STRING ORCHESTRA, MUSIC FOR STRING ORCHESTRA BETWEEN TWO COASTS for string orchestra Duration: 14 minutes Instrumentation: string orchestra ​ Year Composed: 2009 Written For: Das Georgische Kammerorchester Ariel Zuckermann, conductor ​ Commissioned By: Das Georgische Kammerorchester ​ Premiere Performance: 18 March 2010 Ingolstadt, Germany Das Georgische Kammerorchester Ariel Zuckermann, conductor VIEW SCORE SHOP / HIRE MUSIC Quick View Between Two Coasts [PDF download] Price $17.50 Add to Cart Program Notes: Between Two Coasts for string orchestra describes the thoughts, struggles and inner-debates that run through the mind and hearts of people who have immigrated to a new land, experiencing prosperity and fulfilling their dream – a dream that could not be achieved fully back in their homeland. But still, in spite all of this, the heart of the people is partly left back there, in their homeland, where the views, the sounds, the smells and the small talks still bring memories of a pleasant childhood. Between Two Coasts was commissioned by Ariel Zuckermann and Das Georgische Kammerorchester and dedicated to them. VIEW SCORE music for string orchestra | chamber orchestra | string orchestra

DOUBLE WIND QUINTET, DOUBLE WIND QUINTET | DOUBLE WIND QUINTET REPERTOIRE TETRIS for double wind quintet (decet) Duration: 18 minutes Instrumentation: 2 flutes , 2 oboes , 2 clarinets , 2 horns , 2 bassoons ​ Year Composed: 2009 Written For: The Hindemith Quintet ​ Commissioned By: Hochschule für Musik, Mainz, with kind support from the Annie Eisler Lehmenn Stiftung ​ Premiere Performance: 6 September 2011 Mainz, Germany Hindemith-Quintet and students from the Hochschule für Musik ​ Movements: 1. Keep moving 2. Gutter People 3. Getting busy 4. Keeping busy ​ DOUBLE WIND QUINTET VIEW SCORE LISTEN VIDEO SCORE-VIDEO Program Notes: Tetris – for double wind quintet, was written during fall 2009 in New York City. The city, with its fast pace of life, neurotic flowing, continuous stream of people, traffic and information serves as the inspiration for this piece. Watching from the side, the fast-moving people appeared to me like robots controlled by an above force, mechanically moving from one place to another, fighting against the clock, against the part of the brain that says – “Relax!” and against each other. Survival in a jungle of brick walls and tall buildings. It seemed to me that people could not enjoy a full basic inhale exhale process. Good breathing consumes too much time… people were constantly looking for ways to juggle between many things at the same time. They seemed to me like Tetris players who try to match the bricks to a certain pattern, constantly in demand to increase speed. Though to the stranger this pace of life looks fascinating and exciting, I felt that deep inside things look a bit different, quite tragic. The piece consists of four connected sections: Keep moving, Gutter People, Getting busy and Keeping busy. The first and fourth movements refer to the continuous, breathless pace of life. The third movement is a short satire about restless people. The second movement is inspired by the thousands of people who spend all their life in the cellar of a restaurant or shop after immigrating from far away, only to serve the ever-hurrying people above them. Tetris was written for the Hindemith Woodwind Quintet. It was commissioned by the Hochschule für Musik, Mainz with kind support from the Annie Eisler Lehmenn Stiftung. LISTEN INFORMATION ABOUT PARTS VIEW SCORE VIDEO NEC Wind Ensemble: "Tetris" by Lior Navok Play Video Lior Navok Tetris for two Woodwind Quintets Play Video NEC Wind Ensemble: "Tetris" by Lior Navok Play Video Lior Navok Tetris for two Woodwind Quintets Play Video Share Whole Channel This Video Facebook Twitter Pinterest Tumblr Copy Link Link Copied Share Channel Info Close Quick View Tetris [full score - PDF download] Price $15.50 Add to Cart Quick View Tetris [full score - Hard Copy] Price $26.50 Add to Cart Score-Video piano four hands | piano four-hands repertoire | Silver-Garburg piano duo Double wind quintet , music for wind decet, double wind quintet sheet music , kammerwerke double wind quintet, music for double wind quintet , double wind quintet music, double wind quintet repertoire, wind dectet music, wind dectet , decet

