Book contents
- Frontmatter
- Contents
- List of Illustrations
- List of Contributors
- Acknowledgments
- Introduction
- Julian Anderson
- Simon Bainbridge
- Sally Beamish
- George Benjamin
- Michael Berkeley
- Judith Bingham
- Harrison Birtwistle
- Howard Blake
- Gavin Bryars
- Diana Burrell
- Tom Coult
- Gordon Crosse
- Jonathan Dove
- David Dubery
- Michael Finnissy
- Cheryl Frances-Hoad
- Alexander Goehr
- Howard Goodall
- Christopher Gunning
- Morgan Hayes
- Robin Holloway
- Oliver Knussen
- John McCabe
- James MacMillan
- Colin Matthews
- David Matthews
- Peter Maxwell Davies
- Thea Musgrave
- Roxanna Panufnik
- Anthony Payne
- Elis Pehkonen
- Joseph Phibbs
- Gabriel Prokofiev
- John Rutter
- Robert Saxton
- John Tavener
- Judith Weir
- Debbie Wiseman
- Christopher Wright
- Appendix Advice for the Young Composer
- Index
- Frontmatter
- Contents
- List of Illustrations
- List of Contributors
- Acknowledgments
- Introduction
- Julian Anderson
- Simon Bainbridge
- Sally Beamish
- George Benjamin
- Michael Berkeley
- Judith Bingham
- Harrison Birtwistle
- Howard Blake
- Gavin Bryars
- Diana Burrell
- Tom Coult
- Gordon Crosse
- Jonathan Dove
- David Dubery
- Michael Finnissy
- Cheryl Frances-Hoad
- Alexander Goehr
- Howard Goodall
- Christopher Gunning
- Morgan Hayes
- Robin Holloway
- Oliver Knussen
- John McCabe
- James MacMillan
- Colin Matthews
- David Matthews
- Peter Maxwell Davies
- Thea Musgrave
- Roxanna Panufnik
- Anthony Payne
- Elis Pehkonen
- Joseph Phibbs
- Gabriel Prokofiev
- John Rutter
- Robert Saxton
- John Tavener
- Judith Weir
- Debbie Wiseman
- Christopher Wright
- Appendix Advice for the Young Composer
- Index
Summary
‘It seems insane, but I don't think I ever really considered the possibility that I wouldn't be a composer.’
Long before Tom Coult came onto my radar I’d wanted to interview for this book one or two young composers who were considered to show particular promise but whose names wouldn't yet be known to most readers. But who? (Are any of the contributors household names, in the generally accepted sense of that term? During his conversation with me John Rutter pointed out that it's many years since a composer has been a national figure in the way that Vaughan Williams was – when he wrote to a national newspaper his comments would be published as the leading letter of that day.) The problem is that, while many young British composers are beginning to establish a reputation, it's difficult to predict how their careers will develop.
But I kept reading about Cheryl Frances-Hoad – this was in 2011, around the time that the first CD of her music was released – and the consensus of opinion was that she was destined to go places. She was also happy to contribute to this book and suggested that I interview her at her home near Cambridge after sending her a list of questions to mull over. ‘I probably will e-mail answers’, she replied after reading them, ‘as I’m better writing than speaking! But I’m very happy to meet, as answers might throw up additional questions/clarifications etc.’ With this meeting in mind I asked her to respond to my questions spontaneously, as if she were talking on paper, rather than formulating written replies that might be too carefully considered.
A few days later I’d arranged to interview Jonathan Dove in London, but because of a vehicle hitting a railway bridge somewhere up the line all trains to London were cancelled or delayed indefinitely, and I returned home very grumpy. Waiting for me was an e-mail from Cheryl containing replies to my questions, and because they were so unpretentious and funny and believable they cheered me up immediately.
Four weeks later, in September 2011, we met at the Heights Restaurant and Bar at the Saint George's Hotel in London so that I could ask her some further questions and seek clarification about some of her earlier, written comments.
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- Encounters with British Composers , pp. 183 - 194Publisher: Boydell & BrewerPrint publication year: 2015