My current preoccupation as a composer is to define a personal language that conveys my point of view on the cultural and political context in which I grew up in contemporary Israel-Palestine. I do so through the prism ofcontemporary Western tradition that I studied in Geneva (with Michael Jarrell, Luis Naon and Eric Daubresse) and at IRCAM in Paris, to which I have progressively integrated elements from the Arabic music tradition that represents a part of my family’s cultural heritage and a continuous area of musical research.

Electronics feature frequently in my work, oftentimes generating the core musical ideas on which my compositions are built, while also providing a way to integrate extramusical ideas and references.

Because politics has always been an important part of my life, a number of my pieces have been inspired by current events and the recent history of the Middle East. For example, Occupy Haifa seeks to reconstruct the soundscape of what my hometown could have been; Beyrouth15072006 is a hommage to Mazen Kerbaj and a painful study about war – one waged by my country’s government. 

I take particular joy in working with like-minded artists from other fields. At the moment, I’m collaborating with brilliant playwright Yonatan Levy on a chamber opera, The Sleeping Thousand, which will be premiered at the 2019 Aix-en-Provence festival.