The alchemist of the strings: Michael Greilsammer returns to Jerusalem

Under the artistic direction of Effie Benaya, Greilsammer’s new trio show – featuring guitarist Assa Bukelman and percussionist Lidor Levy – is a sonic autobiography, a journey through technique and memory conveyed through sound.

“Today, I feel the violin is part of me: it is my voice. Even when we navigate through vastly different styles from different eras and cultures, the violin remains the backbone of the performance.”

This voice has traveled a significant distance, moving from the discipline of classical conservatories to the rhythmic environment of Caribbean islands. In our conversation, he describes how, in his upcoming performance on February 5, he will finally allow all of these musical identities to inhabit the same stage simultaneously.

The setlist for the Confederation House performance represents a deliberate meeting of musical worlds. The program is designed to challenge the traditional boundaries that usually separate “high art” from popular culture. Audience members might hear a complex Bach sonata immediately followed by the cinematic themes of modern Hollywood.

“For me, it’s a dream to play the music from films like Indiana Jones, Jurassic Park, and Interstellar,” he says. “I see these film scores not as mere entertainment but as contemporary classical pieces that carry the same emotional weight as the works of the past,” the violinist says. This perspective is central to the “upscale” nature of the show; it treats the pop culture of our era with the same reverence as the Baroque period.

Interwoven with these cinematic pieces are the strains of Gypsy jazz, Irish and Celtic melodies, and Greilsammer’s own compositions, such as “Ishti HaYekara” and “Yalla Boei.” He sees these genres not as separate silos but as dialects of the same language: the language of the fiddle, capable of expressing joy, melancholy, and longing in equal measure. In Jerusalem, a city of layers, this approach feels particularly resonant.

At the core of this musical exploration is his connection with guitarist Assa Bukelman. The two have engaged in a “musical dialogue” for 18 years, a partnership that began in an unlikely place. “We first performed together in the Caribbean during my first international tour in 2009,” he recalls. That tour marked a turning point, establishing his reputation for bridging Middle Eastern sensibilities with global grooves.

“Thanks to Assa, I can bring whatever I want to the show. I know it will sound right, that we will enjoy the performance, and that the audience will see the connection,” Greilsammer says. The relationship between the two is almost telepathic, allowing them to shift from the precise, mathematical requirements of a Bach piece to the loose, improvisational feel of a jazz standard – without missing a beat.

The chemistry between them allows for a high degree of spontaneity on stage. “If it’s Gypsy jazz or Irish music, he accompanies me on the acoustic guitar, and we often find ourselves in an improvised middle section. If I ask to play a Hans Zimmer film score or one of my own songs, he picks up the electric guitar, and the atmosphere shifts,” he says.

Percussionist Lidor Levy completes the trio, bringing a dynamic groove that reinforces the interplay of violin and guitar while enhancing the narrative of the performance.

Greilsammer’s career has always focused on the “fiddle,” the folk-infused counterpart to the classical violin. To the uninitiated, the difference might seem small, but to Greilsammer the fiddle represents a different philosophy of playing – one where the rhythm is as important as the pitch. His tenure with Israel’s Irish/Celtic band Black Velvet was formative, grounding him in the rhythmic drive of Celtic music while allowing his personal and professional lives to intersect. It was within this scene that he met his wife and frequent collaborator, Shimrit.

“I created an evening where the violin tells the story, from the classical music of my childhood to the Irish traditions where the fiddle reigns, through the Gypsy jazz of Stéphane Grappelli, and, of course, in my own compositions, where the violin is always free,” he explains.

His move into reggae initially surprised the traditional music establishment. By integrating the violin into the bass lines and off-beat rhythms of reggae, Greilsammer carved a niche that brought him to festivals around the world. “I felt a need to bring the violin into that space, and it allowed me to perform across the Caribbean and at festivals worldwide,” he says.

This perspective has filtered back into his Hebrew songs, lending them a distinct texture that remains rare in the Israeli music landscape. It is this “outsider” status that gives his music its edge; he is a classical musician who knows how to make a crowd dance, and a rock musician who understands the nuances of a sonata.

Performing at Confederation House carries a particular resonance for an artist rooted in Jerusalem. The venue, housed in a historic 19th-century stone building overlooking the Old City walls, is known for its long-standing commitment to ethnic music and cross-cultural dialogue. This architectural setting provides more than a backdrop, shaping the way Greilsammer’s multifaceted repertoire is received.

Greilsammer embodies a tension between tradition and rebellion. He honors the rigorous scales of his youth while embracing the energy of indie rock. Channeling influences from R.E.M. to Bob Marley, he navigates each style with conviction. This is not “fusion” for the sake of being trendy; it is a genuine reflection of an artist who refuses to be pigeonholed. He understands that music is a continuum, where a 300-year-old melody can find a new home in a contemporary indie track.

As he prepares for the February 5 performance, Greilsammer is curating a life’s worth of musical memory. He spends hours in the studio, not just practicing the notes but also thinking about the “breath” between them. For this trio show, the silence is as important as the sound. The stripped-back nature of the ensemble allows the violin to breathe, highlighting the raw textures of the wood and the horsehair.