A bright, short concerto movement in the classical style of Mozart's day. The orchestra opens with a fanfare. The piano answers with the theme over an Alberti bass, then runs scales while the violins and flute take the tune. The movement closes with a trill and full chords over a timpani roll. The new Steinway-voiced grand piano plays with strings, flute, oboe, bassoon, horns, trumpets and timpani, spread across a wide stage.

The sunrise theme passes from the flute (over hushed strings) to the oboe (over harp arpeggios), then to the violins with flute and horns as the timpani swell, ending on a full-orchestra E major chord with glockenspiel and a bell. Played by synthmax's orchestra patches: flute, oboe, harp, violin, viola, cello and contrabass sections, horn section, timpani, glockenspiel and tubular bells.

A snare and timpani fanfare, then the "Toréador, en garde" refrain twice: first on violins and clarinets over an oom-pah of cellos, tuba and offbeat horns, then on the full brass - trumpets, trombones, horns - with flutes, glockenspiel, cymbals and timpani, ending on a big F major chord. Played by synthmax's orchestra and percussion patches.

The whole first movement, eight and a half minutes, with Bach's famous harpsichord cadenza - the first great solo for a keyboard in a concerto. The concertino of flute, solo violin and harpsichord against the ripieno strings: synthmax's flute, its bowed-string violin, violas, cellos and violone, and a new physically modelled harpsichord with both 8-foot registers coupled. From the public-domain MusicXML edition of Project Gutenberg (EBook #5190, prepared by Geof Pawlicki).

The dancing finale, a gigue-like fugue passed between flute, violin and harpsichord and the strings. From the Mutopia Project's public-domain edition (#548, typeset by Joshua Koo).

The complete piece, almost nine minutes, on the new PIPE ORGAN in a cathedral. The toccata is on the full organ, every stop drawn and the 32-foot reeds in the pedal: the famous mordent and plunging run, the diminished-seventh chord rolled up over the pedal, then the flying Prestissimo. The fugue is on the principal chorus with its mixture and builds back up to the full organ for the Recitativo, Presto and Molto Adagio of the closing. Played freely, with the fermatas held, as an organist would play it. From the Mutopia Project's public-domain edition (BachJS/BWV565).

The same score played the romantic, theatrical way Virgil Fox made famous. The fermatas are held long, the opening runs rush down and broaden into their cadence, and the rolled diminished seventh swells from a closed box. The Prestissimo flies. Repeated phrases are answered as echoes on the closed swell box. The fugue starts on a few soft stops and builds, adding principals, the mixture and then the reeds, to the full organ. The coda's Presto blazes and the final Molto Adagio is very broad. The registration and the swell pedal are played live on synthmax's PIPE ORGAN. This is an interpretation in his style, not a copy of any recording.

A 70s progressive-rock instrumental in the keyboard-trio style. An overdriven Hammond through a fast Leslie, a modular-synth lead that glides between notes, bass and drums, with the pipe organ joining for the climax. It opens with stabs of chords stacked in fourths and moves into a 7/8 riff over an E pedal. A soaring synth theme follows, then a Hammond solo in racing 16th-note sequences. The theme returns with the full organ, and it ends on E major with the lead diving away. Every sound is synthesized.