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I had the chance to perform Amnon Wolman's composition/performance piece BUMP on several occasions. Here is an excerpt from the performance which took place during the #46 edition of Hoogtuj festival, at the crowded foier of the Nutshuis, The Hague....

  How to compose a work that demands from the players active participation – not only as interpreting musicians, but also as improvisers, as "instant composers"? How to create a dialogue between pre-composed ideas and the musicians' real-time input? How to notate such music, which musical...

  SLIL (in Hebrew: reel, e.g. a tape reel) is a live-electronics work. It can be performed as solo work for a computer musician or as an interaction between live-electronics and other improvising musicians. It is programmed in SuperCollider as a live-electronics interface for free improvisation. Solo...

The work features speech segments by D. Trump, with the original images warped (slow / fast motion) and the sound replaced by a virtual 'orchestra' of improvisers (the material was assembled after posting an online call for participants). The result: a partially humorist, partially horrifying...

Live soundtrack for Jean Epstein’s silent film The Faithful Heart (1923). Together with Ziv Taubenfeld (b. clarinet), Marie Guilleray (voice, electronics), Onno Govaert (percussion), and myself (bass)....

Partially humorist, partially politically charged and horrifying, FAKE NEWS  | STAY TUNED is a game piece / text-based composition. It guides the players (musicians or non-musicians) towards free improvisation based on a silenced YouTube clip. The work was published in Synzine #5: https://issuu.com/synzine/docs/sinezine_june_iii   In a Clockwork-Orange manner,...

A work for ensemble (open instrumentation), in which the musicians alternate between solo and group playing. hasBara also features voices, however without any prescribed text, resulting in pseudo language and suggesting open interpretation of this work's 'meaning'. Essential part of this work is the constant oscillation...

Stations and Journeys is a notated / open score work for ensemble (of at least 8 musicians). The work was commissioned by Ensemble Modelo62....

Commissioned and premiered by the Israeli ensemble Musica Nova Consort, this version of hasBara is written for instruments and live-electronics. The musicians trigger the computer sounds, generated by real-time processing of voice samples of Israeli public figures. The content of the words is political....

 Debris – A new track by Roberto Garreton and myself (recorded by Jan T.V. Falkenstein), Featured on the massive release audio-DH. Conceived and directed by Francisco López, audio-DH is a collaborative project of epic proportions that weaves the sounds of 250 of The Hague’s creative...

A new track by Roberto Garreton & Ilya Ziblat duo is now available, in a compilation released by Laboratorio Klem (Zawp Records, Bilbao): La Escucha Errante by Various Artists recorded live at the La Escucha Errante sonic arts festival, ZawpLab, Bilbao in 2014  ...

An excerpt from a live recording which concluded our residency at studio LOOS, the Hague (march 2012). Live video art by Daniel Slabosky. Based on texts by Yossel Birstein, narrated by me and processed live by Maya Felixbrodt. ...

A theatrical composition, combining sounds, acting (miming), and light. The work was written for Elisenda Pujals (voice) and for me (bass)....

Live soundtrack for F. W. Murnau's Nosferatu (1922). For percussion, bass, live-electronics....

Recorded live in haTeiva, Tel Aviv (5.4.2014). Performed by Elisenda Pujals (voice) and Ilya ziblat (bass). This work by Janco Verduin features pre-recorded tracks and live performance.

In April we have been invited by the Israeli Composer's League to play two pieces: Ophir Ilzetzki‘s Spotlight (premiered in Norwich on November 2013), and a new piece by Shmuel Malkin. The concert was held in Haifa University. Besides, we have also played our full program in haTeiva,...

Music for electric guitar, contrabass and electronics. Exploring borders and shared zones between instrumental playing and computer responsive systems - a manifestation of free will and, at times arbitrary, feedback. The compositions are partially structured, partially improvised, suggesting outlines of tonality and of free improvisation.    ...

Trembling Time (for two pianists) explores elasticity of rhythm. Through constant stretching and shrinking of the pulse I am trying to create a fictitious musical dimension in which the beat becomes almost a liquid-like musical element, rather than dictates by an even and constant pulse....

  The Instrument is an interactive live-electronics computer system, programmed in SuperCollider. The computer can be triggered by any number of pitch-producing resonating object – musical instruments or any kind of objects. There is no score or any instructions, and no limit on the length of...