Large ensemble/Orchestra
45th Parallel line- crossing borders
Mini opera for five voices and six instruments.
Commissioned by Neue Vocalsolisten Stuttgart and Meitar ensemble In collaboration with Sarah Nemtsov and Omer Sheisaf. Supported by Canada Council for the Arts.
Soprano, mezzo-soprano, tenor, baritone, bass, flute, clarinet, bassoon, violin, cello, and piano
Supported by the Canada Council for the Arts and Goethe Institut.
Climax (ou Éléments)
Chamber orchestra.
Commissioned by Geneva Camerata with support from “The Adele and John Gray Endowment Fund”, conducted by David Greilsammer, choreography and dance by Nicolas Cantillon, CIE 7273
Montreal 2015/16, 14’ Ca
Rewind
15 instruments.
Played by The Israel Contemporary Players. Conducted by Zsolt Nagy.
The 2012 ACUMs award for a composition presented anonymously
First version read by Le NEM, conducted by Lorraine Vaillancourt.
Premiered April 5 and 6, 2014, Tagliot concert series – Tel aviv Museum & Jerusalem Music Centre
Montreal 2012/14, 10’ Ca
Blanc sur Blanc
For 2 amplified ensembles – Meitar Ensemble: Fl, Cl, Pno, and Ardeo string quartet.
Conducted by Renaud Dejardin.
Commissioned by the Zeitkunst Festival and Meitar Ensemble.
Premiered November 2011, Zeitkunst Festival – Radialsystem V, Berlin
and Centre Pompidou, Paris
Paris/Montreal 2011, 13′ Ca
Do Bats eat Cats?
Fl, Cl, Vln, Vla, Vlc, Cb, Pn & Perc.
Commissioned by The Israel Contemporary Players and Ernst Von Siemens.
Premiere, March 2011, conducted by Jean-Michael Lavoie.
Recording, May 2011, conducted by Zsolt Nagy, Ha-Teiva, Tel-Aviv.
Paris 2011, 12′ Ca
Equilibrium
Violoncello, electronics and 9 Instruments.
Solo Violoncello D. Zur, Conducted by K. Ben-Josef.
Menachem Avidom, ACUM award for the best creation of the year
Premiere, April 2008, Jerusalem’s Music Center.
Revision, October 2008, Israel Music Festival, Jerusalem’s Theatre.
Jerusalem 2008, 19′ Ca
Chamber Music
Acufene
For violin, cello, accordion, and eight sinus oscillators.
Acufene is a piece written for ur.werk ensemble, and uses a new approach to my auditive scores concept. The premiere of the piece is on the 16th of April 2022 in Montreal – Espace Wilder, then in May 4th at the NDR radio hall, Hannover, Germany.
Wired
Commissioned by ensemble Paramirabo with support by Conseil d’art et lettre de Quebec live@CIRMMT. For Violin, Cello, Percussion, Piano, Flute, Clarinet and electronics.
Premiered September 16th, 2021, live@CIRMMT, MMR, McGill, Montreal.
2021, 12′ Ca
Tracé
Commissioned by ensemble Cairn with support by Ministère de la culture français (commande d’état) the for the festival Ensemble[s] in Paris. For Violin, Cello, Accordion, and Piano.
Premiered September 11st, 2020, PanPipper, Paris.
2020, 15′ Ca
I need to hear it first
Commissioned by Quasar Saxophone Quartet with support by Canada Council for the Arts New Chapter program.
Premiered April 31st, 2018, Le Gesu, Montreal.
2018, 12′ Ca
marchons, marchons
fl. cl. pno. vln. & vnc
For Sentiari Selvaggi, Feeding the music Festival, Expo, Milano.
Revision and new performance – Meitar ensemble, conducted by Pierre-André Valade, Manifeste Festival, IRCAM/Centre Pompidou, Paris
Montreal 2016, 11’ Ca
Shift
Amplified percussion quartet
For Architek percussion quartet, Live@CIRMMT concert series.
Premiered February 13, 2014, Live@CIRMMT, Mcgill University, Montreal.
Montreal 2013-14, 7’ Ca
Chinese Whispers
flute clarinet, violin cello, and piano.
For the Meitar ensemble conducted by Guy Feder.
Premiered at the MATA Festival, NYC
Montreal 2013/15, 11’ Ca
Unisoni Trasparenti
Fl, Cl, Bsn, Vln, Vc, & Elec.
Commissioned by Meitar Ensemble conducted by Karin Ben-Josef.