ART SONG IN HEBREW FOR ALTO AND PIANO. POEM BY LEAH GOLDBERG THE TAILORESS SONG for alto and piano Duration: 3.5 minutes Instrumentation: alto and piano ​ Year Composed: 2009 Poems By: Leah Goldberg ​ Language: Hebrew VIEW SCORE Quick View The Tailoress Song [PDF download] Price $4.00 Add to Cart VIEW SCORE Hebrew Art Song | Art Song in Hebrew | Israeli Art Song | Leah Goldberg | Israeli Lieder Hebrew Art Song | Art Song in Hebrew | Israeli Art Song | Leah Goldberg | Leah Goldberg | art song | voice and piano

HOLOCAUST-RELATED MUSIC | HOLOCAUST-RELATED CHORAL MUSIC AND THE TRAINS KEPT COMING... oratorio Duration: 44 minutes Instrumentation: soloists: tenor solo; bass baritone solo narrator I: basso profundo (amplified) narrator II: baritone (amplified) ​ chorus: boy mezzo-soprano; various soloists from the chorus; chorus – SATB orchestra: 2 flutes, 1 oboe; 2 clarinets; 1 bassoon; 2 horns; 2 trumpets; 3 trombones; 3 percussion ; harp; piano + celesta (one player); strings ​ Year Composed: 2007 ​ Text: Authentic documents, memos, letters, telegrams, notes, newspaper ads and speeches. ​ ​ Language: English, German, Polish ​ ​ Written For: Cantata Singers Boston David Hoose – music director ​ Commissioned By: Cantata Singers Boston David Hoose – music director ​ ​ Premiere Performance: 18 January 2008 Boston, USA The Cantata Singers (Boston) James Petosa, narrator Jason McDowell-Green, narrator Rockland Osgood, tenor David Kravitz, baritone Frederick Metzger, boy-soprano Karyl Ryczek, soprano Carola Emrich-Fischer, alto David Hoose, conductor VIEW SCORE LISTEN VIEW TEXT FULL INSTUMENTATON HOLOCAUST-RELATED MUSIC Program Notes: The horrifying stories and testimonies from prisoners in the Nazi death camps became known only gradually, reported to the allies by survivors, intelligence agencies, and the common people who lived close to the camps. It is hard to believe that the world, even as it was immersed in the problems of the war, could not grasp the scale of tragedy that was taking place at the death camps and, when it did-did not do much. Was there anything the Allies could do? It is true that the British people had to overcome the blitz and maintain the existence of their country, while the Americans, after being attacked in Pearl Harbor, found themselves simultaneously on several fronts. When exhausted armies try to fight for the existence of their countries, when food is unavailable and blood is spilled in every corner of major European cities-could anyone have the means and will to stop the mass murder of six million Jews, one-half million Gypsies, at least 250,000 mentally or physically disabled persons, and more than three million Soviet prisoners-of-war? Did the allies know what was going on in the camps? The answer is-Yes. Yet, there were several stages along the way. At first, only a few intelligence reports mentioned the murder in East Europe. Then, testimonies from people who were lucky to escape the Nazi inferno arrived, but these were partly dismissed as exaggerated and delusional. There was also a phase of denial: matching testimonies pointed out that the goals publicly stated by the Nazi regime-namely, the extermination of all Jewish people-were in operative stages, yet only few people could comprehend the figures, the horrors and the inhumanity. The denial at the early stages of the war was shared even by the Jewish communities in the United Kingdom, the United States, and those in the yet-to-be-born state of Israel. At the beginning of the war, Allied armies indeed were unable to reach East Europe. But at a later stage, from August 1944, airplanes frequently passed over near the death camps, which were continually running at full capacity. When thousands of bombs fell over Germany, when hundreds of pleading letters and telegrams were piled at the war departments of the British and US armies, why did no one give the order to bomb the tracks to Auschwitz and other camps, not to mention the gas chambers and crematoria? Such could have prevented the deaths of thousands. Reports from survivors even mention the strong wish to be bombed by the Allies’ airplanes, as this would have given them more hope than the certain death waiting at the gas chamber. Why was nothing done? With that question in mind, I started researching various archives, tracing authentic letters, memos, telegraphs, protocols and other means of correspondence