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 lived in Sweden since 1973 and describes himself as an Israeli-Swedish composer. 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 ranks as one of Sweden’s leading composers and improvising musicians. He also creates installations, frequently presented at art exhibitions. Recognition for his accomplishments has grown considerably in recent years, with dozens of orchestras, ensembles, festivals, and foundations in Europe and elsewhere commissioning and performing his works. 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, Stavanger Symphony, Greek Radio Orchestra, Black Page Orchestra, Neo, Krommata Percussion Ensemble, Kwartludium, ensemble ascolta, Contrechamps, Ensemble New Music Tallin, and Vertixsonora. 

Commenting on his work, Feiler stresses his wish to create music that concerns the world: “I always seek to deal with the grim problems of life, as 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 (the Israeli–Palestinian conflict), and Tikkun Olam (changing the world). When I compose or play, I do not look for beauty, but for truth.” He often creates images of struggle (fortissimo, at great length), although in the context of his Maavak (Struggle) he says that it “does not describe a struggle, it is a struggle.” 

Dror Feiler has been involved in solidarity work in the Israeli– Palestinian context since 1970. He was, among others, one of the initiators of Ship to Gaza – Sweden and is a spokesperson for that organisation. He has been engaged in similar projects for Colombia since the mid-1990s.

The Celestial Fire record label celebrated 50 years of Dror Feiler’s activity on 7 October 2023 in Stockholm with the release of two 10CD-sets titled MAAVAK (after one of his compositions). On the same day, the opening of Feiler’s exhibition To Ignite a Stone was accompanied by a performance of his The ARKESTRA 1 by The Too Much Too Soon Orchestra. In June this year, he completed his Japanese tour. 

Vice-President of FST (Society of Swedish Composers), Feiler is also Chair of the Board for Svensk Musik centre, founder (1976) of Lokomotiv Konkret improvisation group, founder (1983) and artistic director of the Too Much Too Soon Orchestra, as well as chairperson of European Jews for a Just Peace federation of Jewish peace groups. 

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 Araa for 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 and garbage truck (2008), Music is Castrated Noise for eight musicians (2008), Basura for 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), Hypokeimenon for chamber ensemble (2015), Music is Castrated Noise X for four musicians and electronics (2016), The No Flow for 17 musicians (2016), 32̊ 43’ Nord 33̊ 31’ Ost for seven instruments (2016), The Flickering Sound of the Signifier for chamber orchestra (2017), Mattarra for violin and piano (2017), Lament for chamber ensemble (2017), Engführung for sopranino saxophone and electronics (2017), Goethe im Schlachthof for chamber ensemble and electronics (2017), Tikkun Olam for orchestra (2017–18), EPEXEGESIS for two soloists and orchestra (2018–19), Goethe à l’abattoir for chamber ensemble, Spaccio de la bestia trionfante for chamber ensemble (2019), Halat al Tawari (State of Emergency) for chamber ensemble (2019), Excarnation for chamber ensemble (2022–23), The ARKESTRA 1 for orchestra (2023), Halat Hisar for bass flute, prepared piano, and video (2023).