CityMusic Cleveland plans benefit featuring new Avner Dorman piece and violinist Gil Shaham
More info…

Avner Dorman Named Music Director of CityMusic Cleveland
More info…

“The Wonders” International Premiere at the Toronto International Film Festival
More info…

“Heavy Metal” Cello Concerto Debuts in Anchorage
More info…

Avner Dorman to score feature film The Wonders
More info…

Listen to ’3 Etudes’ on WQXR
Stream online here…

‘Frozen in Time’ on BBC Radio 3, October 31
more info…

Uzu and Muzu becoming a reality
From Peter Jaffe’s blog

Hilary Hahn – “Memory Games”
world premiere more info…

Reflections premieres at Cabrillo Festival

Eight Major Premieres by Composer Avner Dorman in 2011

Schirmer News: Focus on Avner Dorman, Fall 2010

Mandolin Concerto Grammy Nomination
Concertos CD and download available on Amazon

Alabama Symphony premieres Saxophone Concerto with Jazz great Joshua Redman

Alabama Symphony Residency Announced
by Michael Huebner, The Birmingham News

Lucerne Festival 2010
Frozen in Time performed by Martin Grubinger / Andris Nelsons / City of Birmingham Symphony Orchestra

CBSO / Martin Grubinger / Andris Nelsons tour
Performances of Frozen in Time across Europe in Summer 2010

New York International Piano Competition
22 pianists perform Piano Sonata No. 2

Spices, Perfumes, Toxins! in Hamburg
Pietari Inkinen leads the Hamburg Philharmonic with Soloists Martin Grubinger and Manuel Hofstätter

Symphony Commissions and Premieres Piano Concerto

US Premiere of Jerusalem Mix
Featuring the Chicago Chamber Musicians and Eliran Avni

Concerts at Mahidol, Thailand – July 2008
Article published by Bangkok Post

Concerts around the world – June 2008
Avner Dorman’s works are featured in festivals in Santa Cruz, California; Lubek, Germany; Sabor, Croatia; and in a dozen venues around the world.

Indianapolis Symphony Orchestra – April 2008
Ellef Symphony by Avner Dorman to be given its U.S. Premiere by Asher Fisch and the Indianapolis Symphony Orchestra.

Munich Philharmonic – January 2008
Avner Dorman Percussion Concerto “Frozen in Time”

Hamburg Philharmonic – November 2007
Avner Dorman Percussion Concerto “Frozen in Time” (world premiere)

LifePR – November 2007
Avner Dorman Percussion Concerto “Frozen in Time” (world premiere)

Metropolis Ensemble – August 2007
On Record: The Complete Chamber Orchestra Concerti of Avner Dorman
“Dorman has an exceptional ability to combine both the traditional and contemporary with more mainstream forms of music. His work is a perfect fit for our modern orchestra.”



By Zachary Lewis, The Cleveland Plain Dealer

By Deborah J. Botti, The Times Herald-Record

Watch video on

By Donald Rosenberg, The Cleveland Plain Dealer

Radio Interview with Daniel Stephen Johnson

San Francisco Classical Voice

Watch on YouTube

‘Harmonic Resolution’ by Edward Ortiz

Live broadcast from Carnegie Hall with the Alabama Symphony Orchestra, Justin Brown, conductor


By Tony Sauro, The Stockton Record

The Glass blog. more info…

By Michael Huebner – read it here…

By Allan Kozinn – read it here…

feature article by David Ng read the article here…

“A rising young composer from the U.S., Europe or even the Far East isn’t necessarily a newsmaker. But how about a hot new composer from Israel? That’s a rare occurrence sure to raise eyebrows among the classical cognoscenti.”

