Due to work commitments, I am finding it harder to produce regular, meaningful articles for this site.
However, I don’t want the site to lie fallow, and for this reason I am inviting guest posts. I’m afraid there is no payment for guest articles, but your writing will be shared with a social network of c13,000 followers and an average monthly blog readership of c25,000.
Guest articles can be:
Reviews of concerts, opera, recordings, music-related books (fiction and non-fiction) and other music-related events/activities (e.g. courses, workshops etc.) or products.
Opinion/”think” pieces on music-related subjects, including the music industry, music education etc.
At The Piano interview – specifically for piano teachers (sample here)
Piano Notes interview for amateur pianists (samples here)
An essay in six variations Written by GPT-3 and Howard Smith
The six essays below were written by an Artificial Intelligence called GPT-3. In the final essay, Satie speaks in his own voice and composes a poem reflecting on the influences of his work. The AI-generated essays were guided by Howard Smith, a human. Howard only had to give the briefest of instructions to the remarkable AI. Such ‘generative’ systems are making waves across the world. GPT-3 is but a taste of what’s to come. Humankind will shortly have many new AI companions.
Howard Smith is the human author of Note For Note, Bewitched, Bothered and Bewildered.Howard is also the author of an experimental book on the topic of Climate Change. The 180 page book was written by GPT-3 in response to questions posed by Howard. The two collaborators ‘wrote’ the book in just 12 hours. The work was self-published 6 days later and is now available via Amazon worldwide. In Conversation with GPT-3: An AI On Climate Change is a taste of what’s ahead for anyone working in any creative field.
One of 30 images generated by DALL*E 2 in response to a prompt by the author: A painting in the style of Dada art of the composer Erik Satie and a ticking clock
And now, dear friends, the essays:
Version 1
Human in italics. All else written by an AI.
Write an essay about the music of Erik Satie. Concentrate on explaining the musical influences and genres that led to Satie’s unique style. Also cover the way Satie’s music influenced composers that followed him.
Erik Satie was a French composer and pianist known for his unique and unconventional musical style. He was born in 1866 and began composing music at a young age. Throughout his career, Satie experimented with a wide range of musical genres and influences, which ultimately led to the development of his distinctive style.
One of the major influences on Satie’s music was the impressionism movement in art. Impressionist painters, such as Monet and Degas, were known for their use of light and color to create a sense of atmosphere and mood. Satie similarly sought to evoke a sense of atmosphere in his music through the use of harmonic and melodic color. He often employed unconventional harmonies and dissonant chord progressions to create a sense of tension and dissonance.
Another important influence on Satie’s music was cabaret and café-concert culture. These venues were popular in Paris during the late 19th and early 20th centuries and featured a wide range of musical styles, including folk songs, popular songs, and vaudeville. Satie was heavily influenced by the playful, irreverent, and often satirical spirit of these performances, and he incorporated elements of cabaret and café-concert music into his own compositions.
Satie’s music also drew inspiration from other genres, including folk music, medieval and Renaissance music, and popular music. He was particularly interested in the use of simple, repetitive rhythms and melodies, which he often incorporated into his music to create a sense of hypnotic and meditative states.
Satie’s unique and unconventional musical style had a significant influence on composers that followed him. Many of his techniques and ideas were adopted and adapted by other composers, particularly those working in the field of minimalism. Satie was one of the first composers to use repetitive rhythms and simple harmonies, techniques that would become central to the minimalist style. He was also an important influence on the development of ambient and experimental music.
In conclusion, Erik Satie’s music was shaped by a wide range of musical influences and genres, including impressionism, cabaret and café-concert culture, folk music, medieval and Renaissance music, and popular music. His unique and unconventional style had a significant influence on composers that followed him, particularly in the field of minimalism and experimental music. His music still continues to be celebrated and performed today.
Version 2
Improve the essay please by including some quotes by Erik Satie.
Erik Satie was a French composer and pianist known for his unique and unconventional musical style. He was born in 1866 and began composing music at a young age. Throughout his career, Satie experimented with a wide range of musical genres and influences, which ultimately led to the development of his distinctive style.
