Please Copy and paste the above link link to my site links and introductory article. Hello and look forward to seeing you there at Next Classical 2018 in Rotterdam. I have plenty to offer from concertos to sonata, tracked improvisations to songs and choral works for SATB, orchestral solo and accompanied violin as well as piano pieces and publishing of leather hand bound scores and editing. I feel I can take part as a professional because I briefly was a professional singer. I went to music college 2x as a countertenor and won the school singing cup. At college in Germany I worked for Junges Theater Göttingen Summer Opera 2002 for. month and also did a couple of jobs for Meike Wichelt (who's married name was Zündorf). That's basically all I've done professionally so far as a soloist. The pieces were both by Purcell. Don Quixote and Welcome to all the Pleasures (1st ode to St Cecila's day). See photos. More recently I've done TRBC in Guernsey and the Royal Albert Hall with Brian Kay and Bob Chilcott, Aldeburgh Voices with Ben Parry and the NYCGB fellowships scholars Christmas 2016 and Roman River Music Festival Chorus. All just below professional level as a bass / baritone. I think that voice is better than my countertenor and is my natural voice and it was never picked up on because they thought I would have had more earning potential as a counter. I have been on 4 recordings and have taken part in 4 tours as a boy soprano and alto with the school choir, and have sung at 9 cathedrals in the UK and in Germany. I was a boy soprano and alto with The Boys Choir of Widford Lodge, Chelmsford under James Smith, and Ipswich School Chapel Choir under Stephen Orton, William Dore, Stephen Knight, Andrew Wilson and Andrew Leach from 1987 to 1996. I won the Singing Cup at Ipswich School in 1995 against stiff competition from Tom Fletcher (who won the year after) and Tim Kiddell (Kings Scholar and Speech Writer to Gordon Brown). Tim especially was head chorister and beat me at least three times to become Rekordmeister. I was his Chelsea Blue to his Man United effort I suppose as it was in those days. I attended Eton Choral Courses in 1995 and 1996 having won the competition and recorded for BBC world and was broadcast on 3rd and 10 Dec on 'In Praise of God'. We also sang evensong at Kings College Cambridge with Stephen Cleobury and St John's college Cambridge with Timothy Brown. But I had mixed success as a countertenor professional. I'd say the opportunities came a little too soon. The best countertenor teacher I ever had was Ashley Stafford and I wish I'd paid top whack to keep him rather than applying for college that year. He's a nice guy. I liked him. The other famous professor I knew was Barbara Schlick. I'm also grateful to Alexander Stevenson, Brian Kay, Ben Parry, Ian Ray, Ben Vonberg-Clark and Sarah Blake for helping to gain vocal technique and open up the voice, and to John Chillingworth for introducing me to my favorite choral work Brahms Requiem. Again to Norbert Ternes for allowing me to sing the Matthew Passion in Fritzlar Cathedral, Karsten Zündorf for his wonderful Marienvespers with Kammerchor Wupperfeld and the enjoyable choral experience with Charlotte Hake of the GhK performing pieces associated with travel . In total I have performed 3 operas and operettas and 21 oratorios many more than once in 4 different countries. I have performed in total over 355 times in church and as a concert choral singer including at the Royal Albert Hall 4x and at Snape Maltings 6x..
I'm a registered disabled and currently spends his time writing and composing. He suffers from diabetes type II and bipolar. I've had a nervous breakdown twice, and I lost my father to cancer when I was 14 having been though a family divorce at aged 9. I put a brave face on it always. It's difficult having to cope with that in my life because people are sometimes very unsympathetic. Especially, because people are very willing to interpret a prolific talent for writing 90 compositions and 11 books in ten years as an illness of 'racing thoughts' rather than anything profound. I beg to differ. Many musicians and artists suffered from my condition and similar ones. Van Gough for one, and Schumann, Brückner and one might also say Beethoven. So, I feel I'm in great company and it doesn't have to be a disadvantage.
I've gone back to being a chorister part time for social contact more than anything else. I just felt I had talent for composition and wanted to give it a try. I had just got some credit given to me and had money to buy a ticket to the conference so I thought it might be quite fun to see if I could make some professional contacts. I've never tried composition professionally and basically I'm looking for someone to help me make a success of it. I never realized I had the talent when I was younger. It just suddenly hit me at thirty when I decided to give up being a singer and was doing a linguistics masters. After my degree my friend left me and it I just got filled with a very powerful sense of divine inspiration to write music. I know I was completely crazy but somehow I just knew what I was doing with it and first it was just a bit of fun improvising and tracking what I'd done using Audacity. Then I decided to take myself more seriously and there were these three Music Theory upper grade books lying on my shelf gathering dust that I'd never completed. So, I started to finally do my music theory homework. I worked through grade 6 workbook and bought myself a few past papers and I got that one first time teaching myself. So, I tried grade 7 and taught myself for that and got it on my second attempt. Grade 8 was completely new material for me it took me 3 attempts but I got may name on the certificate twice as teacher and pupil to myself as well.
