Writing this article for Orgelkunst instigated me to make a survey of all my organ works. In this way it became clearer to me which influences were decisive in the formation of the musical language that my compositions speak. In order to prevent the article from ending up in a dry catalogue of analyses, I made a choice that seemed representative to me. My first genuine piece, Organetto, from 1982, is still a suite of loose elements; in every part a certain sound effect is developed, with varying harmonic and rhythmic patterns. Some of these were to return later on. The most striking one is the motive of the central “recitativo”, which I have given the name of “sextmotief” on this occasion. From Pièce légère onwards there has been a stronger connection between the different parts of a piece. Thus, the thematical substance becomes cyclical so to speak, although there are no large scale or fixed forms used.
The analysis of later pieces led me to the conclusion that certain general characteristics can be discerned. The melodic and harmonic context in general is modal-tonal and rather familiar. A tonal centre determines every piece and modulations often occur abruptly. The related tonalities are classical, with a preference for half-tone shifts. Harmonic tensions particularly occur through minor seconds.
A typical work in a first series of pieces is Partita. It is a set of variations upon the Christus resurrexit cantus firmus. An essential element is the search for sound effects by making use of the possibilities of mechanical traction and the different manuals. Added to this there are typical figurations shaped in function of the organ.
As a later work the Fantasia, un poco como una Batalla is important. Het is a combination of very classical episodes with songful melodies and familiar rhythms with a few more laboured figurations. As far as registration is concerned a distinct evolution is appreciable. Whereas initially the current fashion of half-open stops ans clusters plays an important role, later on these disappear in favour of classical registrations. A special case is Scordatura. Retuning some pipes of a reed creates the possibility of realising very fast tone repetitions with a light vibration because of the differences of voicing.
Finally, my pieces are always leave room for adaptations, be it to the player, to the organ or to the occasion. As they result from the joy of playing, they may be adapted for that same reason.