One of the major influences on Satie’s music was the impressionism movement in art. Impressionist painters, such as Monet and Degas, were known for their use of light and color to create a sense of atmosphere and mood. Satie similarly sought to evoke a sense of atmosphere in his music through the use of harmonic and melodic color. He often employed unconventional harmonies and dissonant chord progressions to create a sense of tension and dissonance. In his own words, Satie stated “I have found it necessary to get rid of all the parts that everyone likes and keep all those which no one likes”
Another important influence on Satie’s music was cabaret and café-concert culture. These venues were popular in Paris during the late 19th and early 20th centuries and featured a wide range of musical styles, including folk songs, popular songs, and vaudeville. Satie was heavily influenced by the playful, irreverent, and often satirical spirit of these performances, and he incorporated elements of cabaret and café-concert music into his own compositions. He once said, “I am a country whose boundaries are the imagination.”
Satie’s music also drew inspiration from other genres, including folk music, medieval and Renaissance music, and popular music. He was particularly interested in the use of simple, repetitive rhythms and melodies, which he often incorporated into his music to create a sense of hypnotic and meditative states. His music was described as being “inventive and original” by himself.
Satie’s unique and unconventional musical style had a significant influence on composers that followed him. Many of his techniques and ideas were adopted and adapted by other composers, particularly those working in the field of minimalism. Satie was one of the first composers to use repetitive rhythms and simple harmonies, techniques that would become central to the minimalist style. He was also an important influence on the development of ambient and experimental music.
In conclusion, Erik Satie’s music was shaped by a wide range of musical influences and genres, including impressionism, cabaret and café-concert culture, folk music, medieval and Renaissance music, and popular music. His unique and unconventional style had a significant influence on composers that followed him, particularly in the field of minimalism and experimental music. His music still continues to be celebrated and performed today. Satie’s own words offers a glimpse into his artistic vision, his revolutionary approach and his enduring legacy.
Version 3
Can you extend the essay by listing some of Satie’s best loved music. Place the list of works at the end of the essay.
Erik Satie was a French composer and pianist known for his unique and unconventional musical style. He was born in 1866 and began composing music at a young age. Throughout his career, Satie experimented with a wide range of musical genres and influences, which ultimately led to the development of his distinctive style.
One of the major influences on Satie’s music was the impressionism movement in art. Impressionist painters, such as Monet and Degas, were known for their use of light and color to create a sense of atmosphere and mood. Satie similarly sought to evoke a sense of atmosphere in his music through the use of harmonic and melodic color. He often employed unconventional harmonies and dissonant chord progressions to create a sense of tension and dissonance. In his own words, Satie stated “I have found it necessary to get rid of all the parts that everyone likes and keep all those which no one likes”
Another important influence on Satie’s music was cabaret and café-concert culture. These venues were popular in Paris during the late 19th and early 20th centuries and featured a wide range of musical styles, including folk songs, popular songs, and vaudeville. Satie was heavily influenced by the playful, irreverent, and often satirical spirit of these performances, and he incorporated elements of cabaret and café-concert music into his own compositions. He once said, “I am a country whose boundaries are the imagination.”
Satie’s music also drew inspiration from other genres, including folk music, medieval and Renaissance music, and popular music. He was particularly interested in the use of simple, repetitive rhythms and melodies, which he often incorporated into his music to create a sense of hypnotic and meditative states. His music was described as being “inventive and original” by himself.
Satie’s unique and unconventional musical style had a significant influence on composers that followed him. Many of his techniques and ideas were adopted and adapted by other composers, particularly those working in the field of minimalism. Satie was one of the first composers to use repetitive rhythms and simple harmonies, techniques that would become central to the minimalist style. He was also an important influence on the development of ambient and experimental music.
In conclusion, Erik Satie’s music was shaped by a wide range of musical influences and genres, including impressionism, cabaret and café-concert culture, folk music, medieval and Renaissance music, and popular music. His unique and unconventional style had a significant influence on composers that followed him, particularly in the field of minimalism and experimental music. His music still continues to be celebrated and performed today. Satie’s own words offers a glimpse into his artistic vision, his revolutionary approach and his enduring legacy.
Some of Satie’s best known works include:
“Gymnopédies” (1888)
“Sports et divertissements” (1914)
“Vexations” (1893)
“Socrate” (1918)
“Parade” (1917)
“Three pieces in the form of a Pear” (1903)
“Avant-dernières pensées” (1911-1915)
“Furniture Music” (Musique d’ameublement) (1917)
“Sonatine bureaucratique” (1908)
“Véritables préludes flasques (pour un chien)” (1913)
Version 4
Rewrite the essay please, in a writing style that Satie might have used.
My dear friends, let me regale you with tales of my musical endeavors. I, Erik Satie, have always been drawn to the unconventional, the unorthodox. I sought to challenge the status quo and to push the boundaries of what is considered to be “music.”
