Brass, Light, Gesture was originally written in 1983 for brass quintet, light performer and gesturer.

In 1983, besides the brass quintet, the lighting part was "played" on an analogue stage lighting console by a musician with the light part projected onto the brass quintet and the gesture part was interpreted by a dancer also lit by the light performer's part. I was not entirely satisfied by the results of the light and gesture parts in 1983 for various reasons.

In 2019 I have come back to this idea from 1983 of what I now call "poly-sensual music" where other senses other than hearing (i.e. seeing) are called upon to experience music poly-sensually, that is, as a polyphony of composed events that counterpoint different senses musically. My Poly-Sensual Etude No. 1 (2019) was my first work that returned to my 1983 idea in a new way and that makes use of coloured LED lights, video filming, and multiple video screens.

I decided in 2019, in collaboration with trombonist, Giancarlo Schiaffini, video artist, Olga Krashenko, and Stefan Tiedje, sound engineer, to make a new audio-visual realisation of Brass, Light, Gesture for 5 trombones, instead of brass quintet, while realising the lighting part by combining my performing multicoloured LED lights and the gesture part with video filming. The new work is called Poly-Sensual Etude No. 2: Brass, Light, Gesture (1983-2019). The idea was to play the piece with five pre-recorded trombone players plus multiple video screens. Each of the 5 pre-recorded trombone players was filmed while projecting different coloured LED lights on the trombonist. The light and gesture performers follow the lighting and gesture part's graphic score and the video artist filmed the result at the same time.

The video artist also filmed the light part with and without the presence of the trombonist, and the gesture part was filmed without the trombonist so as to make a total of 7 video parts and 5 brass parts. In concert, the 5 brass parts may be played in 5 channel sound with 7 video parts on 7 separate video screens, or with the 7 separate video parts on a single split screen, depending on the availability of multiple video projectors and multiple video screens or not. The recording of the 5 trombones is not to be played without the 7 video parts as the video is part of the musical score.