Born in 1947. Studied piano and composition at the Rubin Academy in Tel Aviv, and further studies in London and
His music was performed by the Israel Philharmonic Orchestra, the Israel Chamber Orchestra, the Jerusalem Symphony Orchestra, the Arditti Quartet, the Neue Vocalsolisten Stuttgart, Ensemble
Modern and many ensembles and performers in Israel Europe and Asia.
Among many prizes and awards, he was awarded the Acum Prize (1987), the Prime minister’s prize for composers (1988), the Lieberson Prize for orchestral composition (1998). In 2008 received
the Koussevitzky Award from the Koussevitzky Foundation and the Library of Congress. In 2009 received the National Lottery Prize for Composition 2009 received the and again the Prime
Minister's award for composers. In 2015 Received the Acum Prize for “Achievement of the Year” for “Repercussions” performed by Ensemble Modern.
Yuhas is the Founder and director of the “Israel Contemporary Players” and the Center for Electronic Music in Tel
Aviv. Teaches counterpoint and composition at the Buchman-Mehta School of Music at the Tel Aviv University.
President of the Asian Composers League since 2018.
Reflections Commissioned by the Israel Philharmonic Orchestra. The title Reflections has various meanings, including contemplation and
looking back and reminiscences.
It reflects upon the Concerto for Orchestra by Bartok and uses material from that piece.
The work begins with with three snare drums introducing a rhythmic theme, which is present almost throughout the entire work. This theme is later reflected in the strings, as well as in other
The work's opening section leads to a flute melody - a solitary and contemplative tune, joined towards its end by the oboe. The oboe also has a tune, which seems to come from a distant past. The
snare drum is both reminiscent of Bartok's Concerto for Orchestra (Game of Couples) and jazz references.
The orchestral playing sometimes alternates with chamber playing of individual instruments, as well as solo passages for numerous instruments. At the end of the work, all the instruments unite to
form a full and dense orchestral texture. Towards the end, parallel to the solo in the beginning, there is a clarinet solo, joined softly by the other two clarinets, like a shadow of the solo
clarinet. The work ends in motoric motion of the strings, dismantling the drums rhythmic opening theme and bringing the work to its conclusion.