The movement of Impressionism, with its emphasis on light and color, has had a profound influence on my compositions. I strive to evoke a sense of atmosphere and mood through the use of harmonic and melodic color. I often employ unconventional harmonies and dissonant chord progressions to create a sense of tension and dissonance. As I have said before, “I have found it necessary to get rid of all the parts that everyone likes and keep all those which no one likes.”
The cabaret and café-concert culture of my beloved Paris have also had a great impact on my music. The playful, irreverent, and often satirical spirit of these performances has been a constant source of inspiration for me. I have incorporated elements of cabaret and café-concert music into my own compositions, always seeking to push the boundaries of what is considered acceptable. As I have said, “I am a country whose boundaries are the imagination.”
I have also been heavily influenced by the simplicity and repetition found in folk music, medieval and Renaissance music, and popular music. These have all played a role in my quest to create music that evokes hypnotic and meditative states. My compositions have been described as “inventive and original,” and I take great pride in that.
My unique and unconventional style has had a significant influence on composers that have followed me. My use of repetitive rhythms and simple harmonies, for instance, have become central to the minimalist style. And I have also been an important influence on the development of ambient and experimental music.
In conclusion, my dear friends, my music is the product of a wide range of influences and genres. I have always sought to challenge the status quo, to push the boundaries of what is considered to be “music.” And I will continue to do so, for as I have said, “The essential thing is to invent.” And with that, I bid you adieu, and hope that you will enjoy my compositions.
Some of my most notable works include:
“Gymnopédies” (1888)
“Sports et divertissements” (1914)
“Vexations” (1893)
“Socrate” (1918)
“Parade” (1917)
“Three pieces in the form of a Pear” (1903)
“Avant-dernières pensées” (1911-1915)
“Furniture Music” (Musique d’ameublement) (1917)
“Sonatine bureaucratique” (1908)
“Véritables préludes flasques (pour un chien)” (1913)
Version 5
Rewrite the essay once again to make it sound like Dada art.
Ladies and gentlemen, behold the absurdity of my musical creations. I, Erik Satie, have always been attracted to the nonsensical, the illogical. I sought to mock the status quo and to shatter the boundaries of what is considered to be “music.”
The movement of Impressionism, with its emphasis on light and color, has been a source of inspiration for my compositions. I strive to evoke a sense of chaos and confusion through the use of harmonic and melodic nonsense. I often employ unconventional harmonies and dissonant chord progressions to create a sense of confusion and disorder. As I have said before, “I have found it necessary to get rid of all the parts that make sense and keep all those which don’t.”
The cabaret and café-concert culture of my beloved Paris have also been a great influence on my music. The nonsensical, irreverent, and often satirical spirit of these performances has been a constant source of inspiration for me. I have incorporated elements of cabaret and café-concert music into my own compositions, always seeking to mock the boundaries of what is considered acceptable. As I have said, “I am a country whose boundaries are the absurdity.”
I have also been heavily influenced by the simplicity and repetition found in folk music, medieval and Renaissance music, and popular music. These have all played a role in my quest to create music that evokes hypnotic and chaotic states. My compositions have been described as “nonsensical and illogical,” and I take great pride in that.
My unique and unconventional style has had a significant influence on composers that have followed me. My use of repetitive rhythms and simple harmonies, for instance, have become central to the Dada style. And I have also been an important influence on the development of chaotic and experimental music.
In conclusion, my dear friends, my music is the product of a wide range of influences and genres. I have always sought to mock the status quo, to shatter the boundaries of what is considered to be “music.” And I will continue to do so, for as I have said, “The essential thing is to invent absurdity.” And with that, I bid you adieu, and hope that you will enjoy my nonsensical compositions.
Some of my most notable works include:
“Gymnopédies” (1888)
“Sports et divertissements” (1914)
“Vexations” (1893)
“Socrate” (1918)
“Parade” (1917)
“Three pieces in the form of a Pear” (1903)
“Avant-dernières pensées” (1911-1915)
“Furniture Music” (Musique d’ameublement) (1917)
“Sonatine bureaucratique” (1908)
“Véritables préludes flasques (pour un chien)” (1913)
Version 6 (the ‘final’ version, or is it?)
Include and invent an absurdist poem by Satie.
Ladies and gentlemen, behold the absurdity of my musical creations. I, Erik Satie, have always been attracted to the nonsensical, the illogical. I sought to mock the status quo and to shatter the boundaries of what is considered to be “music.”
