Variations on a theme by the troubadour from the early Renaissance Raimon de Llull, commissioned and performed by the "La Scala" soloists` ensemble "Caleido". Performances: “Caleido” Ensemble (Italy) https://www.youtube.com/watch?v=UN_zAkL99dY

https://www.youtube.com/watch?v=deJ04toXr1I

Performances: NORWICH  The Chenango Arts Council, Saturday, Feb. 15, 2014, at 7 pm (27 West Main Street, Norwich) Kristina Reiko Cooper (Cello) Or  Matias (piano) (“Love Songs from Around the World”). Recordings: “Diary” (ICL) Kristina Reiko Cooper (Cello) Uri Brener (piano);  “Around the World with Love” (Roven Records) Kristina Reiko Cooper (Cello) Or  Matias (piano) Listen to Vocalise (version for cello) HERE Listen to Vocalise (version for flute) HERE Vocalise for cello and piano – was originally composed as a second movement of a triptych for harp, flute and chamber orchestra called “City of Mystics”, and the transcription for cello and piano was made especially for the performance and recording by an internationally acclaimed cellist

Listen HERE 

https://www.youtube.com/watch?v=nEE7g1L3gJM

Listen to SHUNAMIT (Act 1) HERE    Shunammit - Operatorium for voices, chorus and orchestra Libretto: Esther Ettinger The Story Synopsis The play is based on  the story of Elisha the Prophet and the Shunammite woman (Kings 2 4:8), as well the writings and annotations of Chazal, the Jewish sages of the Talmudic era. Elisha the Prophet is the disciple and successor of Elijah the Prophet. He is a wonder-worker and helps those in need. One affair however tarnishes his beneficial image - his ruthless revenge on a group of boys who disrespect him. The plot of the play revolves around the Shunammite woman who hosted the

A piece, originally composed as a piece for piano solo in 2001,was revised and orchestrated for big symphonic orchestra in 2014. https://www.youtube.com/watch?v=KBGbXx4-8s8

https://www.youtube.com/watch?v=ycxOqOHEin0

Performances:April 09, 2015, Minkin-Shemer duo at the Wolfinsohn Recital Room,Longy School of Music at Bard College, Cambridge, Boston;23 March 2017 – The Jerusalem Bach Festival – “Conversations”Minkin-Shemer duo at the Mishkenot Shaananim Music Center;25 May 2017 – Frankfurt Music Academy small hall,Minkin-Shemer duoRecordings: “Conversations – contemporary music for two harpsichords” (Omnibus Classics CC5012) [NAXOS Direct] Listen HERE A piece recently released by the Ombnibus Classics label [NAXOS Direct] was commissioned and recorded by the Minkin-Shemer harpsichord duo (Marina Minkin - David Shemer).The piece emerges and exists on the narrow boundary between the classical Renaissance form known as "chaconne" with its characteristically repeating patterns and the

Listen HERE A piece recently released by the Ombnibus Classics label [NAXOS Direct] was commissioned and recorded by the Minkin-Shemer harpsichord duo (Marina Minkin – David Shemer). The piece emerges and exists on the narrow boundary between the classical Renaissance form known as “chaconne” with its characteristically repeating patterns and the sharp, rough sound of 20th century rock-music. The work is a tribute to a one of the great musicians of the late 20th century, Frank Zappa; a modest homage to a great “musical law breaker”, whose contribution to the development of music is yet to be appreciated and understood. Music sheet samples:

The piece is a solo piano version of the first movement from the Trumpet Sonata, and at the same time is a movement from the "12 Constellations" cycle, and is associated with the Zodiac sign of Leo. https://www.youtube.com/watch?v=2-TwAdBs7v4&list=UUqvXkVjjJRQ0k_CST3qNkaA

Commissioned in 2014 by Israeli Ensemble PHOENIX of early instruments, the piece features a prominent role for the harpsichord in powerful exchanges with 2 baroque violins, baroque viola and viola da gamba. This “somewhat off-the-road journey” quotes an ancient Andalusian piyut sang for the Jewish High Holidays called “Ki Gadol Yom”.  The piece is dedicated to the memory of the Jewish expulsion from Spain 1492-97. The original title "IN THE SEARCH OF THE CHACONNE" was later transformed into the "SPANISH LAMENTO".   Performances:15 March 2015, World premiere,  The Austrian Hospice, Jerusalem [Phoenix Ensemble]17  March 2015 Tel Aviv, The Israel Conservatory of Music

The piece is a final movement from the Piano concerto 3 for solo piano and symphonic orchestra and is based upon the ancient prayer chants of the Jewish communities of the Northern Africa, Spain, Morocco and Andalusia. Tradition going back many hundred years back in time is presented with a new and unexpectedly fresh setup and arrangement. However it is hardly to be overseen that the composer`s own roots are based on European\Russian cultural ground, thus making the fusion between these cultures even more fascinating and intriguing. https://www.youtube.com/watch?v=ldxhtDJn75U

Publications: IMC Performances:02 Jube 2016 –  ITG conference, Anaheim, CA, USARobert Frear  – trumpet Listen HERE The piece “Deceptions” for trumpet and piano was inspired and influenced by the artwork of the famous graphic master M.C. Esher who`s artistic output is in many ways about creating a sense of illusion and visual ambiguity. Whereas creating an illusory effect in the visual realm is well known and quite palpable, in the sonic\musical realm it should be represented with less obvious means due to a more abstract nature of the medium and its perception. The ambiguity is expressed here on different levels – rhythmic, melodic but also

The piece is commissioned and dedicated to the Nakaryakov-Meerovich Duo Performances: 29-12-18 S.-Peterburg`s Philharmony Glinka Chamber Hall, Sergey Nakaryakov, trumpet, Maria Meerovich, piano.  

