By 1964 I had about 40 compositions, most of them for the piano. I do not call them my “school works”, as I wasn’t receiving any composition lessons at the time. Rather, I refer to them as my “kiddy” pieces. I was self-taught in those years – read books on harmony and counterpoint, listened to music, and studied the scores.
Even though the resemblance to some well known composers (Scriabin, Szymanowski) is clearly in evidence, Three Preludes foreshadow my tendency to think in complex textures embodied in rich harmonies and intricate counterpoint, which has been the basis of my orchestral writing for the last two decades.
Until now, known only to me, the third prelude was the first piece written away from the piano, on a tree stump in a forest during a break in a school outing.