I began writing this blog in February 2017 as a way of documenting my work on the Kelston Roundhill Symphony. However, I quickly realised that it would be interesting to give an account of other compositions too.
The blog describes as fully as possible my working processes, ranging from ‘high-level’ conceptual and inspirational insights through to ‘low-level’ technical descriptions and accounts of creative decision-making.
I work with all kinds of musical media, from traditional instruments to digital sound, so the blog reflects this diversity.
My composition emerges from an experimental tradition and tends to explore new forms. The music has been described as having a “greatly moving … inner mind” (GéNIA), and showing “an extraordinary harmony between classical music and revolutionary music” (Nicolescu).
I am influenced by more or less every other artist I encounter. My supervisor at university, Roger Marsh, was immensely important to my early development and remains a source of inspiration. I was also greatly influenced by British experimental composers such as Gavin Bryars, John White, and Howard Skempton. My work with the ensemble ‘George W. Welch’, which I founded in 1983, was formative. More recently, I have been influenced by a host of academic colleagues, students and international composers. There are too many of these to list, but their names will be mentioned in the blog as it develops.