Performances:June 2017, Slovakia, Angelika Pavlechová, soprano https://www.youtube.com/watch?v=xrFYi-ALNrQ https://www.youtube.com/watch?v=49QHhcGwuDY

The piece is a Musical Fairy Tale in 3 Acts for small symphony orchestra and a reader,  based on the text by Ester Ettinger. It may be also performed as an actual musical play with actors. However, the pure musical performance is certainly also possible, among other things as a ballet suite. Performances: 16 May – Akko City Hall; 29 May –  Rebecca Crown Hall, Sherover Theater, Jerusalem, Israel Festival; Sinfonietta Beer-Sheva, conductor Karin Ben Yosef Score samples: https://www.youtube.com/watch?v=aB7XHxp3YA0

Performances: 17 and 18 February 2016 ISO under Ariel Zuckerman, Sergey Ostrovsky – violin,  Tel-Aviv Art Museum Listen HERE Publications: IMI My First Violin Concerto is a work that presents and is built upon the spectrum of styles I have been dealing with during my musical life, from Russian folk melodies, through synagogue prayers, from post-romantic gestures to the harmonious coloristic shading of blues and jazz. All these elements are part of my musical world, and therefore should not be viewed as a trivial eclectic collection of multiple genres, but rather as an attempt to synthesize them, reflecting on the path I have

Sonata is dedicated to the memory of my father. A piece was composed after my father has passed away and as a reaction to his death, as well as a contemplation about the fundamentals of our existence such as life and death, and as an expression of a deep believe in harmony behind it all. Publications: Scodo / Universal Edition  Performances: December 12, 2019 Cité Bleue Hall, Geneve, Switzerland, Sergey Ostrovsky, violin, Silvie Barberi - piano https://www.youtube.com/watch?v=Qk0Iu_SnyT0 https://www.youtube.com/watch?v=tKJ1Yzso85c

A piece composed on the poem by the same name by Marina Tsvetaeva Ошибка Когда снежинку, что легко летает, Как звездочка упавшая скользя, Берешь рукой – она слезинкой тает, И возвратить воздушность ей нельзя. Когда пленясь прозрачностью медузы, Ее коснемся мы капризом рук, Она, как пленник, заключенный в узы, Вдруг побледнеет и погибнет вдруг. Когда хотим мы в мотыльках-скитальцах Видать не грезу, а земную быль – Где их наряд? От них на наших пальцах Одна зарей раскрашенная пыль! Оставь полет снежинкам с мотыльками И не губи медузу на песках! Нельзя мечту свою хватать руками, Нельзя мечту свою держать в руках! Нельзя тому, что было грустью зыбкой, Сказать: “Будь страсть! Горя безумствуй, рдей!” Твоя любовь была такой ошибкой, – Но

A piece composed on the poem by the same name by Marina Tsvetaeva Ошибка Когда снежинку, что легко летает, Как звездочка упавшая скользя, Берешь рукой - она слезинкой тает, И возвратить воздушность ей нельзя. Когда пленясь прозрачностью медузы, Ее коснемся мы капризом рук, Она, как пленник, заключенный в узы, Вдруг побледнеет и погибнет вдруг. Когда хотим мы в мотыльках-скитальцах Видать не грезу, а земную быль - Где их наряд? От них на наших пальцах Одна зарей раскрашенная пыль! Оставь полет снежинкам с мотыльками И не губи медузу на песках! Нельзя мечту свою хватать руками, Нельзя мечту свою держать в руках! Нельзя тому, что было грустью зыбкой, Сказать: "Будь страсть! Горя безумствуй, рдей!" Твоя любовь была такой ошибкой, - Но без

https://www.youtube.com/watch?v=Thj2vooLJCE

Three parts of the Triptych constitute a kind of emotional cycle starting with “Silence“, which in fact proves to be not merely a “lack of sounds” or “emptiness”. Rather, it contains a whole range of emotionally charged elements in accordance with the idea that there is no “real” silence, and whatever seems to be absolutely silent, might be a concealed scream. In the second movement, “Discussion“, of a somewhat sarcastic character, composer tries to establish a dialogue with his great forerunners, and in the spirit of  neoclassic  Shostakovich-Hindemit-like Scherzando one feels a search after one’s own place in this “discussion”. The rhythmical pattern of

Three parts of the Triptych constitute a kind of emotional cycle starting with “Silence“,which in fact proves to be not merely a “lack of sounds” or “emptiness”.Rather, it contains a whole range of emotionally charged elements in accordance with the ideathat there is no “real” silence, and whatever seems to be absolutely silent, might be a concealed scream. In the second movement, “Discussion“, of a somewhat sarcastic character, composer tries to establisha dialogue with his great forerunners, and in the spirit of  neoclassic  Shostakovich-Hindemit-like Scherzandoone feels a search after one’s own place in this “discussion”. The rhythmical pattern of the main theme

Performances: September 2014, Russisches Kulturfest Hamburg 5, Germany;Trio Blumina (Elsaveta Blumina – piano, Kalev Kuljus – oboe, Mathias Baier – bassoon);broadcast by the Deutschlandradio Culture National Radio channel. Listen to “Triptych” Version for oboe,bassoon and piano Mov.1 (“Silence”)Listen to “Triptych” Version for oboe,bassoon and piano Mov.2 (“Discussion”) Three parts of the Triptych constitute a kind of emotional cycle starting with “Silence“, which in fact proves to be not merely a “lack of sounds” or “emptiness”.Rather, it contains a whole range of emotionally charged elements in accordance with the idea that there is no “real” silence, and whatever seems to be absolutely silent, might be a concealed scream. In

Performances:13.12.2005 Music Department of the Bar-Ilan University, Israel with the quartet “Aviv” members Evgenia Epstein and Rachel Mercer;08.07.2007 New York Museum of Modern Art (MOMA) with the members of the New Julliard Ensemble under Joel Sachs;28.12.16 in Brno, Czech Republic, with Tomas Tulacek, Jan Zlamal and Anastasia Fediuk;25.04.17 Giluim Festival, Schönebeck City Hall, Germany, with Uri Brener, Eyal Shiloach and Mathias Baier.Recordings: “Creative Composition“  The Music Book, Chapter 8, Treasure Productions 2005 Publications: IMCListen HERE Three parts of the piece constitute a kind of emotional cycle starting with "Silence", which in fact proves to be not merely a "lack of sounds" or "emptiness".Rather, it contains

