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Content
Bryan Medwed Biography.............................................. 3-4
Media
Turn Away, performed by Gal and Gabrielle Dahan.....6
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At
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S ince
On
Kibbutz Samar
Bryan's grave
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I made a conscious decision then to devote energy to agriculture, building my community and learning the language and
culture of my new home, before music. Despite this, and my
isolation from the musical community, I have written several
works here; the most significant being the Symphony in Three
Movements. Other works include music to a play Momo, a
book of duets for flute and dulcimer, and many songs.
I am married to Ilene Moskowitz. We live on Kibbutz Samar
with our three daughters. Some people find it odd that I am a
farmer/composer but I cant imagine it any other way.
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Bryan Medwed was a composer, classically trained at the Oberlin conservatory, who left
his formal classical musical studies, and began to write and play music for the dulcimer
folk songs, protest songs, love songs, rock and reggae.
Though Bryan spent much of his time concentrating on farming and ecology, he never
gave up his musical efforts and over the years he composed many songs, classical and
electronic music pieces, and one symphony, which was played by the Ber Sheva Sinfonietta
in 2003 and in 2010 in a youth project of Eilat Music Center and Ldinghausen Germany
Youth Orchester (first movement).
To date, three compilation discs have been made of recordings that Bryan left
behind, and a number of songs have been recorded by others.
Every summer an annual music festival is held in the Arava in his honor, where a mixture
of friends, neighbors, and musicians from up north gather to play both his songs and other
music in a similar vein.
The song Turn Away, performed here by Gal and Gabrielle Dahan, is one of Bryans earliest and most hauntingly lyrical songs.
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The name Symplony in three movements refers not only to the number of musical
chapters in this work, but also to the idea of three movements or schools of thought
which influence the music.
The first movement shows a post-romantic influence. Here, the beauty of melody and
harmony are deepened by increasing modulation, chromaticism and disonance. Rhythm
and orchestration often work more toward exclamation and effect, less as support of a
Iogical development of ideas. The chromatic main theme is contrasted with a lyrical
second theme as post-romantic music is usually more romantic than post.
The second movement is phenomenological/minimal. It is in traditional ABA form.
The first section is based on a reiterated Bb. All other eleven notes are de-emphasized
and given equal weight such that no strong harmony is implied...
The third movement is rooted in what could be called Integrationism. A theme with
variations, it draws on radically diverse sources placing them in new and interactive
contexts. The fine musical elements of these styles are incorperated and cross-fertilized; their taboos arent. Thus, the disonant language of the serial purist can be used
to express humor and joy, can mingle with lyrical beauty. The elegant back-rhythms of
Jamaican dance music need not be wed to static I, IV, V harmony.
Ideological purity tends to strip music of the joy, humor and beauty which people
naturally seek in music. Although high]y structured, this symphony is written with the
ears first; it is intended more as a listening experience that as an intellectual construction. In this I ultimatly embrace the third movement or philosophy. The progression
is from the increasingly somber Post-romantic idioms, through the narrow emotional
confines of Minimalism, to an lntegration of diverse elements and influences.
Oh yes , and joy.
Bryan Medwed
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Part I
Part II
Part III
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Elephant grass
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