The movement of Impressionism, with its emphasis on light and color, has been a source of inspiration for my compositions. I strive to evoke a sense of chaos and confusion through the use of harmonic and melodic nonsense. I often employ unconventional harmonies and dissonant chord progressions to create a sense of confusion and disorder. As I have said before, “I have found it necessary to get rid of all the parts that make sense and keep all those which don’t.”
The cabaret and café-concert culture of my beloved Paris have also been a great influence on my music. The nonsensical, irreverent, and often satirical spirit of these performances has been a constant source of inspiration for me. I have incorporated elements of cabaret and café-concert music into my own compositions, always seeking to mock the boundaries of what is considered acceptable. As I have said, “I am a country whose boundaries are the absurdity.”
I have also been heavily influenced by the simplicity and repetition found in folk music, medieval and Renaissance music, and popular music. These have all played a role in my quest to create music that evokes hypnotic and chaotic states. My compositions have been described as “nonsensical and illogical,” and I take great pride in that.
My unique and unconventional style has had a significant influence on composers that have followed me. My use of repetitive rhythms and simple harmonies, for instance, have become central to the Dada style. And I have also been an important influence on the development of chaotic and experimental music.
In conclusion, my dear friends, my music is the product of a wide range of influences and genres. I have always sought to mock the status quo, to shatter the boundaries of what is considered to be “music.” And I will continue to do so, for as I have said, “The essential thing is to invent absurdity.” And with that, I bid you adieu, and hope that you will enjoy my nonsensical compositions.
Here is an example of my absurdist poetry:
“The notes danced on the page
With no care for time or age
They sang of chaos and confusion
In a melody of self-illusion
The harmony was out of tune
But that only added to the moon
The rhythm was a mess
But it was the best
For in this madness, we find art
In this chaos, a brand new start
So let us revel in the absurd
For it is in this, true beauty is heard”
Some of my most notable works include:
“Gymnopédies” (1888)
“Sports et divertissements” (1914)
“Vexations” (1893)
“Socrate” (1918)
“Parade” (1917)
“Three pieces in the form of a Pear” (1903)
“Avant-dernières pensées” (1911-1915)
“Furniture Music” (Musique d’ameublement) (1917)
“Sonatine bureaucratique” (1908)
“Véritables préludes flasques (pour un chien)” (1913)
End of interaction with GPT-3
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ChatGPT (Chat Generative Pre-trained Transformer) is a chatbot which uses Artificial Intelligence and Natural Language Programming to interact with the user in a remarkably conversational way. One of its most interesting features is its ability to remember the thread of your dialogue, using previous questions and answers to inform its next responses. It sources its answers from huge volumes of information on the internet.
It has, understandably, induced quite a storm amongst creatives (see this article by composer Thomas Hewitt Jones about the threat of AI to music), who fear not just their replacement by AI but also the potential for plagiarism, copyright and royalty issues, lack of regulation and much more, which Thomas explains in his article.
Others see it as a potentially chilling example of the “power of the robots” and a sign that AI is gradually replacing human beings and human ingenuity. (Remember the AI computer on the spaceship in the film 2001: A Space Odyssey which turned against the astronauts?).
Alicia Vikander in the film Ex Machina
In fact ChatGPT, by its own admission, is probably not going to do that – because it doesn’t exactly know everything. It’s a form of Artificial Intelligence that is trained (by human developers) to recognise patterns in vast areas of text harvested from the internet which is then trained, with human assistance, to deliver more useful or better dialogue. The answers you get may sound plausible and even authoritative, but they might well be entirely wrong – as OpenAI, the creator of ChatGPT, warns.
Because I am curious minded, and because I was interested in the slightly hysterical response, from some quarters, to ChatGPT, I decided to try it for myself.
It’s very simple to use, but it does, like most computer programmes, function on the GIGO (Garbage In, Garbage Out) principle – so if you ask it vague, non-specific questions and requests, you are like to get vague, non-specific replies.
In an early encounter with ChatGPT, I asked it to write programme notes for a concert. To make it simpler, and so that I could assess the responses, I asked it to write a separate programme note for each piece in the programme. What quickly emerged was a very generic, bland text, with certain phrases and statements repeated in each instance (such as “this is one of the finest works in the piano repertoire, admired for its virtuosity”).
