I am currently reworking his Suite in G Minor, one of the most radical compositions I have ever tried to decipher from off the printed page. Perhaps the reason I have never heard anyone play it is that it conforms in no discernible way to the usages of the dance meters and melodic lines that we learn in music school. For example, how can you have a Trio in 3/4 when the dance movement in 4/4? And how can you juxtapose triplets with figures that are clearly sixteenths grouped in three's within a quarter? The rhythmic subtleties are both engaging and enraging, hopefully also amusing to listen.