Abstract

My piano compositions are often differentiated by virtuosic performance techniques. The aim is not to torture the performer but to aim for more complex musical events that inspire and mystify the audience while being, within their purpose, as easy to achieve as possible.

Accomplished composers of piano music are acutely aware of the limitations of ten fingers moving across the odd asymmetrical shape of the diatonic keyboard, and use that knowledge to create apparently complex manoeuvres which are, in fact, easy to achieve. Fantasia Divina is the first work in which I have concentrated specifically on keyboard topography and the ways in which it can inform harmonic and melodic material in composition.