Omri Abram

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Omri Abram is a composer of acoustic and electroacoustic music currently based in Haifa, Israel/PalestineConstantly curious, Omri sets out in his compositions to examine perception, ambiguity and the experiences and meanings of music, all the while putting the sonic material front and center.

Past performances of his music include performances on many stages in Israel, Switzerland, Italy, Holland, Germany, Austria, Hungary and the USA by ensembles such as Neue Vocalisolisten Stuttgart, Ensemble Phoenix Basel, Riot Ensemble, Meitar Ensemble, the East Coast Contemporary Ensemble in New York, Ensemble Proton Bern, the Tel Aviv Wind Quintet, Ensemble Lemniscate, Duo Alto and others. Festivals and concert series in which his works have been and will be performed include HCMF, Impuls, Archipel, Zeitraüme Basel, Bludenzer Tage zeitgemässer Musik, Tzlil Meudcan, Crossroads Salzburg, Jerusalem International Chamber Music, CEME, Composit, Nachtstrom and Attacca. 

Omri is currently a PhD candidate at the Basel Music Academy and the Institut für Musikinformatik und Musikwissenschaft, Hochschule für Musik Karlsruhe, where his thesis will focus on live-electronics as a means for enhanced listening and audience engagement. Born in 1986 in Jerusalem, Omri's formal education includes a double Bachelor’s degree at the Jerusalem Academy of Music and Dance in composition and piano; hholds both a Master’s degree and a Specialized Master's degree in composition, with distinction, from the Music Academy of Basel, Switzerland (class of Erik Oña)as well as a Master’s degree in musicology at the Hebrew University of Jerusalem. He has had the privilege to undertake further studies with a variety of world-renown composers, benefitting from the knowledge and artistry of Amnon Wolman, Chaya Czernowin, Salvatore Sciarrino, Rebecca Saunders, Pierluigi Billone, Clara Iannotta, Peter Eötvös, Beat Furrer, and Georges Aphergis, amongst others. 

He is a graduate of Meitar Ensemble’s “Tedarim” internship program for outstanding young musicians in contemporary music; has received grants from the America-Israel Cultural Foundation for the years 2010–2016; and was a recipient of the Siday Fellowship for Musical Creativity for the years 2015–2017. 

omriabram.com

Tri par année. Les pièces les plus recentes apparaissent d'abord

Quatuor à Cordes


Silver Current for string quartet (2022)

Ensemble (Instruments ou voix) et électronique en temps réel


Receding Horizons for two E-Guitars and Live Electronics (2022)

Ensemble (10 - 19 instruments)


Time passes Time for 14 instruments (2021)
Fable for 12 instruments (2017)

Ensemble vocal


Speechless for 6-voice ensemble (2019)

Groupe de Chambre (2 - 4 instruments)


Silver Current for string quartet (2022)
Lavan for Cello and Accordeon (2019)
Many Spaces for Bass Flute and Acoustic Guitar (2017)
Ice Flow for two Bass Flutes (2016)
Terrain for Three Accordions (2016)
Lavan (White) for Cello and Accordion (2016)
Kaleidoscope for two High Recorders (2016)
Living Machine for Bass Flute, Bass Clarinet and Bassoon (2016)
A glimmer of light... for Flute, Violin and Cello (2014)

Quintette à vent


Zohar (Irridescence) (version with trombone) for Wind Quintet (2019)
Zohar (Irridescence) for Wind Quintet (2018)

Instrument Solo


Flash for Piano (2019)
Cirrus for Accordion solo (2018)
Animate for Bassoon solo (2016)
Three Micro-Etudes for Cello solo (2014)
To oneself for Flute solo (2013)
Four Miniatures After Paintings of Maria Frank Abrams for Piano solo (2009)

Ensemble de Chambre (5 - 9 instruments)


Zohar (Irridescence) (version with trombone) for Wind Quintet (2019)
As we were here now for six instruments (2018)
Zohar (Irridescence) for Wind Quintet (2018)
Sonatas and Interludes (with Scarlatti) for Recorder (sopranino, soprano, alto), Flute (also alto and flauto traverso), Clarinet (b flat, bass), Saxophone (soprano, alto), Guitar (also Vihuela), Mandoline, Violin (also Viola) and Cello. (2014)
Itinerant for Sextet (2014)
Encore for Quintet (2013)
...in passing... for Quintet (2012)

Soliste (Instrument ou voix) et électronique en temps réel


Yellow Moon for Cello and Live Electronics (2017)

Pièce composite


Folk Impressions for Choir and 7 instruments (2014)
...in passing... for Quintet (2012)
A glimmer of light... for Flute, Violin and Cello (2014)
Animate for Bassoon solo (2016)
As we were here now for six instruments (2018)
Cirrus for Accordion solo (2018)
Encore for Quintet (2013)
Fable for 12 instruments (2017)
Flash for Piano (2019)
Folk Impressions for Choir and 7 instruments (2014)
Four Miniatures After Paintings of Maria Frank Abrams for Piano solo (2009)
Ice Flow for two Bass Flutes (2016)
Itinerant for Sextet (2014)
Kaleidoscope for two High Recorders (2016)
Lavan for Cello and Accordeon (2019)
Lavan (White) for Cello and Accordion (2016)
Living Machine for Bass Flute, Bass Clarinet and Bassoon (2016)
Many Spaces for Bass Flute and Acoustic Guitar (2017)
Receding Horizons for two E-Guitars and Live Electronics (2022)
Silver Current for string quartet (2022)
Sonatas and Interludes (with Scarlatti) for Recorder (sopranino, soprano, alto), Flute (also alto and flauto traverso), Clarinet (b flat, bass), Saxophone (soprano, alto), Guitar (also Vihuela), Mandoline, Violin (also Viola) and Cello. (2014)
Speechless for 6-voice ensemble (2019)
Terrain for Three Accordions (2016)
Three Micro-Etudes for Cello solo (2014)
Time passes Time for 14 instruments (2021)
To oneself for Flute solo (2013)
Yellow Moon for Cello and Live Electronics (2017)
Zohar (Irridescence) for Wind Quintet (2018)
Zohar (Irridescence) (version with trombone) for Wind Quintet (2019)