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Lamentation (1973) ca. 10′
for fl (IMI 7389)

For Percussion (1975) ca.
10′ (IMI 7386)

For Harpsichord (1976) ca. 9′

For Harp (1976) ca. 8′
(IMI 7385)

For Organ (1978) ca. 7′

Dedication (1986) ca. 14′
for vln or vla (IMI 7383)

Tenero (1993) ca. 8′] for vcl (IMI 7206)

Misterioso-Sussurando (1998) ca. 6′
for vcl (IMI 7511)

Passolargo (1999) ca. 9′
for gui (IMI 7511)

Ornaments III (2001) ca. 8′
for fl (IMI 7514)


Two Little Suites (1962, 1965) ca. 16′
for ww grt

Pieces (1966) ca. 5′
for ob & pno

String Quartet #1 (1962) ca. 9′
Two miniatures on folk tunes
(SK 2954)

String Quartet #2 (1966) ca. 18′
(KM 1979)

String Quartet #3 (1969) ca. 24′
(IMI 327)

About an old Tune (1977) ca. 13′
for vln, vla, vcl & pno (IMI 7216)

Cantus I (1979) ca. 8′
for & 3 obs

Cantus II (1980) ca. 12′
for vln, vla & vc (IMI 7376)

Chamber Music (1992) ca. 18′
for cl & pno

Ornaments I (1991) ca. 9′
for 2 cls (IMI 7391)

Kaddish (1992) ca. 14′
for vcl or vla & pno (7388b)

Ornaments II (1993) ca. 4′
for 2 bsns

Discourse I-II (Cantis VI) (1994) ca. 18′
for ob & str qrt

Strain (1995) ca. 8′
for str qrt (IMI 7394)

Eight Chapters (Quartet #4, 2000) ca. 16′

Music for Nine (2001) ca. 18′
for str qrt & ww qrt (IMI 7398)

Farewell (2001) ca. 4′
for str qrt

Cantus II (2003) ca. 12′
for str qrt

Cantus IV ( Dedication, 2004) ca. 14′
for vln & pno


Songs of Captivity and Struggle (1957) ca. 8′
for Bar & pno
Text by Nikolas Gilien (Russian) (SK 154)

Children’s Songs (1959-64) ca. 18′
for v or children’s/women”s choir 
(Russian) (SK 3172, 3656, 3998; Lu 1966)

Songs of Anguished Love (1964) ca. 15′
for v & pno
Text by Silvia Kaputikjan (Russian) (Muz 2329)

Soare cu Dinitz (1972) ca. 12′
for v & pno
Text by Michai Chiubotaru (Molavian) (IMI 7393)

October Sun(1974) ca. 9′
for v, fl, vln, pno & perc
Text by Yehuda Amicahai (Hebrew) (IMI 7390)

This is a Gate Without Wall (1975) ca. 17′
for v, cl, bn, vln, vcl, perc & pno
Text by Yehuda Amichai (Hebrew)

Day and Night Arise to Heaven (1977) ca. 16′
for v, fl, tpt & perc
Text by Immanuel of Rome (Hebrew)

Circles (Life of the World to Come) (1986) ca. 11
for v, cl, vcl & pno
Text by Abraham Abulafia (English) (IMI 7381)

Letters of Creation (1988) ca. 12′
for v & pno
Text from ancient Jewish poetry (English) (IMI 7205)

Eight Pages (1989) ca. 9′
for solo voice
Text by Edmond Jabes (English) (IMI 7208)

To Go Away (1989) ca. 15′
for v, cl, vln, vcl & perc
Text by Jonathan Ratosh (Hebrew) (IMI 7396)

Vocalise (1995) ca.4′
for v & ob (IMI 7207)

Three Nights (1996) ca. 12′
for v, fl, cl, bn, gui, vln, vla, vcl & perc
Text by David Vogel (English) (IMI 7395)

Fermane (1998) ca. 9′
for folk singer and 3 cls
Text trad. (Kurd.) (IMI 7384)

If There Are Seven Heavens (2001) ca. 29′
Twelve miniatures for voice and cello
Text by Edmond Jabes (English)


Symphony (1956) ca. 38′
in four movements for SO
pic,2,2,2,2 – 4,3,3,1, perc, pno, hpd & str

Sinfonietta (1964) ca. 26′
for ChO
2,2,2,2 – 2,2,1,0, perc, pno, hp & str

Concertino (1964) ca. 18′
for vln & ChO
2/pic,2,2,2 – 2,2,2,0, perc, pno, hp & str