Uri Brener composed the piece "Small Wind Quintet" at a time he was a student at the Gnessin College in Moscow in 1991 and only 16 years old. The second movement, central to the work, has an introverted and contemplative character, influenced by Shostakovich's spirit, especially by the second movement of the Ninth Symphony. The last movement has Russian folk-music influences with humorous elements and also in this way expresses the conceptual connection with Shostakovich, in whose memory the work was later dedicated. Performances:Concerts in different venues in Moscow, among them Big Hall of Gnessin College of Music 1990;26.02.18 Ron Baron

Impressions to the painting by M.K.Čiurlionis   Performances: Palais Wittgenstein, Duesseldorf, Germany 15.05.96 Publications: IMC (manuscript) https://www.youtube.com/watch?v=w_rySwX8STM

This quartet is an adaptation of a wind quintet in the memory of D.Shostakovich. In three movements (Allegro - Adagio - Presto)    

Performances:Palais Wittgenstein, Duesseldorf, Germany 15.05.96;Musical Center  “Mishkenot Shaananim”, Jerusalem, 13.11.98,live broadcast “Youth at the Center” by the Kol Hamusika national radio-channel(w Zvi Orleansky – cello). Publications: IMCRecordings:“Music from Ein Karem” (“The composers series”, MFEK 0202, 2003);“Creative Composition“  The Music Book, Chapter 7, Treasure Productions 2005 This work could well be defined as a sonata. An energetic and resolute introduction with an ascending cello motive,which is basically a main theme, collapses as it comes to its climax, falling into the lowest register.After some attempts to renew the onslaught, it softens gradually and proceeds to the second theme,sharply contrasting with the first.Exquisite and

"In den Schneefeldern" (1993) for voice and piano on the text by Alexander Block  Performances: Never Publications: IMC (Manuscript) Text: I. И я затянут Лентой млечной! Тобой обманут, О, Вечность! Подо мной растянут В дали бесконечной Твой узор, Бесконечность, Темница мира! Узкая лира, Звезда богини, Снежно стонет Мне. И корабль закатный Тонет В нежно-синей Глубине. II. Не утоленная кровавыми струями, Безмолвствует земля. Иду вперед поспешными шагами, Ищу от жертв свободные поля. Но, как в темнице узник заключенный, Ищу напрасно: кровь и мрак! Лишь там, в черте зари окровавленной — Таинственный, еще невнятный знак. III. Разверзлось утреннее око, Сиянье льется без конца. Мой дух летит туда, к Востоку, Навстречу помыслам Творца. Когда я день молитвой встречу На светлой утренней черте,- Новорожденному навстречу Пойду в духовной чистоте. И после странствия земного В лучах вечернего огня Душе легко вернуться снова К

A piece for flute, clarinet, bassoon, horn, v-cello, contrabass, timpani & 2 pianos    Publications: IMC (Manuscript) Performances: never

Psalms No.6 and 150 for a mixed choir and symphonic orchestra. Text in Hebrew.         Publications: IMC (Manuscript) Psalm No.6 https://www.youtube.com/watch?v=KHTuTPBhRGw Psalm No.150  https://www.youtube.com/watch?v=9fJiOvRcNlM

The piano cycle "Form, Farbe und Licht", written in 1995 during the period of studies with Prof. M.Trojan in Düsseldorf, at the Robert Schumann Music Academy (Musik Hochschule). The pieces it consist of present an original synthesis of harmonically saturated, Scriabin-like pianism with rational-ascetic elements of the Western (German) school. Performances: 04.07.96, Patrika Hall,  Robert Schumann Hochschule Duesseldorf, Germany; 15.05.96, Palais Wittgenstein, Duesseldorf, Germany; 16.09.99 Henry Crown Hall, Jerusalem Theatre (“Israeli music day”); 13.11.98 Musical Center Mishkenot Shaananim, Jerusalem (Live broadcast “Youth at the Center” by the Kol Hamusika national radio-channel (fragments) Recordings: “Music from Ein Karem” (“The composers series”, MFEK 0202, 2003) Publications: IMC Sheet music samples:

music to a short film by Ralf Rueckhauer on the parabola by F.Kafka for symphonic orchestra (recorded by student orchestra of Bochum university with Hans R.Jakulsky The film was shown: numerously  by the “Premiere” TV channel (Germany); at Open-Air- Filmfest Weiterstadt (Germany) and other Film festivals around Germany and beyond, including Jerusalem Internationsal Film Festival 1996.

he piece "Three Memories" for marimba solo was written as an expression of three different types of memory. The first section expresses a "hallucination" type of memory, a "vision", something that remains as a fragment of the image, not real, and escapes. The second section is all a memory of a mood without a concrete event or image, like someone remembering the experience of standing next to a quiet stream of water and the wind playing in the tree branches or wind chimes in the surrounding silence. The third section describes an obsessive memory type that leaves no room for

A final piece from the triptych "Three Remembrances" for marimba solo arranged for two marimbas. For more info on the piece and the original version go HERE

From the call for score from "Pierrot Ensemble" (Czech Republic): Dear Mr.Brener, we have concluded our assessment of scores from eighteen countries

** "Au début et à la fin" (“At the beginning and at the end”), composed in Düsseldorf in 1996, is conceived as a cycle of short movements linked by shared musical material and by a prevailing atmosphere of pessimism, disillusionment with material ideals, and a search for transcendent revelation. Across the work, gestures and harmonies recur like troubled memories, casting each movement as a different facet of the same spiritual unease.​ A recurring semi-quotation from Olivier Messiaen’s "Quatuor pour la fin du temps" ("Quartet for the End of Time") appears at both the opening and the close of the cycle, and

Publications: IMC   https://www.youtube.com/watch?v=elJJv2XEPxs

Performances:03.11.99 Clermont Hall, Tel-Aviv Music Academy, 03.11.99;Conservatory of Kfar Saba, Israel (Piano duo – Raimonda Sheinfeld – Faina Eisenberg);29.05.04 Festival Israel 2004 – “Inka” auditorium, Jerusalem (Piano duo  Sivan Silvan – Gil Garburg) Recordings: “Music for piano duo” (“New stream”, 2000) Publications: IMC (Manuscript) ** "Au début et à la fin" (“At the beginning and at the end”), composed in Düsseldorf in 1996, is conceived as a cycle of short movements linked by shared musical material and by a prevailing atmosphere of pessimism, disillusionment with material ideals, and a search for transcendent revelation. Across the work, gestures and harmonies recur like troubled memories, casting each

