Kri’ot derives its inspiration from the characteristic melismatic singing, while praying and reading biblical texts as well as from folk and traditional songs, sung by the Jews from eastern European, Balkan, North African and Middle-Eastern countries.

In this piece I present a panoramic view of cross over musical material of different geographic and ethnic origins, trying to bring about from its apparently different nature and spirit, an homogeneous and natural musical co-existence.

Traditional and ethnic music materials are processed using western contemporary compositional techniques. They undergo in this work, processes of development, adaptation, transformation, assimilation, resetting and re-composition, to the point of assuming new forms and being placed in different contexts. These processes touch on widespread and complex areas of contrast, such as east and west, holy and secular, traditional and new. This musical heritage, which reached us after wondering through places and history, contains musical and literary materials from all over the world. The popular/folk and liturgical music of the Sephardic and East-European Diaspora is, in its essence, hundred years old classical-Arabic