The Nemirovsky Grand Sonata,the by the composer regarded first mature large scale work for piano solo, is dedicated to Shachar Nemirovsky († 14-12-2007) who's firstname as a S-H-A-C-H-A-R motive formed a compositional base for part 4 and 5.

• Part 1
  Part 1 researches the limits of coorperation between left and right hand. In the first few minutes - apart from some obvious excerpts - the left hand seems to accompany the right hand melody, but in fact the notes are randomly chosen by the composer. What then gives the illusion they are bounded? Why - if the notes are random - the whole does not sound out of tune?
  
• Part 2
  The fast and metricly strict Part 2 is inspired by Beethoven's 2nd part of the 9th symphony.
  
• Part 3
  If part one surprisingly did not sound 'out of tune,' this part surely does! Somebody to Love" by Queen is sacrificed on the altar of out-of-tuniness!
  
• Part 4
  A minimal-like piece based on the S-H-A-C-H-A-R motive
  
• Part 5
  A left hand blues again based on the S-H-A-C-H-A-R motive recapulates the essence of the Nemirowsky Sonata: in what degree the left and right hand do cooperate in terms of metrum, rhytm and pitch to create an integral piece?

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  Underneath "Somebody to Love" by Queen along with Part 3.
  After that all 5 parts in order.