between the Allies. Most of them were previously marked as “secret” or “confidential.” The findings were shocking. The slow wheels of bureaucracy, the careless diplomats and decision makers, the officers who sat in their remote offices and saw victims and refugees as numbers on the page, answering in a cold bureaucratic manner to matters of life and death had all contributed to inaction. In some cases, especially in the British Colonial Office that dealt with refugees, officers at all ranks had halted, delayed and diverted refugees from entering the country and, consequently, sentenced many of them to death. Many emotional statements by the Allied high command expressed support for the refugees, but the actions of subordinates seldom reflected that support. These bureaucratic, robotically written documents are naturally very cold and selfishly efficient. Another type of “efficiency,” though more vicious and hair-raising, is the Nazi bureaucratic correspondence: train schedules, stating origin, destination, time and number of “passengers.” On their return, the trains traveled empty; all was done according to schedule. For me, trains have always symbolized freedom- discovery of new landscapes, motion, and optimism. But here, the trains are trains of horror, where eighty to one hundred people were shoved into a cattle car with no water or food, traveling for days, sometimes weeks while standing on dead bodies en route to an “unknown destination.” And yet, with all this cold correspondence–the real suffering is that of the individuals. I researched and found hundreds of testimonies, from people who were trapped in the trains, people who escaped the camps, adults who told their childhood stories, people who watched the Allies’ airplanes fly over Auschwitz, and even a woman who was already inside the gas chamber and miraculously released. I found heart-rending letters and farewell notes that were written and concealed in the cracks of the barracks by prisoners on their last day on earth. This is the personal side to vicious action and official inaction-it is completely contrary to the dry, mechanical bureaucratic correspondences. Thus, And the Trains Kept Coming . . . juxtaposes these heart-breaking documents with the cold and calculated ones, slowly unveiling the tragedy. Following the nature of each document, the work is structured as a series of un-staged scenes, which change quite rapidly; each contributes another perspective to the broad picture. Unlike an opera, in which each singer usually portrays one character, the vocal soloists, narrators and choir portray multiple characters, contradicting each other. The distinction between good and bad becomes blurry-a feeling that many survivors mentioned. The choir for example, portrays the voice of the people, acting as a Greek chorus, or as a catalyst that pushes the plot forward. The work as a whole is in one movement and proceeds in chronological order according to the historical developments. While And the Trains Kept Coming . . . focuses on the Holocaust and its graveness, it reflects as well the ability of humans to ignore the suffering of another nation or individual. This of course still takes place today, ranging from the genocide in Darfur to events in the Middle East, to the homeless lying on the curb next to the local drugstore. I would like to thank and credit the following people and institutes: Evan Fallenberg – Hebrew – English translations, English texts consultant Carola Emrich – German translation Blanka Bednarz – Polish consultant Markus Goessl and Inge Huhn – assistance with German Documents The Yad Vashem Archives, Jerusalem, Israel The Central Zionist Archives, Jerusalem, Israel Joseph Wulf Bibliothek, Wannsee, Germany The MacDowell Colony, Peterborough, NH, USA ​ And the Trains Kept Coming … was commissioned by the Cantata Singers, David Hoose, Music Director. Boston, MA, 2007. It is the third work in the Cantata Singers’ Slavery Documents series. Quick View And The Trains Kept Coming... (score) [PDF download] Price $28.00 Add to Cart Quick View And The Trains Kept Coming... (full score) [Hard Copy] Price $51.00 Add to Cart LISTEN MUSIC RENTAL INFORMATION Related Music: Found In a Train Station for soprano and ensemble RSVP VIEW SCORE Holocaust | contemporary oratorio | holocaust-related music​ | music about the holocaust | slavery documents | cantata singers