Interview with Scott Simon Listen to the interview…

Preview of Niggunim on WNYC

Conductor David Robertson leads the world premiere of
‘Uriah – The Man The King Wanted Dead’ more info…

read the LA Times Article…

by Ilona Oltuski

by Marianne Lipanovich, San Francisco Classical Voice

City of Birmingham Symphony Orchestra, Martin Grubinger, percussion, Andris Nelsons, conductor

by Corinna da Fonseca Wolheim in Symphony Magazine, Jan/Feb, 2010

by Steve Paul Read the article here…

“Dorman seems like one of those immensely talented, broadly influenced creators who can inject new energy into the classical world. His music reflects not only the foundation of Western classicism but also the Middle Eastern cauldron from which he hails and his youthful enthusiasm for rock (Led Zeppelin and Prince among his early favorites). ”

by Rick Hellman Read the article here…

WNYC Interview
Interview with Leonard Lopate Listen to the interview…

Concerto for Violin and a Rock Band
Jerusalem Post feature article

ASCAP Audio Portrait
The American Society of Composers, Authors and Publishers recently featured Avner Dorman and his forthcoming album with the Metropolis Ensemble in the ASCAP Audio Portraits series. Listen to the interview…

Frozen in Time at the Munich Philharmonic (Hebrew) – January 2008
Article by Merav Yudilevich, YNET

‘Every piece has to be deep’ – The Jewish Week – May 2007
Preview of Mandolin Concerto
“At 32, Israeli composer and onetime physicist Avner Dorman applies the rigors of mathematics to his music.”

Classical Domain – September 2007
Interview and preview of On Record

Composition Today – July 2007

Dorman’s Many Shores – May 2007
Interview with Maxim Reider, Jerusalem Post

‘My Heart is in the East’ – November 2006 – Classic Magazine (Hebrew)
Article and photos by Dan Seltzer

A Mozart for Today – October 08, 2006
Article by Andrew L. Pincus, The Berkshire Eagle

Maariv interview – October 2006 (Hebrew)
Interview by Ora Binur

PercaDu at the Philharmonic – Ma’ariv April 2006 (Hebrew)
Article by Smadar Hirsch

“Amadeus 2″ – Al Hasharon November 2003 (Hebrew)
Article by Yaron Frost

Composer of the Year – September 2002 (Translated from Hebrew)
Article by Ora Binur, Ma’ariv

Haaretz Article – May 2002 (Hebrew)
Article by Hagai Hitron

‘Life is Beautiful” – 2001 (Hebrew)
Article by Yafa Raziel

Rock-music ‘brat’ moves on – February 2001
Article by Karen Zehavi, Jerusalem Post

Haaretz Daily article – October 2000 (Hebrew)
Article by Yossi Klein

Bach didn’t have a computer (Hebrew) – Ma’ariv Magazine 1994
Article by Ora Binur



The Cleveland Plain Dealer Review of Avner Dorman’s Conducting Performance with CityMusic Cleveland Chamber Orchestra
By Zachary Lewis, Cleveland Plain Dealer – “Agile, clear, richly expressive: the reading evinced every relevant virtue. Music director Avner Dorman, conducting one of Schubert’s latest and greatest works, couldn’t have asked for more. And yet he got it. As if in response to the score’s calls on divine power, the skies Wednesday night put on a show of lightning and thunder nearly as impressive as Schubert’s music.”

