Cet hommage musical au pianiste de jazz Count Basie qui fut et restera l’un des chefs d’orchestre de jazz (big bands) les plus connus au monde comprend quatre morceaux choisis parmi ses nombreux succès : Jumpin' at the Woodside The Wind Machine Li'l Darlin' et April in Paris.

Work for Chamber dating from 1988.The composer writes:MINNEWATER means ‘love water’/‘love lake’ but when I began to compose the work this direct meaning of the title was not very important to me. Rather the word itself had a magical sound. Later on however it occurred to me that the piece was full of mumbling swells and swarming cascades and the sensation of water is perhaps most perceptible towards the end where lots of falling water movements are felt behind the emphasized rhythmic surface. Falls that moreover quite literally at the end sinks into the water. MINNEWATER has a subtitle: THOUSANDS OF CANONS which directly refers to a compostion techniquewhere all layers and elements in the music constantly are imitated; possibly waves imitating each other? The mudded and impalpable beginning of the work takes its starting point in one of my earlier pieces the sextett LES TUCHINS (in fact the first 5 or 6 pages of the two pieces are quite identical but in MINNEWATER it is all ‘blown up’ to a larger ensemble). Quite soon however the thread to LES TUCHINS is cut off and it goes its own way; From the mumbling in the start - through swarming trills and pointilistic staccato movements - to a long section where the trumpet appears as a soloist and in a way conducts the movements of the remaining ensemble right to the rhythmic final section of the piece. MINNEWATER was commissioned by the Danish Radio for the German Ensemble Modern

The chilling slow movement seems to me to be one of the great symphonic essays written by an Englishman.Michael Kennedy Daily Telegraph 1 June 1991

Scholarly critical edition with many corrections in the score and orchestral parts.Clear presentation of orchestral parts in an enlarged format 25.5 cm x 32.5 cm.?Prélude A L?Aprés-Midi D?Un Faune? often referred to as the first composition of the ?modern? era is one of Debussy?s most popular and frequently performed orchestral works. The piece comes down to us in an array of sources and several important ones are drawn upon for the first time in Bärenreiter?s scholarly-critical edition.Most of the currently available editions are based on the first edition from 1895 which however contains many engraver errors.When the corresponding orchestral parts are also taken into consideration countless discrepancies are revealed.Bärenreiter?s Urtext edition incorporates readings of a printed copy of the score from c. 1908 which shows corrections and emendations by the composer. These important changes found in no other source include metronome markings different pitches and additional notes as well as added tempo and articulation markings which all subtly enhance Debussy?s finely sculpted work. There is even a breath mark added to the famous solo Flute passage which opens the work.