Six Moldavian Tunes (1965) ca. 8′
for SO
pic,2,3,2,2 – 4,3,3,1, perc, pno, hp, cel & str

Songs of Forest (1965) ca. 26′
Oratorio for soloists, choir & SO
Text by Victor Teleuke (Moldavian)
3,3,3,3 – 4,3,3,1, perc, pno, hp & str

Unfinished Lines (1969) ca. 11′
for Bar & SO
1,0,1,2 – 0,3,3,1, perc, pno & str
text by Mirza Gelovani, Vladislav Zanadvorov, Chazai Kaloev, Nikolai Majorov (Russian)

Concerto (1970) ca. 24′
for pno & SO
pic,2,2,2,b-cl,2 – 3,4,3,1, timp, perc & str (IMI 284)

Voices (1975) ca. 19′
for v, fl, 4 trbs & str

Concerto for Orchestra (1976) ca. 19′
3/pic,2,ehh,2,b-cl,2,dbn – 4,3,3,0, perc, pno, hpd, cel, hp & str (IMI 7382)

Rotations (1979) ca. 15′
for v & SO
3/pic,3,3,2 – 4,3,4,0,perc, pno, hpd, hp & str

Casa Mare (1980) ca.19′
Suite I from the opera for SO
pic.2,2,ehh,2,b-cl,2,dbn – 4,3,3,1, timp, perc (2), hp & str (IMI 7236A)

Memory (1981) ca. 18′
for SO
3/pic,3, 3, 2 – 4, 3, 3, 1, timp, perc, pno, hpd, cel, & str (IMI 7223)

Kaddish (1981) ca. 14′
for vcl or vla & StrO (IMI 7388)

Cantus III (1984) ca. 18′
for b-cl & ChO
2/pic,2,2,2 – 2,2,0,0, perc & str (IMI 7377)

Letters of creation (1987) ca. 12′
for v & str
Text from ancient Jewish poetry

Music for Strings (1988) ca. 24′
in three movements (IMI 7234)

Scattered Rhymes (1988) ca. 29′
for mixed choir & ChO
Text by Yehuda Amichai (Hebrew) 3/pic,2,2,2 – 2,2,0,0,0,perc, org, hpd, cel7str (IMI 7392)

Love Remembered (1989) ca. 10′
for mixed choir & ChO
Text by Yehuda Amichai (Hebrew) 2/pic,2,2,2 – 2,2,0,0, perc & str

Cantus V (1990) ca. 22′
Concerto for vla & SO
3/pic,0,2,b-cl,0 – 0,3,3,0, perc, hpd, cel, hp & str (IMI 7378)

Cantus II (1990) ca. 12′
for StrO (IMI 7376A)

Soare cu Dinitz (1994) ca. 12′
for v & SO
Text by Michai Chiubotaru (Moldavian) 1,2,2,2 – 0,2,0,0,perc, hpd 7 str (IMI 7393A)

Cantus VI (1995) ca.18′
for ob & ChO 2hns & str (IMI 7379A)

From Jewish Poetry (1996) ca. 21′
for v & ChO
Text by Edmond Jabes & from ancient Jewish poetry (English)
0,2,0,1 – 0,2,1,0, perc, hpd, cel & str

Beyond All This (1997) ca. 19′
for ChO
1,2,0,2 – 2,0,0,0 & str (IMI 7235)

Cantus IV (Dedication, 2000) ca. 14′
for vln & str (IMI 7247)

Casa Mare (1999) ca. 30′
Suite II from the opera for Mez, Bar & SO
Pic,2,2,ehh,2,b-cl,2,2,dbn – 4, 3, 3, 1, timp, perc, hp & str (IMI 7236A)

Cantus VII (2000) ca. 17′
for vln, vcl & SO 
2,0,2,2, – 2,2,0,0, perc, cel & str (IMI 7249)

Cantus VI ( 2002) ca. 18′
for cl & SO
pic,2,2,ehh,cl-pic,b-cl,2,dbn – 2,2,0,0, timp & perc

Cantus IV (Dedication, 2003) ca. 18′
for vln & ChO
2,2,2,2 – 2,2,0,0, perc & str

Vanished Strains (2004) ca. 20′
for SO
pic,2,2,ehh,2,b-cl,2,dbn – 4,3,3,1, hpsh, cel, timp & str