Another time, I asked it to write me a “short essay highlighting the key points of Schubert’s last three piano sonatas” and this is what it produced:
Schubert’s last three piano sonatas, composed between 1822 and 1828, are considered some of his most profound and challenging works for the instrument. They showcase his unique musical voice and mastery of form, harmony and texture. Some key features of these works are:
Complex forms: Schubert employs unconventional structures in these sonatas, blending traditional classical forms with his own innovations, such as incorporating variations, multiple themes and unexpected modulations.
Emotional expressiveness: Schubert’s last sonatas are known for their intense,melancholic and introspective character, reflecting his state of mind during the final years of his life. He achieves this through lyrical melodies, harmonic ambiguity, and the use of contrasting moods and tempos.
Diversity of textures: Schubert experiments with a wide range of textures, from delicate and ethereal to powerful and dramatic, to create different emotional effects. He uses innovative techniques like cross-handed playing and rapid arpeggios to create rich and complex textures.
Expansion of the piano’s capabilities: Schubert pushes the limits of the instrument, exploring new technical and sonic possibilities, and creating a large-scale, symphonic sound. He also incorporates elements of chamber music, such as dialogue between different voices, into his solo piano works.
In conclusion, Schubert’s last three piano sonatas are considered landmarks of the genre and demonstrate his unique musical vision and creativity. They are complex and emotionally charged works that challenge the performer and reward the listener with a rich and deeply moving musical experience.
It’s not a bad attempt. In fact, I think it would probably secure a decent pass in a GCSE exam. But a little deeper, and really this response reveals very little actual “depth”. If I was marking this essay, I would mark the candidate down for lack of actual examples from the music to underpin certain statements, and the whole text does come across as rather bland and superficial, with meaninglessly vague or clichéd descriptions of, for example, texture, and a distinct lack of question, argument, comparison or contextualisation – the sort of elements one would expect from an A-level or undergraduate essay.
However, what I do think this offers is a starting point from which to develop a far more detailed and involved essay – and for me this is probably how I would use ChatGPT.
I have also used it to generate marketing plans and social media posts for my publicity work. Like the programme notes exercise, the responses have been rather generic, with recurring phrases appearing regardless of the topic, but once again, I have found this a useful spark for my own creativity. I see ChatGPT as a tool, a kind of “office assistant”, if you will, but certainly not as a replacement or substitute for me
Finally, for a bit of fun, and because it was Schubert’s birthday the day I was playing with ChatGPT, I asked it to do the following:
“Rewrite this essay in the style of a poem by Heinrich Heine” – and it obliged with this fine piece of doggerel
Schubert’s final sonatas, so grand and divine, Piano masterpieces of his final nine. Complex forms, a blend of old and new, Unconventional structures, for a pianist’s view.
Intense, melancholic, introspective, these works, Reflecting his soul, so beautifully lurks. Lyrical melodies, harmonious dreams, Contrasting moods, and emotional streams.
Texture diverse, delicate to strong, Creating emotional effects, in each and every song. Innovative techniques, cross-handed play, Arpeggios rapid, in musical array.
Piano’s capabilities, Schubert did push, Exploring new sounds, so grand and lush. Chamber music’s elements, in his solo sound, Dialogue of voices, all beautifully wound.
Schubert’s final sonatas, a masterpiece of the art, Complex and emotional, a beautiful start. Challenging performer, rewarding the ear, A rich experience, so deeply sincere.
In a later article, a friend of mine shares his own encounters with ChatGPT, with some intriguing results….
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ROCHESTER CHORAL SOCIETY 150th ANNIVERSARY COMMISSION
Founded in 1873, Rochester Choral Society is celebrating its 150th anniversary in March 2023 with a newly-commissioned choral work, Regards from Rochester, by award-winning British composer, and Rochester resident, Thomas Hewitt-Jones. The work received its world premiere on 18 March 2023 in Rochester Cathedral, and the choir will be taking it on tour to Wells and Glastonbury on 21 and 22 April respectively (details here).
Rochester itself is drenched in history. Regards from Rochester celebrates the rich history of the Medway Towns, exploring themes and valuable human stories while relating them to contemporary society. From the first Saxon settlement through to historic stronghold, from pillar of British naval history through to industrial centre and inspiration for Charles Dickens, composer Thomas Hewitt Jones hopes that this “postcard from Rochester” will celebrate and exude compassion for our planet, social conscience, humanity and kindness – values that are incredibly important to our world in 2023.
Director of Music, John Mountford, says: “Rochester Choral Society has passed some significant milestones recently, with 2022 marking the 100th anniversary of our first performance in Rochester Cathedral. We wanted to commission a piece which reflected the diversity of this area’s rich and turbulent history, with a historically accurate, humorous and engaging new piece. We wanted to find somebody with a connection and passion for the Medway Towns and who wanted to help raise awareness of the cultural and social heritage of the area.”
