Keith has travelled and worked around the world throughout his adult life, in well over a hundred different types of jobs in forty-plus countries. He has created over 60 hours of audio-dramatisations of works by Wilkie Collins, Alexander Dumas, the Brontës, Lewis Carroll, and so on, playing various parts in these productions, including the lead role in a biography of Beethoven. When it all rather hesitantly began in 1970, (he called it Audio Theatre, but today he prefers Audioscape) - it was put together with volunteer actors and actresses. (The idea had stemmed from his early career at the BBC where he performed in more than a thousand radio drama programmes.) Keith as producer, actor, writer, and sound engineer, edited and mixed the tapes, interlacing the spoken words with a vast assortment of classical music excerpts, enhancing the atmospheres and moods within the dramas.
Wherever he lived or worked, he had always contrived to be near a piano. “Since I was eight or nine years of age I felt I wanted to be a composer, but was unable to go through the torturous and time-disproportionate chore of writing down more than a smattering of the music swirling around in my head - until decades later, in 2000, when I was introduced to ‘The Magic Pencil’…….Sibelius Music Notation Software.” He was at last able to start seriously composing - putting down all the musical themes and ideas he had concocted since his childhood. He now spends an average of five hours each day developing and composing his symphonic works, using a midi-keyboard and laptop connected to a Roland 8850 - enabling him “to play all the orchestral instruments”.
He has heard a great deal of music, but has studied no scores, and attended no classes. His compositions contain at least a million notes, but in the process, he has certainly had to erase nine million others before being sufficiently satisfied with the final results !
‘Extraordinary’ is one of the many complimentary adjectives applied to Keith’s compositions – but it does not refer to either ‘the unusual or shocking juxtaposition of instruments’, or the ‘extraordinary complexity of a huge score’, and so on, and neither does it require a preamble to its performance ‘explaining the idea behind the work’. His works directly connect with the emotions. It is “a personal communication from him to another human, via the senses. It does not seek to ‘stagger’, ‘confound’, ‘disturb’, ‘revolutionize’. It sings its song. Its song can be heard. “My compositions,” he says, “honour the composers of the past, whilst heralding the music of the future.”
Piano Concerto (Aera Dementia) 2001; Violin Concerto (In Pursuit of Innocence) 2002; Cello Concerto (Träumesturm) 2003;
Choral Symphony (Eulogy Cantata) 2004; Viola Concerto (The Sweetness of Sorrow) 2005; 2nd Piano Concerto (Breakout) 2006;
Concerto for Forest and Orchestra 2007; Concerto for Tuba and Everyone 2008; Clarinet Concerto (Beguiling Spirit) 2009;
Concerto for Man 2010; Concerto for India 2011; Concerto for Ocean and Orchestra 2012
and coming next... 3rd Piano Concerto 2013