November 22, 2016

Although it is a  subjective opinion, I have never regarded myself as a ’modern’ composer, or I should say, a composer of particularly modern-sounding music. I did once receive a response  from Classic FM to say that the music was "too modern" for their station, but not really writing with ‘that modern sound’, which sometimes seems to me to become a stylised modernity, I have always felt that the music I write falls in the middle of the spectrum. In saying that, I am full of admiration for the complexity of some modern classical music, the trouble is that when listening, if I am struggling with it, then how does that music reach a wider audience? Or perhaps it doesn’t matter if it does. I remember going to hear a friend of mine playing a new concerto a few years back, really tough on the ear, and although undoubtedly it would have made more sense on further listening and study, the question really was, could I be bothered to do so. On similar lines, when I was just starting t...

September 8, 2016

Of all the main elements that make up a piece of classical music, melody, harmony, rhythm, etc, I am inclined to say that for me, the most important is form, the overall plan. It has a greater importance because it gives so much to what we are experiencing on the journey through a work, and what we are left with after listening, the impression, the after-feeling. 

However, to get to that emotion after a work has completed, whether it is sadness or joy, contemplation or exhilaration,  it isn’t of course just dependent on those last couple of minutes, those last few bars, it is the grand scheme. But once that decision on a period in a work has been made, ending or elsewhere, then I find that the other musical elements follow to create that impression. It is for that reason that the quality of my first draft is so poor, frightening if someone was to think that was what I had intended, but through the many edits and revisions, some fifteen in all, the piece gradually rights itself, or perha...

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