BACKGROUND AND EDUCATION
David is an Australian/British composer. He holds a bachelor of Creative Arts and a Bachelor of Laws with honours from the University of Melbourne. David began composing while studying at University. In 2006 he was selected as an Associate Composer of the Australian Music Centre. Since that time he has developed a focus on concert music, but continues to take commissions to write for theatre, contemporary dance, and film in a variety of genres. In Australia he has worked with leading contemporary classical musicians including Silo String quartet, and collaborated with artists from other disciplines including Gerard Van Dyke of Kage physical theatre. So far, the concert music he has produced is predominantly chamber music, which has been performed at such venues as the Great Hall of the National Gallery of Victoria, and the Brisbane Convention Centre. He has explored and studied other art forms and has also acted as author and creative director for theatre in both Melbourne and London. When not pursuing artistic work, David also works part time as law and policy advisor on climate change with European environmental law activists ClientEarth.
AWARDS, GRANTS AND AFFILIATIONS
In 2006 David won second prize for piano composition at the Keys Australian Music Competition, and well as the encouragement award for advanced composition. In 2008 he received an arts development grant from Arts Victoria to create and record new chamber works (Transfigurations). In 2012, he was commissioned by Nyctolopic dance-theatre company to create and record an original soundtrack for The City Will Crumble, with grant support from the UK Arts Council and the Norwegian Embassy. This was a new physical theatre work inspired by the philosophy and aesthetic of film noir. Through his representation with the Australian Music Centre, a number of his works have been included in the music syllabus for New South Wales. David is a member of the Melbourne Composers League and has had works performed at a number of their concerts.
INFLUENCES AND THOUGHTS ON MUSIC
I´m especially interested in music as deep language, in exploring the synesthetic properties of music, and in future to find ways to revive music as ritual. While I work quite a bit in the "art music" genre, in general I am anti-intellectualism in art, - the irrational is a much more potent source of creativity, and is the deepest and quickest route to touching or transforming people I think. Regarding the irrational and the ability of music to summon all of its manifestations, I still would rate Frederico Garcia Lorca´s "theory and play of the duende" essay as an amazing creative bible. For me it contains a continual and non-exhaustible source of inspiration. "Duende" is commonly used in connection with flamenco and is difficult to translate – most literally meaning "demon" or "goblin" in old Spanish but more appropriately meaning the personal magic of an artist of performer, and has some spiritual connotations.
Key influences and admiration include the sound worlds of Kaija Saariaho, George Crumb, Toru Takemitsu, Arvo Part for lofty power and wisdom, Ravel for colour, Rachmaninoff for irrepressible dark. I have much yet to discover and study. Since studying flamenco guitar (in addition to my classical training as a pianist, I think my writing seems to have become more propulsive, and rhythmically interesting. While not that much of it can be heard in my music, flamenco (being a fusion of western, north African and Indian harmonic systems) started me on a continuing path of fascination for non-western music. Currently absorbing Ladino song and arab-Andalucian music.Also influenced by the music of North Africa, the near east and Indian classical forms. When writing for theatre, dance or film the influences ofcourse depend on the genre, and what is going on in the world, or my world, at the time, as well as the vocabularies of the artists, choreographers or writers I´m lucky enough to be working with at the time.