370:), his modes took the form of twelve-tone rows and their treatment that of serial technique, though without transposition and with emphasis on certain pitches to create at times a sense of tonal center. Seter felt his methods then and later to be more like theme and variation than serialism. By the 1970s, his style had developed further: the modes now unfold the aggregate diatonically over as many as two octaves (in as many as 25 pitches), leading in such cases to pitch-class repetition and contributing to Seter's cherished sense of pitch centricity. The modes' adjacent intervals are always seconds, whether minor, major, augmented, or doubly-augmented.
326:, who, together with Seter, were known in the 1950s and 1960s as the "Troika". However, he revealed greater awareness of the tensions between Mizrahi and Western style and aesthetics, and emphasised the distinction between mere exoticism and genuine stylistic synthesis. In most stylistic particulars, too, Seter's methods were fully distinct and strikingly original. In the 1940s and 50s, when his output was largely choral, he mainly used the traditional tunes in dramatically charged polyphonic textures. But the later part of this period was transitory for Seter: his
105:
38:
351:, which reached its final of five versions in 1961. Here, Mizrahi tunes are prominent, but also fundamental to the work's sound and structure is a twelve-note synthetic scale of alternating minor and augmented seconds. This scale interacts seamlessly with the borrowed melodies and governs the cantata's harmonic language, ensuring its remarkable cohesion through the common features of its musical elements.
435:'s Millennium Festival program of 1 January 2000. His later music, however, was often considered as introverted, reserved, even hermetic, a view which, according to musicologists Uri Golomb and Ronit Seter, "downplayed the palpable sensuous and dramatic aspects of his music, denying an essential aspect of Seter’s works".
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was regarded as a seminal masterpiece of
Israeli music since its premiere in 1963. An earlier, radiophonic version was submitted by the Israel Broadcasting Authority to the 1962 Prix Italia international radio competition, and won the first prize in the “stereophonic musical work” category. The
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round 1970, when he felt that the fame he had gained following the Israel Prize (1965) was more a burden than a joy, he gradually withdrew from social activity, including contacts with performers, to the point that he refused to write on commission, and kept composing upon inspiration
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Seter's works from 1970 on, all for chamber combinations or piano, are intensely introspective, perhaps mirroring the contemporaneous feelings of the man who wrote them. As one scholar writes:
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Beginning in 1946, Seter taught at the Music
Teachers' College. From 1951 until his retirement in 1985, Seter was one of the most influential teachers at the Rubin Academy of
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Upon his return to
Palestine in 1937, Seter grew interested in developing a style inspired by Middle Eastern Jewish musical traditions. In Paris, he had been fascinated with
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260:, he returned to Palestine. There, he pursued a musical language founded on his own unique synthesis of the latter, and other, European influences with more local ones.
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358:, Seter consistently used modes and scales of at least twelve notes, which subsumed the borrowed materials but retained their essence. At first, as in the ballet
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855:
Golomb, Uri; Seter, Ronit (2019). "Mordecai Seter's
Midnight Vigil (Tikkun Ḥatzot, 1961): Deconstructing Israelism, National and Biographical Myths".
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Golomb, Uri; Seter, Ronit (2019). "Mordecai Seter's
Midnight Vigil (Tikkun Ḥatzot, 1961): Deconstructing Israelism, National and Biographical Myths".
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1: 7-8. See also a detailed contextual analysis in Ronit Seter (Summer 2014), "Israelism: Nationalism, Orientalism, and the
Israeli Five",
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liturgical tunes, he consciously adopted them as a major influence, not only in and of themselves, but eventually as sources for the
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for two violins (1951–54) are based on collections of between four and ten pitches. The stage was set for his magnum opus, the
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Mordecai Seter (1960), "Mizrah u-ma‘arav bamusica - keitzad?” ("How to integrate East and West in music?"),
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and contemporary French style, but in 1937, frustrated by the extent of her devotion to
Stravinskian
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Nevertheless, "his music possessed a spirituality that was sensed by critics and audiences alike."
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was a further attraction for Seter, especially since he was focused on choral music at the time.
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Ronit Seter, "Nationalism in Jewish-Israeli Art Music, 1940-2000," Ph.D. dissertation, 2004
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In some ways, Seter's usage and internalization of traditional material resembled that of
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Seter, Ronit (Summer 2014). "Israelism: Nationalism, Orientalism, and the
Israeli Five".
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himself. He shared this affinity with Bartók with two of his friends and colleagues,
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Seter, Ronit (2014). "Israelism: Nationalism, Orientalism, and the
Israeli Five".
