which is a deliberate effort to imitate his style of writing.
I find myself most at home when I write in the styles of others, since I concider myself much more of a theorist than an actual inventive composer. I have also been inspired by the likes of Schumann (Robert and Clara), Wilhelm Stenhammar, Carl Nielsen, Ture Rangström, Wilhelm Peterson-Berger, Fanny Hensel, Carrie Jacobs Bond, Francesco Paolo Tosti, Emma Louise Ashford and several English composers in separate vocal works.
My Night songs cycle is a real blend of different influences where one can clearly hear Schuberts "Gute Nach" op 89 no 1 in the form of the first song, Carl Nielsens "Underlige aftenlufte", in the accompaniment and melody of the second, Schuberts Schäfers Klagelied op. 3 no 1 in the form of the third, and English late romantic writing in the melody of the fifth.
Yes I am a baritone, but a lyrical one, which means I have a rather high top register. Normally I would concider my range as stretching from A up to f1, but under the right curcomstances I can stretch the register down to a low F# and up to a high g#1, I for instance sing the Schumann Waldgestrpäch op. 39 no 3 (page 5 and forward) in the original key, as well as Sibelius Svarta Rosor op 36 no 1 (beginning), although the second example is much tougher than the first to perform rangewise.
I would be delighted to take a look at anything you write for voice. It would be very nice, since I enjoy your music a lot.
Hi Michael, This below is the content of an email I sent in reply to yours a couple of days ago...I have just realised I sent it to a 'do not reply' address so here it is again in case it didn't reach you first time:
Thank you for your email, it's good to hear from you.
Yes, there's lots of stuff there on Score Exchange, some better than others. I guess having had what turned out to be the good fortune of being ill-health retired at age 55 (good because I made a full recovery not long afterwards) I was able to take up composing full time; and then went crazy once I'd obtained Sibelius software which of course makes life so much easier.
I tend to work on one piece at a time upon which I fixate...even to the extent of letting it get in the way of playing golf (another passion)...but if I get stuck I find it helps to unlock my brain if I start sketching out something totally different.
You might only be able to work part time but still manage to produce some terrific music. I guess the only way to make a satisfactory living is to get involved with writing for TV (even if only writing jingles) or, better still, movie sound tracks. There are some genius musicians out there in the ether who can't manage to scratch a living by composing...I guess much luck is also required.
Anyway, thanks again for your interest...I'm sure we will talk again many times in the future.
hanks for watching, michael. The piece is highly programmatic in that it is about an actual part of manchester where the residents lived in dire poverty. The mood I tried to convey was one of hope, or the overcoming of adversity in the dark grime of the city. Many of the buildings still remain, as you can see. Still trying to get somebody to play the music, though!
I will take the time to listen to your music now. Thanks again