Hi all,

Here's the 4th and final movement of my trio, written in the Zigane-scale (except the middle part). It's recorded with solely VI Pro (full) instruments (flute 1, viola solo and cello solo). Like the other parts, the hall is the Schubert Saal, close recording. Enjoy the listen!

Trio for Flute, Viola and Cello  (the whole trio)



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  • Hello, Jos,

    Well, yes, an enjoyable listen and an idealised live performance. I've no comment to make even though that's a comment! The production is thoroughly skilled as is your precision with the notation, dynamic control and articulations. 

    You bring a lot from just 3 soloits.


  • Hi Jos.

    That was alot of fun - folkish and a bit French. Light and playful. Totally delightful.

    I agree with Dane, the production is just wonderful.

    Thanks for posting!

  • Hi Dane and Gregor,

    Thanks for your positive reaction. The theme you're referring to is not French actually, but 'Zigane' or maybe a bit Kletzmer (jiddish). That is due to the uesed scale (the zigane scale: C-D-Eb-F#-G-Ab-B-C), a kind of altered minor scale.

    Glad you liked it!


    • Jos, just to mention that I wasn't referring to the 'theme' as being French, but the treatment (to me) of the material - linear and transparent - which reminded me of a French aesthetic ... In fact, Ravel did a virtuosic violin piece Tzigane, styled rapsodie de concert by the composer..  So there can be a mix of cultures, as it were. But I do get the reference you are making.

      A very enjoyable piece, indeed!





      • This reply was deleted.
        • Hi Micheal,

          Thanks for such an extensive comment and for having taken the time to listen. I'm glad you enjoyed the piece.

          I'm a bit surprised to hear about the relation with Ravel. I love Ravel a lot, but I'm not so familiar with his works and/or style of writing. I suppose this is a pleasant coincidence...

          (I didn't use scordatura as such, but snare bending (more a guitar technique). I guess it's that passage you're referring to?) For the rest, I've tried to write for the instruments in a natural way. Since I had a chamber orchestra for nearly 20 years, I had the opportunity to learn a lot from my excellent players and their instruments. I studied the flute myself, so that was not so difficult to mimick the sounds, articulations and playing techniques - of course always within the limits of the samples.

          Thanks again for your encouraging comment,


  • Hi Jos,


    The use of gestures, motives, instrumentation tricks are so strong that

    I believe you could make the same astonishing effect without tonality.

    And that would make it different from many many similar tunes...

    Greatly thanks for sharing.


    • Thanks Riza.

      I do agree, but I had my reasons to write the fourth part in a bit more 'popular' style. And a second reason could be, that atonal music (even serial or 12-tone music) is not my favourite... I really like experimenting with sounds and harmonies, but not particularly without any tone center. The whole Trio was centered around C, although not all scales used here have a 'common' harmonisation.



  • I liked this. Simple, yet captivating. The modified minor scale gives it a special flavor that adds to its charm. Thanks for sharing!

    • Thanks, Teoh.

      I'm glad you liked it.


  • Hi Jos,

    this is a very nice piece, weill suited for a dance of some kind. I just miss the guitar to get it flavored as zigan.

    Many amazing details in articulations goin on giving a close to live performance impression. You must have used an advanced library which you master brilliantly.

    Thank you,


This reply was deleted.