The Cave of Forgotten Sounds with Indian musicians and Bennie Maupin

As it is rather doubtful if the following will succeed I removed it from my website. I am actually working on an ensemble version of my organ solo project Olivier Messiaen and the Cave of Forgotten Sounds, with some of the most prominent Indian musicians and Bennie Maupin. This implies mastering the technique of playing an Indian rhythmic cycle with the left hand while improvising with the right and vice versa. In the improvisations I assimilate and transform numerous atonal bird songs by Olivier Messiaen which I have been internalizing since the early '80s (Messiaen was one of the greatest composers of 20th century Western classical music and used to imitate bird song in his compositions). Combined with numerous formulae from the church modes they leave an impression of modality as seen from the perspective of the 21st century, which is what I have been aiming at in the past few decades.  The project is inspired by Werner Herzog's documentary Cave of Forgotten Dreams, about the prehistoric Chauvet cave in the Ardèche in the South of France, discovered in 1994. Besides prehistoric paintings on the walls an approximately 30.000 year old flute was shown, made of the bone of a vulture and tuned according to the pentatonic system which characterises modality throughout the ages and everywhere in the world. After watching the documentary I imagined a prehistoric flutist and Olivier Messiaen imitating a bird together, the flutist on his instrument and Messiaen while writing on music sheets. When the bird flies away, the flutist and Messiaen stop their work and look at each other with a smile of satisfaction and happiness. This image stimulated me to start the project and create new music that surpasses differences of cultural background, race and religion.  The first movement establishes a spiritual atmosphere which suits the encounter of music from the East and and the West. Invocation, the beginning of the organ solo version of the project, will serve as a starting-point for a dialogue between raga Bhimpalasi, the notion of alap, Bennie Maupin's solo and my own modal style, derived from Gregorian chant with which I was raised. The organ solo version is: Video: Invocation, version St. Stephen's Church, Nijmegen 2017 This will be followed by movements based on Indian rhythmic cycles, similar to the following: The Loop Man # Rupak with Sandip Bhattacharya, Budel 2017 N.B. The project is closely related to my research Dancing Bach on the Organ.  For many Western classical musicians, Bach interpretation is a process of lifelong learning that is at the very heart of their musicianship. My particular concern is to transfer the lightness and souplesse of performing with tabla masters to the interpretation of organ works by Bach. With the involvement of Messiaen's bird songs the result is what I experience as a perfect symbiosis between Bach, Messiaen and playing with Indian musicians and Bennie Maupin.