My music is not classified as “classical” or “pop” music but a hybrid of both. It has the accessibility, logic and shortness of pop music, and the philosophy, emotion and depth of the classical genre.
I want to be able to keep making work, and my definition of outer success would be that I have enough financial support and audience interest to be able to manifest my wildest musical-centered imaginations.
It’s so easy to forget, through all the stress of conservatoires, competitions, and touring that being an artist is the ultimate privilege. We’re getting to do something very special that very few people get to do.
Percussion is something special to me, tuned and untuned. Some drums are so extensive in their possibilities of sound graduation, pitch and timbre – that I said it was like having an orchestra beneath your fingers
I am a lyrical writer at heart, but I enjoy virtuosity. My eclectic background lets itself be heard most prominently in more energetic passages. I like economy, and clarity of form and content, and I strive to make my material distinct, in order to give my music an internal sense of memory.
Who or what inspired you to take up composing, and pursue a career in music? Music has always been very important, but I think the moment that changed from listening to composing was the realisation that all creative pursuits have an underlying language, unlocking that is a challenge, but ultimately you are just trying to…