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927:”, in “In the Muse: Performing Arts Blog", Library of Congress, 26 February 2016
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Ronit Seter, "Mordecai Seter," in Oxford Music Online, accessed 15 February 2016
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from the age of seven in Russia, and continued with his lessons and studies in
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final, concert version, premiered in 1963, was subsequently paired with
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Studied with Paul Dukas and Nadia
Boulanger, École Normale de Musique,
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for two violins (1951) is built from Western church modes, while his
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for 8-part chorus with brass and strings (or unaccomp.) (1966)
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for male chorus with optional wind octet (1940–51, rev. 1985)
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916:"Mordecai Seter" in Ronit Seter, "Israeli Art Music", on
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for clarinet or viola with piano or string quartet (1954)
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303:. That this melos bore the local accent of spoken
534:for solo, three choruses, and orchestra (1957–61)
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601:Trio for clarinet, violoncello, and piano (1973)
912:The National Library of Israel - Mordecai Seter
883:"Israel Prize recipients in 1965 (in Hebrew)"
471:for solo, chorus, and string orchestra (1940)
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504:for string trio and string ensemble (1953–6)
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443:Seter's many awards include the following:
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522:for orchestra or chamber orchestra (1957)
986:Israeli people of Russian-Jewish descent
871:– via Taylor & Francis Online.
844:– via Taylor & Francis Online.
971:Soviet emigrants to Mandatory Palestine
720:Encyclopaedia Judaica, Volume 14 (1972)
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233:, where he studied composition at the
1021:Academic staff of Tel Aviv University
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285:Thesaurus of Hebrew Oriental Melodies
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498:for orchestra (1953–7, rev. 1966–70)
129:Private lessons with Igor Stravinsky
477:for chorus ATB (1939–40, rev. 1951)
198:Seter was born Marc Starominsky in
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1001:Composers from Mandatory Palestine
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956:People from Black Sea Governorate
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889:from the original on May 11, 2011
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830:Journal of Musicological Research
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489:for unaccompanied chorus (1943–9)
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249:. With Boulanger, Seter mastered
1026:Israeli male classical composers
1016:Israel Prize in music recipients
1006:20th-century classical composers
458:Prize for lifetime achievements.
245:. He also had some lessons with
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923:Uri Golomb & Ronit Seter. “
699:List of Israel Prize recipients
492:Sonata for two violins (1951–2)
447:In 1965, Seter was awarded the
885:. Israel Prize Official Site.
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976:Jews from Mandatory Palestine
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610:(String Quartet No. 2) (1976)
580:for string orchestra (1967–8)
552:for orchestra (1964; rev. of
433:Israel Philharmonic Orchestra
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817:– via Oxford Academic.
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16:Israeli composer (1916–1994)
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1031:20th-century male musicians
996:Israeli classical composers
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616:String Quartet No. 4 (1977)
613:String Quartet No. 3 (1976)
604:String Quartet No. 1 (1975)
586:for string orchestra (1971)
362:(1962–63), commissioned by
287:that contained traditional
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622:for viola and piano (1977)
320:Alexander Uriyah Boskovich
217:Seter learned to play the
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682:for string quartet (1986)
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299:character of his own new
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925:Mordecai Seter Centenary
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235:Ecole Normale de Musique
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225:. In 1932, he went to
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815:10.1093/musqtl/gdu010
803:The Musical Quarterly
789:The Musical Quarterly
771:10.1093/musqtl/gdu010
759:The Musical Quarterly
554:Part Real, Part Dream
544:Part Real, Part Dream
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368:Part Real, Part Dream
281:Abraham Zevi Idelsohn
574:for orchestra (1967)
550:Fantasia concertante
538:The Legend of Judith
514:Chaconne and Scherzo
454:In 1983, he won the
608:Quartetto sinfonico
392:Tel Aviv University
349:Inbal Dance Theatre
210:with his family to
560:Jephtah's Daughter
487:Four Festive Songs
406:and the conductor
366:(as was the later
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66:Novorossiysk
966:Soviet Jews
946:1994 deaths
941:1916 births
656:Piano Cycle
638:Sine Nomine
496:Sinfonietta
404:Nurit Hirsh
251:Renaissance
99:Nationality
935:Categories
809:(2): 276.
705:References
596:Piano Trio
584:Espressivo
451:for music.
297:intervalic
277:plainchant
247:Stravinsky
239:Paul Dukas
194:Early life
168:ACUM Prize
137:Occupation
58:1916-02-26
674:Triptyque
662:Dialogues
626:Mirvachim
620:Monodrama
578:Ma'agalim
566:Jerusalem
425:Beethoven
414:Reception
396:Tzvi Avni
289:Sephardic
254:polyphony
214:in 1926.
208:emigrated
188:מרדכי סתר
117:Education
30:מרדכי סתר
887:Archived
693:See also
686:Presence
632:Capricci
502:Ricercar
347:and the
336:oratorio
274:Catholic
223:Tel Aviv
140:Composer
88:Tel Aviv
893:June 6,
785:Bat Kol
481:Motteti
431:on the
293:Mizrahi
646:(1982)
598:(1973)
475:Motets
439:Awards
360:Judith
354:After
328:Sonata
312:Bartók
305:Hebrew
231:France
204:Russia
184:Hebrew
170:(1983)
164:(1965)
155:Awards
111:Israel
108:
92:Israel
70:Russia
650:Music
590:Janus
572:Hagut
508:Elegy
378:only.
332:Duets
301:modes
264:Style
237:with
227:Paris
219:piano
125:Paris
895:2011
456:ACUM
322:and
291:and
241:and
77:Died
48:Born
865:doi
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