Fantasy for Violin and Piano 94/95

This enormous piece lived in the same world and language as the Symphony No. 1. It was a further exploration of the workings of a nine note scale, with its resulting melodies, harmonies, chord progressions, and modulations. Similarly, it also made use of other things I’d been exploring: reverse Schenkerian analysis and symmetrical, invertible forms. Unlike the Symphony, it revisited some of my favourite things, complex counterpoint, including fugue, canons & an extremely ambitious canon within a canon. And all this with the hope of still being able to retain the expressivity & very human emotions of works prior to the experiments of 20th Century classical music.