Review of ‘Nigunim’ CD on Canary Classics
By Steven Bergman, Edge Boston

The Washington Post Review of Avner Dorman’s ‘Frozen in Time’ debut with the National Symphony Orchestra
By Anne Midgette – “On paper, before the show, the National Symphony Orchestra’s program this week looked like a piece of programming timidity. There was a new work, yes — Avner Dorman’s percussion concerto “Frozen in Time” — but it was sandwiched between two staples of the repertory: Mozart’s “Haffner” symphony and Dvorak’s ubiquitous Ninth Symphony, “From the New World.” I was wrong, however, to assume that the NSO was seeking to assuage patrons averse to contemporary music by offering them not one, but two familiar symphonies. The reason for the juxtaposition, it turned out, is that Dorman has Mozart references and a “New World” quote in his concerto. It was, in fact, quite striking to hear the rousing theme of the final movement hammered out by the orchestra shortly after the percussion soloist, Martin Grubinger, offered a quotation of it, embedded in a veritable conglomerate of musical quotes in Dorman’s score that found visual approximation in the battalion of instruments — vibraphones and marimbas, cowbells and glockenspiels and an array of tam tams, cymbals, snare drums and many more — drawn up in a loose rectangle at one side of the Kennedy Center Concert Hall stage. And for once, the contemporary work was the most popular thing on the program. “Frozen in Time” is a rarity: a contemporary percussion concerto that has become, with more than 60 performances around the world, something approaching a repertory staple, at least in contemporary music terms. It’s easy to see why. It is wide-ranging, appealing, breathtakingly virtuosic, sophisticated enough to appeal to an audience of classical aficionados, and approachable enough to appeal to people who have never been to an orchestra concert. Oh, and it has Grubinger, the 30-year-old percussion wunderkind who commissioned it, who has to date been its exclusive performer and who made his NSO debut Thursday night — a young man who has the build and physical ease of a basketball player turned choreographer, moving between instruments and mallets with fluid grace and pulling amazing clusters of sounds in joyful handfuls out of the fortifications of instruments around him. The work is arranged in standard three-movement form, each movement assigned a loose geographical region — “IndoAfrica,” “Eurasia” and “The Americas” — that mainly offers a way to categorize the families and colors of sounds flowing past. The concerto would be almost as much at home presented between a gamelan orchestra and a steel-drum band as between two classical works. “Almost,” because for all its bright, fresh pizzazz, it is unmistakably born of the classical canon. Still, it gives Dorman scope to group together unlikely families of sound. The second movement — opening with an aching melody (can something so liquid and smooth really come from a so-called percussion instrument?) and continuing with gentle aureoles of metallic sound, kissing the air — manages to evoke both a Classical symphony and an Eastern temple, nearly at the same time. And the final, “Americas” movement was an exuberant jumble of sounds, from the Dvorak quote to jazz motifs to evocations of Broadway, Leonard Bernstein being the obvious comparison in that he was another composer who exulted in headlong syncopations and the brilliance of percussion. Christoph Eschenbach, who has championed both Grubinger and the piece with other orchestras, led, or perhaps followed, Grubinger along with an orchestra that had a few extra colors of its own — including saxophone, piano, celesta and some additional percussion. Grubinger is such an amazing rhythm machine that it’s hard not to follow him, but there were certainly a few coordination problems when the orchestra’s own distant percussionist was playing at the same time. In fairness, the Concert Hall stage offers some challenges to players who want to hear each other, especially if they are sitting far apart. For this concert, the cellos sat to Eschenbach’s right, and the two violin sections were grouped together, something that made not a whit of difference in Eschenbach’s body language as he propelled everyone through an emphatic Haffner and an equally emphatic “New World.” In short: The rest of the evening was business as usual.”

The Bay Area Reporter Review of ‘Nigunim’
By Jason Victor Serinus – “Based on the common elements of Jewish melodies throughout the world, Dorman’s sonata is filled with haunting multi-cultural beauty.”

The Cleveland Plain Dealer Review of Avner Dorman’s conducting debut with CityMusic Cleveland
By Zachary Lewis – “If this is how things continue with Avner Dorman, the future of CityMusic Cleveland is bright indeed. Kicking off the group’s 10th anniversary season Wednesday, the group’s new music director presented a program both charming and well-conceived, one that sounded every bit as good in person as it looked on paper… Exploring lesser-known pockets of the 18th and early 19th centuries, and featuring a work by Dorman himself, the performance at Fairmount Presbyterian Church in Cleveland Heights spotlighted talent all over the orchestra… Everything we love about Schubert was similarly present in Dorman’s performance of that composer’s Symphony No. 3, the final and weightiest work on the program… Even as Dorman injected dynamism, lightness reigned… Dorman’s [Concerto Grosso] straddled two centuries. Baroque in form but Minimalist in style, the piece placed harpsichordist Peter Bennett and four string soloists against an ever-shifting backdrop. Humor, joy and serenity all resulted as the soloists led or followed the ensemble in musings alternately cordial and combative. But it was the final chord that registered most profoundly at the commencement of Dorman’s tenure. Radiant, harmonious, it called to mind a rising sun.”

