“From the beginning, it was clear to me that the repertoire for my debut CD needed to reflect what I believe in as a musician. Choosing pieces that are particularly close to my heart seemed the most natural and honest way of introducing myself. In addition to that, I wanted the recording to mirror a real concert programme.

Schubert and Brahms are two of my favourite composers. As a violinist, I have always had a soft spot for good melodies and Schubert’s melodic genius immediately touched my heart. For me, the magic of melody is more mysterious than other aspects of music, perhaps because it imperceptibly incorporates elements such as rhythm and harmony, a particularly striking feature of Schubert’s Rondo in B minor. In some of Brahms’ music I find the most inspiring combination of emotion and intellect, with the ingenious construction of the music enhancing its emotional content and vice versa.

My years at a French high school in Tel Aviv left me with a taste for the language and the culture of France and I have since felt a particular bond with its music. In a way, Chausson’s Poème is a bridge between German and French music because, alongside its Wagnerian influences, it shares the high intensity of Messiaen’s early Theme and Variations. However, the two works differ in their range of colour – not only because they were composed in different eras, but perhaps also because the drama in Chausson’s piece has a secular/Romantic source, whereas Messiaen’s inspiration is more spiritual/religious.

I have always been fascinated by the music of the 20th century, and it was important for me to have a strong representation of that era in my “Portrait”. Hindemith’s Solo Sonata is a gem that is still relatively unknown. Its five movements are so tremendously diverse in character and instrumental techniques that they resemble five miniature portraits.” - Itamar Zorman