Every spring, Jerusalem gets crazy. Why?<\/p>
Is it because of something in the air? Something in the people? Or maybe it is just me? These are the questions I was thinking of, four years ago, while waiting for the light train in Jerusalem. Then I decided that the next piece I will compose will be called Spring Illusions, no matter what. About a year after, I got a commission from The Israel Camerata Jerusalem Orchestra and started working on the piece.<\/p>
Spring Illusions gave me the freedom to create whatever was on my mind. I didn\u2019t want to stick to any musical rules or limitations, and I tried to compose as spontaneously as I could, thinking of the emotions and ideas I had, more than planning the final work.<\/p>
The composing process was very intuitive and immediate, as if the notes were writing themselves on the staves, turning conscious into unconscious, hallucination into reality, dreams \u2013 into a real live score.<\/p>
The piece contains two movements that should be played continuously. The motives are written one after each other without any formal structure. Sometimes they come back repetitively with a variant. Sometimes, they just disappear as if they never existed. All of them make the piece unified and become a whole and homogeneous thought - the one-off ordering the chaos of the spring illusions.<\/p>
I also used monologues and dialogues between the instruments, to humanize them to be able to convey emotions to the audience.<\/p>
The conclusion is that we shouldn\u2019t try to find any logic, in the piece and in our dreams. We all should accept having illusions or living with them in peace.<\/p>
The piece is dedicated to my beloved nephew, Harel, who was born the day I finished the piece.<\/p>"},"yoast_head":"\n