Those three were in addition to the theory I did at HfM Cologne Standort Wuppertal when I was there as a singer. It was there that I met Lutz Werner Hesse and he was a big inspiration to me in terms of getting me into taking composition seriously. I was invited to the premiere of his concerto and I was in his history and music appreciation classes although Prof. Petra Obenaus was my theory teacher there officially. She really made me understand the philosophy behind music and how theory developed. So, I have a training in practical and philosophical music theory so to speak in both the German and British system. When I got the theory I just continued to write I managed to write one piano sonata and I kept them going, then felt very inspired by Nicola Benedetti's playing, so I wrote things that were inspired for her and not just my ex girlfriend. It was her 'Ladies in Lavender' that made me get my violin out of the cupboard and play again for a bit so I wrote violin sonatas including Salvator Mundi which is over 20mins long, whilst I was playing in a worship group and 1 concert for a local orchestra on second fiddle and then I wrote a violin concerto and piano concerto. I feel there is much potential for me as a professional composer, but being older I need to dive straight in at the deep end and seek private tuition and or promotion for my music. I'd like to do a degree in composition now but it may be too late for that depending on how people feel. I need help with this. All I'm really armed with is a prolific talent for composition and writing I've had since 2010 that has gone hand in hand with health problems. Now I am using Sibelius and write my compositions note for note using the keypad rather than keyboard. I think that helps you think about the composition in your mind more. I do sometimes just track what I do using audacity still, but mostly I improvise an opening phrase or section write it out using the keypad and then continue it on the computer using Sibelius. I had a brief flirtation with Reaper as well.
In my spare time I enjoy traveling and writing about my experiences living in Germany. I've finished a book on my experiences of living and having a German exchange in Berlin, about my political activism since 2003, and My Time in Kassel. I have visited 21 countries in total, but sadly I'm no longer the most travelled person in the family. I've done several big road trips but one big one on my own from New York City to LA by bus via Canada in 2001 taking around 28 days. I've written on that as well re-editing my holiday diary I kept on the trip. I've also visited every major country in Western Europe. In Holland I have never spent time in Rotterdam just passed through on the train, but I have visited Maastricht (which I love), Amsterdam, Marken, Fleverlond, the dune reserves on the Dutch coast where I admit to having slept under the stars for 1 night only, Arnhem, and Amersfoort. I have lived in Berlin, Kassel, Wuppertal and Cologne as well as in the UK. I am a committed Stand Up For Europe fan. I have a professional editor in Karl French formally of Bloomsbury and a very professional bookbinder in Barry Brignell of Cambridge. My leather edition books and scores are worth hundreds of pounds.
Full list of Self-Publications
Storm, Stress and Sorrow (20 teenage poems)
Silent Worship (36 more teenage poems)
Melancholy River (Epic poem)
Mit dem grünen Lautenbande (40 German poems)
All poetry now withdrawn for extensive re-editing and putting into a collected poems volume. there are around 335 so far.
New Leather Jacket
Your Knight in Shining Armour
In extensive re-editing they are a bit cruder than I would like at the moment, sort of Jilly Cooper but a bit dirtier Sexy Romantic Fiction. (I'd just split from the love of my life when I wrote them one after the other in between 3-6 weeks each over 50k which is what made me an author as well as a composer)
America Illustrated (holiday diary)
My Little Book of Berlin
My Time in Kassel (now in 3rd editing phase)
History of My Political Activism 2003-2018
Wuppertal Times (still writing now 54,000 words)
Music (I need to publish more of my music and programme notes)
Violin Sonatas Volume 1.
I'm bringing out my string quartet in leather binding soon as well. The programme notes are with Karl at the moment. It's called Schweizerpsalm (which was my joke with Nigel Farage to write a sort of thanks for nothing quartet because I'm a hardcore Remainer and avid Eurofederalist.) It's inspired by the Swiss national anthem and a bit of Grieg. 4 movements. Then I'm hoping to get a piano sonata volume out by the end of the year.
article submitted by:Hugh Waldock, Waldock, Hugh