It seems I was a born with counterpoint. As a teenager in India I wrote counterpoint and when I sent my compositions to Graz I was asked where I had learned this though I did not even know what the word meant. I had a wonderful composition Professor who told me that on Anton Bruckner’s death bed piles of counterpoint exercises were found. This inspired me and I wrote fuges night and day; in addition I have always been a Bruckner fan. I composed a great deal of choral and chamber music during my studies and even forced the unfortunate church choir to sing and the marching band in Eastern Styria to play quite atonal stuff. This did not meet with much enthusiasm! Today, I would describe my composition as mainly free tonal.

I wrote many arrangements for my choirs and orchestras and some of these arrangements of Austrian Christmas carols have been broadcast throughout Europe.

My long experience as a conductor for orchestras and choirs has enabled better comprehension of sound structures, orchestration and voices. My role models are the masters of the late twentieth century such as Poulenc, Britten and Bernstein. They were both conductors and composers. The theory of composition is one important aspect but the experience of hearing is essential for the creation of sound colours. My double cultural identity as an Indian and an Austrian are also reflected in my compositions.