David Warin Solomons (b. 12 September 1953, Oxford, UK) began his musical education at age fourteen in the Municipal Grammar School in Wolverhampton, where he took up the violin and started at once to compose short melodic pieces. (Among David's earliest and most enduring inspirations was Felix Mendelssohn's precociously original Octet.) David also demonstrated a remarkable aptitude for modern languages, and went on to complete advanced studies in French and German at Christ Church at Oxford University. His linguistic talent would serve him well is his career as a translator for the British government, first in London, then in northern England, near Manchester, where he has made his home since 1991.
Largely self-taught as a composer, David has produced a body of creative work that is impressive both in quantity and quality, and has published scores representing a great variety of genres and media: wind solo (Pensieri su Klizemer, for saxophone, flute, or clarinet, 2004); wind duo and trio; brass quartet (Pieces of Eight, for tuba and euphonium quartet, 1997); wind quintet; string quartet and quintet; keyboard solo; guitar solo (Soliloquy, 1973); guitar duo; wind concerto (Celebration, for Native American flute and strings, 2005); solo voice ("Dawn in the Room," for alto, and piano or guitar, 1996); and chorus (The Frostbound Wood, for a cappella choir, 2005). David's style is imbued with a distinctively modal character influenced not only by the familiar major, minor, and "Church" modes, but also by the octotonic mode and various scale systems of the Middle East and Asia.
Gifted with an extraordinarily wide vocal range, and frequently accompanying himself on the guitar, he has recorded many of his own compositions. David's expertise in computer-assisted music has enabled him to sequence entire choral works, singing all the voice parts himself in his own compositions, historical masterworks, and scores by his composer contemporaries. He has been particularly active as a collaborator with other musicians, and has contributed original scores and/or performances to several Delian Society projects, including the Delian Suites I and II and the "Westron Wynde" cycle for fellow Delian and Native American flute virtuoso James Pellerite. Well-known to musicians and music lovers who frequent the Web, he has also performed lived in concert venues in the UK and Western Europe, and served as a deputy lay-clerk at Manchester Cathedral, where several of his works, among them the Mass for Men's Voices and Organ (1999) and the "Manchester" Magnificat (1994), were premiered. Numerous artists and ensembles have presented his work on their concert and recital programs, including the following: flautist and fellow Delian Robert Billington (Florida); saxophonist Paul Wehage (France); who also publishes many of David's works under the Musik Fabrik label; the Thalia Wind Quintet (UK); the Tubalaté Tuba and Euphonium Quartet (UK); countertenor Mark Crayton (USA); St Ann's Choir, Manchester (UK); the Manchester Cathedral Voluntary Choir (UK); Spectrum (bass saxophone and cor anglais, the Netherlands); the Manchester and London recorder orchestras (UK); and the English Chamber Choir (London, UK).
David explains why he believes tonality continues to play an important role in art music composition:
For music to have any effect on the human soul it seems to me that the human being needs to be able to identify with it. Almost every human being yearns for a home or, when he has a home that he is happy with prefers to keep the knowledge that he can always go back to it. Tonal music can be regarded as such a home for the mind. The alienation of atonal music can be effective only in a context where tonality or at least some idea of "home" predominates, otherwise it is just noise and offers no hope to the human psyche.
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