Introduction & Passacaglia for Cello Solo, Op. 1
(dedicated to Cellist Itamar Gadol)
app. (8:00')
Written in 2022, I think I consider this my first 'not bad' piece, commissioned by my dear friend Cellist Itamar Gadol for his joint recital with his partner, This piece abstractly deals with the idea of intrusive thoughts but is mainly a piece I enjoyed writing for a good (and very capable) friend. This is my lousy Phone recoding from the premiere of the piece in the same joint-recital.
While not an original composition I think this comes quite close to blurring the gap between arranging/composition for the sheer lack of choices made in this transcription
app. (32:00')
This sonata was written for Cellist Omri Levitan, and is very much about my battle with depression & suicidality, and about the person who saved me from the worst of it, both are expressed in this sonata rather programmatically but with a lot to do with my personal lived experiences outside of our friendship and in many many various different aspects that consist the person that I was during this piece’s writing process. The sonata consists of three movements.
Looking back, I think the piece wrote itself in a kind of emotional emergency. It doesn’t document a single “story” sort of speak, but it contains traces of everything that was happening then - friendship, exhaustion, fear, love, religious deconversion, heartbreak, war, the constant mindbending question of whether I could fucking keep doing this to myself. I can’t separate any of those things from the music. They kind of became the form by themselves.
I don’t think the piece offers comfort. But I do think it tries to tell some truths that I myself do not yet process (or want to process) completely, I feel like writing this piece has made me a better, more compassionate human being, both to myself and to others.
"One must imagine Sisyphus happy"
(A. Camus, The Myth of Sisyphus)
Sonata for Cello & Piano in E minor, Op.2 (2025)
(Dedicated to Omri Levitan & Itamar Feinberg)
Recorded at BMSM Clairmont Hall, November 2025.
Score video by Scorefolio.
With sincere thanks to Prof. Josef Bardanashvilli, Dr. Eliav Kohl and Prof. Ruben Seroussi for their generous help and advice, to Prof. Hillel Zori for his instrumental tutelage, and to the performers who premiered the work.
Op. 3 - "HISTORICALLY INFORMED" / for String Trio
Commissioned by the Israeli Music Institute & KAN11 Kol Ha'musika Festival in the upper Galille
I am deeply grateful to the Israeli Music Institute and Ohad Gabay, to the Voice of Music Festival in the Upper Galilee and Ofra Yitzhaki, to everyone involved in both institutions, and to the dear musicians who taught me so much during the writing of this piece.
app. (6:00')
“HISTORICALLY INFORMED” for string trio, Op. 3, was commissioned by the Israeli Music Institute and the Voice of Music Festival in the Upper Galilee. The work engages with historical performance practices in string playing - and more broadly with Western music - across roughly the past millennium. It reflects on, and gently plays with, the ongoing debate among string players about what the “correct” way to perform each style and period might be - as if such a definitive answer truly existed.
app. ('18:00')
- coming soon -
Sonata for Solo Baroque Violin, Op. 4
(Dedicated to Maestra Kati Debretzeni)
"The Sheeps of Kadishman" for Piano Trio, Op. 5
Commissioned by the Israeli Music Institute & Mifal HaPais
app. (25:00')
- coming soon -