Cleveland Review of Avner Dorman’s conducting debut with CityMusic Cleveland
By Daniel Hathaway – “Dorman skillfully led the 40-piece chamber orchestra in nuanced and nearly flawless performances of his own Concerto Grosso,Vivaldi’s Concerto for two oboes and two clarinets,Schubert’s Symphony No. 3, and the first of five different Mozart concertos with guest violinist Rachel Barton Pine…  He opened Wednesday evening’s program with his ten-year-old Concerto Grosso, a sendup of that old baroque format featuring a solo string quartet (Daniel Szasz, Solomon Liang, Caitlin Lynch and Keiko Ying), harpsichord and the CityMusic strings. Dorman described it beforehand as a modern concerto grosso featuring some of the sonic interruptions of life in New York — ambulance sirens, a drunk in the street in the middle of the night. The piece was an entertaining, fifteen minute deconstruction of stock baroque gestures, a sort of crazy, fragmented dream inspired by a theme by Handel and the rhythms of Vivaldi further energized by minimalism. It made us eager to hear some of Dorman’s more recent music.”

The Cleveland Plain Dealer Review of ‘Uzu and Muzu from Kakaruzu’
By Donald Rosenberg – “Dorman is as skillful in descriptive passages — portraying nightmares and snoring — as he is reveling in the sonic possibilities of a battery of percussion teamed with orchestra… The gymnasium at the Detention Center tended to emphasize the most clamorous passages in Dorman’s clever and affecting score, but the acoustics also were clear enough for many felicitous details to come through. With Wendy Kriss as the articulate narrator and conductor Miller in crisp command, the piece unfolded with equal degrees of mirth and tension. The percussion soloists, Haruka Fujii and Luke Rinderknecht, were nimble marvels who sailed across their marimbas, vibraphones and an array of other instruments.”

The Washington Post Review of ’3 Etudes’
By Stephen Brookes – “Technically daunting and stylistically complex, the Dorman studies came alive in Han’s hands, from the intricate, twisting lines of Snakes and Ladders, to the dark anger of Funeral March and the shimmering luminosity of the Ravel-like Sundrops Over Windy Water.”

Anchorage Daily News Review of Cello Concerto
By Mike Dunham – “The concerto was probably one of the most successful new works debuted by the Anchorage Symphony Orchestra during the tenure of conductor Randall Craig Fleischer, both in terms of substance and effect…”

Chicago Tribune Review of Frozen in Time
By John von Rhein – “Dorman, 37, an Israeli-born composer who has been living in the U.S. since 2002, when he moved to New York to study with John Corigliano at the Juilliard School, is known for his omnivorous musical manner that tosses diverse musical styles in a blender and winds up with frothy concoctions that are not only remarkably coherent but also most enjoyable to perform and to listen to.”Frozen in Time” is one such piece. A 25-minute percussion concerto written for Wednesday’s soloist, the young Austrian percussion whizbang, Martin Grubinger (who premiered it in Hamburg in 2007), its three movements purport to be “imaginary snapshots” of the primordial land masses that supposedly broke off from the continent of Pangaea – “Indoafrica,” “Eurasia” and “The Americas” are the movement titles. The listener requires no such programmatic crutch to appreciate what this colorful, high-energy showpiece is about: two furious fast movements surrounding a slow, lyrical movement, moshing together grunge rock, Afro-Cuban jazz, ethnic, swing, blues and other popular musical impulses in a way that appears perfectly natural rather than simple-minded pastiche. Playing from memory and surrounded by a battery of 23 (count ‘em) percussion instruments, Grubinger tore into the score like the virtuoso dervish he is. In the first movement, dizzying flights of marimba set off riffing exchanges with the orchestra, driven by jazzy rhythms in the brass, to which are added drums and a keyboard of cowbells. Everyone piled on as the music drove to a deafening climax. Metallic percussion lent a Minimalist sheen to the calm central movement, in which Mozart’s sicilianas echoed in the shimmers of metallophone and Asian bells. The rondo finale was pure sonic fun, a melting pot of musical Americana turned up to a furious boil.”

