The foundation of my style is
a strong belief that music is primarily a means of expressive communication
with an audience. Singable, memorable melody coupled with a subtle use
of the tonal harmonic system is a valuable resource. However if music
is to communicate on more than an ephemeral level, especially after repeated
hearings, the melodic and harmonic elements must be integrated into a
convincing structure. I believe instrumentation must be part of this structure,
not an afterthought.
Among the giants of the past,
Bach and Brahms have had the most discernible influence on my music. Contemporary
composers with whose work I feel an affinity include John Corigliano,
John Tavener, John Adams and Arvo Pärt. My study of serial technique
has been useful in determining the structure and texture of some of my
music, and less frequently in matters of melody and harmony.
I have always been fascinated
by the power and intensity of Maori chant. Over the years I have found
elements of this music appearing as part of my musical vocabulary, usually
on a superficial level as in certain melodic turns of phrase and in a
particular choice of instrumental tone colour, but sometimes as a significant
influence on the very structure of a piece. Likewise the rhythms and forms
of other Polynesian music continue to make their mark. I spent three of
the most inspiring – and difficult – years of my life in Western
Samoa, mostly inland at Vaia’ata in Savai’i. It is not surprising
therefore that this very strange and beautiful country should have left
its mark on my psyche.
Two of the most rewarding experiences
of my career were my 16 months (from August 1996) on a Fulbright Scholarship
as composer in residence at the Eastman School of Music in New York, and
two years (1994-5) as the University of Otago’s ‘Mozart
Fellow’ in the picturesque South Island city of Dunedin. Both were
wonderful opportunities that saw many performances of my music and contributed
significantly to my growth as a composer.
One qualification that is especially
important to me is my Fellowship in Composition from Trinity College,
London, gained in 1986. In the assessment of the College my music ‘exhibits
a considerable gift in utilising traditional materials of musical expression
in fresh and inventive ways’. This is a testimonial I prize. Sometimes
the single-minded pursuit of originality severs too many links with the
past. Without existing music as a reference point, communication may be
lost. By the same token, a composer who restricts himself to the techniques
and aesthetics of the past is irrelevant. The challenge, as I see it,
is to produce music that is recognisably of our time, yet also timeless.
I am working on a page which
records some reviews and reactions to past
performances. If you have enjoyed listening to my music or would like
more information, please do not hesitate to contact me. As a freelance
composer I welcome commissions from conductors, performers and the supporters of fine music in
the community.
Recently I was honoured to be
the subject of two articles in distinguished music publications. The first appeared in the pre-eminent European wind magazine Clarino.print in 2005.
The first part is biographical and the second is an analysis of one of
my most successful pieces to date 'L'homme armé: Variations for
Wind Ensemble'. With kind permission of editor Uschi Mohr I enclose the
entire article in pdf form here.
The second article is from the January 2007 edition of the International Choral Bulletin, published by the International Federation of Choral Music based in France. Editor Jutta Tagger has kindly given me permission to enclose this article. It focusses on the composition of 'U Trau' my piece for choir and two wind bands.
I have included a brief Curriculum Vitae. Please do not hesitate to ask if you need further information. |
