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This is an interesting thread. Although it feels like bragging or attention-seeking, and I am not really interesting enough or worthy of a kind of auto-biographic description, it is kind of funny to review your own development. I do not want to name all my works, because not all are my best. But it is hard to make a selection. I hope it didnt become to much text below. please bear with me... :D I started composing at age 11. Long time it didn't bother me that I was stuck in an early-romanticist-era sound idiom. The first work that stands out is a piano work I did not post. It features many time changes (5/16 to 6/16) and so on, and somewhat ostinato figures, while I had then never heard of minimal music. The harmonic idiom was very tonal, some romantic chromatism, but nothing special. It was a piece that competed in a Dutch composition competition, and got a regional honerable mention. That indicated it was not bad, but not good enough to go through to the national rounds. One man of the jury advised me then to listen, study (and buy !! the score) of the Rite of Spring, which I diligently did. But I hated the work :) haha, it took me a long to to appreciate it. When I learned to appreciate 20th ct music (first organ. Alain, Dupre, Durufle, later Russians like Shosty) it slowly began to influence my writing. I think it is therefore that I mention my organ preludes and fugues, because of their importance in my development. The extention of my harmonic language can be heard in some of my early preludes and fugues (esp fuga 2, prelude 3 (these two I was particular proud of), preludes and fugas 4 and 6) In the same time I have written an organ sonata and a set of 4 laments for organ. The next great work for me was the set of 3 elegy's for orchestra (2008/9). This is important for me because I failed an earlier attempt to write a symphony, from which the 1st movement became too longwinded, the 2nd and 3rd were ok, but the finale never got finished. In this time I think I learned to orchestrate. A new step in the expansion of my harmonic language can be seen in my 2nd string quartet (2010). Notable for use of church modes, Messiaen modes, and a some first steps in extended techniques. I only recently dared to explore some of the (tonal) possibilities of 12tone technique. A first take at that is in the 3rd mov of my saxophone sonata, which is ok, but I would not consider it one of my best works. (Between parentheses, this work features also my first use of quartal music in the 1st movement, and an octatonic fugue as finale.) A very important work, that got some recognition by being in the finale of a international organ composition concours is my 12tone Fuga (2010/11) I am quite proud with this, although the judges commentary showed that they were not too happy with the form. That made me in that respect somewhat unsure, because I do not feel that way :) The human recording is not so much better than this computer rendering, because of one of the registrants failed at a quite crucial point, where it needed to be soft in stead of very loud. Unfortunately... But these things happen To further study the possibilities of a single 12tone row I wrote a set of preludes of piano (2011). In terms of musical history quite insignificant, but this is when I realized the endless possibilities of serial music. Somewhat neglected at YC is my trombone quintet, where I did a lot with mirroring harmonies. Plans for a song-cycle haven't come much further that this setting of a Jewish medieval poem: Liqrat meqor. In terms of construction it features my love for regular 12 tone rows. In this case both quartal harmonies and the octatonic scale are implied. Currently I am working on my Sinfonietta (2011/12) and Cello concertino (2012) and I think these are among the finest of my work sofar. The are not strictly serial as some of the previous, but they sometimes apply of the things I previously learned. Enjoy!

I'm seriously baffled. After 2 pages of slandering, someone still finds the patience to tell you in a polite, simple way why you're coming off as extremely arrogant, and this is your response. I really hope you're either 14 years old or just a troll, because if you act like this in real life, you must be the most annoying person on the planet. Do you even read what people post, or do you automatically open up your thesaurus and start rambling about how fantastic you are and how everyone who disagrees with you is a frightened little kid who doesn't have the courage to share his opinion. Good effort Ian, you can't win 'em all.