I’m a UK-based musician with a broad range of interests. As a composer I write for the concert stage, installation spaces, the theatrical stage, the screen and anywhere else that catches my interest. As a conductor I work wherever I’m needed on anything from rock album recordings to avant garde concert music. My composing and conducting have given me the insight to be able to arrange and orchestrate music in many styles. I like to share my skills and enthusiasm to the benefit of other people whenever I can. This can be through composing, conducting, arranging, teaching, editing, typesetting, or making myself useful in less creative ways (like helping to plug-in microphones or sweeping up after a messy installation performance!).
“I like to share my skills and enthusiasm to the benefit of other people whenever I can”
I’m particularly fascinated by the new, the unusual and the challenging. This doesn’t preclude the old or the conventional. In fact, the confrontation between older (perhaps centuries-old) artistic ideas and their placement in the far-removed context of modern life is one of the most challenging musical situations imaginable. I do, however, resist the process of canonisation and I’m sceptical about the value of ‘music history’. While histories can be very useful for sifting through information about the past, by their very nature histories also strip context and obscure facts (they’re written by ‘victors’ and other far-from-impartial parties). I don’t believe there can ever be a truly universal measure of quality, importance or impact when it comes to the arts. The experience of art is too volatile and too personal. In fact, I’m much more interested in the volatility of personal discovery – my own and other people’s – than I am in accepting such-and-such as a ‘great’ composer/piece/style or whatever. For me music always needs to be fresh, exciting and relevant now, which means re-thinking what it is, how it works and what it means on a regular basis.
“The confrontation between older artistic ideas and their placement in the far-removed context of modern life is one of the most challenging musical situations imaginable”
I’m passionate about music as a shared experience between practitioners, facilitators and audiences. The process by which music ‘comes to life’ is complicated and each stage deserves equal commitment to quality. The stages vary depending on the situation and can include writing, collaborating, copying, performing, editing, curating, administrating, directing, orchestrating, funding, staging and, of course, listening. This is true at all levels of music-making and in all fields. I have no particular bias towards any one field or any one level of technical ability. Amateur music-making is as important as professional music-making; pop music is as important as the avant garde; the music of the past is as important as the music of the present.
“I’m passionate about music as a shared experience”
Above all else I consider music an ever-growing web of experiences – experiences that make the world a better place to live.
I was born in Lincoln, UK in 1984
I was raised on Teesside in the north east of England
I spent eight-and-a-half years in Leeds, during which time I earned a BA, an MMus and a PhD in music (specialising in composition) at the University of Leeds
I now live in Cambridgeshire and spend an increasing amount of time in London
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