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 Quick View Piano Quintet [Hard Copy] Price From $41.00 Add to Cart Piano Quintet | Contemporary Piano Quintet | Music for Piano Quintet

SYMPHONIC BAGATELLES , MINIATURES FOR SYMPHONY ORCHESTRA SYMPHONIC BAGATELLES for symphony orchestra Duration: 18 minutes Instrumentation: 3 flutes (3rd doubles alto flute and piccolo); 3 oboes (3rd doubles English horn); 3 clarinets ( 3rd doubles bass clarinet); 3 bassoons (3rd doubles CBN); 4 horns; 3 trumpets, 3 trombones; tuba; harp; pno./cel.; timp. percussion (3); strings ​ Year Composed: 2000 ​ Movements: Bagatelle no. 1 - Appasionato Bagatelle no. 2 - Drammatico Bagatelle no. 3 - Misterioso, Scherzando Bagatelle no. 4 - Humoresque Bagatelle no. 5 - Songnado, Rubato Bagatelle no. 6 - Allegretto Bagatelle no. 7 - Energico Furioso Bagatelle no. 9 - Largamente, Maestoso Bagatelle no. 10 - Largo Sostenuto HIRE MUSIC Program Notes: While composing the piano version of Ten Bagatelle s , and further, while practicing the completed work for performance, I realized the orchestral potential: the piece was asking to speak through a larger medium with more dramatic power, greater contrast of dynamics, a richer palette of colors, and simultaneous registers.

ALTO / MEZZO-SOPRANO, FLUTE, CLARINET, BASSOON, VIOLIN, PERCUSSION AND HARPSICHORD BESTIARIUS for alto / mezzo-soprano and ensemble Duration: 11 minutes Instrumentation: alto / mezzo-soprano, flute/piccolo, clarinet, bassoon, violin, percussion (2), harpsichord ​ Year Composed: 1995 Poems By: Dan Pagis ​ Poems Included: 1. The Elephant 2. Armchairs 3. The Mosquito ​ Language: Hebrew ​ Written For: Ayelet Carmon Premiere Performance: 7 July, 1996 Jerusalem, Israel Ayelet Carmon, mezzo-soprano Roni Shifrin, flute/piccolo Roni Barak, clarinet Eyal Street, bassoon Michael Zuckerman, violin Dafna Gan, harpsichord Pamela Jones and Alex Nemirovsky, percussion Lior Navok, conductor VIEW SCORE LISTEN VIEW TEXT HIRE MUSIC Program Notes: The Bestiarius, was a common book back in the middle ages. It contained illustrations of animals, some real, some imaginary. The phoenix for example, was introduced through the Bestiaries. In his Bestiaries Israeli poet Dan Pagis, introduces six “animal” poems, from which I chose three.The text which is full with humor, gave me the opportunity to compose music that for most of the time creates a bold contrast to the written word. VIEW SCORE LISTEN Alto and Ensemble | Mezzo-Soprano and Ensemble | vocal music in Hebrew

CLARINET AND STRING | CLARINET AND STRING TRIO LITTLE SUITE for clarinet and string trio Duration: 12 minutes Instrumentation: clarinet, violin, viola and cello ​ Year Composed: 2006 Written For: The Jerusalem Quintsextet ​ Commissioned by: Israel Ministry of Science Culture & Sport and the Yehoshua Rabinovitch Foundation for the Arts. ​ Premiere Performance: Jerusalem, Israel The Jerusalem Quintsextet ​ Movements: 1. Overture 2. Energico 3. Romanza 4. Finale CLARINET AND STRINGS CHAMBER MUSIC VIDEO VIEW SCORE LISTEN VIEW SCORE Quick View Little Suite [full score - PDF download) Price $11.00 Add to Cart Quick View Little Suite [Hard Copy] Price From $22.00 Add to Cart video Program Notes: Little Suite is a set of four miniatures for clarinet and strings which are connected to each other mostly through recitatives. It is based on a few motives which wear different forms within each movement. LISTEN additional works for clarinet clarinet and strings chamber music | music for clarinet and strings | contemporary music | clarinet and string trio

