
Tag: top events


Light from the Yellow Star (2011)
For Symphonic Wind Band
- Duration: ca. 40 minutes
- Picc, 2 Fls, A.Fl, Obs, Bsns, P.Cl, 3 Cls, B.Cl, C-b.CL, S.Sx (= A.Sx.1), 2 A.Sxs, T.Sx, B.Sx, 4 Hns, 5 Tpts, 4 Tbns, Bar, 2 Tbas, Str.B, Synth, Timp, Perc (5), Solo Soprano.
In 2010, Matthew J. George, a conductor of the University of St. Thomas Symphonic Wind Ensemble, proposed that I write a composition based on books and paintings by the Holocaust survivor Dr. Robert O. Fisch.
Inspired by Dr. Fisch works, I wrote a suite of five parts:
I. Introduction
II. When the Stones weep
III. 1956
IV. Silent Music
V. Song of Love and Hope
The premiere took place in Minneapolis, in 2011, with the participation of Dr. Fisch himself; he read fragments from his books before each part of the suite and at the end of the composition. His paintings were demonstrated on a large screen during the performance. Dr. George even brought a dance ensemble for the performance!
It was extraordinary event with a big emotional impact on the audience. I invite you to view it (below are eleven clips from the premiere):
Later Matthew J. George and the University of St. Thomas Symphonic Wind Ensemble recorded Light from the Yellow Star, which was released in 2016 by the Innova label, as part of their album Persistence.

Oct, 2011: Holocaust Requiem at the International Viola Congress, Wurzburg, Germany
Viola Congress at 2011 was the third time when Donald Maurice performed Requiem, after his great performance at the Concert of Remembrance for 70th the Anniversary of Kristallnacht.
Donald received an invitation to give the work’s first-ever performance in Germany, on October 15th at the final gala concert of the International Viola Congress in Wuerzburg.
The performance commemorated the 70th anniversary of the Babi Yar massacre, and featured Donald, with the Camerata Louis Spohr orchestra from Duesseldorf, conducted by Bernd Peter Fugelsang.
Below are some photos from the event, kindly given to me by Dwight Pounds.






Nov, 2010: Launch of "Requiem" CD by Atoll, New Zealand
In November 2010, two years after the performance of Requiem at the the Concert of Remembrance for Kristallnacht 1938 at Wellington, a live recording of the concert was released by Atoll. This recording also includes three of my other pieces, featuring my dear friend, Donald Maurice (viola), and other great performers. The CD includes the following pieces:
Prayer for Viola and Piano
Donald Mautice, Viola
Richard Mapp, Piano
Silent Music for Viola and Harp
Donald Maurice, Viola
Carolyn Mills, Harp
Nigun for String Quartet
Dominion String Quartet
Dwight Pounds reviewed the disc in the Journal Of The American Viola Society, he writes:
Completing the album and complementing the Requiem musically and emotionally are three small ensemble compositions, each by Boris Pigovat. The very dramatic and tragic Prayer was written the same year as the Lux Eterna (1994) and in fact shares at least one common theme. Silent Music, known in Hebrew as Nerot Neshama (Candles of the Soul), was written in 1997 in response to a particularly vicious terrorist attack. In Nigun, conceived originally for string orchestra, Pigovat’s goal is to give “expression to the tragic spirit which I feel in traditional Jewish music” by giving homage to the style and spiritual atmosphere of ancient tunes, but without quoting traditional melodies.
In 2012, the Requiem CD was awarded a Supersonic Award by the Luxembourg classical music magazine Pizzicato.
Below are some samples from the CD.
Live recording of "Requiem" (samples)
Donald Maurice, Viola
Mark Taddei, Conductor
Vector Wellington Orchestra
Part 4 “Lux Aeterna” published by Atoll in YouTube
Prayer for Viola and Piano (samples)
Donald Maurice, Viola
Richard Mapp, Piano
Silent Music for Viola and Harp
Donald Maurice, Viola
Carolyn Mills, Harp
Nigun for String Quartet (samples)
Donald Maurice’s solo playing vividly captures the music’s gamut of supplicatory emotion, while Marc Taddei and the orchestra provide an accompaniment richly-mixed with ambiences of faith and trust, doubt and fear.
Wellington, NZ
This is a most extraordinary release. I guarantee it contains music like you’ve never heard before and that will leave you emotionally shattered and physically drained. …the performance and the recording are stunning, impactful, and overwhelming.

