Age, Biography and Wiki

Mordecai Seter was born on 26 February, 1916 in Russia, is a Mordecai Seter was Russian born Israeli composer Russian born Israeli composer. Discover Mordecai Seter's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is he in this year and how he spends money? Also learn how he earned most of networth at the age of 78 years old?

Popular As N/A
Occupation N/A
Age 78 years old
Zodiac Sign Pisces
Born 26 February 1916
Birthday 26 February
Birthplace N/A
Date of death 8 August, 1994
Died Place N/A
Nationality Russia

We recommend you to check the complete list of Famous People born on 26 February. He is a member of famous composer with the age 78 years old group.

Mordecai Seter Height, Weight & Measurements

At 78 years old, Mordecai Seter height not available right now. We will update Mordecai Seter's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.

Physical Status
Height Not Available
Weight Not Available
Body Measurements Not Available
Eye Color Not Available
Hair Color Not Available

Dating & Relationship status

He is currently single. He is not dating anyone. We don't have much information about He's past relationship and any previous engaged. According to our Database, He has no children.

Family
Parents Not Available
Wife Not Available
Sibling Not Available
Children Not Available

Mordecai Seter Net Worth

His net worth has been growing significantly in 2023-2024. So, how much is Mordecai Seter worth at the age of 78 years old? Mordecai Seter’s income source is mostly from being a successful composer. He is from Russia. We have estimated Mordecai Seter's net worth, money, salary, income, and assets.

Net Worth in 2024 $1 Million - $5 Million
Salary in 2024 Under Review
Net Worth in 2023 Pending
Salary in 2023 Under Review
House Not Available
Cars Not Available
Source of Income composer

Mordecai Seter Social Network

Instagram
Linkedin
Twitter
Facebook
Wikipedia
Imdb

Timeline

1916

Mordecai Seter (מרדכי סתר, February 26, 1916 – August 8, 1994), was a Russian-born Israeli composer.

Seter was born Marc Starominsky in Novorossiysk, Russia, in 1916 and emigrated with his family to Mandate Palestine in 1926.

Seter learned to play the piano from the age of seven in Russia, and continued with his lessons and studies in Tel Aviv.

1932

In 1932, he went to Paris, France, where he studied composition at the Ecole Normale de Musique with Paul Dukas and Nadia Boulanger.

He also had some lessons with Stravinsky.

1937

With Boulanger, Seter mastered Renaissance polyphony and contemporary French style, but in 1937, frustrated by the extent of her devotion to Stravinskian neoclassicism, he returned to Palestine.

There, he pursued a musical language founded on his own unique synthesis of the latter, and other, European influences with more local ones.

Upon his return to Palestine in 1937, Seter grew interested in developing a style inspired by Middle Eastern Jewish musical traditions.

In Paris, he had been fascinated with cantus firmus-based techniques found in Western Medieval and Renaissance music, which derived from Catholic plainchant.

1938

Therefore, when, in 1938, he encountered the volumes of Abraham Zevi Idelsohn's Thesaurus of Hebrew Oriental Melodies that contained traditional Sephardic and Mizrahi liturgical tunes, he consciously adopted them as a major influence, not only in and of themselves, but eventually as sources for the intervalic character of his own new modes.

That this melos bore the local accent of spoken Hebrew was a further attraction for Seter, especially since he was focused on choral music at the time.

In some ways, Seter's usage and internalization of traditional material resembled that of Bartók, and like Bartók (though to a lesser extent), he made many transcriptions himself.

In most particulars, however, Seter's methods were fully distinct and strikingly original.

1940

In the 1940s and 50s, when his output was largely choral, he mainly used the traditional tunes in dramatically-charged polyphonic textures.

1946

Beginning in 1946, Seter taught at the Music Teachers' College.

1951

But the later part of this period was transitory for Seter: his Sonata for two violins (1951) is built from Western church modes, while his Duets for two violins (1951–54) are based on collections of between four and ten pitches.

From 1951 until his retirement in 1985, Seter was one of the most influential teachers at the Rubin Academy of Tel Aviv University (previously the Israel Conservatory).

His students included composers Tzvi Avni, Arie Shapira, Nurit Hirsh and the conductor Gary Bertini.

1961

The stage was set for his magnum opus, the oratorio Midnight Vigil, commissioned by Sarah Levi-Tanai and the Inbal Dance Theatre, which reached its final of five versions in 1961.

Here, Mizrahi tunes are prominent, but also fundamental to the work's sound and structure is a twelve-note synthetic scale of alternating minor and augmented seconds.

This scale interacts seamlessly with the borrowed melodies and governs the cantata's harmonic language, ensuring its remarkable cohesion through the common features of its musical elements.

After Midnight Vigil, Seter consistently used modes and scales of at least twelve notes, which subsumed the borrowed materials but retained their essence.

1962

At first, as in the ballet Judith (1962–63), commissioned by Martha Graham (as was the later Part Real, Part Dream [1964]), his modes took the form of twelve-tone rows and their treatment that of serial technique, though without transposition and with emphasis on certain pitches to create at times a sense of tonal center.

Seter felt his methods then and later to be more like theme and variation than serialism.

1970

By the 1970s, his style had developed further: the modes now unfold the aggregate diatonically over as many as two octaves (in as many as 25 pitches), leading in such cases to pitch-class repetition and contributing to Seter's cherished sense of pitch centricity.

The modes' adjacent intervals are always seconds, whether minor, major, augmented, or doubly-augmented.

Seter's works from 1970 on, all for chamber combinations or piano, are intensely introspective, perhaps mirroring the contemporaneous feelings of the man who wrote them.

As one scholar writes:

"[A]round 1970, when he felt that the fame he had gained following the Israel Prize (1965) was more a burden than a joy, he gradually withdrew from social activity, including contacts with performers, to the point that he refused to write on commission, and kept composing upon inspiration only."

Nevertheless, "his music possessed a spirituality that was sensed by critics and audiences alike."

2000

Seter's Midnight Vigil is regarded as one of the most important Israeli works, and was paired with Beethoven's Ninth Symphony on the Israel Philharmonic Orchestra's Millennium Festival program of 1 January 2000.

Seter's many awards include the following: