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Arabesque No. 2, according to Ami Maayani, “is based on a series of maqamat, the modes of Near Eastern music, in the meter of the Arabic ‘Sama’i Thakil’ (3+2+2+3) in a free, open form in which ample use is made of the ornamentation so characteristic of Arabic architecture. The central section presents a short theme underlying the rhythmic pattern, with variations; its short musical phrases are always ‘arabesques’ based on the maqamat. The opening and closing sections are deliberately free in conception and form. As the maqam is based on quarter tones, an attempt has been made to evoke such sounds by means of glissando, and harmonies made up of small intervals.” Additional versions are written for solo harp; four harps; flute, harp, and strings; and for solo organ.
Ami Maayani (1936-2019) studied conducting and composition at the Rubin Academy in Jerusalem. His teachers included Paul Ben-Haim and later Vladimir Ussachevsky at the Columbia-Princeton Electronic Music Center. Maayani also earned degrees in architecture and philosophy and served as Professor of Music in the Jerusalem and Tel Aviv Academies of Music. His works (published by Boosey & Hawkes) include an opera, four symphonies, ten concerti, two song cycles, chamber and electronic works, and music for ballet. Musicologist Ronit Seter (whose informative Oxford Bibliographies “Israeli Art Music” entries are accessible online) notes that Maayani “always emphasized the use of Jewish folk traditions, both Mizrahi and Ashkenazi, as well as elements of Arab music throughout his works.” (Jewish Music Research Centre Biographies, online). Maayani also authored a three-volume study in Hebrew of composer Richard Wagner.
