Voices of Memories


Mark Kopytman, Voices of Memories  (ed by Y.Kreinin)

Collection of essays, articles, musicography

edited by Yulia Kreinin

Israel Music Institute, 2005, ISBN 965-90565-1-6

to order the book contact http//www.

Yehuda Amichai – Poetry


Yehuda Amichai – Poetry / Mark Kopytman – Music JAS-04-2000

October Sun (1974) for voice & chamber ensemble

Scattered Rhymes (1988) for mixed choir & chamber orchestra

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Vocal Music, Mira Zakai


Mark Kopytman; Vocal Music performed by Mira Zakai IMI-CD 06

October Sun (1974) for voice & chamber ensemble

Eight Pages (1989) for voice solo

Circles (Life of the World to Come) (1986) for voice and chamber ensemble

Three Nights (1996) for voice & chamber ensemble

Rotations (1979) for voice & symphony orchestra

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Orchestral Music


Mark Kopytman: Orchestral Music conducted by Mendi Rodan IMI CD

Voices (1975) for voice, flute & orchestra

About and Old Tune (1977) for two oboes & chamber orchestra

Cantus VI (2002) for clarinet & symphony orchestra



Mark Kopytman: Four Compositions with Gary Bertini IMP 01-2094

Memory (1981) for symphony orchestra

Cantus II (1980) for violin, viola & cello

Rotations (1979) for voice & symphony orchestra

Lamentation (1973) for flute solo



Mark Kopytman: Orchestral Music with Camerata Jerusalem conducted by Avner Biron IMI-1929-03

Beyond All This (1997) for chamber orchestra

Kaddish (1982) for viola & strings

Music for Strings (1988) in three movements

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Chamber Music Live


Mark Kopytman: Chamber Music Live JMC SP 05

String Quartet #3 (1969)
The Jerusalem Quartet
Alexander Pavlovsky – violin, Sergei Bresler – violin,
Amichai Crosz – viola, Kyril Zlotnikov – cello

About an Old Tune (1977) for violin, viola, cello & piano
Tel-Aviv Trio
Jonathan Aner- piano, Matan Givol – violin,
Ira Givol – cello, Yuvak Gotlibovich – viola

Alliterations (1993) for piano solo
Ran Dank – piano

Tenero (1993) for cello solo
Adiel Shmit – cello

Kaddish (1982) for cello & string orchestra
Amit Peled – cello,Tel-Aviv Soloists,
Barak Tal – conductor

to order the CD contact

Pitch Graph

Mark Kopytman

Practical device for musical analysis and composition – Second edition

Jerusalem Academy of Music and Dance, 2002

The Music of Mark Kopytman – Yulia Kreinin

Echoes of Imaginary Lines

Studia Slavica Musicologica vol.33

Verlag Ernst-Kuhn – Berlin, 2006



About Melody Writing (2002)
(Studies in Composition, IV)
A compositional approach to contemporary melodic writing, based on the micro-analysis of the composer’s compositionEight Pages for solo voice on a text by Edmond Jabes, with a general discussion on creative problems, MS

Composition with Blocks (1984-1999)
(Studies in Composition, III)
A comprehensive approach to the problems and devices of contemporary composition, based on the understanding of the musical form as a layered process. MS

Symmetrical Modes (1984)
(Studies in Composition, II)
A practical guide to the symmetrical partition of the chromatic spectrum as a method of discovering new scale resources, MS.

About Heterophony (1982-1994)
(Studies in Composition, I)
A textbook for the composers describing various heterophonic devices in 20th c century music, their expressive features, and methods of practical writing; includes a wide range of musical examples from the composer’s symphonic and chamber compositions, MS.

Bach’s Secret Counterpoint (1985)
An attempt to analyze complex contrapuntal devices in Bach’sPartita in C major, MS.

Rotations – Transformations and Pitch Graph (1975)
An explanation of the composer’s Pitch Graph, designed for the analysis and creation of pitch sets and their symmetrical variants, MS

Pitch Graph (1972)
A practical device for analysis and composition, based on the use of newly discovered symmetrical variants (dodecaphonic or free composed); registered by the Library of Congress,Washington, 1974; first edition: Unipress, Jerusalem, 1974: second edition: Jerusalem Academy of Music and Dance, 2000.

Theoretical writings by S. Bogatiryov (1972)
A review of one the most important researches of canonic forms, presented in two books, written by S. Bogatiryov. Published in the collection: S. S. Bogatiryov: StudiesArticles,Recollections, Sovetsky Kompozitor, Moscow, 1972 (Russian)

Choral Composition (1965)
An official textbook for writing a cappella choral music, for students of the Composition and Conducting departments at the musical Academies in the former USSR, Sovietsky Kompozitor, Moscow,  1971 (Russian).