MUSIC FOR UNACCOMPANIED CLARINET | UNACCOMPANIED CLARINET | CONTEMPORARY CLARINET SOLOS KLOTZ for unaccompanied clarinet Duration: 5 minutes Instrumentation: clarinet solo Year Composed: 2019 Premiere Performance: Elad Navon, clarinet 31 May 2021 Tel Aviv, Israel MUSIC FOR UNACCOMPANIED CLARINET UNACCOMPANIED CLARINET ​ Klotz is a short virtuosity piece for unaccompanied clarinet. ​ Quick View "Klotz" - for unaccompanied clarinet [PDF download] Price $5.00 unaccompanied clarinet | music for clarinet solo | clarinet solo | pieces for solo clarinet | clarinet repertoire

TIME JUNCTIONS Lior Navok, piano 2023

TENOR AND PIANO | SONG CYCLE FOR TEMOR AND PIANO | ART SONGS FOR TENOR AND PIANO | ART SONGS FOR TENOR | ART SONG AMERICAN POET A DOME OF MANY-COLOURED GLASS for tenor and piano Duration: 20 minutes Instrumentation: tenor and piano ​ Year Composed: 2000 Poems By: Amy Lowell ​ Poems Included: 1. The Painted Ceiling 2. The Traut 3. The Crescent Moon 4. Climbing 5. The Pleiades ​ Language: English ​ Written For: Joe Dan Harper and Anne Kissel Harper ​ Commissioned By: The Florestan Recital Project with grant from the St. Botolph Club Premiere Performance: 3 May, 2003 Boston, MA, United States Joe Dan Harper, tenor Anne Kissel Harper, piano ART SONGS FOR TENOR AND PIANO "A Dome of Many-Coloured Glass - song cycle for tenor and piano. Art Songs for Tenor and piano. VIEW SCORE LISTEN VIEW TEXT TENOR AND PIANO ART SONG Program Notes: Amy Lowell’s verses for children brought up many flashbacks from my childhood – a period of exploring, discovering and achieving little victories which we as adults take for granted. My approach, while composing the songs was to shift constantly between the way a child and an adult would view the given situation. The music tries to portray the psychological state of the poems’ hero and sometimes uses an over-dramatic statement, just like a kid would experience the situation. Sometimes on the other hand, things are softened, as viewed through the glasses of an adult. A Dome of Many-Coloured Glass was commissioned by Joe Dan Harper and Anne Kissel Harper and was made possible by a grant from the St. Botolph Club Foundation. Quick View A Dome of Many-Coloured Glass [Hard Copy] Price $19.50 Add to Cart Quick View A Dome of Many-Coloured Glass [PDF download] Price $12.50 Add to Cart VIEW SCORE Hebrew Art Song | Art Song in Hebrew | Israeli Art Song | Leah Goldberg | Israeli Lieder LISTEN song cycle for tenor and piano | art song for tenor and piano | poems by Amy Lowell

CHORAL MUSIC IN HEBREW, TO POEMS BY RACHEL THREE SONGS FOR MIXED CHAMBER CHORUS for mixed chamber chorus ​Duration: 10 minutes Instrumentation: mixed chamber chorus (SATB) ​ Year Composed: 1994 Poems By: Rachel ​ Poems Included: 1. After-Growth 2. "Maybe" flowers 3. Eucalyptus ​ Language: Hebrew VIEW TEXT SHOP HIRE MUSIC Program Notes: Rachel is one of the most prominent Hebrew poets. Her poems reflect passion for nature, especially the Kinneret Lake found in northern Israel, as well as sorrow and disappointment. These three songs for chorus, classically represent sorrow of lost love through descriptions of nature.