Performances: 13.11.98 Musical Center Mishkenot Shaananim, Jerusalem (Live broadcast “Youth at the Center” by the Kol Hamusika national radio-channel) Publications: IMC (Manuscript) https://www.youtube.com/watch?v=zpBSz7QymOs

    Publications: IMC (Manuscript)

Publications: IMC (Manuscript)

(“Few words pronounced in silence…” – “Con Impeto” –“Reverie” – “Fall Chant” – “Out of Spite” – “Epilogue”) Publications: IMC (Manuscript) Sheet music samples: https://www.youtube.com/watch?v=UAF6AlX-P9g

(Ossia: bass-clarinet and piano)   Performances:December 2002, International Festival of Modern Music, Prague, Czech Republic(K.Dolezal – clarinet, Hans Barton – piano);15.03.04, M.Rosenberg Concert Hall, University of Bar-Ilan ( w Anton Dressler – clarinet);21.03.2007 “Musica Insieme contemporanea”, Aula Absidale di Santa Lucia, Bologna, Italy(Anton Dressler – clarinet, bass-clarinet  Giuseppe Andaloro – piano);27.03.2007 “Divinamente Roma” Festival, Capitoliny Museum, Rom, Italy  w Anton DresslerPublications: IMC (Manuscript)Recordings:“Creative Composition“  The Music Book, Chapter 7,Treasure Productions 2005Listen to Riddles (Movement 1)Listen to Riddles (Movements 2-4) The  piece  “Riddles”  for  clarinet  and  piano  was  written  in  1998  and  represents  a  four-part  cycle,last  three  parts  of  which  are performed attacca.First  part  is  opened  with  invariably  repeating, measured  sequence 

Performances: 14.06.2000 Felicia Blumenthal Musical Center, Tel-Aviv, Israel (Prize “Klon” receipt ceremony); Gabi Buckovsky (oboe),  Michal Mosek (horn), Oleg Stolpner (cello),  Uri Brener (piano) Publications: IMC (Manuscript) Listen HERE The piece was written as a reflection to the Midrashic commentary on the verses of Genesis 28:11, where it is stated that Jacob had took stones of the place to become a pillow for seeing perhaps one of the most illustrious dreams ever dreamed by a man – the vision of the Heavenly Ladder. According to Midrash, those stones then became one, and are associated with the so called Foundation Stone, which holds back the waters

Performances: 27.10.98 Tel-Aviv Museum, “Open stage" series with “Musica Nova” ensemble Publications: IMC (Manuscript) Score samples: https://www.youtube.com/watch?v=Syaa8j4EyKU

Performances: 15.02.15 Dvořák museum, Prague w Tomas Tulacek Recordings: Sergey Ostrovsky ,“Creative Composition“  The Music Book, Chapter 7, Treasure Productions 2005 Publications: IMC https://www.youtube.com/watch?v=RWVQUutug1Y

Performances: Arts & Letters Club of Toronto 2007 – Rachel Mercer, cello; November 21, 2014 with Kristina Reiko Cooper at  HaTeiva Studio in Jaffa, Israel Publications: IMC Recordings :  EnT-T Records (“Room 2” 2008 and Dynamic Range – EnT-T Sampler 2013)  Rachel Mercer, cello  Listen HERE “Equinox” is a piece written by Uri Brener that has different ways of it`s performing setup. The acoustic solo version is actually just a hint of what is concealed within a seemingly simple melodic line. The piece was written as a kind of mega-canon, taking into consideration the harmonic ramifications of that particular melodic line, as uncovered by its exact repetition with a fixed one-bar step. Thus the additional acoustic version of the piece features four and

A piece composed at the beginning of the present millennium (2000),representing a global awareness of the Aquarius Age commencement.Later it became incorporated into the piano mega-cycle "Twelve Constellations" (2018) as an Aquarius Sign movement. Performances:  April 1, 2019  Raanana Music Center, Israel;  November, 09, 2021 Čiurlionis House, Vilnius Lithuania Publications: IMC Recordings: HYM (The Israeli Contemporary Music Project) by Hagai Yodan Listen to Awareness Music sheets samples: https://www.youtube.com/watch?v=rqjcS4_HN_g

A piece composed as an impression to the paintings by the Lithuanian painter M.K.Čiurlionis. Performances: World premiere:  Čiurlionis House, Vilnius Lithuania 09.11.21 Publications: IMC https://www.youtube.com/watch?v=HYRx9u-8UlY

CREDO is Prelude Nr.1 from the cycle of 23 Preludes for piano. Performances:10.01.08 – (“A  Walk” CD Presentation) Einav Cultural Center, Tel-Aviv, Israel;21.02.08 Dunaevsky School of Music, Moscow, Russia;02.12.07  Cultural Center, Jerusalem  “Jazz Globe Festival“;26.08.2010 Silenzio Musica Festival, Montefiore, ItalyRecordings:EnT-T Records (“A  Walk” piano album, 2007; Dynamic Range – EnT-T Sampler, 2013) https://www.youtube.com/watch?v=5oi3KGqeIVQ

A piece from the piano cycle "Search" (2007) Performances:10.01.08 “A  Walk” CD Presentation, Einav Cultural Center, Tel-Aviv;21.02.08  Dunaevsky School of Music, Moscow, Russia;02.12.07  Cultural Center, Jerusalem “Jazz Globe Festival“;26.08.2010 Silenzio Musica Festival, Montefiore, Italy Recordings:EnT-T Records  (“A  Walk” piano album; 2007) https://www.youtube.com/watch?v=c63NDIgURGE

A piece from the piano cycle “Search” (2007) Performances:10.01.08 “A  Walk” CD Presentation, Einav Cultural Center, Tel-Aviv, Israel;26.08.2010 Silenzio Musica Festival, Montefiore, ItalyRecordings: EnT-T Records  (“A  Walk” piano album; 2007) https://www.youtube.com/watch?v=Fewa7aukR1I

