Composer and multi-disciplined artist Yoav Gal specializes in the marriage of music and image. His work has been described as "Indie Opera", (New York Times’ Anne Midgette), and “livingroom opera” (Michael Gordon, Bang on a Can), and also as "music that is drawn to what's next, rather then what has been" ( NY Times’ Allan Kozinn). Gal recent commissions include works such as Dr. KING, for the Bang on a Can Peoples Commissioning Fund, 2006; MOSHEH, a mixed-media opera, for Merkin Concert Hall, NYC, 2006, and currently in residency at HERE Arts Center, NY; and WE SHALL FIGHT, for the Real Quiet trio. Gal’s other commissions include VENUS IN FURS, a videopera (2004) and BERESHIT, (2001), for the Golden Fleece LTD. Show more
Gal often authors the text in his works. He is also involved in multiple aspect of his staged production, including designing sets, video and props. The dress he designed for the production of his comic opera, THE DWARF (Vertical Player Rep, 2003) was noted upon in the New York Times: "…designing a bustle large enough to conceal the tenor who plays Lingus [the dwarf], seemed as much a source of pride to Mr. Gal as writing the piece itself…"(Anne Midgette). Gal also has a growing list of solo and chamber works, among them IR SHEL SHALOM, for solo vibraphone and vocal samples, for David Cossin; STRANGERS, for solo cello, after Frank Sinatra, for Wendy Sutter; several piano pieces for Gila Goldstein, as well as works for Ensemble Pamplemousse, ICE, Abby Fischer, and Now Ensemble.
Gal’s recently released CD, Bit by Bit, Cell by Cell, based on media artist Yael Kanarek’s “World of Awe”, combined digitally processed voice and sounds generated from discontinued Atari 800XL computer. The multi media CD had been described as “clusters of angels caught in various beams of light and held suspended as their songs bleed through to our world…. Quite lovely, listenable, and beautifully packaged as well.” by George Parsons of Dream Magazine; “perfectly accessible and often quite beautiful for it.” by Tim Rutherford-Johnson; and “A gorgeous work” that “..really pushed the envelope of how much can be asked of the listener.” By DaveX of the Startling Moniker. His other recorded music includes VENUS IN FURS, available on CD baby, and the soon to be released CD, MOSHEH.
Gal is a recipient of grants from the NEA, American Music Center, Harvestworks, Franklin Furnace, and BCAT/Brooklyn -Rotunda Gallery. Born in Israel and a resident of New York since 1988, he holds a BA in composition from the Manhattan School of Music and an MA from Queens College, a student of David Noon, Nils Vigeland and Thea Musgrave. He also studied visual art in Thelma Yelin School for the Arts, in Tel Aviv. His cable show videOpera is sometimes aired on Brooklyn Community Access TV.
American opera is going through a process of redefinition. Its most distinctive characteristic has been rendered outdated by 20th-century technology: electronic amplification has challenged traditional operatic vocal technique, which evolved in order to fill vast acoustic spaces. The medium has long since become the realm of a self-selected group of devotees. Opera is singular among art forms, however, in giving music dominion over a large array of arts. The unique power of music to endow an image or a story with an emotional and spiritual meaning makes opera the most symbolic and ritualistic of art forms. The opera composer’s role, therefore, is to provide any and all listeners with an experience on that level, whether they are opera buffs or not. And any artistic tool is legitimate to that end, whether traditionally “operatic” in nature or not.
MOSHEH, a videOpera, reenacts a familiar Biblical story as an ancient-futuristic ritual. The work comprises a series of episodes based on a short narrative in the book of Exodus, tracing the evolution of a hero, Moses, from infancy through maturation, until his revelation and acceptance of his mission. It is told mostly through the voices of the women in the story—mother, sister, adoptive mother, and wife—who protected and nurtured Mosheh on his journey to adulthood. God, in this opera, is a jealous, fearsome, and at times demonic, father figure. The orchestral “suite” encompasses sections from the following scenes: Show more
Voice of God No.1
“The similitude of the LORD shall he behold”
God intends to intervene in human affairs, and Mosheh is chosen as his messenger. God declares Mosheh to be unlike any other person or prophet. With Mosheh, God speaks directly, and not in dreams or “dark speeches.”
Song of Miriam
“And his sister stood afar off, to wit what would be done to him. And the daughter of Pharaoh came down to wash herself at the river; and her maidens walked along by the river’s side.”
Miriam is guarding her baby brother, who is asleep in a basket, floating on the water of the Nile, hidden to escape Pharaoh’s death decree against all male Hebrew newborns. While she is on the lookout, Miriam sings a lullaby to her baby brother.
A colorful group of women appears in the distance: Pharaoh’s daughter, Bitia, accompanied by her maids, is coming down to the river to bathe. Miriam, watching them from a distance, is Mesmerized by the procession of beautiful young women.
Colonnade
“And the child grew, and she brought him unto Pharaoh’s daughter, and he became her son. And she called his name Moses: and she said, because I drew him out of the water.”
For three years, baby Mosheh was with his natural mother, who nursed him and cared for him. But now he is no longer nursing, and he must be entrusted to his protector, Pharaoh’s Daughter. The princess is a ruler in her great house. Her maids dress her in fine garb, as she anticipates reuniting with the child she adopted.
The Burning Bush
“And the bush was burning but was not consumed”.
Meditation on the eternal image of a burning bush that is not consumed, through which God’s message emanates. Show less