Casa Mare (1966) ca. 114′ Opera in two acts for soloists, choir & orchestra Libretto by Victor Teleuke on a drama by Ion Drutze Pic,2,2,ehh,2,b-cl,2,dbn – 4,3,3,1,timp,perc(3), hp & str
(MF 1970)

Chamber Scenes from the Life of Susskind von Trimberg (1982) ca.60″ Chamber opera for soloists, choir, dancers & orchestra Libretto  by Recha Freier 3,3,0,0 – 0,3,3,0, perc, 3 rcds. vla d’amore & str
(IMI 7380)




Mark Kopytman was born in 1929 in the former Soviet Union, where he received his early training in piano and music theory and later went on to study medicine. After graduating from medical school and while practicing medicine, Kopytman studied composition with Prof. R. Simovich at the Lvov Academy of Music and with Prof. S. Bogatirev at Tchaikovsky State Conservatoire in Moscow. After gaining his second PhD in 1958, Kopytman taught at the music academies of Moscow, Alma-Ata and Cisheneu. Several of his compositions (including the opera Casa Mare ) won prizes and distinctions in competitions and festivals

In 1972 Kopytman immigrated to Israel, where he was appointed Professor of Composition at the Rubin Academy of Music and Dance in Jerusalem, a position which combined compositional and pedagogical pursuits. Kopytman served as Chairman of the Theory and Composition Department, and later as Dean and the Deputy Head of the Academy (1974-1994).

Kopytman’s compositional classes raised dozens of composers who gave gone to hold prominent positions as composers and teachers all over the world. In 1979, Kopytman was invited to teach as a permanent Guest Professor at Hebrew University. He has since led seminars and master classes in composition, especially in heterophony, a main focus of his creative world, at universities and music schools throughout Europe and the United States.

During 1982—1983 and 1988 –1989 Kopytman was a Visiting Professor at the University of Pennsylvania and in 1985, Composer in residence at Canberra school of Music (Australia). In 1991 he established the Doron Ensemble for the performance of the 20th century music. The year 1991 saw him as a judge at Gaudeamus Competition for Composers in Holland, while 1992 provided the opportunity to lecture at the Seminar for Young Composers in Kazimierz Dolny, Poland, and later in 1994, at the Chopin Academy of Music in Warsaw.

Since 1991 he lectured as Visiting Professor at the Tchaikovsky State Conservatoire in Moscow and 1995 he was invited to lead a seminar at the Brandenburg Colloquium for Contemporary Music (Berlin). In 1991 he was appointed as music adviser to the International Festival in St. Petersburg, and in 1992 –1993 he initiated the International Summer Courses and the International Composers Contest in Moldova. From 1992 he served as Composer in residence of the Israel Camerata Jerusalem. In 1998 he initiated and led the International Symposium “The Art of Composition – toward the 21st century” in Jerusalem.

During this period Kopytman developed a strong individual style, inspired by Jewish folklore and combined with economical use of recent innovations and characterized by a strong accent on melodic lines in the web of heterophonic splitting of textures. Numerous performances of his works have been held in the USSR, and later with increasing frequency, in Israel, Europe, the Unites States, South America, Canada, Japan, Korea, Australia, and most recently in the republics of the former USSR

His orchestral and chamber compositions have been performed at prestigious festivals, among them the Israel Festivals in 1975, 1976,1978 and 1979, the Testimonium 1983, the 1980, 1986 and 1997 World Music Days of ISCM, the Warsaw Autumn festivals of 1986, 1987 and 1989, the International Festival in Cologne (1989), The International Festival “Merzishor” in Moldova (1991, 1992), the “Musical Spring in St. Petersburg” (1991 –1993, 2000), the International Festivals in France (1993.1994), the Schlezwig Holstein festival (Germany,1994), Bartok World Music Days in Budapest (1999), the International Festival in Prague, “Wratislavia Cantans” in Poland (1995), Arthur Rubinstein Memorial Festival (Geneva, 1996), Biennale (Tel Aviv 1997), International Festivals in Geneva and Seoul (!997), Bohn (1999), Sofia (1999, 2000).

Kopytman is recipient of several prizes; among them the prestigious Koussevitzky International Record Critics award for his orchestral work Memory (1986), the Israel ACUM prize for his lifetime creative achievements (1992), and Israel Prime Minister Prize (2002).

