The idea of reworking a three-part fuge into a solo piece bubbled up when I heard an organ version of a fugue that Johann Sebastian Bach had conceived for violin solo. It appeared to me that this arrangement (the organ version) actually sounded more like an original whereas the violin solo version could have been the arrangement. In which case Bach would have done a superior job in (re)designing the subject and countersubject in such a way that they could be played as a single line (even if the violin uses more than one string). …read more

An attempt to list & categorize all my 226 compositions & arrangements so far.

2011

Le chasseur maudit (C. Franck) [15’]. Wind ensemble, db & perc.
Archipel VII DOUBLE (D. Manneke) [9’]. Reed quintet
Concerto in a minor BWV 1065 – from Vivaldi’s L’Estro Armonico (J.S. Bach) [10’]. Reed quintet, str. orchestra & basso continuo
Concerto in d minor BWV 596 – from Vivaldi’s L’Estro Armonico (J.S. Bach) [10’]. Reed quintet
Suite III BWV 1009 (J.S. Bach) [20’]. Sax solo …read more

Andrew Manze – Pandolfi Mealli, violin sonatas
vibrant perfomances of crazy music from the early baroque
Duke Ellington Orchestra – Three Suites
perfect fusion between classical music and jazz. by the Duke & Billy Strayhorn
Zoltán Kocsis – Debussy, Images
breathtaking interpretations of maybe the finest piano music ever written
Elvis Costello & The Brodsky Quartet – Juliet Letters
an almost perfect fusion between a classical chamber group and a pop singer

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Notes are not tones. My philosophy about tones is that no notation is ever sufficient to describe a tone. Wind and string instrumentalists as well as singers intonate and adapt pitch to context.
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