The Times of London Review of Frozen in Time (Subscription Required)
By Hilary Finch – “If you thought that it was Mahler’s prerogative to set about composing the world, then think again. The Israeli composer Avner Dorman has done it too. In their first concert of the season with their principal conductor Kirill Karabits, the Bournemouth Symphony Orchestra presented the UK premiere of Dorman’s percussion showpiece, ‘Frozen in Time’, prior to touring the work in Germany with the Austrian mega-percussionist Martin Grubinger. Within the space of 25 minutes, Dorman traverses ‘Indoafrica’, ‘Eurasia’ and ‘The Americas’, in three fanciful yet tightly constructed movements. ‘Frozen in Time’ is a playful world-music melange which stretches the orchestra and its own percussionists almost as much as its acrobatic virtuoso soloist. Think South Indian rhythm cycles on speed; think gamelan; think Broadway, jazz and grunge — and those are only the outer movements. At the work’s still centre, time literally freezes. In ‘Eurasia’, according to Dorman, “emotions run deep but are kept quiet”: a Mozartian lilting siciliana is the drum-beat for a metallic freeze-fantasy, in which marimba notes melt into a mist of high violins, iced with celesta and piano. It’s unashamedly romantic; and rather as though a rococo take on Japanese temple music were being gently piped into an arctic ice-hotel. The audience loved it…”

Stamford Advocate Review of Concerto Grosso
By Jeffrey Johnson. “The Dorman “Concerto Grosso” had the perfect setting on this half of the concert. Its ingenious textures and rich play of ideas was engaging, and the ensemble played with careful attention to balances and the interplay of sound colors.”

Review of ‘Uzu and Muzu from Kakaruzu’
By Barbara Zumwalt, The Stockton Record

LA Times Review of Memory Games
After intermission, Hahn filled the hall with Bach, her tone at its richest all evening. Avner Dorman’s labyrinthine “Memory Games,” based on the memory game Simon, and Gillian Whitehead’s “Torua,” written in the wake of New Zealand’s Christchurch earthquake, offered gorgeous and palatable social and historical commentary. (Erica Zora Wrightson, Los Angeles Times, 02/11/2011)

Review of Frozen in Time in Kansas City
Dorman says “Frozen in Time refers to imaginary snapshots of the Earth’s geological development from prehistoric times to the present day.”

Dorman, a rising young Israeli composer, scored this three-movement work for full orchestra and 23 different percussion instruments, principally marimba and vibraphone. All 23 of which Grubinger played with breathtaking mastery.

The audience got so wound up it applauded after every movement, and kept doing it in the second half. (Stop that, please!)…This provocative, exciting music should be heard again and again. (John Heuertz, Kansas City Star)

Review of Nigunim at the 92 Street Y

Review of Ellef Symphony from Alabama
“Beautifully scored and viscerally performed by ASO, it should be placed in the class of 20th century anti-war classics by the likes of Schoenberg, Britten and Penderecki.” Read the full review by Michael Huebner here…

New York Times Review of Azerbaijani Dance
read Steve Smith’s review here…

Saxophone Concerto Premiere Review
read Michael Huebner’s review here…

New York Times Review of Chamber Orchestra Concertos CD
by Allan Kozinn

Classics Today Review of Chamber Orchestra Concertos CD, 10/10
by David Hurwitz

MUSICWEB INTERNATIONAL Recordings Of The Year 2010
Is it hyperbole to call this my favorite disc of music by a living composer? No…

Review of Spices, Perfumes, Toxins in Denver
Review by Robin McNeil at

“…trust me; this incredible work is both enticing and dangerous. It has incredible rhythms, as one would expect, which are carried over into the orchestra as they play against each other, and it is enticing because of the thematic use of percussion instruments.”

