Dr Graham Griffiths is Honorary Research Fellow and Post-graduate Internal Examiner at City University London and is the author of Stravinsky’s Piano: Genesis of a Musical Language (Cambridge University Press, 2013). He studied musicology at Edinburgh University and music education at Gonville and Caius College, Cambridge, obtaining his doctorate - DPhil (Musicology) - at Christ Church, Oxford in 2008.
Between 1989 and 1999, while living in Brazil, he gave over two hundred professional concerts as conductor and pianist; he founded and directed the contemporary music ensemble Grupo Novo Horizonte de Sao Paulo and the ‘period instrument’ choral/instrumental ensemble Camerata Novo Horizonte (specialised in the restoration and performance of eighteenth-century music composed in Latin America); he also guest-lectured at eleven Brazilian - and Danish - universities. Upon his return to the UK his article ‘Fingering as Compositional Process: Stravinsky's Piano Sonata Sketchbook Revisited' was published by British Postgraduate Musicology Online. Since then Griffiths has delivered courses at the universities of Bath (‘Stravinsky's Spain'), Bristol (‘Performance'), Canterbury Christ Church (‘Music Since 1900'), and Oxford (‘Stravinsky and the Twentieth Century'). His affiliation with City University London dates from 2010 (‘Stravinsky’; ‘Neoclassicism as Musical Progress’); he was appointed Lecturer in Musicology in 2013, Visiting Research Fellow in 2014 and Honorary Research Fellow in 2015.
He is based in East Sussex and develops his keen interest in music-education-through-performance by also teaching at Cumnor House Sussex. (There he is currently preparing, with the help of fifty Year 3 children, his adaptation of ‘Chernomor’s March’ from Glinka’s opera Ruslan and Lyudmila.) In recent years he has made several study-visits to Russia to research the life and compositions of ‘Stravinsky’s piano teacher’ Leokadiya Kashperova (1872-1940). In October 2015 Griffiths returned to St Petersburg to deliver a two-hour lecture-recital entitled ‘Stravinsky’s Piano, pal’tserazvitiye, paradox and the Petersburg Conservatoire’ as part of the XV St. Petersburg International Conservatoires Festival; his presentation concluded with the first performance in over a century of Kashperova’s seven-movement suite In the Midst of Nature as well her own transcription, for piano solo, of the scherzo from her previously ‘lost’ Symphony in B minor (1895).