9/11 CHAMBER MUSIC | MUSIC INSPIRED BY 9/11 | CLASSICAL MUSIC INSPIRED BY 9/11. ELEGY TO THE FUTURE for Pierrot ensemble Duration: 13 minutes Instrumentation: piccolo/alto flute; clarinet; violin; cello; percussion; piano ​ Year Composed: 2001 Written For: Collage New Music, David Hoose, conductor ​ Commissioned by: Collage New Music, with kind support by Catherine and Paul Buttenwieser ​ Premiere Performance: 24 February, 2001 Boston, MA, United States Collage New Music Linda Toote, flutes Robert Annis, clarinets Catherine French, violin; Joel Moerschel, cello Christopher Oldfather, piano Craig McNutt, percussion David Hoose, conductor 9/11 RELATED CHAMBER MUSIC VIEW SCORE LISTEN Quick View Elegy to the Future (full score) [PDF download] Price $12.00 Add to Cart Quick View Elegy to the Future (set of parts) [PDF download] Price $28.00 Add to Cart Quick View Elegy to the Future [Hard Copy] Price From $48.00 Add to Cart Program Notes: Elegy to the Future for Pierrot ensemble was written in Tel Aviv, Israel during a period of daily bomb attacks, shooting and growing tension. I asked myself how and when it would end. Then came September 11, 2001 and my previous thoughts received an even greater dimension. This piece, which was completed in September 26, 2001, deals with the sorrow, restlessness and fear for the future, caused by such events. Toward the end of the piece, one can hear fragments from the second movement of Mozart Piano Concerto No. 23, K. 488.For me, this fragment represents the understanding that things will never be the same again and that the pure is now shadowed in darkness. Elegy to the Future was commissioned by, and is dedicated to David Hoose, and Collage New Music. VIEW SCORE LISTEN Additional Music for Pierrot Ensemble 9/11 CHAMBER MUSIC| MUSIC INSPIRED BY 9/11

CHAMBER MUSIC WITH HARP | CHAMBER MUSIC HARP QUARTET FOR FLUTE, CLARINET, BASSOON AND HARP for harp and winds Duration: 27 minutes Instrumentation: flute / piccolo, clarinet, bassoon and harp ​ Year Composed: 1994 ​ Written For: Gittit Boasson ​ Premiere Performance: 12 December 1997 Tel Aviv, Israel Ruty Itzcovitch-Eyal, flute/piccolo El’ad Avakrat, clarinet Eyal Streett, bassoon Gittit Boasson, harp CHAMBER MUSIC WITH HARP LISTEN Quick View "Quartet for Flute, Clarinet, Bassoon and Harp" (Score) [PDF download] Price $11.00 Add to Cart Quick View "Quartet for Flute, Clarinet, Bassoon and Harp" (Set of Parts) [PDF download] Price $24.00 Add to Cart Quick View Hidden Reflections [CD] Price $15.00 Add to Cart Program Notes: The Quartet for flute, clarinet bassoon and harp is influenced by impressionistic French music and Jazz, which was my main influence at the time. The first movement starts with a pastoral character, somewhat naive, but soon starts to raise some concerned thoughts, and so, ends dark. The second movement is a light flowing movement built on pentatonic scale theme. A Bassoon cadenza bridges between the second and the third movement, which is a long Passacaglia with lamento character. In the last movement, piccolo is used instead of flute. This movement opens with a fugue between the four instruments, which leads to a lyrical second theme followed by harp solo and ends with a “Grand Finale.” LISTEN Chamber Music with Harp

STRING QUARTET, MUSIC FOR STRING QUARTET, INDIAN THEMES, RAGAS TALAS VOICES FROM INDIA (string quartet no. 1) for string quartet Duration: 17 minutes Instrumentation: violins (2); viola and cello ​ Year Composed: 1997 Premiere Performance: 12 May, 1998 Boston, MA, USA Christina Day, violin Ania Bard, violin Eric Paetkau, viola Erica Wise, cello ​ Movements: 1. Alap 2. Gat 3. Jahla VIEW SCORE LISTEN Program Notes: Before 1997, my appreciation of Indian music was rather superficial. While I enjoyed Listening to it, I was not aware of its compositional and improvisational procedures. It was essential to engage myself in the study of Indian music. A new world, unfamiliar to the typical western musician awaited me. As I explored the different techniques used by Indian musicians, I became inspired to compose a piece of my own. The string quartet, which represents one of the main pillars of western music, seemed an ideal medium to convey the ideas I had gleaned from Indian music. The quartet is in three movements which are based on a typical form of Indian classical music (Northern and southern.) The Alap is a slow, un-metered movement that is based on one main raga. It can be short, or extended up to one hour long. The Alap, also serves as an introduction to the Gat. Typically, in this stage the Tabla player joins the soloist, playing a rhythmic cycle entitled Tala. In Voices from India, The Gat movement is made of a ten-beat cycle (divided 2+3 2+3). Emerging from the Gat is the Jhalla. Here, the soloist constantly uses open drone strings, accelerates into a very fast tempo which leads to a climax and conclusion. The melodic material of the quartet is based on few ragas. The main ones are “Rama Priya” and “Shyam” for the first movement, “Jog” and “Suddha vasant” for the second and “Suddha Sarang” for the third. Nonetheless, the quartet is not an attempt to imitate Indian classical music, but rather an endeavor to bring Indian ideas and flavors into the western medium of a string quartet. Voices from India is dedicated to Dr. Peter Row who has guided me through the concealed paths of Indian music. Quick View Voices from India (Parts) [PDF download] Price $22.00 Add to Cart Quick View Voices from India (full score) [PDF download] Price $11.00 Add to Cart Quick View Voices from India [Hard Copy] Price From $23.00 Add to Cart Quick View Hidden Reflections [CD] Price $15.00 Add to Cart VIEW SCORE LISTEN Voices from India | String Quartet No, 1 | String Quartet on Indian Theme | Ragas | String Quartet