Spices, Perfumes, Toxins! at the Bavarian State Orchestra
by Klaus Kalchschmid, Sueddeutsche Zeitung, 28 January 2010

“The applause after Avner Dorman’s Spices, Perfumes, Toxins! raged at the National Theatre as if the classic audience had only waited for a percussion duo like Adi Morag and Tomer Yariv. Accompanied by the State Orchestra under Zubin Mehta, PercaDu roughed up the holy halls and created from marimbaphones, drums and various other percussion instruments tingly fireworks with melodies and harmonies of the Middle East, sometimes in the form of an aria or à la Klezmer, motor-driven or jazzy, but always precisely rhythmically framed and perfectly rounded up with the full symphonic orchestra. The title constituting spices, perfumes and toxins were in almost every phrase conceivable, lively perceptible, watching both musicians was a pleasure.”

KBAQ CD of the week
(Phoenix, AZ) KBAQ Music Director Sterling Beeaff reviews New Naxos Recording.

Pre-release review of New Naxos Release
by Don Clark

“never a dull moment here..” review of Lost Souls
by Christopher Guerin

“This piece left no question in my mind that Avner Dorman is, by any measure, a world-class composer destined for much more greatness.”

Piano concerto premiere a sure bet
by Timothy McDonald

“the music was marvelous, featuring sprinkles of dissonance among ever present tonal riffs and passages.”

Kansas City Symphony: Avner Dorman Premiere
by Don Clark

“This is a major new work”

Cabrillo Music Festival, Santa Cruz, California
Santa Cruz Sentinel Review of “Spices, Perfumes, Toxins!” by Phyllis Rosenblum

“Two major concertos highlighted the weekend. Saturday night, a pair of world-class percussionists from the Festival Orchestra, Galen Lemmon and Steve Hearn, soloed in “Spices, Perfumes, Toxins!” — Avner Dorman’s beautiful and exhilarating 2006 concerto. With astonishing agility and precision, the soloists dramatically delineated Dorman’s rhythmic and lyrical music.
Dorman’s work, following the traditional concerto’s fast-slow-fast form, sings with seductive grace between the two infectiously rapid-pulsed segments. This composer made full use of the two soloists — ingeniously intertwining and overlapping their parts to augment the capabilities of their array of pitched and non-pitched instruments.”

Cabrillo Music Festival, Santa Cruz, California
London Financial Times Review of “Spices, Perfumes, Toxins!” by Allan Ulrich

“The finale of Avner Dorman’s Spices, Perfumes, Toxins! emerged as the festival’s great applause machine… The best part of this multicultural mash-up is the evocative middle movement, where a jazz-influenced bass line complements a sinuous flute trio, while the percussionists burble along in imitation of Bachian counterpoint. ”

Cabrillo Music Festival, Santa Cruz, California
Santa Cruz Weekly Review of “Spices, Perfumes, Toxins!” by Scott MacClelland

“On that program, the standout work was Avner Dorman’s double-percussion concerto, Spices, Perfumes, Toxins, a staggering tour de force for (mostly) marimbas and drums that orchestra members Steve Hearn and Galen Lemmon nailed. ”

Concerto for Percussion, With a Global Outlook
New York Times Review of “Spices, Perfumes, Toxins!” by Vivien Schweizer

“There was a sense of living on the edge in the outer movements of the concerto, played with impressive energy by the virtuosic PercaDu musicians.

The first movement, “Spices,” is based on Middle Eastern and Indian scales that are played on two marimbas, interwoven with excerpts of boisterous rock drumming and jazzy interludes. “Perfumes,” the sensual second movement, opened with an evocative theme on the marimba, first accompanied by three flutes and reminiscent of the slow movement of Rodrigo’s “Concierto de Aranjuez.” In the rhythmically exuberant finale, “Toxins,” PercaDu’s drumming alternated with colorful orchestral outbursts. An enigmatic interlude with piano and marimba both played in the upper register preceded the jazz-hued conclusion. At times the entire orchestra played second fiddle, overshadowed by the fiery percussion.

