Some pieces don’t really leave you. They wait in silence for years, sometimes decades, until you’re ready to meet them again. Music of Childhood and Intro were among those pieces — the closing and opening themes of my first solo concert program Revelations in the Inner Circle (2003–2005).

Intro — the opening gate

The program began with Intro, a short instrumental fragment that set the tone for what was to follow. It wasn’t a typical concert. Revelations in the Inner Circle was a lyrical solo program built on my own songs, poems, music, jazz improvisations, and even musical and literary parodies.

The first performances took place in Israel in October–November 2003.
At the time, reviewers described the program as:
“A quiet, thoughtful intonation — combining irony and sincerity — where echoes of romance, chanson, jazz, musical theater, and cinema could be heard.” — Pavel Shtifman, director.

Renowned music critic and journalist Viktor Licht also noted:
“Golub doesn’t limit himself to familiar frames. His songs and instrumental pieces draw from chanson, jazz, even academic music. What results is an evening where humor and lyricism, irony and sincerity, all coexist.”

Music of Childhood — the closing theme

If Intro opened the circle, Music of Childhood was its closing voice.
For many years it remained silent. I didn’t return to it — perhaps because I wasn’t ready.
But in 2025, more than two decades later, I brought it back, both as a video and as a YouTube Short.

Recording it again felt like meeting myself after 22 years.
It wasn’t just nostalgia — it was rediscovery, a recognition of something still alive.
A melody that had waited patiently until the moment I could hear it anew.

A program as a mirror

Revelations in the Inner Circle was more than a concert.
It was a mirror of identity — fragments of who I was at the time, held together by music, poetry, and improvisation.
Revisiting it now reminds me that art doesn’t disappear.
It waits, like a part of yourself you will one day return to.

All of this happened in Israel, where the program was first performed in 2003.
Since then, I have created five more author’s programs — each very different from the others.
Next year, I hope to present a seventh one, in which I will try to explain why I continue with all this “eccentricity.”

Watch and Listen: