Earliest influence remembered: George Frederick Handel- Water Music, also Teleman Water Music & Concerto Grosso selections.
Early keyboard inspirations: J.S. Bach -Goldberg variations, played by Glenn Gould (later recording). First heard in about 1990. J.S. Bach -dm piano concerto played by Glenn Gould. First hear around 1990.
Early keyboard compositional mentors: (1990-1994)* I. J.S. Bach – Anna Magdalena Notebook 2. Bach -Little Preludes & fugues Czerney edition, various selections 3. Bach – French Suites -selections cm & GM, 4. Bach -two part inventions, various selections 5. Bach -Goldberg Variations, various selections. 6. Bach -Partita no 1 in BbM selections 7. Bach -Well Tempered Clavier, prelude in bm bk 1, prelude and fugue in CM bk 1.
II. Goerge Frederick Handel – “Impertinence” and Bourre in GM. Gigue from suite in f#m, and allegro from suite in F Major.
III. Dominico Scarlatti sonata selections.
IV. Leopold Mozart -“Notenbuch fur WolfGang” -Schott edition
V. W.A. Mozart – “Der junge Mozart” -Schott edition, & “The London Notebook” edition Henle. Mozart variations “Ah, vous dirai-je Maman”.
VI. Beethoven -German Dances, edition (?), Piano variations – selections from 6 variations “nel cor piu non mi sento” Paisiello; 10 variations “La stessa, la stessissima” Salieri, also selections; 15 variations “Eroica”, selections.
VII. Robert Schumann -Album for the young & Kinderszenen various selections.
VIII Several Clementi Sonatinas, early selections
IX. Methodist hymnal
*These refer to repertoire that I was learning AND that had a significant influence on my composition in that I actively used these pieces as models, or instructional works. Works I was studying at the time but were not used so much as far as composition is concerned include for example Kabalevsky 24 pieces for children op 39, Tchaikovsky Jugende Album, Burgmuller op 100 25 studies, Mozart Viennese Sonatina no 1, Sonata in CM K. 545, & K. 279 mvt I. Also Beethoven Bagatelles op 119 & 126 selections (some influence maybe). Also some works by Bach that I was playing were primarily performance instructive (although they may have influenced my composition unknown to me) such as WTC I prelude and fugue in cm & DM, prelude in dm, and prelude in CM, cm & dm bk 2. Of the selections mentioned probably the albums of greatest utility value as far as my composition was concerned are the Anna Magdalena note book, Leopold Mozart’s note book, and Wolfgang’s notebooks. These albums are compendiums of stylistic convention and offer an array of pieces that are relatively quick and simple to learn. Consequently they contain a wealth of compositional lessons ranging from beginner to intermediate and advanced levels.