Mark Kopytman 1929-2011

In 1986 Mark Kopytman was awarded the Koussevitzky International Record Critics Award for the composition of his orchestral work Memory. That year the award was split between Mark Kopytman and Witold Lutoslawski (for his Third Symphony). Since then, Memory and other of Kopytman’s chamber and orchestral works have gained wide international recognition. In fact, worldwide critics highly acclaimed him “as one of the fairly rare breed of modern composers: his music is both advanced and ethnically/culturally identifiable” (Fanfare Magazine).

After his immigration from Russia to Israel in 1972, Kopytman soon became one of the foremost modern Israeli composers, with a strong personal and ingenious voice. The discovery of the world of Oriental Jewish music brought him to innovative use of the ancient concept of heterophony – a kind of texture with simultaneous sounding of several variants of the same main idea. Expressiveness of melodic contours, fluctuation between lyric cantilena and narrative dramatic gestures, richness of orchestral colors stamp the imaginative world of his music.

The very title, “Memory”, is in many respects symbolic of Kopytman’s music. In many works of the last period a deep stratum of the historical memory is permanently presented – almost unintentionally at times. Even the titles of his works – Kaddish, Lamentation, Memory, Beyond All This – can be seen as a key to the innermost essence of his music, of its connection with destiny and spiritual heritage of Jewish people.

Yulia Kreinin, from the book Mark Kopytman: Voices of Memory (Essays and Dialogues), edited by Yulia Kreinin, IMI ISBN – 965-90565-1-6

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Mark Kopytman is one of Israel’s foremost contemporary composers. His personal style is characterized by predilection for powerful dramatic gestures, pure melodic lines split into heterophony blending, variety of textures achieved through the super-imposition of multi-voice layers and by skillful handling of large orchestral masses.
Jehoash Hirshberg, Israel Today

In Kopytman’s hands, the heterophony flowers as a subtle and complex texture that occupies a mysterious middle ground between harmony and polyphony. His music is at once allusive and profound, dramatic and intimate, using new resources to echo timeless cultural and emotional concerns.
Bernard Jacobson, The Philadelphia Stagebill

Kopytman’s music is often characterized by a strong melodic orientation, clearly inspired by the Jewish oriental folk tradition. Within his personal compositional style, Kopytman has conceptualized the ancient word Heterophony, transforming it into a vital 20-th century technique.
Nancy Usher, Tempo Magazine, London

Mark Kopytman’s Dedication re-creates the human voice in mourning with startling effectiveness. The swaying, sliding Jewish lament – even to the vocal cracking – is most imaginatively done.
Bernard Holland, New York Times

Kopytman’s Eight Chapters (String Quartet #4) is composed as a series of short, diverse fragments that convey anger and rage, yearning and poetic aura. Wonderful piece…
Ora Binur, Maariv, Tel Aviv

The title “Memory” does not begin to suggest the stirring effect this tightly constructed work produces. Its hard message was deeply moving.
Gordon Sparber, Washington Post

At the same time Russian in the soft colors of the strings, very oriental in the vocal arabesques and rhythms, very modern in the orchestral writing, Memory perfectly integrates its various elements. This short and dense work imposed immediate sense of concentration and religious fervor.
Pierre Macho, Journal de Geneva

The conclusion of the Cantus VI is apprehended as a sudden insight, as an image of inspired unattainable and religious beauty – beauty of transfigured suffering. The listener experiences the instant of a true inner piece, which is so rare (and therefore really unforgettable) in the music of nowadays.
Julia Kreinin, IMI News

Mark Kopytman’s Cantus II was a powerful piece, which sprang from folk music and grew in wonderfully exuberant and ingeniously orchestrated composition.
Peter Halasz, Hungarian Music News, Budapest

The work’s name “Voices” serves as a guide to anyone who opens his ears and his heart (which is even more important), for one who does listen enters a world of mystery and magic.
Benjamin Bar-Am, Jerusalem Post

Cantus V is equally cantabile and full of virtuosity, evidently inspired by Jewish folk music, as well as very colorful and diverse.
Aachener Volkszeitung, Germany

Kopytman’s String Quartet #3 composed in Russia before his immigration 30 years ago has stood the test of the time, sounding as vigorous and appealing as when it was performed here for the first time.
Uri Eppstein, Jerusalem Post

The Life of the World to Come (Circles) possesses rare beauty and an extremely suggestive poetic halo.
Federico Manjeau, La Razon, Argentina