.org/2013/07/16/202634814/roots-of-samba-exploring-historic-pelourinho-in-salvador-brazil

 

All is more connected than we know.

 

Per the "spirit" above, our logo is a cortador de cana, a cane-cutter. It was designed by Walter Mariano, professor of design at the Federal University of Bahia to reflect the origins of the music the shop specialized in. The Brazilian "aleph" doesn't hum... it dances and sings.

 

If You Can't Stand the Heat

 

Image above is from the base of the cross in front of the church of São Francisco do Paraguaçu in the Bahian Recôncavo

 

Sprawled across broad equatorial latitudes, stoked and steamed and sensual in the widest sense of the word, limned in cadenced song, Brazil is a conundrum wrapped in a smile inside an irony...

 

It is not a European nation. It is not a North American nation. It is not an East Asian nation. It straddles — jungle and desert and dense urban centers — both the equator and the Tropic of Capricorn. 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. It 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. Nowhere else but here.

 

Oligarchy, plutocracy, dictatorships and massive corruption — elements of these are still strongly entrenched — have defined, delineated, and limited Brazil.

 

But strictured & bound as it has been and is, Brazil has buzz...not the shallow buzz of a fashionable moment...but the deep buzz of a population which in spite of — or perhaps because of — the tough slog through life they've been allotted by humanity's dregs-in-fine-linen, have chosen not to simply pull themselves along but to lift their voices in song and their bodies in dance...to eat well and converse well and much and to wring the joy out of the day-to-day happenings and small pleasures of life which are so often set aside or ignored in the European, North American, and East Asian nations.

 

For this Brazil has a genius perhaps unparalleled in all other countries and societies, a genius which thrives alongside peeling paint and holes in the streets and roads, under bad organization by the powers-that-be, both civil and governmental, under a constant rain of societal indignities...

 

Which is all to say that if you don't know Brazil and you're expecting any semblance of order, progress and light, you will certainly find the light! And the buzz of a people who for generations have responded to privation at many different levels by somehow rising above it all.

 

"Onde tem miséria, tem música!"* - Raymundo Sodré

 

And it's not just music. And it's not just Brazil.

 

Welcome to the kitchen!

 

* "Where there is misery, there is music!" Remarked during a conversation arcing from Bahia to Haiti and Cuba to New Orleans and the south side of Chicago and Harlem to the villages of Ireland and the gypsy camps and shtetls of Eastern Europe...

 

From Harlem to Bahia



  • Avner Dorman
    I RECOMMEND

CURATION

  • from this node by: Sparrow/Pardal

This is the Universe of

  • Name: Avner Dorman
  • City/Place: Gettysburg, Pennsylvania
  • Country: United States
  • Hometown: Tel Aviv, Israel

Life & Work

  • 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

  • Email: [email protected]
  • 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]

Media | Markets

  • ▶ Buy My Music: (downloads/CDs/DVDs) http://www.avnerdormanmusic.com/recordings
  • ▶ Website: http://www.avnerdormanmusic.com
  • ▶ YouTube Channel: http://www.youtube.com/channel/UC_j8V-QVLEiurOkW_i2ULmw
  • ▶ Spotify: http://open.spotify.com/album/00jAOKzDuOUFGm3X0e7aef
  • ▶ Spotify 2: http://open.spotify.com/album/12qFJXLTy6cUV7td1f4xEQ
  • ▶ Spotify 3: http://open.spotify.com/album/2TbblDmBaBe88PwPmraWcG
  • ▶ Spotify 4: http://open.spotify.com/album/2cwszeCm8Dz0ho6SZHAU5l
  • ▶ Spotify 5: http://open.spotify.com/album/0btBsutTMcVtnYCOZFUFD8
  • ▶ Spotify 6: http://https://open.spotify.com/album/1JwRq6vUNYrKw2CvQbNBzB

More

  • 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)

  • Avner Dorman: Frozen in Time
    By Avner Dorman
    279 views
  • Avner Dorman Double Concerto World-Premiere Rehearsal
    By Avner Dorman
    259 views
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