Artist description I write music because there is no one that I know of who writes the kind of music I want to listen to. If you like it as well, all the better.I learned to read and write music in 1983, with my Commodore Vic-20 computer, which I still own. Throughout my childhood, I was exposed to classical and electronic music through visits to my grandfather’s house. Lloyd was not a musician, but had a deep appreciation for music, and a very large record collection. My parents would take myself and my brother every Saturday for supper, after which we would retire to the cellar for an evening of listening to music. It was here that I first heard the music that would stand as a basis for my music tastes for years to come, the 1812 Overture, and the music of Wendy Carlos. I first started seriously writing music at age 20 in 1991. I had written on and off for the previous ten years, but without taking it to seriously. In 1991, I started writing music for piano and flute, which I performed at First Baptist Church in Portland, with my wife-to-be Christine, playing the flute. Throughout the early 90’s I wrote a half-dozen such pieces, mostly slow and lyrical, as befits a church service. Also written during that time were several pieces for solo piano, namely the “Miniatures”, “Of Sculptured Ivy and Stone Flowers”, “At the Candle’s Light”, the first draft of “Lament”, and several Preludes. In 1993, while I was choral director of Poland Baptist Church, I wrote and performed with the choir my “Meditations on Psalm 22” and an arrangement of Robert McFerrin’s “The Lord’s Prayer”. In the spring of 1994, the University of Southern Maine Orchestra performed an orchestral alternate to “Of Sculptured Ivy and Stone Flowers”. In 1994 I bought my first synthesizer, and from them until 1999 I produced almost exclusively electronic music, most of which falls under the “techno-industrial” style. Also in 1994, I started composing more serious orchestral music, the first of which was “In the Cold, Cruel Arms of Chaos”. In 1997, I was contracted by Comet Cartoons to compose a score for a short 3D animation called “Blue Bottle Fly, Green Bottle Fly”. Since 1998, I have worked to perfect my orchestral writing, and more importantly find a voice that is my own. With such diverse influences as Bach, Mozart, Stravinsky, Wager and Carlos, is has not been a simple task to find a compositional style that is consistently my own. From 1998 to late 2000, I again concentrated on electronic music, producing two albums with John Highstreet under the name Doctor Eternal. In December of 2000, I finally got fed up with computers and started to really seriously study the piano. Also since that time I have written a set of pieces called the “Lyric Suite” for orchestra, an opera overture “Die Versuchung” and several piano Preludes. Plans for the future include writing a chamber opera or two (they're small!), and continuing to write choral and instrumental music for FBC.

Music Style Orchestral symphonic, opera, chamber and film music

Musical Influences Richard Wagner, Charles Ives, Arvo Part, Shostokovich, Stravinsky

Similar Artists Ives, Bartok, Stravinsky

Instruments Pen, Paper, Sibelius scoring software

Location Scarborough, ME - USA

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