(impressions to the painting by M.K.Čiurlionis) The piece was written as an impression to a painting by the Lithuanian artist of the yearly 20th century M.K.Ciurlionis. As most of his paintings, the one called Auka ("offering" or "sacrifice" in Lithuanian) is full with symbolism, mysticism and strive to a transcendental reality beyond our comprehension. Performances:29.03.04 Marcus Rosenberg Concert Hall, University of Bar-Ilan, Israel;Evgenia Epstein (violin), Rachel Mercer (cello), Anton Dressler (clarinet), Uri Brener,(piano);29.11.17 Ron Baron Hall, Stricker Conservatory, Tal-Aviv; Israeli Chamber Project - Tibi Tziger (clarinet), Daniel Barad (violin), Emanuel Silvestri (cello), Yael Karet (piano) Listen HERE Recordings: “Creative Composition”, The Music Book, Chapter 7,Treasure Productions, 2005Publications: IMC https://www.youtube.com/watch?v=kedUFhW2tSA https://www.youtube.com/watch?v=P66PLCs2QS8

The piece is a paraphrase on a short piece by Shostakovich for piano called "Elegia".The first six bars are the actual quotation from the piece, which eventually turns in a rather unexpected journey to the world of modern modal jazz and improvisation.The piece was later included into the "23 Preludes for piano" cycle.  Performances:17.02.05 Confederation House, Jerusalem;07.05.2005 “The New Wave” Series – Musica Nova Concert,Tel- Aviv Art Museum;10.01.08 “A  Walk” CD Presentation, Einav Cultural Center, Tel-Aviv, IsraelRecordings:“Creative Composition”, The Music Book, Chapter 7,Treasure Productions, 2005 https://www.youtube.com/watch?v=GDx6WJdm0NQ

Performances: 13.03.04, 27.03.04 Marcus Rosenberg Concert Hall, University of Bar-Ilan, Israel (“Fujazz” series) – with Anton Dressler; 21.12.2005 “Jazz Globe Festival” 2005, Jerusalem with Arkady Shilkloper and Anton Dressler; 28.12.2005 Kiriat Tivon Conservatory with Arkady Shilkloper; 28.04.2008 Kanjiza International Jazz Festival 2008 w Arkady Shilkloper; 28.04.2009 Nomus Festival 2009. Novy Sad with Arkady Shilkloper; 07.02.09 – “Masters on Stage” series, Conservatory of Utrecht, Holland; Johan van der Linden (sax) and Henry Kelder (piano); 27.03.2010 – “Divinamente Roma” Festival w Anton Dressler; 22.04.2010 – Italian Cultural Institute, NY, USA “Divinamente NY” Festival w Anton Dressler and more. Recordings: “Creative Composition”, The Music Book, Chapter 8, Treasure Productions, 2005 Listen to Invocation   https://www.youtube.com/watch?v=JmHox6n_9Yg

Publications: IMC Performances: Never

Performances: November 20, 2014  – A world premiere at the Croatian Composers Society  w Tomas Tulacek, violin, Hrvoje Pintarič, horn, , Ana Horvat, clarinet, Sanja Vrsalovič, piano Publisher: IMC Listen HERE The piece is about liberation from the Tyranny of Time. EXODOS (in ancient Greek drama) - is the final scene or departure, especially in a tragedy. The piece features a slow and at times dramatic process of transformation from and dissolution of a very precise, almost mechanical type of rhythmic structure into a minimalist set of ever-repeated chords, almost free from any rhythmic process, resembling a funeral procession, with some almost aleatoric formations in piano hovering freely over it. It concludes with just a simple

Performances: 15.01.15 Ron Baron Hall of the Stricker Conservatory, Tel-Aviv; Alon Reuven, horn, Tal Samnon, piano; 15.02.15 – Israely Horn Day;  Alon Reuven, horn, Anna Keisersman, piano. https://www.youtube.com/watch?v=pyGF9kAps-g

Transcription of Uri`s piano piece by the same name for harp. Recordings:EnT-T Records  (EnT-T 9 “Dawn” by Julia Rovisnky 2012) Listen here: https://juliarovinsky.bandcamp.com/track/uri-brener-perelandras-tale

Performances: 22.08.06 /The Prime minister award receipt ceremony / Rekanati Hall, Tel- Aviv Art Museum, Israel; Evgenia Epstein (violin), Semion Ositiansky, clarinet, Marina Eretzky, piano; 13.02 2007 JCC Manhattan , “A New Wave “ series, Ensemble “Continuum”, NY; 06.10.2013 Studio De Agostin, Geneve, Switzerland, Elisaveta Blumina (piano), Sergey Ostrovsky (violin), Dmitry Rasul-Karaev (clarinet) Publications: IMC The trio Perelandra Tale for clarinet, violin and piano was written under impression from the science-fiction novel by C.S. Lewis “PERELANDRA”. The main idea of the novel is a one of “loosing moral innocence”. That is, by discovering a civilization on some distant planet in the state close to that of Adam and Eve in the Garden of Eden and by having an opportunity to “look

One of the five Cantuses for piano solo. Originally composed as a trio with clarinet and violin, the piece was inspired by the science-fiction novel by C.S.Lewis "Perelandra". Performances: 22.04.09, Serbian Radio, Studio M (Live Broadcast), Festival “Nomus” Novy Sad, Serbia; 10.01.08 “A  Walk” CD Presentation, Einav Cultural Center, Tel-Aviv Recordings: EnT-T Records (“A  Walk” piano album; 2007) https://www.youtube.com/watch?v=FCqzVfCSswo&list=UUSk7CHuEgUI1-QZTjuECKDQ https://www.youtube.com/watch?v=TwKHbKFqqP0

I. Cantus I (`Dies Irae`)II. Cantus II (`Imponderability`)III. Cantus III (`An Old Fresco`)IV. Cantus IV (`Hymn`)V. Cantus V (`Perelandra Tale`) Cantus II (`Imponderability`) https://www.youtube.com/watch?v=ot8QMD1IUcM Cantus V (`Perelandra Tale`) https://www.youtube.com/watch?v=sbZULR1Qw4U

( I. “Void”   II. “Rain”   III. “Apology”) Listen to Void Listen to Rain Listen to Apology