Official Biography The Boston Globe “Among the youngsters was Lior Navok. His “Nocturne” heard here in its world premiere is fascinatingly scored for small vocal chorus with instrumental enrichment, the piece is a gorgeous tonal landscape. Donaukurier Ingolstadt (DK) Schwermut legte sich nach den ersten Klängen von Lior Navoks Uraufführung “Between Two Coasts” für Streichorchester unaufhaltsam wie ein bleierner Mantel aufs Gemüt und ließ die Atmosphäre im Ingolstädter Festsaal tatsächlich zu einem Raum “zwischen den Welten” werden. Augsburger-Allgemeine Ingolstadt „Between two coasts“ – Mit der gelungenen Interpretation dieses Auftragswerks der Stadt Ingolstadt von Lior Navok verdeutlichte das Georgische Kammerorchester im Rahmen des jüngsten Abo-Konzertes im Theaterfestsaal erneut sein überaus hohes musikalisches Niveau. Rhein-Main.Net Die Musik zu dieser heimeligen Geschichte schuf der aus Israel stammende Komponist Lior Navok. Und während die Meerjungfrau als Schattenfigur über die Leinwand huschte, um das Leben über dem Wasser zu erkunden und den Prinzen zu verfolgen, brachte eine Auswahl von Musikern des Museumsorchesters die fein gesponnenen, aber auch für Kinderohren interessanten und fassbaren Klänge […] South China Morning Post Commissioned for the Silver-Garburg Piano Duo (who played the keyboard parts in this performance with great eloquence), Navok creates magical sonorities from modest instrumental resources with no recourse to repeat formulas during the work’s half-hour run. Under conductor Andrew Massey’s tidy direction, the orchestra produced some ravishing sounds. Music & Vision “Navok is clearly a composer of outstanding potential with a notable and growing oeuvre. … of weaving the shadowed waves for marimba duo and chamber orchestra, was one of the most attractive new works I have heard recently.” a bold imagination. Cape Cod Times Placed between two of the most poignantly expressive semi-autobiographical works in the chamber repertoire – Dimitri Shostakovich‘s Quartet No. 8; and Ludwig van Beethoven‘s Quartet in A-Minor, Op. 132, Navok‘s often surreal-sounding one-movement quartet held its own quite well. He is obviously a composer of imagination and substance who is keenly in touch with the […] Omaha World-Herald “. . . This work is a real winner in every sense of the word. Navok shows considerable technical commend in this solid, well-grounded work, which has a real sense of identity and presence.” The Boston Globe “Sensuous orchestration. . . A longer song cycle from this young composer certainly would be welcome.” The Virginia Gazette Navok has masterfully applied his skills to craft and extraordinary layered work that vividly portrays the endless war between Palestinians and Israelis from the perspective of the small, insignificant person’s point of view. The Music Poignantly evokes feelings of love, fear, hate, remorse and duress. It tears the heart as it gets to the heart […] American Record Guide “The Music is dreamy and utterly gorgeous.” Classical Music Review “Navok’s new CD is the work of a serious artist who isn’t averse to seducing the ear and touching the heart.” “Navok leads a subtle, atmospheric performance.” Seattle Times The second work shot straight to the heart. “Found in a Train Station,” a work for soprano and a chamber ensemble, was written last year by the young Israeli composer Lior Navok. It is based on a note found in a Polish train station, pinned to a baby, written by a mother about to be […] Australian Stage Part of the Opera House’s “Kids at the House” series of concerts and shows designed to introduce young children to various areas of the performing arts, The Little Mermaid is an absolute delight. Designed to be accompanied by a narration of Hans Christian Andersen’s classic tale, the score by Lior Navok