CONTEMPORARY PIANO QUINTETS | PIANO QUINTET. | QUINTET FOR PIANO AND STRINGS QUARTET PIANO QUINTET for piano and string quartet Duration: 18 minutes Instrumentation: piano, violins (2), viola and cello ​ Year Composed: 2000 ​ Commissioned by: American Composers Forum, the Jerome Foundation ​ Premiere Performance: Sarah Bob, piano Francine Trester, violin Christina Day, vioin Annette Klein, viola Mickey Katz, cello ​ Movements:​ 1. poco rubato e tranquillo 2. scherzo 3. adagio tenero CONTEMPORARY PIANO QUINTETS VIEW SCORE LISTEN Program Notes: I have always looked at the Piano Quintet medium as the little cousin of the piano concerto. The string quartet, being a unified, homogeneous medium on its own right, surround the piano and give it a generous permission to act like a concerto soloist. Nonetheless, the beauty of this medium is found in its chamber-music qualities, where all members express themselves as individuals and therefore create delicate and intimate musical moments. While writing my Piano Quintet (2000), I tried to integrate all these elements. It consists of three movements which are closely related thematically. The first movement, marked poco rubato e tranquillo , introduces one of the quintet's main motives. Right after the introduction, the movement takes a sharp turn into a faster tempo and a passionate character. A fast and determined scherzo brings out the light and virtuosic side of the ensemble. The last movement, adagio tenero is the most extended of the three and acts like an echo of the previous movements. The Piano Quintet was underwritten by the American Composer Forum, with funds provided by the Jerome Foundation. VIEW SCORE LISTEN Quick View Piano Quintet (full score) [PDF download) Price $11.00 Add to Cart Quick View Piano Quintet (set of parts) [PDF download) Price $20.00 Add to Cart Piano Quintet | Contemporary Piano Quintet | Music for Piano Quintet

ART SONGS IN HEBREW FOR SOPRANO / MEZZO-SOPRANO AND PIANO. POEMS BY LEAH GOLDBERG THREE SONGS for soprano / mezzo-soprano and piano Duration: 10 minutes Instrumentation: soprano / mezzo-soprano and piano ​ Year Composed: 1995 Poems By: Leah Goldberg ​ Poems Included: 1. In the Evening 2. Song Without a Name 3. And Again. . . ​ Language: Hebrew ​​ ​ Premiere Performance: Spring 1996 Jerusalem, Israel Liat Alkan-Heymann, soprano Lior Navok, piano SCORE-VIDEO HEBREW ART SONGS VIEW TEXT VIEW SCORE LISTEN Quick View Three Songs (Hebrew אבג characters) [PDF download] Price $12.50 Add to Cart Quick View Three Songs (Latin ABC Characters) [PDF download] Price $12.50 Add to Cart Program Notes: Leah Goldberg is one of my favorite Israeli poets. The three songs were not written in sequence, and were collected to a short song cycle which is dealing with the inner thoughts and despairs that run in the head of a lonely woman. Nevertheless, the three songs share many similar motives, descriptions and common words that in some cases have double meaning. Score-Video VIEW SCORE Listen Hebrew Art Song | Art Song in Hebrew | Israeli Art Song | Leah Goldberg | Israeli Lieder Leah Goldberg | art song | voice and piano

CONTEMPORARY MUSIC FOR CELLO AND PIANO | CELLO AND PIANO MUSIC FLUCTUATIONS for cello and piano Duration: 10 minutes Instrumentation: cello and piano ​ Year Composed: 2017 Written For: Noémi Boutin and Marie Vermeulin ​ Commissioned By: Festival de Chaillol Michaël Dian, artistic director ​ Premiere Performance: 7 August 2017 Gap, France Noémi Boutin, cello Marie Vermeulin, piano MUSIC FOR CELLO AND PIANO Contemporarycello and piano repertoire VIEW SCORE CONTEMPORARY CELLO AND PIANO REPERTOIRE LISTEN VIEW SCORE FLUCTUATIONS for cello and piano LISTEN Quick View "Fluctuations" for Cello and Piano [score + part - Hard Copy] Price $22.50 Add to Cart Quick View "Fluctuations" - for Cello and Piano (score and part) [PDF download] Price $12.50 Add to Cart MUSIC FOR CELLO AND PIANO | CELLO AND PIANO MUSIC | CELLO PIANO REPERTOIRE | CELLO AND PIANO |

