BACKGROUND

Often do I think of the words of the poet Robert Frost: ‘Two roads diverged in the woods and I — I took the one less traveled, and that has made all the difference.'

At 46, in the middle of an international business career with a New York City bank, and after years with a petroleum company in Brussels, I went back to the aspiration of my childhood to pursue justice through music, a language that, because it has no words, can touch our emotions while circumventing misunderstandings. . *** After reflecting on the impact of poverty and social injustices, I left my job as head of the Africa Department of a major NYC commercial bank and enrolled in the Western Michigan University Irving S. Gilmore School of Music to study music composition. My wife supported my choice; she had helped me realize that simplicity and empathy are true core values. I reflected anew on the bike rides of my childhood, meandering from one First World War military cemetery to another — the white crosses of Flanders Fields.

The first composition, “Of Barbed Wire and Red Roses” Op. 1b for large brass ensemble and timpani, resulted from reflections on civil wars that I had witnessed while traveling a decade for business in Africa. This Suite was recognized with the Irving S. Gilmore Emerging Artist Award. Other awards from the Arts Council of Greater Kalamazoo Arts Outreach Grant and the Pharmacia and Upjohn Foundation Grant, reinforced the choice to pursue music composition; to follow the road less traveled. . *** Besides the Concerto “Imagine New York” Op. 39 for piano, the large orchestral works are: the Oratorio “Requiem for the Fallen” Op. 50, inviting reflection on all losses of life due to violence; the uplifting Concerto for alto saxophone & strings “Springtime in Chicago” Op. 61; the Cantata “The Bells of Hope” Op. 63 inviting mutual respect; and the second Concerto for left-hand piano “Between War and Peace” Op. 64, asking for reflection on the never ending wars. It is a homage in memory of the Austrian virtuoso pianist who had lost his right arm in WWI, and who commissioned Ravel to compose a left hand piano concerto. . ***

As a child, I was not allowed to do music because our parents were traumatized by the memories of WWII and because of the Cold War. I remember seeing, as a toddler, swath of cities deduced to rubles. And, a couple decades later, the death of my older brother was attributed to PTSD caused by wartime bombing. Instead of pursuing a passion for music, I obtained a degree in Chemistry from the University of Brussels, served in the Belgian military, pursued a PhD in chemistry, and worked several years for a European oil company. Then, I moved to the U.S. with my American bride and earned an MBA from the University of North Carolina at Chapel Hill.

After more than a decade with an international bank in NYC and in Africa, including leading the creation of the first commercial bank in the People’s Republic of Congo, at the time a centrally planned economy, I joined the faculty of a university in Michigan to teach international business, finance and economics. A few years later, after the fall of the Berlin Wall, I received a call from the US Agency for international economic development. The job was to oversee some of the Agency’s programs in Central Europe.

These memories and international exposure to a violent world led to me to appreciate that the paths to peace and understanding must include mutual respect. I reflected on the importance of the arts as tools for understanding and enrolled in the Western Michigan University School of Music.

Over the following decades, I composed works focusing on social awareness and responsibility: The Oratorio ‘Requiem for the Fallen’ about all victims of wars; the ‘Organ Sonata’ about the ‘9-11’ terrorist attacks; the first Piano Concerto ‘Imagine New York’ on Freedom; the Alto Saxophone Concerto ’Springtime in Chicago; the Cantata ‘Tears of the Earth’ on Native American poetry about respect; the Cantata ‘The Bells of Hope’; the piano Toccata ‘Resolve & Pride’ about respect; and the left hand piano concerto in D flat ’Between War and Peace”. . *** In 2019, the final version of the Oratorio ‘Requiem for the Fallen’ premiered at Carnegie Hall (Zankel). Two additional performances took place in Moscow, in 2020 with American Embassy financing, and in 2021 at Zereteli Gallery as a concert for peace, thanks to the planning of Lyrica Classic, LLC. In 2021 also, the short version of ‘Ave Maria’ was played at Saint Bechara Church, in Jubail, Lebanon. In 2022, the ‘Ave’ and the ‘Organ Sonata’ were replayed in Graz, Austria, during a concert for peace supported by the American Embassy in Vienna. In 2023, the American Embassy in Moscow cosponsored a concert for peace at the Cathedral of the Roman Catholic Church of the Immaculate Conception of the Blessed Virgin Mary; the Ave Maria and the Organ Sonata opened the concert. In 2002, the Organ Sonata had premiered at the First United Methodist Church in Kalamazoo, Michigan, in memory of the victims of the September 11, 2001 attacks in New York City, Pennsylvania and northern Virginia. The Organ Sonata was also played in 2004 at the Cathedral of Lectoure, France, in remembrance of 9-11. .  *** Other vocal works played in concert include the song cycle ‘Detours of Love’ for soprano and piano, the duets ‘Happiness’ for soprano, mezzo and piano, the song cycle ‘Yulia’ for soprano and string quartet and ‘Come Ye Who Love’ for soprano, horn and piano, commissioned by Michigan State University. The “Horn Call’ review of Come Ye Who Love reads: Emmanuel Dubois’ contribution is a hauntingly beautiful work with surprises. The moody opening solo is an extended cantabile, which is then joined by the voice in an interweaving tapestry [...]

In the context of respect, I composed the Trio for violin, violoncello and piano Op. 65 (2025), also entitled ‘Come Ye Who Love’. The trio redeploys some earlier works.

The Toccata ‘Resolve and Pride’ Op. 62, the Trio Op. 65, the Concerto for piano and orchestra ‘Imagine New York’ Op. 39, and the Oratorio for soprano, choir and orchestra ‘Requiem for the Fallen’ Op. 50, are tentatively scheduled for upcoming concert performances in the Washington DC area, Virginia and Maryland, subject to funding availability.

June 2025