The performance was rewarded with a boisterous ovation. ”

Donaukurier 1 March 2009-03-02 (German)
Review of Mandolin Concerto by Jesko Schulze-Reimpell

“The charm of Vivaldi’s mandolin concerto is even surpassed by Dorman’s concerto. The young composer has adapted himself to the specific characteristics of the extravagant instrument. It is evident: He has not only dedicated the concerto to Avital but also composed it in collaboration with the performer. The strengths of the instrument are without doubt the tremolo and the arpeggio. They characterize the work. But the work gets its impact from the interesting compositional language. Dorman evokes strongest emotions with slightest allusions of melodies in an ocean of atonal dissonances. These melancholic diatonic steps stand out in the meditative introduction and touch us emotionally. In the middle section it’s the exciting rhythms reminiscent of works by Astor Piazolla that thrill the listener. But Dorman does even more: since the thematic material is structured so effectively it remains in the listener’s mind; and therefore, we are surprised when we hear it again in the last section of the concerto – this time even more muted and melancholic, accompanied by clock-like bass pizzicati. The circle is closed. We suddenly understand: what is told here is the story of an organism that breathes its last breath. Such brilliantly composed contemporary music hasn’t been heard for a long time in the concert hall.”

New York Times / January 2009
Review of Piano Sonata No. 2 by Allan Kozinn

“The movement oscillates between these extremes several times. That volatility is its attraction, but Mr. Dorman has it both ways: he closed the work with a single-mindedly direct, propulsive Presto with an almost Rachmaninoff-like muscularity and showiness. Mr. Goldstein reveled in its sharp-edged rhythms, dense chords and arching themes, and gave it an irresistible, powerhouse performance.”

Nuvo – Indy’s Alternative Voice/ June 2008
Review of Ellef Symphony

“And the best news of all: The contemporary Ellef Symphony was the highlight of the evening, with 33-year-old Dorman present to accept the audience’s thundering ovation. ”

Ionarts – February 2008
Review of Frozen in Time
“The real firecracker – and one that went off in all directions – was the Dorman Percussion Concerto. ”

Hamburger Abendblatt / Die Welt – December 2007 (translated from German)
Review of Frozen in Time

“Frozen in Time is a piece that exceeds expectations to the extreme.”

Nashville Scene / April 2007
Review of Variation Without A Theme

“Anyone who thinks classical music is in a creative slump has clearly never heard the work
of Avner Dorman.”

The Tennessean – march 2007
Review of Variations Without A Theme
“Along with Gabriela Lena Frank’s piece from January, it’s one of the most compelling new works I’ve
heard this year.”

Gramophone – September 2006
Review of Piano Works

“Dorman is not just a fresh, young voice worth following. He’s also a composer whose music… fits well on the instrument and resonates strongly with the musical tradition at large.”

Musical Pointers (UK) – August 2006
Review of Piano Works

“Avner Dorman (b.1975) has a distinctively post-modern answer to the problem
of how to write meaningful contemporary classical music, in the sense that he
combines a variety of styles and types of music in what theorists called bricolage;
it forms a very twentieth-century philosophical background to this release in

Naxos’ 21 st century classics series.”

Muso Magazine – August 2006
Review of Piano Works

“When the opening movement of his First Piano Sonata scuttles off like Poulenc accompanying Buster Keaton feature, you know you’re in the hands of a sharp and strongly distinctive musical imagination.”

Haaretz Daily Newspaper – August 2006 (Hebrew)
Review of Piano Works CD

“Dorman’s piano works on this new CD are an exciting and enjoyable journey”

New York Times – July 2006
Review of Piano Works

“These works draw on the energy and spikiness of Prokofiev and Bartok in textures interwoven with moves borrowed from rock, jazz and Middle Eastern folk music.”