Premiere, December 2009, Hateiva, Tel-Aviv.
Paris 2009, 16′ Ca
2 et Demi
Vln, Gtr, T. Sax & Perc.
For Cairn Ensemble.
Premiere, July 2009, Forum Blanc-Mesnil, France.
Paris 2009, 5′ Ca
InsideOut
Pn, Cl, Vln & Vc.
For Meitar Ensemble.
Premiere, July 2007, Kfar-Blum Music Festival.
Jerusalem 2007, 12′ Ca
Moro Lasso
Vocal quintette.
Premiered by the Academy soloists July 2007, Navon Auditorium, Jerusalem.
Jerusalem 2006, 9′ Ca
Grey
Violin and Piano.
Performed by S. Albo, O. Pelz, July 2007, Navon Auditorium, Jerusalem.
Jerusalem 2006, 3′ Ca
No hay banda
Fl, Ob, Cl, Bsn, Pn and Tape.
Performed by A. Geiger, I. Kalinka, N. Levi, N. Cohen, S. Vinokor,
July 2005, JAMD Auditorium, Jerusalem.
Jerusalem 2005, 11′ Ca
Colors in a fog
Violin and Violoncello.
Performed by Sh. Cohen, L. Yariv, July 2005, JAMD Auditorium, Jerusalem.
Jerusalem 2004, 8′ Ca
Constant motion
Violin and Violoncello.
Performed by E. Gurewitz, S. Falkovich, June 2003, JAMD Auditorium, Jerusalem.
Jerusalem 2003, 8′ Ca
Six small pieces
Fl, Ob, Cl & Bsn.
Wizo-Canada Auditorium, Haifa.
Haifa 1996, 6′ Ca
Ainulindale
Flute and Clarinet.
Wizo-Canada Auditorium, Haifa.
Haifa 1996, 6′ Ca
Solo
Repetition Blidness
Piano solo
Commissioned by David Greilsammer with support from The Adele and John Gray Endowment Fund
Montreal 2017, 7′ Ca
Convergence
Alto Flute and Electronics
For Cairn Ensemble.
Performed by Cedric Jullion. Recording for electroacoustic part by Paolo Vigneroli, June 2010, CRD Blanc-Mesnil.
Paris 2010, 7′ Ca
Backward Inductions
Augmented piano (prepared and amplified piano)
Commissioned by Julia Den-Boer, Live@CIRMMT concert series.
Premiered April 24, 2014, Live@CIRMMT, Mcgill University, Montreal.
Montreal 2013-14, 11’ Ca
Modifications
Solo clarinet
Commissioned by Ex Novo ensemble and Teatro La Fenice.
Realized in collaboration with the clarinet player Camille Fauvet
Premiered July 7, 2015, Davide Teodoro, Ex Novo ensemble, Venice.
Montreal 2015, 3’ Ca
Vibrations
Violin and live electronics – “interactive bow” installation.
Performed by H. Peery, April 2011 CNSMD, Paris
Paris 2011, 5′ Ca
1,2,3…
Solo Piano.
Commissioned by the ICL.
Performed by N. H. Meiri, September 2009, Israel Music Festival, Tel-Aviv Museum.
Tel-Aviv 2009, 6′ Ca
Clean Dust
Harp and Electronics.
For Multilateral Ensemble. (work in progress)
Unisono
Solo Guitar.
Performed by Naftali Mizrahi.
Premiere, April 2008, Jerusalem’s Music Center.
Jerusalem 2008, 5’Ca
Seifim
Solo Viola.
Performed by G. Wolf, July 2007, Navon Auditorium, Jerusalem.
Jerusalem 2006, 8′ Ca
Prelude for Clarinet
Performed by Y. Meidan, June 2003, JAMD Auditorium, Jerusalem.
Jerusalem 2002, 3′ Ca
Involving technology –
Electroacoustic, Live electronics & Installations
Makom
Acousmatic.
Commissioned by the SMCQ for Montreal Nouvelle Musique
Montreal 2017, 15′
Etude for disklavier & electronics
Montreal 2012, 4’ Ca
The Movement of the Mass
Acousmatic.
Premiere, June 2009 Auditorium KM Pantin. Revision, January 2012 Salle Calude Champagne, Montreal. – Paris 2009, 7’15”
Sweet and LowDown
Acousmatique.
