Francis, yes, the keyboard part is a slightly out of date compromise. I write for orchestra first, then attempt to reduce, then often go back and make orchestration changes and only belatedly get back to correct the keyboard reduction. As to 'classical', yes and no.

Here's what a colleague said of Copper: "Un musicista che sembra sbucato dal Barocco, attraversando le tempeste musicali dell'Ottocento e del Novecento, raccogliendo i frammenti di un'intero evo musicale... Una musica raffinatissima, colta, piena di drammaticità, che consiglio a tutti gli amanti di musica classica e a tutti coloro che vogliono scoprire qualche chicca."

I like that description. But I feel somewhat radical, too, I am writing music in a way that has never been done before (like it or not). My composition teachers each did the same, so it is a path that a student should honor.

Resources: interesting question. I write what seems right. This Stabat Mater is, I believe, a masterpiece, but no one has performed it yet. It is, with the introduction to my Symphony 4, the saddest work I've written. Begun 9/11/2001 when my late wife called me to say 'turn on the television' (I had one then) and watch the World Trade Center burning. Who knows, my time may come. Or I may be deluded, I wouldn't be the first.

William

Well, Google says this of that:

"A musician who seems popped from the Baroque, through the storm music of the nineteenth and twentieth centuries, gathering the fragments of an entire musical evo music ... A refined, intelligent, full of drama, which I recommend to all lovers of music classical and all those who want to discover some gem. "

For what it's worth: I hear very little baroque influence, but definitely the storm of music of the nineteenth and twentieth. Your writing to me is more like a mosaic of various gems, connected with small musical bridges that have no predictability.

Thanks for the explanation.

Quite interesting analysis, mrcopper. Thanks so much. Intriguing.