SAXOPHONE QUARTET | MUSIC | FOR SAXOPHONE QUARTET SAXOPHONE QUARTET for four saxophones (SATB) Duration: 15 minutes Instrumentation: soprano, alto, tenor and baritone saxophones ​ Year Composed: 1999 Written For: Raschèr Saxophone Quartet ​ Commissioned By: Fromm Music Foundation ​ Premiere Performance: July 1, 2001 Freiburg, Germany Rascher Saxophone Quartet Carina Raschèr, soprano saxophone Harry White, alto saxophone Bruce Weinberger, tenor saxophone Kenneth Coon, baritone saxophone ​ Movements: Introduction Recitative No. 1 - Alto Circles recitative No. 2 - Tenor Evening Thoughts Recitative No.3 - Baritone Scherzo Recitative No. 4 - Soprano Finale MUSIC FOR SAXOPHONE QUARTET saxophone quartet repertoire MUSIC FOR SAXOPHONE QUARTET VIEW SCORE LISTEN Program Notes: The saxophone quartet as a musical medium is one of the richest in its contrasting colors, versatility and expressions. For me, Saxophone Quartet music is also the closest to the human choir. While writing my saxophone quartet I was intrigued to explore the ensemble’s technical, timbrel, rhythmical and lyrical aspects. The four saxophones can create a homogeneous texture, but can also express their own individuality and uniqueness. Therefore, the quartet consists of five movements, and four recitatives, one for each saxophone. The recitatives’ purpose is double: to feature one saxophone a time on one hand, and lead to the next movement on the other. Saxophone Quartet was commissioned by the Fromm Music Foundation and received its first performance by the Raschèr Saxophone Quartet. Quick View Saxophone Quartet (full score and parts) [PDF download) Price $27.50 Add to Cart Quick View Saxophone Quartet (full score) [PDF download) Price $14.00 Add to Cart LISTEN VIEW SCORE FLUCTUATIONS for cello and piano SAXOPHONE QUARTET, MUSIC | FOR SAXOPHONE QUARTET | SATB | QUARTET FOR SAXOPHONES. | SAXOPHONE QUARTET REPERTOIRE | REPERTOIRE FOR SAXOPHONE QUARTET

Hire Library CONTACT contacts and information ​ Click Here for Bio and program photos. ​ For p rogram notes, please check the Work Catalog . ​ For r ental information (works above 6 performers) ​ ​ ​ email Lior Navok ​ ​

SHIMMER for solo piano Duration: 10'30" minutes Instrumentation: piano solo Year Composed: 2017 ​ Premiere Performance: 14 April 2018 Boston, MA, USA Sarah Bob, piano VIEW SCORE VIDEO Program Notes: Shimmer Is a one-movement work, meditative and reflective in its nature. It brings the mind into self-reflection by its slow pace and echoing gestures. VIEW SCORE VIDEO Quick View "Shimmer" - for Solo Piano [PDF Download] Price $6.50 Add to Cart Quick View "Shimmer" - for Solo Piano [Hard Copy] Price $14.00 Add to Cart

CHAMBER OPERA AFTER A SHORT STORY BY CHEKHOV THE BET chamber opera in 14 scenes Duration: 90 minutes ​ Year Composed: 2012 ​ Story By: Anton Chekhov ​ Libretto By: Lior Navok ​ Language: English ​ Dramatis Personæ: Sergey Borisovitch Bogdanov: banker, age 55; basso cantate Valeri Andreyevich Smirnov: law student, age 25; lyric baritone Leonid Pronin: lawyer, age 50; tenor buffo Vladimir Uritzki: judge, approaching 60; bass-baritone Watchman: age 40; basso buffo ​ Orchestra: 1 flute / piccolo / alto flute; 1 oboe / English horn; 1 clarinet / bass clarinet; 1 bassoon / contra bassoon; 1 horn; 1 percussion; 1 harp; 1 piano; strings (6,5,4,3,2) HIRE MUSIC Abstract: Capitalism critique alla Chekhov Russia, November 1870. A greedy law student sneaks into a party of a ruthless banker just to find himself in the midst of a heated up argument: What is the better punishment – death sentence or life sentence? The banker challenges the student: money as reward for a self-imprisonment. One year? Two years? The deal is done: Fifteen years – ten million; easy money. Fifteen years: market changes; social changes; long time to reflect… Would the banker be the same conceited person? Would the student still be greedy? And what would be the consequences? The Bet | Chekhov | Anton Chekhov opera

