About the creation

Fanfare of Hope was written as a commission for Lahav Shani and the Israel Philharmonic Orchestra during the "Iron Swords" war.

The composition strives to create a fusion between two opposite concepts of art: the realist one who sees art as a "window" to reality and the fictional one who sees art as a "dream" from reality. The listeners can therefore hear dissonant sounds, booms and shots - voices that respond to the contemporary reality, alongside tonal-modal consonant anchors that serve as a refuge, escapism, a bubble of illusion.

During the work the listener can recognize quotations from songs of Israel's wars alongside songs of the homeland; this combination embodies the challenge of loving a country drenched in blood. The songs function as a cultural code; each quote - as a brief hint - aims to echo the text of the full poem, including the historical context that led to its creation. Among the songs it is possible to identify: "Believe It – The Day Will Come", "Winter 73", "Land, Land", "Ballad for the Paramedic", "I Have No Other Country", "The Wheat Grows Again", "On All These". The climax appears with the quote "Home" which has become a musical symbol expressing the intense expectation of the return of the kidnapped.

Precisely during war, for all the horror involved in it, Fanfare of Hope aims to declare life in sound and resonate with a long cheer of hope.