Tom Ingoldsby

Wave Etchings
for piano and orchestra

duration: 27minutes


Tom Ingoldsby's concerto for piano and orchestra Wave Etchings, was first prize winner at the prestigious 1999 City of Tarragona International Composition Competition. It received its world première in Tarragona, Spain in 2000, when the Barcelona Symphony Orchestra performed it under Antoni Ros Marbà, with Albert Attanelle as soloist, to rave reviews. A subsequent performance was given by the BBC Symphony Orchestra and pianist Rolf Hind.

Tom Ingoldsby was born in 1957 in Toronto, Canada. A "late arriver" to
classical music, Tom's musical origins lie in rock and roll, and he lists
artists from the Beatles to King Crimson as major influences on his life.

After performing in a few semi-successful rock bands, he began composing
short pieces for piano, one of which won a Music Canada award. The judge of
the competition was Dean of Music at Wilfrid Laurier University, Waterloo,
Ontario, and he invited Tom to attend the composition course. He studied with
Boyd MacDonald and Mariane Etkin, and then obtained his Masters degree at
the State University of New York, at Buffalo, working for two years with
Morton Feldman. Tom then for spent three years at the Cleveland Institute of
Music studying with Donald Erb.

In 1990 Tom emigrated to a small town in the southwest of England, where he
now lives with his wife and two children.

Tom has won several international competitions: Lamentations and Celebrations, his concerto for percussion ensemble and orchestra, won the 2 Agosta competition in Bologna in 1998. Previous activities and awards include the 1996 Clements Memorial Award for Chamber Music for his Sonata for Violin and Piano, and a commemorative award from the 2nd Tokyo International Competition for Composition for Three Small Litanies for soprano and chamber ensemble.

In March 1998 the Kreutzer String Quartet successfully premièred his String Quartet No.1 in Cyprus. Tom's Fanfare from the back of beyond was premièred by the London Sinfonietta in April 2000 as part of State of the Nation 2000. The Guardian described the piece as "a bubbling array of rhythmic figures that got form and content just about in balance".

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