( “7 am Prelude” –  “11 o’clock” – “Much Later..” ) Performances: 2006  Henry Crown Hall, Jerusalem Theater, “Etnachta” series, live broadcast by the Kol Hamusika national radio-channel Recordings: Albany Records  2007 (“Harpsichord Music by Israeli composers“) Publications: IMC This piece is a type of a Triptych commissioned and recorded by the internationally acclaimed harpsichordist Marina Minkin. The outer movements – the 1st   (“7 am prelude”) and the 3rd ( “…much later”) form a combination of two different types of improvisation: quasi – Baroque and Blues, enhanced with an especially tinted blend of the unique harpsichord sonority. The middle section entitled “11 o’clock” was written originally as a segment for solo marimba, comprised of

Performances: 14.12.2006 Marcus Rosenberg Concert Hall, University of Bar-Ilan, Israel; 10.01.08 Einav Cultural Center, Tel Aviv, Israel; 17.01.08 Conservatory Or Yehuda, Israel; 02.12.2007 “Jazz Globe Festival 2007”, Jerusalem; 21.02.08 Dunaevsky school of music , Moscow; 22.04.09, Serbian Radio, Studio M (Live Broadcast) Festival “Nomus”  2009 Novy Sad, Serbia Recordings: EnT-T Records (“A  Walk” piano album; 2007) https://www.youtube.com/watch?v=LJXVz_SMOL8

[`Seven Zen Piano pieces based on a poetry by the John Gracen Brown`] (1.”Chaos”  –  2.” Hope” –  3. “Lazy Sun”  –  4. ”The Gust”  – 5. “Transition” – 6. “Distant Refrains”  –  7. “Circle” ) Recordings :EnT-T Records  “A  Walk” piano album, 2007 (fragments) Listen to The GustListen to TransitionListen to Circle

Performances: 27- 29.10.07 World Premiere with Israel Sinfonietta Beer Sheba, Conductor – Doron Salomon; Municipal Conservatory of Beer Sheba Publications: IMI  (Israeli Music Institute)   Claude Debussy's Nocturnes are called "Clouds, Celebrations and Sirens". My second Piano Concerto`s sub-title is "Blares, Clouds, Celebrations". However, the listener will not find even a faint connection to Debussy's work other than paraphrasing its title. The poetic load of the title denotes the disparity between directness of the trumpet blare as the signal of the gathering, connecting people, and between the somewhat threatening ambiguity of the clouds, as a symbol of the unknown, the Other. There is a multitude of ideas and elements that meet each other

Publications: IMI  (Israeli Music Institute)

The “Faust Concerto” by an Israeli-Russian composer Uri Brener was written as a part of a completion work for his doctoral studies at the University of Bar-Ilan (Israel) in 2008, which resulted in a PhD degree “cum laude” later in 2009. In 2010 the work received the prestigious ACUM award and thus was nominated as the best symphonic piece of the year.In the resume  given by prominent Israeli composers and musicians (such as Prof. Yinam Leef, Prof. Michael Wolpe, Prof. Gideon Lewensohn, conductor maestro Doron Salomon and others) it was stated:“In his “Faust Concerto” Uri summons up an intensive work of

A piece composed using collage technic, whereas most of the actual material is taken from Stravinsky`s works of different periods, but not only.. For more info please scroll down. Score samples: Performances: 01.03.08 World Premiere – Rappoport Auditorium, Haifa w.Tel Aviv Soloists Orchestra under Barak Tal; 02.03.08 – Rekanati Hall, Tel- Aviv Art Museum; 04.03.08 – Marcus Rosenberg Hall, Music Department of Bar-Ilan University, Ramat-Gan, Israel. Listen to Stravinsky Smiles (movement 3) Publications: IMC Smile and laughter which is genuine and not just a mask – this is something found in its purest form in children. Children are easily fascinated with things and their form of communication with the world around them is

(I. Homage to Stravinsky –  II. Homage to Alban Berg  – III. Homage to Schubert  –  IV. Homage to Paganini) Performances: 23.12.13 – Israeli Music Conservatory Stricker, Tel-Aviv; Liberson Prize Receipt ceremony (Violin I – Yael Barolsky; Violin II – Andrea Hallam; Viola – Jonathan Keren; Cello – Yoni Etzion); 29.3.16 – Homage to Schubert in Tel-Aviv Art Museum; Aviv string quartet; 24.7.15 – French premiere of the Homage to Schubert at Rencontres Musicales Internationales des Graves, Bordeaux, France, Aviv string quartet; 4.7.17 – “Arsenal” Hall of Nizhny Novgorod (branch of National Center of Contemporary Arts) by the Cantando string quartet; 27.1.18 – Homage to Schubert in Rappoport Auditorium, Haifa and 01/02/18 in Israeli Music Conservatory Stricker, Tel-Aviv with Rishonim quartet; June 19,20 2018, 8:00 PM, Jerusalem Music Center; June 13, 2018,

(I.One for enO                       II.One for the Mountain III.One for Shuli                     IV.One for Jenia … and winter V.One for Rachel                  VI.One for Serge VII.The Rite of Strings          VIII.One for No One)  

Performances: November 2008  Malmö Academy of Music (Sweden), “Aviv” quartet and Elias Faingersh (trombone); 24/12/2008 “Sounds of Desert” Festival, Israel; |Elias Faingersh (trombone) and Israel Sinfonietta Beer Sheba, Conductor – Doron Salomon; 2010 City Concert Hall, Beer-Sheva; Elias Faingersh  (trombone), Israel Sinfonietta Beer Sheba, Conductor – Doron Salomon   Listen to Night at the Cinema 1 Listen to Night at the Cinema 2 Listen to Night at the Cinema 3 Listen to Night at the Cinema 4  https://www.youtube.com/watch?v=LDYcBTD_cG4

A minimalist piece, somewhat reminiscent of Arvo Part's "Spiegel im Spiegel"; The piece is included into a series of five Cantuses.   https://www.youtube.com/watch?v=ot8QMD1IUcM

