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Mordecai Seter (; February 26, 1916 – August 8, 1994), was a Russian-born Israeli composer.
Seter learned to play the piano from the age of seven in Russia, and continued with his lessons and studies in Tel Aviv. 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 Igor Stravinsky. 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.Ronit Seter, "Mordecai Seter," in Oxford Music Online, accessed 15 February 2016 There, he pursued a musical language founded on his own unique synthesis of the latter, and other, European influences with more local ones.
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. He shared this affinity with Bartók with two of his friends and colleagues, Alexander Uriyah Boskovich and Oedoen Partos, who, together with Seter, were known in the 1950s and 1960s as the "Troika". However, he revealed greater awareness of the tensions between Mizrahi and Western style and aesthetics, and emphasised the distinction between mere exoticism and genuine stylistic synthesis.Mordecai Seter (1960), "Mizrah u-ma‘arav bamusica - keitzad?” ("How to integrate East and West in music?"), Bat Kol 1: 7-8. See also a detailed contextual analysis in Ronit Seter (Summer 2014), "Israelism: Nationalism, Orientalism, and the Israeli Five", The Musical Quarterly 97/2: 271-278. In most stylistic particulars, too, Seter's methods were fully distinct and strikingly original. In the 1940s and 50s, when his output was largely choral, he mainly used the traditional tunes in dramatically charged polyphonic textures. 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. 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. 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. 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:
Around 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."
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