Past Council Members

Arthur Hewlett

Arthur Hewlett became a pupil of E.G.W.’s in 1925, and for the next 80 years, until his death at the age of 102, worked tirelessly to promote White’s Technique.

He edited the 1938 edition of E.G.W.’s Science and Singing, and he himself wrote Think Afresh About the Voice, which presented the Technique to the audience of his time and refined White’s theory into what Hewlett called his ‘General Theory’ of voice.

Arthur Hewlett became General Secretary of the newly formed E.G.W. Society in 1944, and was Honorary President from 1987 until his death in 2005. It is thanks to his devotion to the Society that it continues to exist and spread the word about White’s Technique. More

Charles Cleall

As noted at the start of his obituary in The Church Times, Charles’s passing has ‘deprived the world of church music of one of its most able teachers and choirmasters’.

That career began when, at the age of just 15, he created a 40-voice choir in Ashford, Kent. He went on to study at Trinity College of Music in London, and within a year of graduating had been appointed Professor of Solo Singing and Voice Production. Three years after that he was conducting the mighty Glasgow Choral Union and then succeeded Imogen Holst as director of the Aldeburgh Festival Choir.

His principal books were The Selection and Training of Mixed Choirs in Churches, Music and Holiness, and Voice Production and Choral Technique. His writings on choir training are striking for the sound explanations of techniques based on phonetics, vowel and tone, which have transformed the sound of many a choir. More.

Nicholas Amer

(29 September 1923 – 17 November 2019)

Nicholas Amer, January 2014

Nick, who died peacefully in his sleep at the age of 96, was a valued member of the EGWS and an enthusiastic proponent of White’s Technique for decades. He was the Society’s spoken voice expert who contributed his expertise to Society meetings, and also served on the Council for many years.

“Britain is awash with good actors. Among them was Nicholas Amer, who gave one of the best audition pieces I have ever seen. He had memorized from the novel the entire scene of Jim’s first encounter with Ben Gunn, the mad castaway Silver and his mates have stranded on the island, and he did it for me, playing both roles. Of course he got the part and was bloody good in it too. “(Charlton Heston on Nick’s audition for Ben Gunn in his 1990 film of Treasure Island.)

Nick’s acting career spanned nearly 70 years and included performing Shakespeare in nearly 40 countries as well as many appearances on the screen and London stage.

Nick as Lord Nelsom in the film ‘Nelson’s Touch’, 1979

The Society was represented at the memorial service, which was an interesting collection of memories from his family and friends, including Judi Dench. We were pleased that his association with the EGWS, and the benefits White’s Technique gave him in his career, were both mentioned. At the end of the service, the mourners were appropriately led in an enthusiastic round of applause for Nick’s final curtain.

A full biography can be found at https://en.wikipedia.org/wiki/Nicholas_Amer#Films

Peter Giles, PhD, FRGS, FISM

In 2020 Peter Giles retired from his several positions with the Society – Trustee, Council member, and Better Voice Course Consultant – after working for nearly forty years to further the Society’s aim of spreading the word about White’s Technique.

Peter became a pupil of the late Arthur Hewlett (who himself had been a pupil of E.G. White) in the early 1980s, when he was Senior Lay-Clerk at Canterbury Cathedral, a solo singer in the UK and abroad, and a founder member of the male trio Canterbury Clerkes. He immediately recognized the value of White’s Technique to both himself and others, and soon went on to become a Registered Teacher of the Technique.

Since then, Peter has taught the Technique to an enormous number of private pupils who came to him with requests that ranged from wanting to become a professional singer, through needing to restore a voice damaged by poor vocal technique or to improve a speaking voice that was preventing its owner from achieving professional success, to wanting better breath control when playing the saxophone. More

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