Composer Thomas Hewitt Jones says: “I was delighted when John Mountford approached me to commission this work for Rochester Choral Society’s very exciting 150th anniversary. Quite early on in our discussions, we decided that the richness of Medway’s history was conducive to a new text, so the result is a 10-movement oratorio which we hope tells the story of the area with sweeping melody and angularity where appropriate. I have written it to be as both engaging and as musically interesting as possible. The final movement of the work brings us to the present day, with the audience joining together to sing with one voice.”
John Mountford believes that choral societies are an essential part of national music-making after the COVID era. “Music is central to the lives of so many people; it binds community and enhances wellbeing for singers and audiences alike.
For Thomas Hewitt Jones, writing Regards from Rochester has been an extremely fulfilling and wholesome commission, not only given the richness of local history, but also due to the strength of the musical heritage of Rochester Choral Society dating all the way back to 1873.
“It was a privilege and a pleasure to discover many historic riches of the Medway area, which is often referred to in relation to Charles Dickens, the former Dockyard and as a stronghold to and from London, but in fact contains numerous other riches. Spending extensive time in Rochester library and reading around the history in detail, it became swiftly apparent that the area’s rich social history made up for any perception Medway may have externally of lack of charm; as the text and music were forming, I was delighted to have conversations with local Medway Council operative John Lester, who is a X generation of the Lester family in Rochester and who offered personal anecdotes of life in Medway since the Victorian era, some of which I have incorporated into the work.
Above and beyond the history books and local connections, in this work I have aimed to reflect throughout the work on the nature of life in 2022, both beyond the recent pandemic (which let’s face it indelibly changed life as we know it) and also in the shadow of contemporary issues that affect our society, not least our collective sense of identity and perhaps most importantly, the current climate change crisis.”
REGARDS FROM ROCHESTER – movements
Introduction & Rochester
The River Medway
Early History
The Cathedral
Seven Weeks (The Siege of Rochester)
Down to the Docks (Chatham Dockyard)
That House, 1857 (Charles Dickens) Baritone soloist playing Dickens
The Victorian High Street
Our Changing World (Contemporary themes incl. Social Conscience and Climate)
The Medway Hymn – rousing end with audience singing in unison
Rochester Choral Society, one of Britain’s oldest-established choral societies, has always striven to achieve high standards of singing, from the great choral works to traditional folk songs. Since 1922, the choir, which comprises around 75 singers, aged 18-80+, has performed regularly in Rochester Cathedral.
Rochester Choral Society appeared on BBC One’s Antiques Road Trip in January 2023 in an episode featuring Samuel Coleridge-Taylor, who conducted the choir between 1902 and 1907. After the world-premiere of Thomas Hewitt Jones’ Regards from Rochester, the choral society looks forward to a summer performance of Mendelssohn’s St Paul, which was also performed at their very first concert in 1873.
Thomas Hewitt Jones is an award-winning composer of contemporary classical and commercial music. Since winning the BBC Young Composer Competition in his teens, his music has been published by many of the major music publishers and is frequently heard in concert and on radio, TV and in the cinema. Thomas’s diverse catalogue includes small instrumental, orchestral, choral and ballet works, and his large number of choral titles includes seasonal carols. ‘What Child is This?’ (OUP) has become a choral classic of recent years, garnering large numbers of performances each season. In 2021, he released ‘Can you hear me?’, an acclaimed response to the COVID19 pandemic. His most recent projects include ‘In Our Service’, a special commission from the Royal School of Church Music to celebrate the late Queen’s Platinum Jubilee in 2022, and a ‘Divertimento for Strings’ commissioned by Lucy Melvin to celebrate the 10-year anniversary of her ‘Chamber Players’ courses.
He is also a composer of Library (Production) music for several commercial publishers, with a current catalogue of around a thousand tracks available for licensing which can be heard on a variety of media worldwide. He works from his own cutting-edge studio facility. He was selected to be a member of the BAFTA Crew x BFI Network for 2021-2.
The Cross-Eyed Pianist is free to access and ad-free, and takes many hours every month to research, write, and maintain.
If you find joy and value in what I do, please consider making a donation to support the continuance of the site
ROCHESTER CHORAL SOCIETY 150th ANNIVERSARY COMMISSION
The Cross-Eyed Pianist 