Motet "Leva Jerusalem Oculos Tuos"

Toccata and fugue in G minor (1995) is an early and severe exercise in strict Baroque style.

The four Organ Sonatas are transcriptions of my two piano sonatas and two string quartets, respectively. They explore various moods: pompous, impetuous, ironic, lyric, joyful, solemn, pensive, melancholic, contemplative, concentrated, serene, humorous, exuberant, serious, dramatic, purified.
No. 1 in C major (1997), No. 2 in D minor (1998), and No. 3 in A minor (1999) make extensive and creative use of Classical forms (cyclic in the last two sonatas) and of intense , fairly polyphonic developments, with harmonies heavily influenced by old Romanian modes. The slow movements in Nos. 2 and 3 are based on two traditional Romanian Christmas carols.

Sonata No. 4 in C minor (2004) goes further with cyclic structures by merging all major Classical forms in a parenthetic, huge sonata form which includes other forms in its sections, and the whole composition may be regarded as an immense sonata movement (similar to other 'synthetic' attempts such as Liszt's Piano Sonata or Enescu's String Octet). Its music is very dramatic and impetuous, with harmonies influenced by Bartok, in a mood similar somehow to Beethoven's Great Fugue, and the second subject is based on the famous musical signature B-A-C-H.

The 7 Variations in F major (1999) and the Fantasia in C minor (2006) are freer, in a similar vein, though rather solemn compositions.

Of the three Motets (2000) transcribed for organ after the original, choral works, "Ave Maria" is in a more traditional, calm, almost Renaissance style, while "Leva Jerusalem oculos tuos" ('Jerusalem, raise thy eyes') and "Victimae Paschali laudes" ('Laud to the Easter Lamb') are more dramatic and modern in style.

Missa humilis (Low/Humble Mass) in D major (2003) is also a transcription for organ of the original, a cappella mass, combining traditional Romanian Orthodox chants within the Catholic mass structure, as in a small appeal to universality.

"La Pesta" ('The Plague') (2004) is a tense, tragic work, also transcribed from a choral a cappella composition (a cantata on verses by Petrarca), gradually purified until the end.
The four Lutheran chorales (2004) ("Ach Gott und Herr" in two versions, "Ach, mein Herr Jesu, dein", and "Allein Gott in der Höh' sei Ehr'") are simple reminders of a world of purity and peace.