Jewish Wedding / Tzfat (2002 - 2008)
- Duration: ca. 10 minutes
In 2001 I met Giora Feidman, a world-wide famous clarinetist and performer of klezmer music. He gave me a couple of his CDs. I was so impressed by his performance, that I decided to write a piece in klezmer style, a kind of klezmer rhapsody, and to dedicate it to him.
As a composer-in-residence at the Petach-Tikva Conservatoire, I was committed to write a piece for trombone and wind orchestra.
I decided to write this piece as a klezmer rhapsody and to name it Tzfat (Safed), the name of a city where klezmer music festivals take place yearly.
Tzfat for trombone and wind orchestra was written and performed in 2002 (see recording, below).
In 2004 I prepared a version of Tzfat for violin and string orchestra, which was also performed (see recording, below).
In 2008 I met Giora Feidman again, and he listened to Tzfat. He loved the composition, and he asked me for two additional versions of it: one for clarinet and string orchestra and another for clarinet and string quartet. He also suggested to rename the piece to Jewish Wedding, arguing that, outside of Israel, people are unfamiliar with Tzfat.
The version for clarinet and string orchestra was performed by Giora with a string group of the Jerusalem Symphony Orchestra (see recording below). The version with string quartet was performed the with Gershwin Quartet more than 30 times – in Germany, Austria, Holland, Switzerland, Russia and Ukraine. See below for a YouTube video from a performance in the Berliner Philharmonie concert hall.
Later, at the request of other performers, I prepared additional versions of this Jewish Wedding / Tzfat:
- for Trumpet and Strings (arranged for ensemble of members of Israel Philharmonic Orchestra)
- for Piano Trio
- for Piano Quintet
- for Clarinet & Saxophones Quartet
- for Clarinet, Cello & Piano
- for Clarinet, Violin & Piano
- for Saxophone, Violin & Piano
In Israeli Sketches, a suite for wind orchestra, I re-used Tzfat content, but made it purely orchestral without any solo instrument.
Looking back to 2001, when I met Giora Feidman for the first time, I could not have imagined such exciting developments!
Below are the recordings.
Tzfat for Trombone and Wind Orchestra
Tzfat for Violin and String Orchestra
Ramat Gan Chamber Orchestra
Ohad Cohen (a 14-year old boy), Violin
Aviv Ron, Conductor
Ramat Gan (Israel), 2005
Jewish Wedding for Clarinet and String Orchestra
Jewish Wedding for Clarinet and String Quartet
Giora Feidman and
Gershwin Quartet
Recorded for Klezmer & Strings CD, release by Pianissimo Musik
2009

Nov, 2008: Concert of Remembrance of 70th Anniversary of Kristallnacht, Wellington, New Zealand
Holocaust Requiem was performed for it’s second time at the Concert of Remembrance for the 70th Anniversary of Kristallnacht.
The outstanding performance by violist Dr. Donald Maurice, Professor of Music at the New Zealand School of Music in Wellington, conductor Mark Taddei, and Vector Wellington Orchestra, was widely reviewed by local and international media.
Later, Donald Maurice remembered:
The performance was in 2008 but is indelibly etched into my memory. Many people were in tears. I myself said, ‘I must not cry!’” Commenting on the composition’s future and potential for effecting change, he observed, “It needs to be performed often as a reminder of the effects of war and the circumstances that precipitate one culture wanting to dominate or annihilate another.
A live recording of Requiem from the event was released by Atoll, in November 2010, with other pieces of mine.
Here is an audio recording of an interview given by Donald Maurice and Marc Taddei to Radio New Zealand (Nov 2008).
Below are some samples of that amazing performance and some photos from the event.









Requiem “The Holocaust” is not music for the faint of heart. The listener is drawn inexorably into the unfolding tragedy... Pigovat runs a stylistic gamut from tonal to expressionistic with hints of Berg and Shostakovich as he gradually unfolds his nightmare. Though instrumental throughout, there are times one can hear “Re—qui-em” among the many busy layers of musical texture.
The Music is harrowing and tense, and very Russian in sound. Echoes of contemporary composers such as Denisov, Kanchelli and Gubaidulina can be heard, as well as the inexorable thread of Shostakovich in the Dies Irae, but the voice of the composer remains highly individual. Balancing the violence, anger and tension is the conciliatory beauty of the Lux Eterna that rounds out a work of deeply felt power.
Using purely orchestral forces this 46-minute symphonic-concerto encompasses ear-splitting anguish, horror and confusion -- tolling tintinnabulations mark the outset of unspeakable atrocities while abject grief is heightened by sonorous lamentations of the solo viola; a role of unusually formidable demands.
Pigovat's music is evocative and distuibing in its depiction of the Holocaust. With styles reminiscent of other Russian composers, including the rich melancholy of Shostakovich the
compositional style is still distinctly Pigovat's own.
Intense and strongly assured it is a life-affirming piece that makes a telling statemen with subtlety.