Symphonic Music (1962)
About the features and historical trends of large-scale symphonic compositions written by Kazakh composers in the period up until 1960′ s (in cooperation with N. Tiftikidi). Published in the collection: Essays in the History of Kazakh Music, Alma-Ata, 1962 (Russian)

About Polyphony (1961)
A brochure from a series of popular publications for students and teachers of music schools and amateurs, Sovetsky Kompozitor, Moscow, 1961.

Multi-part Canon and Canon Sequence (1958)
A theoretical research of complex canonic devices based on proposed by the author innovative theory of chains and their use in practical composition, published in Voprosy musickoznaniya (Problems of Musicology), Volume 3, Muzika, Moscow, 1961 (Russian).

About Canonic Imitation (1958)
An article about complex contrapuntal combinations, Sovetskaya Muzika 2 (1958), Moscow (Russian).


Bradley Deborah, Mark Kopytman’s Imagionary World, Mark Kopytman: Voices of Memories(Essays and Dialogues, ed. by Y. Kreinin), Israel Music Institute, 2004, pp. 59-66 (the volume is mentioned below as YK-MK-VM)

Gradenwitz  PeterThe Music of Israel: from the Biblical Era to Modern Times (second edition, revised & expanded), Portland, Oregon, Amadeus Press, !996; – Music and Musicians in Israel, Israel Music Publications, 1977, pp.404-406, 411, 421

Dubinets Elena, Listening to the Music of Space (Interview and Comments), Muzikal’naya akademia,1998/2, pp.34-39 (in Russian), reprinted in YK-MK-VM, pp.155-172; – A Story About a Medieval Jew, YK-MK-VM, pp. 129-148

Haimovsky Gregory, Ancient and Modern Tunes in Kopytman’s Music, YK-MK-VM, pp.221-226

Hirsberg Jehoash, Kopytman’s Heterophonic Trail: From Memory to Beyond All This, YK-MK-VM, pp. 67-80: – “Mark Kopytman”, The New Grove Dictionary of Music and Musicians, S. Sadie and J.Tyrell, ed., London, Macmillan Press, 2001, pp. 795-796; – “Mark Kopytman”, Die Musik in Geschihte and Gegewart, Zweite Ausgabe, Personteil 10, Barenreiter-Verlag, 2003, pp. 527-528

Just a Few Words,by Ayal Adler, Jonathan Berger, George Crumb, Osvaldo Golijov, Elizabeth Kharitonova, Valentina Kholopova, Grigory Korchmar, Roman Ledenyov, Yinam Leef, Jorge Liderman, Haim Permont, Andrey Petrov, Zecharia Plavin, Sergey Slonimsky, Eitan Steinberg, Tadeusz Strugala, Cornel Taranu, Richard Wernick, Michael Volpe, Mira Zakai, YK-MK-VM, pp. 239-264

Kletinich Yevgeny, From Memory, Sovetskaya Muzica, 1991/10 (October), pp. 37-40 (in Russian); – The 1960’s: Kopytman in Moldova, YK-MK-VM, pp. 81-112; – Casa Mare – the Moldavian Opera of Mark Kopytman, YK-MK-VM, pp. 113-126

Kreinin Yulia (ed), Mark Kopytman: Voices of Memories (Essays and Dialoques), Israel Music Institute, 2004, 288 pp. (abbreviated in other references as YK-MK-VM)

Kreinin Yulia, Mark Kopytman on the way to “Cantus VI” (1965), Israel Music Institute News, 1997/2 – 1998/1, pp. 11-12; – Interview with Mark Kopytman, Muzikalnaya akademiya, 1993/3, pp. 159-162 (in Russian); – Mark Kopytman’s Instrumental Music: Material and Process, YK-MK-VM, pp. 23-40; – Great Integrity of Word and Music, YK-MK-VM, pp. 41-58; – Mark Kopytman: Seeking his Jewish Roots, in “Samuel” Goldenberg and “Schmuyle”: Jewish and Anti-Semitic Elements of Russian Musical Culture, An International Symposium, Studia Slavica Musicologica, SSM 27, Verlag Ernst Kunn – Berlin, 2003, pp. 249-264

Kreinin YuliaEchoes of Imaginary Lines (part I – by Yulia Kreinin, part II – articles by Mark Kopytman), Studia Slavica Musicologica, SSM 33, Verlag Ernst Kunn – Berlin, 2005

