Geoff brings to us a wealth of experience. Below is an interview he gave recently to Simon O'Hea of the Music in Portsmouth website that gives an insight into his musical background.
Who or what were the main influences on your decision to pursue a career in music?
I was fortunate to be at The Kings' School, Ely, which was strong in music. I also attended The Mackenzie School of Music and Drama in Cambridge for singing lessons. Subsequently, I secured key roles as a tenor in The Magic Flute by the Ely Opera Group and in A Country Girl by the St. Ives Operatic Society.
Who have been the most important influencers on your musical life?
Dr Arthur Wills, Organist of Ely Cathedral and Director of Music at The Kings' School, taught me piano. At The Teacher Training College at Milton, Portsmouth, Margaret Jewell (Head of Music Department) persuaded me to switch from maths to music and Hugh Davis (Assistant Organist at Portsmouth Cathedral and conductor of the Portsmouth Choral Union), my tutor, arranged for me to have singing lessons in London, under the tutelage of the tenor, Gerald English.
Hugh also encouraged me to join The Cathedral Choir and I was appointed to Portsmouth Grammar School as Director of Music for The Lower School. Later, I became Director of Music at St Albans, Havant, where pupils – and I – became accustomed to brass band practice at 8 o'clock in the morning!
What have been the greatest challenges of your musical career so far?
I have been engaged as a tenor soloist for many local choirs. This has led to several memorable and challenging performances, including The Messiah with the Drayton Choral Society (later the Portsmouth Baroque Choir) at Portsmouth Guildhall. Whilst Director of Music at St James' Church, Emsworth, I arranged broadcasts for TV and radio, including Songs of Praise. On two occasions, I sang Eisenstein in Die Fledermaus with The South Downe Music Society at the King's Theatre, Southsea.
What for you are the particular pleasures and challenges of collaborating with other musicians?
Singing with others in a group or choir is always rewarding. As a director, it is so satisfying to see how far people can be encouraged to come on a journey of musical improvement.
How would you describe your musical language?
As a soloist, I liked to bring out the emotion and drama of a piece. As a conductor, I try to work on contrasts of dynamics, rhythm and melody.
How do you work?
I like to choose and conduct pieces that will demonstrate the performers' strengths, with suitable, but challenging material, which I hope the audience will enjoy.
Which works/performances are you most proud of?
I've already mentioned Die Fledermaus. I deputised for Raymond Calcraft as director of music with the Highbury Singers which became The Renaissance Choir. In 1986, in the Queen Elizabeth Hall, London, I conducted the choir in the pre–performance rehearsal of hitherto unperformed works by Guerrero and Rodrigo, who himself was present. To raise money for Stansted House, I have arranged forty Musical Evenings there in The Music Room. In 2013, I set up Los Ladrones, a vocal quintet. This group specializes in the revival of gems of Victorian and Edwardian British Musical Theatre and especially the lesser known works of Arthur Sullivan.
Are there any composers with whom you feel a particular affinity?
I enjoy the music of Handel and have performed as soloist in The Messiah 13 times. I was a founder member of Havant Light Opera in 1978 with whom I have directed works by Arthur Sullivan, an under–rated composer who wrote many fine pieces, both with and without Gilbert. I have been MD for The Mikado with both Littlehampton and Chichester Operatic Societies.
What is your most memorable concert experience?
13 choirs (over 600 voices) were involved in The 2016 London Welsh Festival of Male Choirs at the Royal Albert Hall. In preparation for this, I navigated The Solent Male Voice Choir through rehearsals, when seven songs had to be sung in Welsh, by heart.
What advice would you give to those who are considering a career in music?
As an amateur, try out lots of different sizes of groups and types of music making, taking any opportunity to perform solos.
How would you define success as a musician/composer?
Simply seeing both performers and audience enjoying a concert.
What are your immediate plans?
After several happy years with The Solent Male Voice Choir, I'm excited about the prospect of conducting The Hampshire Police Male Voice Choir and directing them in the Cornwall International Male Voice Choir Festival in 2021.