OPERA IN TWO ACTS ABOUT MIDDLE EAST, RELIGION, CORRUPTION, WAR, CONFLICT AN UNSEREM FLUSS (BY OUR RIVER) opera in two acts Duration: 93 minutes ​ Year Composed: 2013 ​ Story and Libretto By: Lior Navok ​ Language: German ​ German Translation: Kristian Lutze ​ Dramatis Personæ: Lucia: light lyric soprano Allendorf: lyric baritone Fred Bucksmann: bass-baritone Klara Bucksmann: high soprano Sinya: alto Chicken-Heart: tenor buffo Sipho: young lyric tenor Zachary Rutget: dramatic bass Right-Hand: dramatic tenor Mr. Kavi: lyric bass Farmer, Guard, Big Uncle (Head I): bass-baritone Schatz, Big Uncle (Head II): tenor ​ Orchestra: 1 flute / piccolo / bass flute; 1 oboe / English horn; 1 clarinet / bass clarinet; 1 bassoon / contra bassoon; 1 horn; 1 percussion; 1 harp; 1 piano; strings (6,5,4,3,2) ​ Commissioned By: Oper Frankfurt ​ Premiere Performance: Oper Frankfurt 31 May, 2015 Music Director: Sebastian Zierer Stage Director: Corinna Tetzel Set Design: Stephanie Rauch Customes: Judith Adam Lighting: Jan Hartmann Dramaturgie: Deborah Einspieler Lucia: Kateryna Kasper Allendorf: Daniel Schmutzhard Fred Bucksmann: Davide Damiani Klara Bucksmann: Elizabeth Reiter Sinya: Stine Marie Fischer Chicken-Heart: Alexander Mayr Sipho: Michael Porter Zachary Rutget: Alfred Reiter Right-Hand: Hans Schöpflin Herr Kavi: Carlos Krause Bauer / Big Uncle 1: Gurgen Baveyan Schatz / Big Uncle 2: Yves Saelens VIEW SCORE SHOP / HIRE MUSIC Program Notes: Conflicts always involve two or more sides who deeply believe in their truth. When no peaceful solution is to be found, violence is used to pursue it, sadly - in the name of God, the national sacrifice and the victims. When new generations grow up into mistrust and intolerance for the "other side", existential fear, open wounds and leadership manipulation, the tragedy just roots itself deeper in the national ethos. When each person around is scratched and affected by the past and present, who will be brave enough to face reality, prejudiced society and "the other side"? Who could close the gaps and build a trustful bridge? In An unserem Fluss I have created a world of shaken-reality, a fantasy-land – wishful utopia. Two groups face their destiny, fight for their land and the right to exist in honor. Each character, affected by its own trauma pull the rope in its direction. Would they succeed finding a common ground? Quick View An Unserem Fluss (full score) [PDF download] Price $44.00 Add to Cart Quick View An Unserem Fluss (vocal score) [PDF download] Price $31.00 Add to Cart An Unserem Fluss Premiere performance of "An Unserem Fluss" Oper Frankfurt 31.5.2015 An Unserem Fluss Premiere performance of "An Unserem Fluss" Oper Frankfurt 31.5.2015 An Unserem Fluss Premiere performance of "An Unserem Fluss" Oper Frankfurt 31.5.2015 An Unserem Fluss Premiere performance of "An Unserem Fluss" Oper Frankfurt 31.5.2015 An Unserem Fluss Premiere performance of "An Unserem Fluss" Oper Frankfurt 31.5.2015 An Unserem Fluss Premiere performance of "An Unserem Fluss" Oper Frankfurt 31.5.2015 An Unserem Fluss Premiere performance of "An Unserem Fluss" Oper Frankfurt 31.5.2015 An Unserem Fluss Premiere performance of "An Unserem Fluss" Oper Frankfurt 31.5.2015 An Unserem Fluss Premiere performance of "An Unserem Fluss" Oper Frankfurt 31.5.2015 VIEW SCORE Contemporary Opera | Middle East | Opera | Israeli Opera | Oper