Zeharia Plavin, What is behind Avni’s and Kopytman’s Seventees (?), Kopytman’s Alliterations, Israel Music Institute News, 1995/1, pp.11-13

Shiloach Amnon, The Role of Israeli Etnic Traditions in the Creation of an Israeli Musical Style (Dialogue I), Pe’amim, 1984, pp. 56-64 (in Hebrew), reprinted in YK-MK-VM, pp. 173-180; – The Poetic Text in Vocal Compositions (Dialogue II), YK-MK-VM, pp. 181-186

Smoira-Cohn Michal, Composer goes West, Music and Time, A publication of the Jerusalem Academy of Music and Dance, winter 1993, pp.35-46, reprinted in YK-MK-VM, pp.187-192

Steinicker Anton, Mark Kopytman’s Heterophony; its problems and solutions, Ph D dissertation, Bratislava University Press (in preparation)

Tavor Yossi, Blending into a Culture,Panarama of Israel 220, Jerusalem, 1986, pp. 34-39 (in Russian), reprinted in YK-MK-VM, pp. 149-154

Tischler AliceA Descriptive Bibliography of Art Music by Israeli Composers, Studies in Music Bibliography 62, Warren, Michigan: Harmonie Park, 1998, pp. 149-153

Trembovelsky Yevgeny, Utmost Precision in Music Theory, YK-MK-VM, pp. 193-204; – Past in the Present: Homage to my Teacher, Muzikalnaya Akademiya, 1999/4, pp. 74-78 (in Russian), reprinted in YK-MK-VM, pp. 227-238

Yuzefovich Victor, And Once More a Lyric Tragedy, Sovetskaya Muzica, 1969/5, pp.35-40 (in Russian); – A Chain of Human Destinies, YK-MK-VM, pp. 205-220

Uscher Nancy, A 20th century Approach to Heterophony: Mark Kopytman’s Cantus II, Tempo156, 1986, London, pp.19-22, reprinted in Music and Time, A publication of the Jerusalem Academy of Music and Dance, winter 1993, pp. 36-41, and later in YK-MK-VM, pp. 17-21

Links – Library of Jerusalem Academy of Music, Jerusalem, Israel – Israel Music Institute,Tel Aviv, Israel – Library of Hebrew University, Jerusalem, Israel -Theodore Presser Company. USA – Israel Camerata, Jerusalem, Israel – Jerusalem Music Center, Israel



Distance Beyond Distance (1960) ca. 24′
Ten poems for mixed choir
Text by Alexander Twardovsky (Russian) (SK 2575)

Forty Years (1964) ca. 8′
for mixed choir
Text by Victor Teleuke (Moldavian) (KM 1964)

Water-colors (1965) ca. 6′
for women’s choir
Text by Nikolai Rilenkov (Russian) (Muz 1465)

Ten Moldavian Folk Songs (1966-1972) ca. 22′
arr. for mixed choir (Moldavian)

Stones (1980) ca. 6′
for mixed choir
Text from Quotations (English)

Wno lights Up? (1987) ca. 7
for children’s choir
Text by Amir Gilboa (IMI 6697)


Polyphonic pieces (1962-85) ca. 28′
(SK 1485, 1963;Muz 1295,KM 1667, Lu 1971)

For Piano (1973) ca. 12
(IMI 7387)

Basso Recitativo (1977) ca. 9′ f
or two pnos
(IMI 7387

Variable Structures (1985-87) ca. 18′
Twelve short preludes (IMI 7397)

Alliterations (1993) ca.12′
(IMI 7215)

For Gregory (2000) ca.9′
Three miniatures (IMI 7512)

Bucolics (2002) ca. 6′
five little  pieces for children (IMI 7513)


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)


Monodrama (1975) ca. 12′
music for ballet for cl, bn, 3 vcl, perc, hpd &pno

Prism (1976) ca. 10′
music for ballet for tmb & perc

Two Poems (1978) ca. 14′
music for ballet for fl, vln, vcl & pno

And a time for Every Purpose (1979) ca.16′
music for ballet For fl, tpt, trb & perc

Wings (1979) ca. 42
music for drama 1, 0, 1, 0 – 0, 1, 1, 0, vln, vcl, db, pno & perc

IMI – Israel Music Institute (Tel Aviv)
MF – Muzfond (Moscow) Muz – Muzika (Moscow)
SK – Sovetsky Kompozitor (Moscow)
KM – Kartya Moldavaneske (Cishineu) Lu – Lumina (Cishineu)


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