1. Prelude – Allegro 2. First encounter – Presto … with the Duke 3. Second encounter – Siliciano … with Dave Brubeck 4. Third encounter – Presto … with Agatha 5. Fourth encounter –  Adagio… with Michel Legrand 6. Fifth encounter – Allegro … with Chick Corea)     Jazz Sebastian Bach is a suite of five pieces for flute and a jazz trio based mostly on movements from Bach’s flute sonatas. Each movement features a specific point of view from which Bach’s music is being approached: from Jacques Loussier and Claude Bolling, via Dave Brubeck and Michel Legrand, to Chick Corea and the author’s own attitude. Hence the subtitle of the suite: “Casual Encounters…” "

Performances: 2008 Teatro Era, Pontedera, Italy, w Anton Dressler, clarinet and Orcjestra Nuova Cameristica, Andrea Gottfried, Festival Nessia 2008 https://www.youtube.com/watch?v=x8w3OxW8JdM

"DIALOGUES A7" for flute, clarinet, harpsichord, 2 violas, violoncello and contrabass Performances: 23.09.2008 Jerusalem Theater, Spectrum Ensemble (Israel) Publications: IMC   https://www.youtube.com/watch?v=1FvBp_TaGAQ  

https://www.youtube.com/watch?v=mMQsFTQsslo

Publications: IMI  (Israeli Music Institute) https://www.youtube.com/watch?v=-5IrQ-Rsmtc

My version of the Beethoven`s piece with a somewhat more impressionistic approach. Included in the 23 Preludes for piano cycle. Performances: 21.10.10 “Khan” Theater, Jerusalem 24.10.10; Eshkol Pais Hall, Netanya 05.12.10 Jewish Community Hall Malmö, Sweden; 07.12.10 “Operaen” Jazz-club, Copenhagen. Danemark; 24.01.11 Leo Baeck Saal, Duesseldorf, Germany https://www.youtube.com/watch?v=Ix1LXPu9q38  

Performances: 16,18.01.2010 Beer-Sheva City Hall Yaron Prensky (violin), Sofia Falkovic  (cello), Conductor: Eyal Ein Habar, Israeli Sinfonietta Beer Sheba; 21.06.2010 Tel- Aviv Art Museum, Sergey Ostrovsky (violin), Kristina Reiko Cooper(cello) Concertmeister – Yaron Prensky; 17,19,20 March 2012 – Beer-Sheva City Hall Asi Mattatias (violin), Sofia Falkovic (cello), Conductor: Stephen Gunzenhauser, Israeli Sinfonietta Beer Sheba 01/04/13 Zadar, Croatia; Evgenia Epstein (violin), Mihovil Karuza (cello), Zadar Chamber Orchestra, Conductor – Pavle Despali; 27.11.16  Brno, Czech Republic, Leoš Janáček Music Academy, Moscheles String Ensemble, Conductor - Barak Tal, Tomas Vinklat (violin), and Jan Zlamal (cello) Publications: IMI  (Israeli Music Institute) Listen to Double Concerto (movement 1) Listen to Double Concerto (movement 2) Listen to Double Concerto (movement 3) Listen to Double Concerto (movement 4)   https://www.youtube.com/watch?v=d6MNLTRwtuc

I.“Walking Bachwards”II.“Syrinxation”III.“AmadEvans variations”IV.“The Funky Bird”V.“Consolation”VI.“Saltarello” Piece commissioned, performed and recorded by the internationally acclaimed German flutist Martina Silvesterand her "Clazzic Ensemble". Each movement of the suite is based upon an iconic classical piece from differentepochs and cultures, from the Middle Age troubadour`s chant and Bach down to Stravinsky and Debussy. Performances:21/11/11 Jerusalem Theater, Henry Crown Hall, “Etnakhta” series(w “Tabula Rasa” Jazz Trio and Noam Buchman and Martina Silvester);28/01/13 Versicherungskammer Bayern, “Musica Da Camera” series (“Clazzic” Ensemble);09/03/13 Freies Musikzentrum München 09/05/13 Staatlichen Antikensammlungen,Munich, Germany;12.09.2017 Montfort Jazzclub,  Langenargen Castle, Germany Recordings: Solo Musica   https://www.youtube.com/watch?v=uGQScVdMlaQ https://shop.solo-musica.de/produkt/ensemble-clazzic-intersecion/?fbclid=IwAR2rG0BhbRN21-eGIDftiznZbsbFPppK8j2o6M_2nWCUS1v1_zJSrTd7dc4 Watch the video of two movements from the Clazzic Suite arranged for two flutes and jazz trio: https://www.youtube.com/watch?v=0UO3fzhvwuc&feature=emb_imp_woyt https://www.youtube.com/watch?v=n_TW3x-BibU

Performances: 28/07/13 Corning Museum of Glass Auditorium, Corning, USA Endless Mountains Festival Chamber Orchestra, Conductor: Stephen Gunzenhauser. Listen to CITY OF MYSTICS (Movement 1 – “Cantus Firmus”) Listen to CITY OF MYSTICS (Movement 2 -3 “Air” – “Basso Ostinato”) “City of Mystics” was commissioned by the Israel Camerata Jerusalem and the Tel-Aviv Art Museum. At the heart of the work lies the challenge of writing a piece for an ensemble (flute, harp, and strings) usually associated with a refined classical work that would go in a totally unexpected stylistic direction – a crossover between contemporary composition, elements of Far-Eastern music, and modern fusion jazz. It is precisely this combination of wind and plucked

The piece aims to explore border areas of different performance possibilities on Violoncello, such as register, polyphony, timbre contrast etc.. It features extreme juxtapositions of dynamic and types of techniques, from a simple melodic line to expanded chord progressions, ending with a chord five octave wide. Publications: IMC Performances: 10/08/23 during the German music competition (DMW) in Cologne  as a part of the second competition`s round program by Timothy Hopkins, Cello https://www.youtube.com/watch?v=A1QIZHbCcCI&list=UULFqvXkVjjJRQ0k_CST3qNkaA https://www.youtube.com/watch?v=SJbjyNsu99c

