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Curator: Assaf Shelleg The generic title of this work, Quintet for Woodwinds, also reveals very little about its content. Avni’s Quintet was written two years before Sheriff’s Music, and it, too, is reflective of a listening environment which sought to translate its eastern sonic landscapes. Like Sheriff, Avni also employs the dryness of wind instruments that often functioned as Western surrogates of local, non-Western instruments. Avni, however, seeks to elicit at a slightly different location. He writes folklore imaginaire while paraphrasing the textures, rhythms and choreographic gestures of local folk dances (including the Hora). Concomitantly, flickering monophonic Pastorals whose melodic contours are suggestive of the uninhabited landscapes of the country resonating the staccato quality of the Hebrew language. In 1953 composer Alexander Boskovich wrote that, “Whereas European Pastorals, from Domenico Scarlatti to Claude Debussy, depicted the landscape through the prism of the salon, Israeli Pastorals are spacious, airy and dynamic, even when they depict static landscapes.” “Behind the Israeli Pastoral,” Boskovich added, “stands an entire nation that remembers its historic youth, experiences the redemption of the land, and creates a new life on it.” Avni was taking notes. Text: Assaf Shelleg 0:00 I. Allegro ma non troppo, ben marcato 3:20 II. Variations. Con moto tranquillo, quasi adagio 8:47 III. Allegro scherzando 11:03 IV. Dialogo elegiac 14:00 V. Finale Flute: Guy Eshed Oboe: Dudu Carmel Clarinet: Yevgeny Yehudin Horn: James Madison Cox Bassoon: Daniel Mazaki / israel_philharmonic / israel.philharmonic ------------------- Video Director: Yoel Culiner Director of Photography: Dror Heller Sound: Rafi Eshel, Yaron Aldema - Eshel Sound Studios Creative Director: Elizabeth Culiner Light Designer: Dani Rogovin Production: Liz Fisher Animation: Gavriel Izaky #ArtMusicInIsrael #Textures #TzviAvni