Fantasy for chamber orchestra — after Purcell's "Fantazias"

This is my first attempt at writing a work that derives from the work of another composer. When Avner Biron suggested I write something inspired by Purcell's Fantazias, I found it a very pleasant challenge: on the one hand an original work, not an arrangement; on the other, an interesting starting point, different from what I was used to.

On the face of it the term “Fantasy” — a piece of free structure — has lost its meaning in our time, when the vast majority of music is written without formal constraints. And yet each of us carries “fixed structures,” patterns in themselves. In writing a Fantasy I tried to free myself from these as far as possible. I decided to treat Purcell's music in any way that came to mind, consciously or not: through direct quotation from his Fantazias within the context of my own ideas, through a harmonic conception derived chiefly from voice-leading, and through free transitions between varied moods and themes. For me Purcell is marked by a striking combination of very emotional, expressive, almost impulsive writing and the intellectual composer within him — as in these Fantazias, through which he set out to demonstrate his polyphonic technique to the highest standard.

My own work shares that combination. It is in four movements played in succession. The first movement, and the opening of the third, are more abstract and meditative in character, while the second and fourth mainly express emotions I have recently lived through. Beyond this, working on Purcell connected me with English music in general — which for me is, first of all, the music made in England during the previous century: excellent rock bands that set down important milestones and remain a never-ending source of inspiration for my writing. Commissioned and premiered by the Israel Camerata Jerusalem.

Movements

1. Largo — More abstract and meditative in character.
2. Moderato — Primarily expresses emotions I had recently experienced.
3. Lento — Begins abstract and meditative like the first movement.
4. Moderato — Primarily expresses emotions I had recently experienced.

Commissioned by The Israel Camerata Jerusalem (Avner Biron).

Premiere: The Israel Camerata Jerusalem.

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