( I. "At the Chotzer" II. "Almost a Lullaby" III. "The Fiddler" IV. "A Legend" V. "Raava Deraava" VI. "BroigezTanz") "Jewish suite" is a series of musical pictures, presenting different aspects of live and spiritual environment in a traditional East-European Jewish community some 150 years ago, known as Shtetl. The music is very close in many aspects to a traditional folklore, such as klezmer, folk song or Chassidic niggun (chant); however, no actual quotations are used, all the music is entirely original. There are six parts to the Suite. Their names allude to following concepts: "At the Chotzer" ("At the Yard" or alternatively "At the

( I. “At the Chotzer” II. “Almost a Lullaby” III. “The Fiddler”  IV. “A Legend” V. “BroigezTanz”) "Jewish suite" is a series of musical pictures, presenting different aspects of live and spiritual environment in a traditional East-European Jewish community some 150 years ago, known as Shtetl. The music is very close in many aspects to a traditional folklore, such as klezmer, folk song or Chassidic niggun (chant); however, no actual quotations are used, all the music is entirely original. There are six parts to the Suite. Their names allude to following concepts: "At the Chotzer" ("At the Yard" or alternatively "At the Court")

( I. “At the Chotzer” II. “Almost a Lullaby” III. “The Fiddler” IV. “A Legend” V. “Raava Deraava” VI. “BroigezTanz”) A suite is composed as a series of pictures from the Jewish Stetl life in Eastern Europe, it featuresno traditional tunes, however the atmosphere is close to that of traditional and folk Jewish musicfrom that area. https://www.youtube.com/watch?v=jS75B_cSdHg

(I. “At the Chotzer” II. “Almost a Lullaby” III. “The Fiddler”  IV. “A Legend” V. “BroigezTanz”) A suite is composed as a series of pictures from the Jewish Stetl life in Eastern Europe, it features no traditional tunes, however the atmosphere is close to that of traditional and folk Jewish music from that area. https://www.youtube.com/watch?v=jS75B_cSdHg  

( I. “At the Chotzer” II. “Almost a Lullaby” III. “The Fiddler” IV. “A Legend” V. “BroigezTanz”) “Jewish suite” is a series of musical pictures, presenting different aspects of live and spiritual environment in a traditional East-European Jewish community some 150 years ago, known as Shtetl. The music is very close in many aspects to a traditional folklore, such as klezmer, folk song or Chassidic niggun (chant); however, no actual quotations are used, all the music is entirely original. There are six parts to the Suite. Their names allude to following concepts: “At the Chotzer” (“At the Yard” or alternatively “At the Court”) – refers both to a physical

( I. “At the Chotzer” II. “Almost a Lullaby” III. “The Fiddler” IV. “A Legend” V. “BroigezTanz”) “Jewish suite” is a series of musical pictures, presenting different aspects of live and spiritual environment in a traditional East-European Jewish community some 150 years ago, known as Shtetl. The music is very close in many aspects to a traditional folklore, such as klezmer, folk song or Chassidic niggun (chant); however, no actual quotations are used, all the music is entirely original. There are six parts to the Suite. Their names allude to following concepts: “At the Chotzer” (“At the Yard” or alternatively “At the Court”) – refers both to a physical

( I. “At the Chotzer” II. “Almost a Lullaby” III. “BroigezTanz” IV. "Raava de Raava") “Jewish suite” is a series of musical pictures, presenting different aspects of live and spiritual environment in a traditional East-European Jewish community some 150 years ago, known as Shtetl. The music is very close in many aspects to a traditional folklore, such as klezmer, folk song or Chassidic niggun (chant); however, no actual quotations are used, all the music is entirely original. There are six parts to the Suite. Their names allude to following concepts: “At the Chotzer” (“At the Yard” or alternatively “At the Court”) – refers both to a physical

A piece commissioned by and performed during the International Tel-Aviv Harp Contest 2017. It was also among six finalists at the The Composition Contest for the USA International Harp Competition (USAIHC). It was chosen from 90 works submitted by composers from 33 countries. Publications: IMC Performances: 26-09-17, Israeli Music Day, "Debuts for harp" series, Gittit Boasson, harp; 8-7-19, Auer Hall, Bloomington, Indiana, Composition Forum at the 11th USA International Harp Competition; 17-11-19, Tel-Aviv Philharmonic Zucker Hall, International Harp Day, Marina Fradin, harp; 24-11-19, Jerusalem Center for Eastern Studies, Marina Fradin, harp. Listen HERE "

A piece in a memory of Oz Mendelovic, who died protecting his country and people, let his memory be blessed. It was commissioned by and performed during the International Master Classes in Zefat, Israel, 2017. https://www.youtube.com/watch?v=ZBp3-2ijIsQ

Listen HERE to the world premiere in Slovakia with Angelika Pavlech, mezzo-soprano https://www.youtube.com/watch?v=4tKmPLnG2-g https://www.youtube.com/watch?v=A74FCuQJL04 О пользе медитации Из стен вокруг я сделала дороги Иначе, мне казалось, некуда идти И я ползла, когда сбивались ноги В противоречьях этого пути От этих стен хотела оттолкнуться, Вспорхнуть, как птица ввысь, летать и петь Но стали небом голоса и лица, Чужих пространств негнущаяся сеть Клубком свернусь под пледом на диване, Сомкнутся веки в тёплой тишине, Улыбка тронет губы покаяньем: Всё, что ищу - находится во мне. Meditation Of walls around I have made a kind of roadCause otherwise, I saw no way for meAnd I was crawling when I couldn't goWhen obstacles had forced me drag one's feetOf walls around, I wished, I

A vocal piece composed at the commission of the "Silenzio Musica" composition contest,where Uri was active as a judge. The given text was written by Manrico Murzi (scroll down). https://www.youtube.com/watch?v=tRmmIeuq-gM&feature=emb_logo Il tic e il tac di mie dita, orologio dell'anima mia, ti protegge, ti invita al sogno e alla malia. Tocco di dita, tocco di vita. Aria di sonno circola tra i tuoi capelli teneri nei capelli leggeri aria di sonno spira. Tocco di dita, tocco di vita. È il soffio di mia voce che dolce ti carezza, del mio cuore è la brezza che scorre e va veloce. Tocco di dita, tocco di vita. Il tic e il tac di mie dita, orologio dell'anima

A piece that is a movement from the “When The Stones Dream” for a quartet.