Avner Dorman composed his Concerto in A at the age of 19, while he was serving in the Israeli Army. The piece was first performed by Dmitry Shteinberg and the IDF chamber orchestra conducted by Menachem Nevenhoiz in 1995. In this early piece it is possible to identify some of the compositional trends of Dorman’s later works, mainly the combination of Neo-Classicism with Rock elements; Middle-Eastern rhythms in the fast movements and transparent lyricism in the slow one; Humor and Joie de Vivre, on the one hand, and tormented moments on the other:
“My initial inspiration for the concerto came when I heard a recording of Bach’s keyboard concerto in A major on the radio (performed by piano and strings). I found the bright sound of the Violins doubling the Piano’s top line very exciting, and then and there I improvised the opening tutti of my Concerto in A. This was the first time I wrote a Neo-Classical piece. I found the challenge of doing something new while keeping the transparency and directness of the classical style very appealing. I got even more ecstatic about the piece when I realized that using the traditional harmonic vocabulary enables me to effortlessly integrate Jazz, Pop, and Rock elements into the piece. Even though the piece is dedicated to Vivaldi, one can also find in it allusions to Nina Simone, The Police, The Cure, Stravinsky, and of course, to Bach. Throughout the piece the soloist borrows patterns that are idiomatic to the string instruments of the orchestra.”
The piece is in three movements: fast-slow-fast. The first and third movements use the tutti-solo convention of the Baroque era. The second is a song without words.
Movements of the Concerto: