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Compositions:

The first three movements are finished, while the fourth movement is currently under construction.

It is scored for violin, viola, cello and piano.

Written in December 2015 for solo piano.

“Little Songs Without Words” are shorter, technically easier pieces than “Songs Without Words”. They range from very easy to somewhat difficult, whilst being full songs with a surprising amount of depth.

The first in a second set of Little Songs Without Words, this piece keeps a steady, simple bass with an increasingly complex melodic variation.

Written in October 2015 for solo piano.

Has an oriental flavor to it.  It begins serenely, and slowly builds into a powerful climax, which then calms down into a beautiful melody, culminating in a return of the original serene subject, but this time lengthily developed, after which, a changed serene first subject returns, building quickly into the climax, which continues and ends with a powerful coda.

Written in February 2015 for solo piano.

In this interesting piece of music for the piano, the melody sits entirely in the left hand, with the right hand flowing through a somewhat bewildering series of arpeggios.  There is a certain grandeur in this music.

Written in October 2014 for solo piano.

A exhilaratingly powerfully moving piece, with gentler moments building into powerful emotional explosions, within wild fluctuations of harmony.

Written between September and October 2014 for solo piano.

“Little Songs Without Words” are shorter, technically easier pieces than “Songs Without Words”. They range from very easy to somewhat difficult, whilst being full songs with a surprising amount of depth.

The set begins with the easiest music and progresses to the hardest, ending in an exhilarating, yet not too difficult, fun musical ride.

Written in November 2013 for solo piano.

A liltingly, beautiful, flowing piece of music in three sections.  The first (which can be played by itself as its own piece of music) flows with a series of intimately beautiful, yet sometimes haunting, melodies, culminating in a climax of great power.

The second part is a darker, more minor, contrasting vein. It flows smoothly back, yet distantly, back into a slightly changed versions of the opening section.

(Also can be heard on Bandcamp)

Written in December 2012 for flute and piano.

An extremely beautiful, yet hauntingly emotional piece of music, bringing out very effectively the flute’s wondrous melodic ability.

Written in September 2012 for two harps.

Very interesting, flowing piece of music, with just a hint of a little bit of an oriental flair.

Written in September 2012 for solo piano.

A fun, varied piece of music, with some nice melodies interposed with more majestic, powerful moments.

Written in April 2012 for solo piano.

A wonderful piece of music, interspersing beautiful melodies with moments of power and passion, building to a truly exhilarating climax, before ending with a short, emotional coda.

Completed in October 2011 for violin and piano.

A piece with tremendous emotional potential, swinging between tender yet deep sections and sweeping, powerful sections, culminating in a central climax that is darkly emotional.

Completed in May 2010 for two violins.

A simple, yet complicated piece of music built on a simple motif, yet branching into more complex and difficult pastures.

Completed in March 2007 for violin, cello and piano.

Written sometime in 2004 for solo piano.

A somewhat strange piece fluctuating between several specific harmonic combinations, with its own charm.

Completed in February 2004 for solo piano.

A great, immense, powerfully deep and exciting piece.  This was Julius Schmidt’s first attempt to “reweigh” sonata allegro form, to attempt to bring a heavier “weight” to the recapitulation.

Written in April 2003 for solo piano.

Beautiful music.

Written in January 2003 for flute and piano.

Written in October 2002 for two cellos and piano.

An expansively rich and emotionally powerfully profound piece of music.

Written in June 2002 for violin and piano.

A truly “fantastic” piece of music, allowing the violin to uniquely display its lyrical qualities.

Written in April 2002 for solo piano.

Extremely difficult, exhilarating music, with great power and depth.  It starts out simple, building towards a powerful climax, then building even more into a truly exhilaratingly emotionally powerful piece of music.

Written in March 2002 for two violins, viola and two cellos.

A short, truly fun piece.

Written in January 2002 for solo piano.

An extremely dark, very deep, powerfully emotional piece of music.

Written in December 2001 for solo piano.

An emotionally deep, aching muse, with a much darker middle section.

Completed in December 2001 for violin, cello and piano.

An expansive, powerfully emotional piece.  The first movement is very dark, powerful, and has been described as terrifying.  The second movement is deep and powerfully emotional, but in an almost opposite way  than the first movement.  The two movements compliment each other, being, in a way, two opposite forms of crying.

The third movement (the Scherzo), is a fun, flying almost dance, driving forward with inexhaustible energy.  The fourth movement, built on a lyrical melodic song, explodes with driving force, bringing the piece to an exciting close.

Written in June 2001 for solo harp.

A slower, easier, fantasy for harp than the previous two, but still a deeply moving piece of music.

Written in June 2001 for solo piano.

Dark, disturbing, emotional power.

Written in April 2001 for solo piano.

A fun, much lighter piece than the others in the set.  It is, however,  still a deeply moving piece of music.

Completed in March 2001 for two violins.

A wonderful piece of music, with a nice dialogue between the two violins.

Written in November 2000 for two violins.

A short, yet moving piece of music.

Written in November 2000 for solo harp.

Complex, difficult, emotionally moving, wonderful harp music.

Written in October 2000 for solo harp.

A unique, interesting, pleasant and sometimes even dark, engaging harp music.

Completed in August 2000 for solo piano.

Pretty yet complex music with much depth.

Written in August 2000 for solo piano.

A truly special piece, encompassing a range from intensely moving to powerfully dark.   It starts with a pretty theme, alternating between the right and left hands leading into a sweeping climax.  Subsequently followed by a dark and powerfully emotional, passionate explosion of energy.  A return of the original theme is followed by a long, winding, beautiful and moving song, ending with a final repeat of  the original theme.

Completed in July 2000 for two violins and cello.

A large, structurally and technically complex piece. It is dark and powerfully emotional, with a ray of sunshine in the middle Scherzo.  The cello part is particularly demanding.

The first movement (an introduction) begins with a long, radically evolving canon for the three instruments, slowly culminating into a grand climax. Afterwards falling into a dark, complex contrapuntal section.

The second movement is a powerful, dark piece, with a lot of drive and energy.

The third movement (the Scherzo), is a much lighter, happier piece.  The fourth movement is a slow, dark, wistful piece.  The fifth movement is a fast, energetic ride.

Written in January 2000 for solo guitar.

Written sometime in late 1999 for solo guitar.

Written for a guitarist, who asked the composer for a series of technical studies for the guitar. It ranged from the extremely banally simple to the sublimely difficult.  It was written with advice from the guitarist.

Written in December 1999 for solo guitar.

Completed in November 1999 for two violins and cello.

From September 1999 for solo piano.

This piece is merely the last part of the Fantasy for Piano in C Major, starting at the beautiful song without words in F minor and then flying through a whole plethora of keys, with some exciting contrapuntal flair, before settling into B-Flat Major.

Completed in September 1999 for solo piano.

A long, difficult piece, with large contrapuntal sections, and other more melodic sections, with flowing arpeggio accompaniment.  It contains a beautiful song in the middle.

Completed in May 1999 for solo piano.

Completed in January 1999 for violin and piano.

Completed in November 1997 for solo piano.

Powerfully emotionally complex music.

Completed in June 1997 for trumpet and piano.

A commissioned work, it was written to the requirements of the trumpeter and pianist who commissioned it.  It is fairly harmonically static, yet the music is exciting and complex, with a great melodic line, well suited to the trumpet and the piano.

Completed sometime in 1995 for solo piano.

Written during 1993 and 1994 for solo piano.

Completed in May 1993 for two violins, viola and cello.

An academic work, written purely for school, yet garnering much praise.

Written in May 1993 for solo piano.

A simple, yet beautiful emotionally deep song.

Written in February 1993 for solo piano.

A truly interesting song, with dark, complex harmonies and strange melodic progressions.

Written in November 1992 for solo piano.

A more harmonically ambiguous song, with a hopeful, yet worried melody.

Written in November 1992 for solo piano.

A happier, more contrapuntal song, that is has more interesting harmonies and harmonic flow.

Written in October 1992 for solo piano.

A work in a more “Romantic” vein.  It is a complete rebuilding of Song Without Words Set 1, No. 6, but much more advanced, with a tight structure, far more technically difficult, and with a great emotional grasp.

Written sometime in early 1992 for two pianos.

An extremely short, interesting piece.

Written between late 1991 and early 1992 for solo piano.

A series of simple songs for solo piano.  The first and the last four are nice, fairly simple songs. Two through five tend to ramble a lot.  Number six is a pretty song, that nonetheless rambles, though without losing a structural flow.

Written sometime in 1991 for solo piano.

A very short, fun melody in a somewhat oriental vein.


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