Ionarts – June 2006
Review of Piano Works CD

“this is ‘damn good.’”

New York Times – May 2006
Review of String Quartet No. 2

“The score’s most arresting moments are in its finale, in which hard-driven counterpoint and rapid bowing, offset by calmer moments, describe the changeable desert winds.”

Living Music – Spring 2006
Review of Piano Works CD

“It’s hard to find a new disc of contemporary
piano music that is really exciting or freshly invigorating, but this disc of
Dorman’s most certainly is.”

Musical Pointers – Spring 2006
Review of Piano Works CD
“Avner Dorman (b.1975) has a distinctively post-modern answer to the problem
of how to write meaningful contemporary classical music, in the sense that he
combines a variety of styles and types of music in what theorists called bricolage;
it forms a very twentieth-century philosophical background to this release in Naxos’ 21 st century classics series.”

New York TImes – April 2006
Concert Review by Allan Kozinn

Innovations classic rock – July 2001
Concert Review by Karen Zehavi

Dorman expresses joie de vivre – April 2001
concert review by Ury Eppstein, The Jerusalem Post

Ellef Symphony Review – August 2000 – Berliner Zeitung
Avner Dorman’s Ellef (Millennium) Symphony, in which he puts three Jewish poems of different eras into music, shows to be a piece of surprisingly competent craftsmanship, not lacking in musical power either.

Stefan Melle, Berliner Zeitung, 15/08/2000


selected commissions

Three etudes for Piano commissioned by the Stecher and Horowitz Foundation

Uzu and Muzu from Kakaruzu commissioned by Music Alivefor the Stockton Symphony, Peter Jaffe, music director.

Memory Games Commissioned by Hilary Hahn

Niggunim (sonata no.3 for Violin and Piano) commissioned by the 92nd Street Y, Gil Shaham and Orli Shaham

Uriah - commissioned by the San Francisco Symphony, music director Michael Tilson Thomas.

(not) The Shadow (not after Hans Christian Andersen). Commissioned by Magnum Opus / Meet the Composer

Lost Souls - a Piano Concerto for Alon Goldstein commissioned by the Kansas City Symphony and the Seattle Commissioning Club. More Info…

Prayer for the Innocents – a double string quartet – commissioned by Keshet Eilon music center.

Violin Sonata No.2 commissioned by Sayaka Shoji. World Premiere tour in Japan, January 2009, U.S. Premiere at Weill Recital Hall at Carnegie Hall in April 2009.

Frozen in Time – Concerto for Percussion and Orchestra, commissioned by Karin Rehn Kaufmann for Martin Grubinger and the Hamburg Philharmoniker

Jerusalem Mix for Piano and Wind Quintet commissioned by the Jerusalem International Chamber Music Festival and the Chicago Chamber Musicians

Spices, Perfumes, Toxins! for PercaDu and the Israel Philharmonic Orchestra

Violin Concerto commissioned by the Jerusalem Symphony Orchestra

Commissions by the Jerusalem Music CenterUdacrep Akubrad and String Quartet No. 2

Yehoshua Rabinovich Fund Commissions – Concerto Grosso, Sights

selected awards

IcExcellence ‘Chosen Artist’ 2008

Top prize at the Asian Composers League Festival 2004

ACUM Best Composition of the Year Award 2004

ASCAP Morton Gould Young Composers Awards 2003-2005

ACUM Golden Feather Award 2001

Israel Prime Minister’s Award 2001

American Israel Cultural Foundation scholarships 1992-2004

Israeli Cultural Ministry Prize for best performance of Israeli Music 2002

education highlights

Julliard School, DMA, C.V. Starr Fellow

Tel Aviv University, MA Musicology, MMus Composition, Undergraduate Studies (Music and Physics) as Interdisciplinary Program for Fostering Excellence

ASCAP/Columbia University Film Scoring Workshop

ASCAP Film Scoring Workshop

Tanglewood Music Center Fellow