Compositions
2022 |
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A Speculative Evolution of the wind | Wind Quartet for flute, clarinet, bassoon, horn| ca. 25’ commissioned by Tel Aviv wind quintet
Whistling Wild | A site-specific, participatory piece for 100+ high school and middle school students commissioned by Reut school of Arts, Haifa
Emergence | for 4 performers, open instrumentation | ca. 20’
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2021 |
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Proto-Music #2 | any number of performers + rocks | ca.20’
Nekavim (for Amnon) | self-performative text score
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2019 |
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HOUWEIYA | voice, violin, cello, double bass | ca.6’
The Vegetable Lamb of Tartary | four double basses, tuning forks and leaves | ca.25’
Proto-Music #1 | 3 performers+bamboo sticks | ca.20’
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2018 |
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Simple Ratios | Open Instrumentation+electronics| ca.25’
Circling Ratios | violin, cello, clarinet and 3 circling bells | ca.20’
Piano Study of Beating Frequencies | solo piano (retuned) | ca.20’
KOOR | fixed electronic | 15’
De Stella Nova: On the new star in the foot of the serpent handler | piano, saxophone, double-bass, voice, electronics, lasers and tuning forks | ca.20’
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2017 |
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Partial Patterns on a String: Blues Artifacts (e) | violin and viola | ca.25’
Partial Patterns on a String [extended] (d) | tuning forks, piano, sine waves | ca.13'
Blind Date | for any number of people and open instrumentation
Partial Patterns on a String (c) | String Quintet | ca.20’
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2016 |
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Museum of Extinct Sounds and Imaginary Water Creatures | 5 performers, hydrophones, water tanks, various objects | ca.45'
Partial Patterns on a String (b) | Solo Cello | ca.14'
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2015 |
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Partial Patterns on a String (a) | Solo Cello | ca.13’
Piano Studies [i, ii, iii] | Solo Piano | ca.15’
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2014 |
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Three Ajaeng Etudes | Solo Ajaeng | ca.7’| Commissioned by Kim Sang-Hun
Critical Mess: Music Box Office | for any number of people (non musicians) and resonant staircase
Critical Mess: 134 Pacific | for any number of people (non musicians) and metal rails
Three Phonetic Studies | for any number of voices and optional instruments | ca.11’
2013 |
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Sumud | two Pianos and two Percussion players | ca.23’
Ear study No.1 | for Cello, Percussion, and audience participation | ca.10’
Hydrophony | 10 Clarinets, Electric Guitar, Double Bass, and Harp | ca.14’
We Are The Bees of The Invisible| three graphic scores | open instrumentation
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2012 |
Ex Terriroria X | Clarinet, Cello, Piano, and trombone | ca. 6’
The Possibility of Un-Island | Solo Violin | ca.10’
Three pieces for toy piano | Toy piano & Glockenspiel | ca.6’
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2011 |
Territoria X | Solo Piano | ca.7’
Preparations | for Prepared Piano | ca. 4’
Ship of the Moon | Voice and Ensemble (10 players) | ca.13’
Percussion Quartet | for 4 percussion players | ca.6’30
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2010 |
Tulpa | Flute, Clarinet, Horn, Saxophone, Violin, and Percussion | ca. 6’
Present Absentees | Solo Piano | ca.13’
Al Hisha’arut HaNefesh | Piano, Flute, and Clarine|ca.12’
Daegeum Trio | Daegeum, viola, and Cello | ca. 6’20
Trio | for Clarinet, Cello, and Piano |2007, rev. 2010 | ca.7’20
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2006-2009|
Three Pictures for Sale |for Symphonic Orchestra |2008 | ca.8’
Hagigat Kaitz (Summer Fest, text by Nathan Alterman) | for Narrator and Ensemble (8 players) | 2008 | ca.115’
Adam Ve Adama (On Man and Land: A Legal Document) | for Narrator and Ensemble (6 players) 2008 | ca.11’
Psalm 92 | for Children Choir (SSAA) | 2008| ca.3’30
Ha’em Hashlishit, text by Nathan Alterman | for Choir and Ensemble | 2008 | ca.14’
Horn Quartet | Horn, Violin, Viola, and Cello) | 2007 | ca.16’
Piano Sonata | 2007 | ca.11’
String Quartet | 2006 | ca.6’
Longing | for two Celli | 2006 | ca.3’30
Symptoms | for 9 instruments | 2006 | ca.3’