I began my adventure with music when my parents decided to send me to the school of music when I was 6 years old.

 

Can you imagine that!?

 

A six-year old kid playing etudes and passages (and real masterpieces too), learning day by day and year after year composition, orchestration and other mysterious subjects, while his colleagues were playing ball, stealing apples from our neighbour's garden or just doing nothing.  

Years were passing and after a decade of schooling and already in music college I decided that enough is enough. One day I dropped out...

No more playing stiff partitions with no space for freedom, no more playing only someone else's music...

 

So it began, the free music adventure of an adult... 

 

First was my "jazz" group "SUS". We played in trio, bass, violin and keyboards. What we played was pathetic but enthusiastic.

During my university years I had another group, this time serious, a quartet, bass, drums, guitar and keys, called "Teuch". One of the musicians from these years plays with me till today (for more details, refer, please, to " 34 Dance St" in Jazz section).

These years were my first composing battlefield. Most of music we played were my "compositions", again, pathetic but enthusiastic.

Decades later I started a new project, Jazzifying The Classics. Till now I published jazzified versions of Wagner's "Ride of the Valkyries" from Rings of the Nibelungs, Borodin's "Polovtsian Dances" from Prince Igor and Greig's "Anitra's Dance" from Peer Gynt (the details in Jazz section).

 

For next decade or so my life oscillated more between professional voyages through Europe and my family than music. I composed in planes, I played on every piano I could put my hands on, and I had a friend who, behind my back, kept my partitions carefully stocked until the very important moment had arrived, moving to Canada.

 

Within the first year I had the making of my very own studio in place. First small, but with years developed into one of the best privately owned studios in Canada. This was also the moment when I found jazz "not large enough". So I turned to the genre that seemed knowing no boundaries, no rules, no limits: film scoring. I was lucky enough to quickly get in touch with few young directors for whom I wrote my first scores ("Themes of Life, Lesson - 1:  Death", "Cowboy Reckoning" and some others).

However with passing time the sad discovery came: film scoring too often turns creation freedom into musical enslavement: "DIRECTOR IS THE BOSS", so I decided to quit working for "directors" and compose cinematic scores on my own, making them available for users from media industry through publishing houses (like British  "Ditto" or American "Audio Micro").

To have some fun I occasionally  participate in international film scoring competitions, but without counting on any rewards. Those competitions in most cases give no chance to communicate with the director and are ruled by the "chaos" of jury members' personal likings, age and real experience (none of them were John Williams or James Horner), so composing music in such conditions is like trying to hit the target with covered eyes staying back to it. Also, in many cases these competitions were created to get money for the "creators" and when this objective was attained they disappeared.

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Still in the subject of film scoring I had a important experience: The Composers Collective. TCC was a unique concept of gathering the composers from around the planet to compose in cooperative mode the scores for Hollywood movies. The inventor and owner was Evan Evans (yes, the son of famous jazz pianist, Bill Evans), with whom I stay in touch to these days. With TCC I had the chance to work on music for Eyeborgs, Game of Assassins and The Bay.

 

These musical adventures never stopped my profound interest in the beauty of the disciplined symphonic music. Beginning with late 1990's I have composed over a 100 orchestral pieces, some structured like an opera (the trilogy of "...MORE Cities": "Falcimore", Haltzmore" and "Rochemore"), some multi-part suites (Nordic Trilogy) and many unrelated, individual pieces.

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Since 2024 my symphonic works are being performed and recorded by real symphonic orchestras and won several high prizes in international classical music competitions (details in Symphonic Music section)

 

And finally "last and least" - electronic productions. I consciously avoid the "music" term, because the results are more "knobs and faders" than "notes and clefs", but still, this gives fun. I even created a new music genre, JAZZONICA, being the mix between jazz, symphonic music and modern electronic music, including hip-hop, disco and house. For this invention I obtained Canadian Trade Mark recognition.

 

 

PS My craziest project came in 2008 when, after months of studying the original partition and endless listening to the music itself I found that W.A.Mozart with his "Requiem" was quite a jazzman (most probably unwillingly). This discovery was the impulse for "Requiem Goes Jazz", the 2-year project of "jazzifying" the Requiem without changing a single note of the original partition. As this project was done using early technology and orchestral libraries it is now on my "drawing board" for full remake and will be published soon​.