Feiler, Dror

An eye-bleeding composer of intifadic and eruptive lung-outs. A music thrasher, saxophonist and political activist. Born in 1951 in Tel Aviv, he has been living in Sweden since 1973. He plays many varieties of the saxophone: sopranino, soprano, alto, tenor and contrabass, as well B♭clarinet, basset horn, and contrabass clarinet. In addition, he operates computerised sound systems. With his strong sense of vocation, Dror Feiler must rank as one of Sweden’s leading composers and improvisation musicians. Recognition for his accomplishments has grown considerably in recent years, with some of the most important European orchestras, ensembles and festivals commissioning and performing his works: Stockholm New Music, Donaueschingen Musiktage, Hudderseld, Wien Modern, Tectonics Festival. He has performed and recorded with orchestras and ensembles as well as a soloist in Sweden, Russia, Yugoslavia, Serbia, Bosnia, Croatia, United Kingdom, Belgium, Denmark, Finland, Belarus, Lithuania, Latvia, Austria, Switzerland, France, Israel, Palestine, the Netherlands, Hungary, Norway, Germany, Japan, Colombia, Mexico, USA, Brazil, and Argentina. He has composed for Ensemble Modern, Klangforum Wien, Hessischer Rundfunk, Bavarian Radio Symphony, BBC Scottish Symphony, Neo, Krommata Percussion Ensemble, Kwartludium, Ascolta, Contrechamps, Ensemble New Music Tallinn, and Vertixsonora. 

When commenting on his work, Feiler stresses his desire to create music that deals with the world: “I always seek to deal with the grim problems of life, like in Beat the White the Red Wedge(revolution), Schlafbrand (World War II), Let the Millionaires go Naked (revenge of the poor), Intifada and Halat Hisar (Israeli–Palestinian conflict), or Tikkun Olam (changing the world). When I compose or play I do not look for beauty, but for truth.” He often depicts images of struggle (fortissimo, at great length), although when speaking about Maavak (Struggle), he says that it “does not describe a struggle, it is a struggle.” Dror Feiler has been active in solidarity work in the Israeli–Palestinian context since 1970 (he was among the initiators of Ship to Gaza Sweden and is a spokesperson for the organisation) and has been engaged in solidarity work in Colombia since the mid-1990s. 

Dror Feiler is vice-president of the Swedish Society of Composers, CEO of Svensk Musik, founder (1976) of the Lokomotiv Konkret improvisation group, founder (1983) and artistic leader of the Too Much Too Soon Orchestra. 

Selected works (since 2003): Hafuga for electric guitar, piccolo, sopranino saxophone and electronics (2003), The return of the real II and III for reeds and electronics (2003), P.O.P for violin, flute, cello and piano (2003), Afra de Araafor church organ, saxophones and electronics (2003), Point-Blank for chamber orchestra, three soloists and live electronics (2003), Un hombre pasa con un pan al hombro for four male voices and electronics (2004), Salutation Angelico for piccolo and electronics (2005), Delectatio Morosa for flute, accordion, electric guitar and electronics (2005), Stormo I–III for chamber orchestra and electronics (2005), Ousia for electric bass and electronics (2005), 8:46 for two guitars, flute, violin, cello and piano (2005), No Flow for alto saxophone, double bass and electronics (2006), Avenir! Avenir! for flute, recorder, electric cello, electric guitar and percussion (2006), Halat Hisar for bass flute, prepared piano and symphony orchestra (2006), Müll for two singers, live electronics and chamber orchestra (2008), Music is Castrated Noise for eight musicians (2008), Basurafor marching band (2008), Operapantomim 404 for six brass, two percussionists, soprano and electronics (2012), Questions and Stones for flute and electronics (2013), Poïesis for chamber ensemble (2014), Hypokeimenonfor chamber ensemble (2015), Music is Castrated Noise X for four musicians and electronics (2016), The No Flow for seventeen musicians (2016), 32 ̊ 43’ Nord 33 ̊ 31’ Ost for seven instruments (2016), The flickering sound of the signifier for chamber orchestra (2017), Mattarrafor violin and piano (2017), Lament for chamber ensemble (2017), Engführungfor sopranino saxophone and electronics (2017), Goethe im Schlachthof for chamber ensemble and electronics (2017), Tikkun Olam for orchestra (2017–18).