Frankfurter Neue Presse Ein Schatten huschte durch die Wellen Hans Christian Andersens «Kleine Meerjungfrau» besuchte die Frankfurter Oper. Die Musik zu dieser heimeligen Geschichte schuf der aus Israel stammende Komponist Lior Navok. The Boston Globe One new piece was Elegy for the Future by Lior Navok, a work for six players composed in Tel Aviv both before and after Sept. 11. The music is rich in emotion and instrumental coloration, and Navok poignantly evokes a melody from a Mozart piano concerto to make the statement that “the pure is now […] Scene Le compositeur israélien Lior Navok a revisité les aventures de Pinocchio. Une version inédite qui a enchanté La Tour-de-Trême et sera bientôt visible à Neuchâtel et Vevey. ​ Le marionnettiste Gepetto qui rêvait d’avoir un enfant, la fée aux cheveux bleus qui réalise son vœu le plus cher en rendant vivant son pantin de bois: tout le monde connaît l’histoire de Pinocchio. Mais certainement pas dans la version dévoilée début octobre à la Salle CO2 de La Tour-de-Trême. Présentée en première suisse – et ce n’est pas un mensonge! –, la fable mise en musique par le compositeur israélien Lior Navok est racontée et jouée par une troupe composée de trois comédiens, du quintette à vents Eole et du pianiste Alexandre Rion. Cette production originale, née sur l’impulsion du corniste Stéphane Mooser, tourne à Neuchâtel et Vevey après avoir enchanté le public de la Salle CO2. D’étranges badauds, en uniforme d’époque et quelques accessoires à la main, s’attroupent sur la petite scène d’un kiosque de musique à l’ancienne. Soudain, un grillon géant monté sur une tige souple plonge sur ces longs objets insolites. C’est qu’à l’instar des trois quarts du très nombreux public – moyenne d’âge 7 ans – de La Tour-de-Trême, le Grillon parlant ne connaît pas encore la formation du quintette à vent. Aimablement, les membres du Quintette Eole, car c’est d’eux qu’il s’agit, présentent leurs instruments respectifs à l’insecte importun, alors qu’Alexandre Rion rejoint son piano de concert et que Laurent Gendre saisit sa baguette de chef d’orchestre. Lior Navok a en effet confié sa délicieuse mise en musique des Aventures de Pinocchio à une petite formation instrumentale – un quintette à vent et piano. Que la musique commence! Débute alors une escapade enchanteresse dans le monde imaginaire de Carlo Collodi. Une traduction fluide du conte moraliste et néanmoins nuancé de l’écrivain italien, réalisée par Stéphane Mooser, est narrée avec entrain et brio par Benjamin Knobil et ses deux comparses, Salvatore Orlando et Céline Cesa, finement mis en scène par Geneviève Pasquier. Entouré d’une farandole d’astucieux effets spéciaux et de diverses marionnettes – inventées par Christophe Kiss façon Théâtre Guignol –, le fougueux pantin de bois, qui aspire à devenir un véritable petit garçon, a fort à faire pour surmonter les écueils que la paresse et l’avidité présentent à tout un chacun. Alors que son jeune auditoire fasciné l’encourage de ses rires et ses avertissements, Pinocchio accédera finalement à son humanité. Non sans avoir été préalablement la victime naïve du Chat et du Renard, avoir été transformé en bourricot et avoir plongé dans un océan, de bulles de savon, pour retrouver finalement son papa Gepetto dans le ventre d’une baleine. Sensiblement connotée par la démarche narrative et pédagogique de grands prédécesseurs – Saint-Saëns et son Carnaval des animaux ou Prokofiev et son Pierre et le Loup –, la musique de Lior Navok, présent pour le baptême public de la version française de son œuvre, n’en demeure pas moins originale. Un traitement quasi jazzy, ou même impressionniste, de la narration pare la fable d’une dimension onirique, bourrée de fantaisie et d’humour. Bref un petit bijou, à découvrir de préférence avec des yeux et des oreilles d’enfants !