An early Sondheim obsession shaped the way I approach composition, character and storytelling. I like to write eclectic and theatrical music, and over the last few years I’ve been exploring bold juxtapositions of contrasting musical ideas and grooves to create visceral, gestural sound worlds. I enjoy working closely with artists and often find that much of the inspiration for a piece can come from the individuality of a group or person’s playing or voice.
I studied composition at the RNCM with Adam Gorb and Gary Carpenter. While there, I collaborated with Norwegian mezzo soprano Ingvild Schultze-Florey which led to a chamber opera commission from Bergen National Opera in 2015. After writing for saxophonist Erin Royer, I was commissioned by the Borealis Saxophone Quartet, Gillian Blair and the Blair/ Mertens Duo.
Whilst at the RNCM, I worked alongside composer Kate Pearson facilitating mainstream and SEN primary school children to write their own operas and songs with RNCM Engage. Outreach work has been an important part of my practice ever since and I went on to work regularly with Tom Newall and the Piccadilly Symphony Orchestra, delivering projects in Harpurhey. I then wrote a 25 minute piece for Salford Choral Society and Piccadilly Symphony Orchestra, working closely with Tom and the choir.
In 2016, I took part in Psappha’s “Composing For” scheme, writing a piece for percussion and loop pedal, and was then invited to write the inaugural Sir Peter Maxwell Davies Commission. In 2017, I studied with Julian Philips on the Opera Makers course at Guildhall School of Music and Drama, writing an opera in association with the Royal Opera House, before becoming a Fellow at Guildhall the following year. I recently finished a piece for FontanaMIX Ensemble in Italy and am currently part of the Royal Philharmonic Society’s composers programme where I am writing a piece for Wigmore Hall as the Rosie Johnson RPS Wigmore Hall Apprentice Composer.