As a keyboard player Howard plays harpsichord, organ, fortepiano, modern piano and synthesizers, performing in numerous international festivals. He studied at New College Oxford (organ scholar) before a postgraduate year at the Guildhall School of Music and Drama. He was prizewinner in both diplomas of the Royal College of Organists. As pianist he has given recitals with Ken Aiso, Nigel Robson, Lynne Dawson, Mark Padmore, Matthew Barley, Piers Adams and David Watkin (with whom he has recorded the Beethoven Cello Sonatas and the Cello Sonata by Francis Pott). He is a principal keyboard player for the English Baroque Soloists and worked closely with Sir John Eliot Gardiner and the Monteverdi Choir as keyboard continuo player and assistant conductor during the 2000 Bach Pilgrimage. He has also played with the Academy of St Martin in the Fields and the Orchestra of St John's as well as in ensembles with members of the Orchestra of the Age of Enlightenment and London Symphony Orchestra.
Howard works extensively with saxophonist John Surman with whom he has toured many international jazz festivals as both conductor and improviser, giving performances of Proverbs and Songs (nominated for the Mercury Award). As conductor and pianist he performed the premiere of Ultimate Voyage (Surman's concerto for saxophone and piano) and has transcribed and orchestrated the album Road to St Ives. Their duo album of improvised music for organ and saxophone, Rain on the Window, was released in 2008, followed by performances of improvised concerts in jazz festivals in Canada, Italy, Norway, UK, Poland and Germany. Howard also played for ‘Lifelines’, John Surman's commission from Huddersfield Contemporary Music Festival and BBC Radio 3 live from the London Jazz Festival.
As harpsichord and organ continuo/obbligato:
English Baroque Soloists as part ot the 2000 Bach Cantata Pilgrimage, performing and recording all the Bach cantatas over the year, the recordings of which are being released on the SDG / Soli Deo Gloria label.
Montreal, Frankfurt, Coventry, London, Munich and Klagenfurt jazz festivals and first performance of Ultimate Voyage with John Surman.
Ongoing concerts as organ/saxophone duo with John Surman, alongside the release of ECM album Rain on the Window. Recent performances include jazz festivals in Canada, Italy, Norway, Germany, UK and Poland.
Pianist in the first performance of Lifelines by John Surman (London Jazz Festival 2012).
The Tenor Man, a devised theatre piece with tenor Nigel Robson, (produced by Artery productions for the opening of the Enschede Festival 2005, dir. Henk Schut) involving piano improvisations. See also the Agenda section of the Artery website.
Many recitals as accompanist with cellist David Watkin and soprano Lynne Dawson including performances at London Wigmore Hall, St John's Smith Square, Purcell Room and Queen Elizabeth Hall, and concert tours in Japan with violinist Ken Aiso.
Pianist for chamber concerts with Orchestra of the Age of Enlightenment, London Symphony Orchestra, London Jazz Festival, La Folia and Scottish Chamber Orchestra.
Electric Partners. David Watkin made the arresting opening phrase of Debussy's Cello Sonata ring out heroically in that reverberant acoustic. The sense of fleeting glimpses was well captured, as was the range of tone, by both cellist and his pianist, Howard Moody. This is an exciting partnership. The dialogue of the Rondo in Beethoven's Sonata in G minor, op 5 no 2 was a particular delight. But the performance of Brahms's F major Sonata was absolutely electrifying, its waves of passion transmuted into virile, resonant melodic lines. I hope to hear this duo again.
The Times, July 1988
Moody's infinite poise with the melody line was poetry incarnate.
The Guardian, February 1992
seems always to find reserves of sonority to encompass Beethoven's most dramatic moments
The Gramophone, October 1996
One of the most charming events of the festival was the period instrument trio of Howard Moody, David Watkin and Lucy Howard, sounding as if they has spontaneously got out their instruments to play for their own pleasure, surrounded by a gathering of friends.
To describe Ultimate Voyage as a musical journey would be a disservice, it was an amazing performance of saxophone virtuosity, John Surman seamlessly switching saxophones and his interchanging with pianist Howard Moody in the improvisation section was nothing short of brilliant.
Salisbury Journal, February 2003