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edition Prima Vista started as a "practical hobby", directly linked to my increasing passion for music, and my needs as a performer and a teacher, as I became more and more interested in hitherto unpublished music and in making arrangements, for myself and for my students.
Initially, the name Prima Vista was meant as a joke, meaning "sight reading": the ability to play music directly from a score seen for the first time; the phrase "I play only Prima Vista!" receiving its' double entendre when I play from my own scores… But gradually, Prima Vista received a deeper meaning, as I continued to explore – both as a performer and as an editor – music that was hardly ever played or edited in modern times, if at all. This exploration will, no doubt, continue well into the future – and the past…
I see music editing as a combination of art and craftsmanship, of tasteful creativity and precision. Choices have to be made, based on understanding the style, the instrument, musical theory, and personal taste. I strive to make my editions as true to the original as possible, changing as little as possible in the music itself, while using modern notation conventions to make the music more accessible and "user friendly" to modern musicians, easy to read and perform.
At the same time, tasteful and cleverly-done arrangements allow me to creatively explore music originally written for other instruments, and to add to the recorder repertoire for players of all levels.
The quality of the music itself is always the first and foremost factor in my choice of projects. Being a recorder player, edition Prima Vista focuses mainly (but not exclusively!) on recorder music and arrangements; and the pieces I choose from come mostly (but not exclusively!) from the Renaissance and Baroque periods. Thus, edition Prima Vista offers a variety of music, from the 16th century diminutions of Girolamo dalla Casa on a madrigal by Cipriano de Rore, to a collection of Scott Joplin's Ragtime tunes arranged for recorder and piano, not neglecting the "big names" of Baroque music, J. S. Bach, G. Ph. Telemann, A. Vivaldi, and paying special attention to the "smaller names": composers who have, so far, been relatively neglected – all of which you can find in the Catalogue section.
edition Prima Vista offers a service called Custom Edit – where you can send me scores you need edited; more details in the appropriate tab.
You can contact me privately, and / or join the Subscription List – useful if you are interested in receiving news of the latest editions added to my catalogue.
I hope you enjoy your visit to my website!
Uri and his assistant, hard at work:
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Uri A. Dror (1972) studied recorder with Gershon Prenski in his hometown Rehovot (Israel) for many years, during which he took part in master-classes and workshops, both in Jerusalem and in Portugal, having had lessons with Marion Verbruggen, Kees Boeke, Heiko ter Schegget, Michael Schneider, Peter Holtslag, and Sébastien Marq.
Uri completed a B.Sc. in geology and worked in the Information Technology field for 3 years, before deciding to follow his lifelong passion for music. During the years 2001 – 2005 he completed his B.Mus. in performance at the Department for Early Music of the Royal Conservatory, The Hague, The Netherlands, under the guidance of Peter van Heyghen and Daniel Brüggen. In 2007 he completed his M.Mus. at the same institute; his teachers were Daniel Brüggen and Sébastien Marq.
In 2005, Uri, together with his colleagues, formed “La Novella”, an ensemble specializing in Italian music from the late Renaissance – early Baroque. With this group Uri has performed in The Netherlands and in Slovenia. In Israel Uri is a founding member of trio "Il Pastor Fido", and of the "Jerusalem Renaissance Wind Band", and has played with many important Israeli artists in the field of Early Music.
Uri is an enthusiastic recorder teacher for all levels.
