This work, based on Jewish songs from the Carpathian Mountains,[clarification needed] was originally written for piano and later on, in 1936, transcribed for orchestra.

[1] One of the cornerstones in the development of the art of music in Palestine during the Yishuv period was the performance of Boskovich's Semitic Suite by the Histadrut Orchestra under the baton of Frank Pelleg.

Immediately after his arrival in Israel, Boskovich changed his writing style as is well manifested by his Semitic Suite - from the tonality of Europe into textures that imitated the oud or the Arab kanun.

[3] During this period, he became part of an influential clique of composers known as the Troika, together with his colleagues Oedoen Partos and Mordecai Seter,[4] who, according to musicologist Ronit Seter, were united in their "fundamental belief [...] that the local version of contemporary music should reflect local melos, rhythms, views, historical events, and cultural identity".

[6] This article provided a detailed account on the style which Brod and Boskovich defined as Musica yam-tikhonit (Mediterranean music).

[9] Boskovich's two key Eretz Israel works, Concerto for Oboe and Orchestra and the Semitic Suite, were strongly inspired by the music of Yardena Cohen.

"Be-Adiim" (in your ornamental Jewelry), for flute and orchestra, is an instrumental rendition of the Yemenite version of the Songs of Israel related to the splitting of the Red Sea.

Among his students were Rami Bar-Niv, Max Brod (orchestration), Ezekiel Braun, Theodore Holdheim, Yoram Papourish, Isaac Sedai, Tzevi Snunit, Habib Touma, Yehuda Yannay.