Jizchak Barsam
Registered as:
Instrument: violin

Barsam Jizchak

Compositions

# Title Year of Originsort icon Duration Instrumentation Category
1 Streichquartett 1996 28m
2 El male rachamim - (Barmherziger Gott) 1995 5m 30s
3 Rosen - Viersätzige Tanzsuite 1995 20m 30s
4 Kleine Serenade für zwei Flöten 1994 4m
5 Concertino für Violine und Orchester 1991 - 1994 25m
6 Serenade für Flöte, Horn und Streicher 1986 18m
7 Ballade für Harfe 1986 ~ 6m
8 Sonatine für Solovioline 1985 8m
9 Ouverture auf Themen von Scott Joplin 1984 12m
10 ADA - Drei Bilder für Flöte und Harfe 1981 ~ 10m
11 De profundis 1978 22m
12 Dritte Symphonie 1970 40m
13 Vier Miniaturen für Streichorchester 1968 ~ 12m
14 Alterations 1966 ~ 8m
15 Zwei Lieder nach Texten von Lea Goldberg 1964 4m 30s
16 Divertimento 1963 ~ 15m
17 Prokofiev's Nightmare 1963 10m
18 Psalm 126 1963 3m
19 Fantasia e danza 1962 ~ 8m
20 Zweite Symphonie 1961 38m
21 Contemplation 1961 4m
22 Drei Encores für Fagott und Horn 1959 ~ 6m
23 Toccata und Capriccio für Streicher und Blech 1959 12m
24 Halleluja - Symphonische Ode 1958 ~ 15m
25 Elegie 1957 8m 30s
26 Die Liebe der Terese du Meun 1956 50m
27 Sinfonietta 1955 22m

General Information

Year of Birth:  1922
Date of Birth:  7. March 1922
Place of Birth:  Vienna
Region of Birth: 
Country of Birth: 
Nationality: 

Education

PeriodEducationInstrumentTeacherEducation OrganisationLocation
1929

private lessons

1933 - 1938

People's Conservatory Vienna: violin, harmonics, counterpoint

1939 - 1941

Haifa: lessons with various teachers

1939 - 1941

Kfar Hanoar Hadati: agricultural school

1950 - 1954

conducting and interpretation (Michael Taube)

1971 - 1975

University Tel Aviv: musicology

1975

University Tel Aviv: dissertation "Analytical approach to the critical determination of kitsch in music"

encounter with Bernd Bergel, a student of Arnold Schoenberg, which has proven decisive for the further compositional activity

Activities

PeriodActivityOrganisationLocation
1939 - 1941

first composition experiments with mainly self-acquired compositional techniques

1944

music teacher at several schools

1981 - 1992

Ha'aretz: music critic for the daily newspaper

Israeli Broadcasting: series of weekly lectures on about the kitsch in music

Cultural Center Beth Katz, Kirjat Bialik: director

translator of various literature in German, English or Hebrew

Performances (Selection)

PeriodPerformanceCompositionOrganisationLocation

Haifa Symphony Orchestra

Kol Yisrael Orchestra

Awards

PeriodAwardCompositionAwarding Organisation
1962

Israel: ACUM-Prize

Description of Style

In general my style can be described as "moderately modern", which means that my music is basically tonal (although the concept of tonality is often broadly defined). There are parts in the compositions, that are based on the classic triad-tonality ("Little Serenade for two flutes"), and then again I use "tone-clusters" ("De Profundis") or serial techniques ("Alterations") .
I have great interest for compositional problems that lie in the realms of aesthetics, such as music, which, although repeated note accurate, always has an entirely different meaning in other contexts ("Second Symphony"). Unconventional accords have always fascinated me, and this preference is also noticeable in some of my works (e.g. "Toccata and Capriccio for strings and brass").

 

Jizchak Barsam, 1996