Premiere, March 2009 Auditorium KM Pantin. – Pantin 2009, 4’30”
Blanc sur Blanc, Equilibrium – see under Large Ensemble section
Wired, Acufene, Shift, Unisoni Trasparenti, No Hay Banda – see under Chamber Music section
Backward Inductions, Convergence, Vibrations – see under Solo section
172, LeconDeTénèbre, Kmatim – see under For Dance section
For Dance/Film
LeconsDeTénèbre
Electroacoustic installation work for a dance by François Raffinot.
music – François Sarhan, electroacoustic – Ofer Pelz
Premiere, February 2010 CDC, Toulouse.
Paris/Toulouse 2010, 30′ Ca
172
Pnima
Solo Piano.
Experimental animation film by K. Srugo.
2008, Bezalel, Jerusalem.
Jerusalem 2008, 4′
Insights
Violoncello, Contrabass and Tape.
Music for short film By D. Keidar.
2008, Haifa’s international film festival.
Kmatim
Violoncello and Tape.
Music for dance by Sh. Zisowitch . Performed by M. Belzismann.
2007, The-Lab, Jerusalem
Jerusalem 2007, 5′
(see Media – Video)
The One I Loved
Symphonic Orchestra
Music for stop motion animation film by D. Basher.
Performed by the Hamahapecha orchestra,
conducted by R. Openheim, 2005 Israel Festival, Jerusalem’s Theatre.
Jerusalem 2005, 5′
(see Media – Video)
The Other Side of the Story
Symphonic Orchestra.
Music for animation film by O. Ventura.
Performed by the Hamahapecha orchestra,
conducted by R. Openheim, 2005 Israel Festival, Jerusalem’s Theatre.
Jerusalem 2003, 5′
(see Media – Video)
Katia
Solo Piano,
Written for dance.
Performed by O. Pelz, June 2003, Suzan Dallal Center – Tel-Aviv.
Tel-Aviv 2003, 5′ Ca
Open works/Improvisations
Correspondances
Ensemble Tesse – The work Correspondances is elaborated as a collective composition, bringing together individual improvisations that communicate with each other and that will be shared from one member of the ensemble to another in a virtual way, a bit like a chain of ideas.
Sound tracks
Open instrumentation and video interface, written in collaboration with Matan Gover. Premiered by ensemble Aka, live@CIRMMT series, Tanna Schulich hall Montreal. 2019 7′ Ca
Written for Ensemble Aka. A graphical game is projected to the musicians and the audience. The game interface presents symbols that approach the musicians and is inspired by Harmonix’s Guitar Hero. Each symbol represents a different musical element – musical gesture, short phrase, a note and so on. The musicians must interpret the symbols in a precise moment according to the animation, while also adding their own musical interpretations in an improvised manner. This piece is a collaboration between Ofer Pelz and Matan Gover.
Viskleken
Open instrumentation and electronic interface. Premiered by ensemble Aka, live@CIRMMT series, Tanna Schulich hall Montreal. 2019 7′ Ca.
In Swedish, “viskleken” means “whispers” and is referred to the Telephone Game. This piece is influenced by this famous game – a message which is repeated and mutated at every repetition. The piece deals with improvisation and imitation for two players and electronics. Written for Ensemble Aka, the two musicians, led by a computer operator, try to imitate each other’s musical phrases over and over with the expected mistakes on subsequent repetitions, resulting in increasing musical complexity over the course of the game.
Telephone
Open instrumentation and electronic interface. Premiered by Tedarim Track, CEME2020 Festival, Levontin 7 Tel-Aviv. Supported by the Conseil des Arts et des Lettres du Québec.
This piece is influenced by the famous Telephone game – a message which is repeated and mutated at every repetition. The piece deals with improvisation and imitation for two players and electronics. The musicians, led by a computer operator, try to imitate each other’s musical phrases over and over with the expected mistakes on subsequent repetitions, resulting in increasing musical complexity over the course of the game.
pre-fall (album) -Whim ensemble
Released by Ambiances Magnétiques on March 21st, 2016.
Includes “one-four”, “three-four”, “three-zero”, “two-three”, “one-six”, “one-four”, and “six”.
(All the works composed by Ofer Pelz and Preston Beebe).
Whim (album) – Whim ensemble
Released by Kohlenstoff records June 4th, 2016.
Includes “Whim”, “Springs”, “Cracks”, “Daze”, “Melting glass”, and “Seeds”
(All the works composed by Ofer Pelz and Preston Beebe ).
172 -see under For Dance section
Wired, Acufene – see under Chamber music secion