Noam Sheriff, one of Israel’s most acclaimed composers, is the subject of a newly published autobiography that captures his life through a distinctive oral memoir format. Released in 2024 by Magnes Press, the book, titled *Akdamot* after his debut composition, is based on long hours of recordings in which Sheriff recounted his personal and professional journey. The narrative preserves Sheriff’s conversational style, a priority set by his widow, Ella Milch-Sheriff, herself an accomplished composer, who helped bring the project to fruition.
Sheriff’s career spanned numerous musical domains, including intimate chamber works, large orchestral and choral pieces, theater, and film. He was also well known to the Israeli public through television appearances and collaborations with prominent artists such as Sasha Argov and Arik Einstein. Unlike some artists who kept their work confined to elite circles, Sheriff believed in engaging deeply with the public, a philosophy encapsulated by his motto: “He who does not go down to the people cannot rise from the people.”
The book offers an introspective glimpse into Sheriff’s creative process and artistic philosophy. He candidly reflects on his advanced age and fading memory of earlier compositions, acknowledging that the works sometimes “take over” and exist somewhat independently of him. Confident in the enduring quality of his legacy, Sheriff expressed a firm belief that “my work will survive.”
Life at home was uniquely shaped by the presence of two influential composers. Milch-Sheriff described their relationship as both personal and collaborative. While they composed independently, she often sought Sheriff’s feedback during moments of creative uncertainty, calling him “the greatest teacher I ever had.” In his later years, when deteriorating eyesight made writing music difficult, Sheriff dictated his compositions to his wife and their son, Aviv. This method contributed to the creation of some of his late masterpieces, including *Missa Terra Sancta*.
Sheriff’s work is strongly linked to the early Zionist generation of composers who immigrated to what was then British Mandatory Palestine, instilling their music with Jewish and Israeli themes. Holding a worldview shaped by local culture, Sheriff did not consciously assume a national label, but rather embodied the identity of an Israeli composer through his innate connection to regional influences. His approach differed from that of earlier European-born composers like Paul Ben-Haim, who actively studied Middle Eastern music, whereas Sheriff, born in Israel, absorbed these sounds naturally.
*Akdamot* features insights into Sheriff’s relationships with key figures in Israeli music, including his admiration for Yosef Tal and a noted rivalry with Alexander Urian Boskovich. His compositions frequently blend diverse Jewish musical traditions, as demonstrated in pieces like *Revival of the Dead*, which fuses Ashkenazi cantorial melodies with Samaritan and Moroccan Jewish themes, along with personal family elements.
Despite its expansive reach, the autobiography focuses more on Sheriff’s early years and the cultural landscape of Israel’s past, touching only lightly on the last three decades of his life. Milch-Sheriff acknowledges that this period receives less attention and that the book deliberately emphasizes an earlier era when European cultural influence was more pronounced in Israeli art music. Moreover, detailed analysis of many of Sheriff’s chamber works, which highlight his compositional mastery, is notably absent.
Nonetheless, *Akdamot* offers a vivid portrait of Sheriff’s artistic philosophies, his determined spirit, and his lifelong commitment to music. As noted by actor and director Oded Kotler during an event marking the book’s release, the memoir’s unembellished, heartfelt narration provides a meaningful connection to the composer’s legacy. Through this intimate recollection, Sheriff’s contributions to Israeli music and his reflections on his craft remain accessible to both contemporary audiences and future generations.